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Vol 20 No 2 Book Editors Lanfranco Aceti & Paul Thomas Editorial

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Vol 20 No 2 Book Editors Lanfranco Aceti & Paul Thomas Editorial vol 20 no 2 book editors lanfranco aceti & paul thomas editorial manager çağlar çetin In this particular volume the issue of art as interference and the strategies that it should adopt have been reframed within the structures of contempo- rary technology as well as within the frameworks of interactions between art, science and media. What sort of interference should be chosen, if one at all, remains a personal choice for each artist, curator, critic and historian. ISSN 1071-4391 ISBN 978-1-906897-32-1 VOL 20 NO 2 LEONARDOELECTRONICALMANAC 1 LEA is a publication of Leonardo/ISAST. Editorial Address Leonardo Electronic Almanac Copyright 2014 ISAST Sabanci University, Orhanli – Tuzla, 34956 Leonardo Electronic Almanac Istanbul, Turkey Volume 20 Issue 2 April 15, 2014 Email ISSN 1071-4391 [email protected] isbn 978-1-906897-32-1 The isbn is provided by Goldsmiths, University of London. Web leonardo electronic almanac, Volume 20 issue 2 » www.leoalmanac.org lea publishing & subscription information » www.twitter.com/LEA_twitts » www.flickr.com/photos/lea_gallery Interference Strategies Editor in Chief » www.facebook.com/pages/Leonardo-Electronic- Lanfranco Aceti [email protected] Almanac/209156896252 book editors Co-Editor Özden Şahin [email protected] Copyright © 2014 lanfranco aceti & paul thomas Leonardo, the International Society for the Arts, Managing Editor Sciences and Technology editorıal manager John Francescutti [email protected] çağlar çetin Leonardo Electronic Almanac is published by: Art Director Leonardo/ISAST Deniz Cem Önduygu [email protected] 211 Sutter Street, suite 501 San Francisco, CA 94108 Editorial Board USA Peter J. Bentley, Ezequiel Di Paolo, Ernest Edmonds, Felice Leonardo Electronic Almanac (LEA) is a project of Leonardo/ Frankel, Gabriella Giannachi, Gary Hall, Craig Harris, Sibel Irzık, The International Society for the Arts, Sciences and Technol- Marina Jirotka, Beau Lotto, Roger Malina, Terrence Masson, ogy. For more information about Leonardo/ISAST’s publica- Jon McCormack, Mark Nash, Sally Jane Norman, Christiane tions and programs, see http://www.leonardo.info or contact Paul, Simon Penny, Jane Prophet, Jeffrey Shaw, William [email protected]. Uricchio Leonardo Electronic Almanac is produced by Cover Passero Productions. Deniz Cem Önduygu Reposting of this journal is prohibited without permission of Leonardo/ISAST, except for the posting of news and events listings which have been independently received. The individual articles included in the issue are © 2014 ISAST. 2 LEONARDOELECTRONICALMANAC VOL 20 NO 2 ISSN 1071-4391 ISBN 978-1-906897-32-1 ISSN 1071-4391 ISBN 978-1-906897-32-1978-1-906897-26-0 VOLVOL 2019 NO 42 LEONARDOELECTRONICALMANAC 3 The Leonardo Electronic Almanac The publication of this book is graciously supported by acknowledges the institutional support for this book of The book editors Lanfranco Aceti and Paul Thomas would especially like to acknowledge Su Baker for her continual support of this project and Andrew Varano for his work as conference organiser. We would also like to thank the Transdisciplinary Imaging at the intersection between art, science and culture, Conference Committee: Michele Barker, Brad Buckley, Brogan Bunt, Edward Colless, Vince Dziekan, Donal Fitzpatrick, Petra Gemeinboeck, Julian Goddard, Ross Harley, Martyn Jolly, Daniel Mafe, Leon Marvell and Darren Tofts. 4 LEONARDOELECTRONICALMANAC VOL 20 NO 2 ISSN 1071-4391 ISBN 978-1-906897-32-1 ISSN 1071-4391 ISBN 978-1-906897-32-1 VOL 20 NO 2 LEONARDOELECTRONICALMANAC 5 C ONTENTS CONTENTS Leonardo Electronic Almanac Volume 20 Issue 2 10 INTERFERENCE STRATEGIES: IS ART IN THE MIDDLE? 72 IMAGES (R)-EVOLUTION: MEDIA ARTS COMPLEX IMAGERY Lanfranco Aceti CHALLENGING HUMANITIES AND OUR INSTITUTIONS OF CULTURAL MEMORY 13 INTERFERENCE STRATEGIES Oliver Grau Paul Thomas 86 INTERFERENCE WAVE DATA AND ART 16 THE ART OF DECODING: n-FOLDED, n-VISIONED, n-CULTURED Adam Nash Mark Guglielmetti 96 INTERFERING WITH THE DEAD 26 THE CASE OF BIOPHILIA: A COLLECTIVE COMPOSITION OF Edward Colless GOALS AND DISTRIBUTED ACTION Mark Cypher 114 MERGE/MULTIPLEX Brogan Bunt 36 CONTAMINATED IMMERSION AND THOMAS DEMAND: THE DAILIES David Eastwood 122 A ROBOT WALKS INTO A ROOM: GOOGLE ART PROJECT, THE NEW AESTHETIC, AND THE ACCIDENT OF ART 50 GESTURE IN SEARCH OF A PURPOSE: Susan Ballard A PREHISTORY OF MOBILITY Darren Tofts & Lisa Gye 132 TOWARDS AN ONTOLOGY OF COLOUR IN THE AGE OF MACHINIC SHINE 60 HEADLESS AND UNBORN, OR THE BAPHOMET RESTORED Mark Titmarsh INTERFERING WITH BATAILLE AND MASSON’S IMAGE OF THE ACEPHALE 146 TRANSVERSAL INTERFERENCE Leon Marvell Anna Munster 6 LEONARDOELECTRONICALMANAC VOL 20 NO 2 ISSN 1071-4391 ISBN 978-1-906897-32-1 ISSN 1071-4391 ISBN 978-1-906897-32-1 VOL 20 NO 2 LEONARDOELECTRONICALMANAC 7 I NTRODUCTION INTRODUCTION InterferenceInterference Strategies: Strategies: tiontion of of ‘degenerate ‘degenerate art’ art’ produced produced by by ‘degenerate ‘degenerate art art-- andand modalities modalities of of engagement. engagement. It It should should be be - - to to quote quote ists.’ists.’ Art Art that that was was not not a a direct direct hymn hymn to to the the grandeur grandeur PabloPablo Picasso Picasso - - an an instrument instrument of of war war able able to to inter-fe inter-fe-- IsIs Art Art in in the the Middle? Middle? ofof Germany Germany could could not not be be seen seen by by the the Nazi Nazi regime regime as as riorio: :“No, “No, painting painting is is not not done done to to decorate decorate apartments. apartments. anythinganything else else but but ‘interfering ‘interfering and and hence hence degenerate,’ degenerate,’ ItIt is is an an instrument instrument of of war war for for attack attack and and defense defense sincesince it it questioned questioned and and interfered interfered with with the the ideal ideal purity purity againstagainst the the enemy.” enemy.” 2 2 ofof Teutonic Teutonic representations, representations, which which were were endorsed endorsed andand promoted promoted as as the the only only aesthetics aesthetics of of the the National National IfIf art art should should either either strike strike or or bring bring something something is is part part SocialistSocialist party. party. Wilhelm Wilhelm Heinrich Heinrich Otto Otto Dix’s Dix’s War War ofof what what has has been been a a long long aesthetic aesthetic conversation conversation that that IfIf we we look look at at the the etymological etymological structure structure of of the the word word andand intentio intentio auctoris auctoris with with intentio intentio lectoris lectoris),), as as Umber Umber-- CripplesCripples (1920) (1920) could could not not be be a a more more critical critical painting painting precededpreceded the the Avant-garde Avant-garde movement movement or or the the destruc destruc-- interference,interference, we we would would have have to to go go back back to to a a construct construct toto Eco Eco would would put put it. it. Those Those famous famous breeches breeches appear appear to to ofof the the Body Body Politic Politic of of the the time, time, and and of of war war in in general, general, tivetive fury fury of of the the early early Futurists. Futurists. In In this this particular particular volume volume thatthat defines defines it it asas a a sumsum ofof thethe twotwo LatinLatin wordswords inter inter bebe both: both: a a form form of of censorship censorship as as well well as as interference interference andand therefore therefore had had to to be be classified classified asas ‘degenerate’ ‘degenerate’ andand thethe issue issue of of art art as as interference interference and and the the strategies strategies that that (in(in between) between) and and ferio ferio (to (to strike), strike), but but with with a a particular particular withwith Michelangelo’s Michelangelo’s vision. vision. condemnedcondemned to to be be ‘burnt.’ ‘burnt.’ itit should should adopt adopt have have been been reframed reframed within within the the struc struc-- attentionattention to to the the meaning meaning of of the the word word ferio ferio being being inter inter-- turestures of of contemporary contemporary technology technology as as well well as as within within pretedpreted principally principally as as to to wound wound. .Albeit Albeit perhaps perhaps etymo etymo-- InterferenceInterference is is a a word word that that assembles assembles a a multitude multitude of of ArtArt in in this this context context cannot cannot be be and and should should not not be be any any-- thethe frameworks frameworks of of interactions interactions between between art, art, science science logicallylogically incorrect, incorrect, it it may may be be preferable preferable to to think think of of the the meaningsmeanings interpreted interpreted according according to to one’s one’s perspective perspective thingthing else else but but interference; interference; either either by by bringing bringing some some-- andand media. media. wordword interference interference as as a a composite composite of of inter inter (in (in between) between) andand ideological ideological constructs constructs as as a a meddling, meddling, a a distur distur-- thingthing in in between between or or by by wounding wounding the the Body Body Politic Politic by by andand the the Latin Latin verb verb fero fero (to (to carry), carry), which which would would bring bring bance,bance, and and an an alteration alteration of of modalities modalities of of interaction interaction
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