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ISSN 1071-4391 ISBN 978-1-906897-11-6 This Issue of LEA Is a Co-Publication Of ISSN 1071-4391 ISBN 978-1-906897-11-6 This issue of LEA is a co-publication of Copyright © 2011 ISAST Leonardo Electronic Almanac Volume 17 Issue 1 August 2011 ISSN: 1071-4391 ISBN: 978-1-906897-11-6 The ISBN is provided by Goldsmiths, University of London lea publishing & subscription information editor in chief editorial address Lanfranco Aceti [email protected] Leonardo Electronic Almanac Sabanci University, Orhanli - Tuzla, 34956 co-editor Istanbul, Turkey Paul Brown [email protected] email managing editor [email protected] John Francescutti [email protected] Web art director » www.leoalmanac.org Deniz Cem Önduygu [email protected] » www.twitter.com/LEA_twitts » www.flickr.com/photos/lea_gallery editorial manager » www.facebook.com/pages/Leonardo-Electronic- Özden Şahin [email protected] Almanac/209156896252 editorial assistant Ebru Sürek [email protected] Copyright 2011 ISAST editors Leonardo Electronic Almanac is published by: Martin John Callanan, Connor Graham, Jeremy Hight, Leonardo/ISAST Özden Şahin 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 Marina Jirotka, Beau Lotto, Roger Malina, Terrence Masson, Technology. For more information about Leonardo/ISAST’s Jon McCormack, Mark Nash, Sally Jane Norman, Christiane publications and programs, see www.leonardo.info or contact Paul, Simon Penny, Jane Prophet, Jeffrey Shaw, William [email protected]. Uricchio Reposting of this journal is prohibited without permission of contributing editors Leonardo/ISAST, except for the posting of news and events Nina Czegledy, Susan Collins, Anna Dumitriu, Vince listings which have been independently received. Dziekan, Darko Fritz, Marco Gillies, Davin Heckman, Saoirse Higgins, Jeremy Hight, Denisa Kera, Frieder Nake, Vinoba Leonardo is a trademark of ISAST registered in the U.S. Patent Vinayagamoorthy and Trademark Offices. executive editor All rights to the content of this issue reserved by Leonardo/ Roger Malina ISAST and the copyright holders. 2 LEONARDOELECTRONICALMANAC VOL 17 NO 1 ISSN 1071-4391 ISBN 978-1-906897-11-6 ISSN 1071-4391 ISBN 978-1-906897-11-6 VOL 17 NO 1 LEONARDOELECTRONICALMANAC 3 C ONTENTS CONTENT S Leonardo Electronic Almanac Volume 17 Issue 1 4 EDITORIAL Lanfranco Aceti ACADEMIC VANITAS: MICHAEL AURBACH COGNITIVE LABOR, CROWDSOURCING, 8 AND CRITICAL THEORY 118 AND CULTURAL HISTORY OF THE Dorothy Joiner MECHANIZATION OF THE MIND Ayhan Aytes SOME THOUGHTS CONNECTING DETERMIN- 14 ISTIC CHAOS, NEURONAL DYNAMICS AND INVERSE EMBODIMENT: AESTHETIC EXPERIENCE 128 AN INTERVIEW WITH STELARC Andrea Ackerman Lanfranco Aceti HACKING THE CODES OF SELF-REPRESEN- ORDER IN COMPLEXITY 28 TATION: AN INTERVIEW WITH LYNN HER- 138 Frieder Nake SHMAN LEESON Tatiana Bazzichelli TEACHING VIDEO PRODUCTION 142 IN VIRTUAL REALITY ELECTRONIC LITERATURE Joseph Farbrook 34 AS A SWORD OF LIGHTNING Davin Heckman ATOMISM: 152 RESIDUAL IMAGES WITHIN SILVER PROFILE: DARKO FRITZ Paul Thomas 42 44 Lanfranco Aceti, Interview with Darko Fritz 50 Saša Vojković, Reflections on Archives in COLLABORATING WITH THE ENEMY Progress by Darko Fritz 156 Shane Mecklenburger 52 Vesna Madzoski, Error to Mistake: Notes on the Aesthetics of Failure THE AMMONITE ORDER, OR, OBJECTILES NEXUS OF ART AND SCIENCE: THE CENTRE 172 FOR AN (UN) NATURAL HISTORY 56 FOR COMPUTATIONAL NEUROSCIENCE AND Vince Dziekan ROBOTICS AT UNIVERSITY OF SUSSEX Christine Aicardi THE CONTEMPORARY BECOMES DIGITAL 184 Bruce Wands MISH/MASH 82 Paul Catanese LEONARDO ELECTRONIC ALMANAC - 188 HISTORICAL PERSPECTIVE SIPPING ESPRESSO WITH SALMON Craig Harris 92 Carey K. Bagdassarian ARS ELECTRONICA 2010: THE MAKING OF EMPTY STAGES BY TIM 196 SIDETRACK OR CROSSROADS ? 102 ETCHELLS AND HUGO GLENDINNING: AN Erkki Huhtamo INTERVIEW WITH HUGO GLENDINNING Gabriella Giannachi 6 LEONARDOELECTRONICALMANAC VOL 17 NO 1 ISSN 1071-4391 ISBN 978-1-906897-11-6 ISSN 1071-4391 ISBN 978-1-906897-11-6 VOL 17 NO 1 LEONARDOELECTRONICALMANAC 7 I NTERVIEW INTERVIE W An interview with Lynn Hershman Leeson Every society goes through transitional states of Tatiana Bazzichelli socio-cultural transformation, what anthropolo- Hacking gist Victor Turner dubbed liminal phases (Turner, Aarhus University 1982). These are potentially fertile areas of rewriting Dep. Information and Media Studies and hacking of cultural codes, a cultural limbo where Helsingforsgade 14 individuals are “betwixt and between”. People experi- the Codes of 8200 Aarhus, Denmark encing these liminal states are not anymore who they [email protected] were before, and not yet what they will become. They www.networkingart.eu work in a critical space-in-between, a fluid territory www.tatianabazzichelli.com in which to play with the structure of representa- Self-representation tion, hacking the codes of self-representation, and recombining them into something unpredictable. In this free, active, experimental space, new cultural ele- ABSTRACT ments and new combined rules can be introduced. It is in these instances that technology is used with artistic, cultural and political goals. The joint action of different This interview with Lynn Hershman Leeson reflects on the meaning subjectivities which show how it is possible to create and impact of her artistic activity since the Seventies, an important the first step in redefining powers and hierarchies; in terms of dismantling and opening social, cultural and resource for understanding the socio-cultural transformation in the sexual categories. fields of art, technology and body-politics of our present. Today more Lynn Hershman Leeson has transformed the idea of then ever, we are experiencing the mixing and crossing of virtual and real art into a corporeal practice necessary for a critical re- worlds; dynamics of social networking and net-based participation are definition of reality. Her artistic work since the 1960s can be seen as a liminal zone, where to understand influencing not only a small group of experts, but everyone with access to the transformation of the social itself. Through her ar- technology. Through the art of Lynn Hershman Leeson, it becomes pos- tificially constructed alter egos, active both in real and virtual life, cultural symbols are recomposed accord- sible to access a critical space-in-between, a liminal state of performativity, ing to unedited modalities. Gender power structures, the representation of subjectivity, or the artificial in which to redefine powers and hierarchies, to question the meaning of construction of identities; all these have found perfect identity, and to hack the codes of self-representation. As a “cultural infil- balance in her works. trator”, Lynn Hershman Leeson opens up a critical interstice in the every- Lynn Hershman Leeson created a critical reflection day life to a constant redefinition of ourselves. putting her body on the performance stage through more than thirty years. Starting in the 1970s with the creation of the multiple personality Roberta Breitmore CybeRoberta 1995, Lynn Hershman and continuing through her works to this day with her telerobotic doll, programming and fabrication by Palle Henkel, film !Women Art Revolution (premiered at the Toronto Colin Klingman, edition of 2. © lynn hershman 1993 International Film Festival last September). The works 2 8 LEONARDOELECTRONICALMANAC VOL 17 NO 1 ISSN 1071-4391 ISBN 978-1-906897-11-6 ISSN 1071-4391 ISBN 978-1-906897-11-6 VOL 17 NO 1 LEONARDOELECTRONICALMANAC 2 9 I NTERVIEW INTERVIE W When Roberta went out in the early stress the cultural implication of gender in daily life than drawing or painting, I wanted to do something thereby rewriting the codes of both art and technol- that encompassed all of culture during that era. That seventies she didn’t know who she was ogy. Dynamics of interaction, dialogue and collective is why Roberta expanded into a lived experience, as exchange acquire a particular relevance in her works. well as a documented experience, and all of those meeting – if she was going to be invited experiences were talking to each other. Later Roberta This interview reflects on the meaning and impact of became three other women, the multiples. I wanted Lynn Hershman Leeson’s activities, which constitute to have three, because in science they always have into a prostitution ring, if she was going fundamental resources for understanding of key as- to proof things three ways. It was also a beginning of pects of contemporary culture. Today more then ever, a viralization. You create something and you brand it out with some murderer or serial killer. we are experiencing mixing and crossing of virtual and as something, and then you make three others, and real worlds, and dynamics of social networking and ar- you send them out, and see what happens with those. tistic creation are influencing not only a small group of It was a matter of infecting the environment with experts, but also everyone with access to technology. multiples, like a virus. Between 1995–2000, Roberta transformed into the CybeRoberta, which is an interactive artificial intelligent sculpture on the web. In 2006 Roberta Breitmore developed into a character Your early works date mid 1960s, and since then in Second Life, another Roberta, who is very much you can always escape. You don’t have to reveal as from the early ones, which connected art and life in you have been working as an artist playing with like the first Roberta that goes out into virtual space. much, physically. It is all done on a second meta-level, the seventies. But I didn’t invent the idea. It happened the structure of cultural representation, the Essentially Roberta was living in virtual space in the which is much safer because you can log off. Roberta during the Russian Revolution and Grotowski and Kan- construction of female identity and artificial alter seventies, a fictional space. So those remnants exist to even had personal counselling with a psychothera- tor brought theatre into life.
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