Forskningssymposium

Glitch and Photography II: Bugs, Camouflage, and Insect Media

Detta är det andra symposiet i det fleråriga forskningsprojektet Photography and the Glitch, som är ett samarbete mellan Hasselbladstiftelsen och HDK-Valand, Göteborgs universitet. Projektet undersöker digitalfotografin och de visuella system vi har omkring oss med fokus på hur ’glitcher’ kan rubba normativ logik.

Symposiet handlar om den fotografiska glitchen som en bug (insekt) både bokstavligt och metaforiskt: från konstnärers tolkningar av malar, insekter och djurs beteende till analyser av glitchen som ett tekniskt och algoritmiskt fel och dess inverkan.

Ämnet för symposiet är inspirerat av konceptet “insektsmedier” (som Jussi Parikka ingående diskuterade i sin bok Insect Media. An Archeology of Animals and Technology från 2010). Begreppet insektsmedia beskriver fotografi och andra kommunikationstekniker utifrån insekters beteende och anatomi samt genom olika tolkningar av insekternas värld och dess svärmar, nät, förvandling (metamorfos) och mångfald. Genom ett entomologiskt och zoologiskt perspektiv på digital, hybrid och virtuell fotografi uppstår nya perspektiv på hur visuella representationer och innebörder utvecklas och uppfattas.

På vilka sätt öppnar glitcher (såväl maskinella som naturliga) för posthumana och icke-mänskliga inverkningar och influenser? (Se till exempel Joanna Zylinskas bok Nonhuman Photography från 2017.) Under symposiet diskuteras ämnen som gaming (Marco De Mutiis), klimatet (Joana Moll) och väderprognoser (Nanna Debois Buhl och Joanna Zylinska), innovativa metoder att använda slumpen (Olle Essvik), vävning (Buhl) samt symbios (Marie-Eve Levasseur). Genom att deltagarna använder sig av och behandlar nya tekniker som AI och olika digitala miljöer uppkommer nya frågor kring framtidens fotografi.

Presentationer av: Joanna Zylinska, Marco De Mutiis, Nanna Debois Buhl, Joana Moll, Olle Essvik och Marie-Eve Levasseur.

Symposium, program:

Glitch and Photography II: Bugs, Camouflage, and Insect Media

Plats: GLASHUSET, VALAND, Göteborgs universitet

13-13.15 Nina Mangalanayagam och Louise Wolthers: Inledning

13.15-14.00 Marco De Mutiis: Photographing the game glitch: between ghost photography and free labour

14.00-14.10 Paus

14.10-14.40 Nanna Debois Buhl: Pattern Machines: on Coding, Weaving and Glitching (konstnärssamtal)

14.40-15.10 Olle Essvik AInsect / Eaten Books (performativ föreläsning)

15.10-15.40 Kaffe och förberedelse av digitala presentationer

ONLINE (Zoom webbinarium):

15.40-16.10 Joana Moll: Inanimate Species (konstnärssamtal)

16.10-16.40 Marie-Eve Levasseur: becoming a glitch-body,

on extended reality (XR) art practice and feminist science fiction (Artist talk)

16.40-17.00 PAUS

17.00 -17.30 Johanna Zylinska: The future is glitchy, but can we photograph it?

17.30-18.00 Avslutande rundabordssamtal

BIOGRAFIER:

Marie-Eve Levasseur

Artist Marie-Eve Levasseur currently lives and works in Montreal. Her work deals with intimacy, non-human ecosystems, extensions of the body and the perception of language and images through screens. Her multidisciplinary approach uses various media such as video, installation, sculpture, 3D animation and augmented or virtual reality (AR/VR). She explores the proximity of technological and organic surfaces in a post-human context, while drawing inspiration from feminist science fiction. Her projects use speculative fabulation; imagining situations with fictional devices, extensions for humans and non-humans that open up aninterspecies dialogue, to reflect on how we adapt to the system we live in as well as our possible futures.

Joanna Zylinska

Joanna Zylinska is Professor of Media Philosophy + Critical Digital Practice at King’s College London. She is the author of a number of books – including AI Art: Machine Visions and Warped Dreams (Open Humanities Press, 2020), The End of Man: A Feminist Counterapocalypse (University of Minnesota Press, 2018) and Nonhuman Photography (MIT Press, 2017). Joanna is also involved in collaborative publishing projects, often on an open-access basis. Her own art practice involves experimenting with different kinds of image-based media. She is currently researching perception and cognition as boundary zones between human and machine intelligence, while trying to map out scenarios for alternative futures. Her new book, The Perception Machine: Our Photographic Future Between the Eye and AI is forthcoming from the MIT Press.

Instagram: @joanna.zylinska

Joana Moll

Joana Moll is a Barcelona/Berlin based artist and researcher. Her work critically explores the way techno-capitalist narratives affect the alphabetization of machines, humans and ecosystems. Her main research topics include Internet materiality, surveillance, social profiling and interfaces. She has presented her work in renowned institutions, museums, universities and festivals around the world such as Venice Biennale, MAXXI, MMOMA, Laboral, CCCB, among many others. Her work has been featured extensively on international media.

She is the co-founder of the Critical Interface Politics Research Group at HANGAR [Barcelona] and co-founder of The Institute for the Advancement of Popular Automatisms. She is currently a visiting lecturer at Universität Potsdam and Escola Elisava in Barcelona; an artistic researcher in residence at HGK FHNW in Basel, a research fellow at BBVA Foundation and a fellow at The Weizenbaum Institute in Berlin.

Olle Essvik

Olle Essvik is an artist, publisher and senior lecturer working and living in Gothenburg. Essvik works with themes relating to the digital as well as to technology in a human context, touching on notions of everyday life, repetition, and time. The outcome of his art practice could be a book, a publication, or a photo, in which traditional materials and techniques like bookbinding converge with programming and code. Essvik has exhibited in national and international museums and have lectured and conducted workshops and performances at various institutions. He runs an experimental publishing house rojal, https://www.rojal.se, where he recently published the edited book The Computer as Seen at the End of the Human Age. Here new works by a selection of artists, specifically invited to use algorithms/AI to contribute to a continuous, self-reproducing, anachronistic, machine aided recording of history, are compiled.

Nanna Debois Buhl

Nanna Debois Buhl is a visual artist whose practice draws connections across time periods and between micro and macro perspectives. Through studies spanning plants and particles, clouds and computer memory she connects scientific, aesthetic, and speculative perspectives to nurture attentiveness to materials and to tell counter-histories. Her work materializes as photographs, weavings, installations, films, algorithm-based works, artist’s books, and site-specific works in public space. She has a conceptual and experimental approach to her chosen media, and by combining historical and new technologies she connects what is addressed in her works to how they are made. Her practice can thus be considered to be speculative time travel through matter and meaning.

Buhl is a Mads Øvlisen PhD fellow in artistic practice at The Royal Danish Academy of Fine Arts and Copenhagen University, Denmark and Massachusetts Institute of Technology, Cambridge, USA (2019-). She participated in The Whitney Museum’s Independent Study Program, New York (2008- 09) and received her MFA from The Royal Danish Academy of Fine Arts (2006). Her work has been shown at various international institutions and museums, and is represented widely in collections.

http://nannadeboisbuhl.net/

Marco de Mutiis

Marco De Mutiis works as Digital Curator at Fotomuseum Winterthur, where he leads and co-curates the experimental exhibition format and research lab SITUATIONS, exploring the changing role of photography in contemporary digital and networked cultures. He also deals with issues related to digital infrastructures, online museums, and photography in its computational and algorithmic forms.

He is currently part of a SNF funded research project titled “Post-Photography” with the Lucerne University of Applied Sciences and Arts and a PhD researcher at the Centre for the Study of the Networked Image at London South Bank University. His research focuses on computer games and photography, simulations of the photographic act of capture, machinic gaze, photorealism, photo modes, photographic playbour and screenshotting practices. He is the co-initiator and core member of the rogue collective behind You Must Not Call It Photography If This Expression Hurts You.