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en:digital_physics [2017/08/31 06:26]
tanja created
en:digital_physics [2018/01/12 20:19] (current)
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 The Stadtwerkstatt has always been reacting to cultural developments with a certain immediacy. Contemporarily deteriorating conditions for creative work due to machinable information processing can be noted. Hence it is appropriate to investigate about the role of information in our society in order to come up with adequate solutions. Note that this text about multiple perspectives upon information technology (IT) is to be understood within the context of art and displays the personal opinions of the author. The Stadtwerkstatt has always been reacting to cultural developments with a certain immediacy. Contemporarily deteriorating conditions for creative work due to machinable information processing can be noted. Hence it is appropriate to investigate about the role of information in our society in order to come up with adequate solutions. Note that this text about multiple perspectives upon information technology (IT) is to be understood within the context of art and displays the personal opinions of the author.
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 **What is information?​ – How is it defined?** **What is information?​ – How is it defined?**
 *The analysis of information emerged out of thermodynamics more than 150 years ago. The chaotic dispersion of gas particles defined the opposite of information – entropy. *The analysis of information emerged out of thermodynamics more than 150 years ago. The chaotic dispersion of gas particles defined the opposite of information – entropy.
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 *Information can be copied endlessly – there is no original. *Information can be copied endlessly – there is no original.
 *Through the storage of information knowledge may be produced. *Through the storage of information knowledge may be produced.
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-Evolution and Information+**Evolution and Information**
 Evolution brought the storage of information in the genotype. Out of nature the homo sapiens developed as a being that can develop technology on his own terms and to process information,​ as defined above, mechanically. In such a way the perils of contemporary IT are not seen in a comprehensive,​ holistic context. Life on our planet uses information for its own advancement. It may be rewarding to leave that common perspective behind and to grasp evolution as a result of information that is processed. Therein, information itself becomes the engine of the universe. Evolution brought the storage of information in the genotype. Out of nature the homo sapiens developed as a being that can develop technology on his own terms and to process information,​ as defined above, mechanically. In such a way the perils of contemporary IT are not seen in a comprehensive,​ holistic context. Life on our planet uses information for its own advancement. It may be rewarding to leave that common perspective behind and to grasp evolution as a result of information that is processed. Therein, information itself becomes the engine of the universe.
 The processing of information in nature luckily also brings about some anomalies that help us to gain multiple perspectives. Such anomalies are, for instance, mushrooms. The mycelium as a network of communication interrelating between thousands of sexes. With artistic projects we have done research in 2017 via our Artist-in-Residence program on the boat Eleonore. The processing of information in nature luckily also brings about some anomalies that help us to gain multiple perspectives. Such anomalies are, for instance, mushrooms. The mycelium as a network of communication interrelating between thousands of sexes. With artistic projects we have done research in 2017 via our Artist-in-Residence program on the boat Eleonore.
-At our annual festival Stwst48x3 we show a 24 hour-video program that shows lectures and documentaries about the topic „information“,​ „digital physics“, and „mycelium networking“ from September 7 – 9, 2017. Among other things you will be explained why a Leberkäsesemmel contains more information than a book with 1000 pages. +At our annual festival Stwst48x3 we show a 24 hour-video program that shows lectures and documentaries about the topic „information“,​ „digital physics“, and „mycelium networking“ from September 7 – 9, 2017. Among other things you will be explained why a Leberkäsesemmel contains more information than a book with 1000 pages (Harald Lesch; Vom Stein zum Leben)
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 **Videoprogramm „Digital Physics“ 48x3 Mindless:** **Videoprogramm „Digital Physics“ 48x3 Mindless:**
 Idalism, Digital Physics, and Christian Neoplatonism Loma Linda University 12 27 2014 Idalism, Digital Physics, and Christian Neoplatonism Loma Linda University 12 27 2014
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 Is Anything Real? Is Anything Real?
 What Is Reality? What Is Reality?
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 **Videoprogramm „Mycelium Network“ 48x3 Mindless:** **Videoprogramm „Mycelium Network“ 48x3 Mindless:**
 Paul Stamets on How Mushrooms Can Save Us from Ourselves Paul Stamets on How Mushrooms Can Save Us from Ourselves
 Paul Stamets: Psilocybin Mushrooms & The Mycology of Consciousness Paul Stamets: Psilocybin Mushrooms & The Mycology of Consciousness
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 Radical Mycology Webinar 1: Seeing Fungi Radical Mycology Webinar 1: Seeing Fungi
 Radical Mycology Webinar 2: Working With Fungi Radical Mycology Webinar 2: Working With Fungi
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 Beautiful Rare Mushrooms - Fungi plant growth Beautiful Rare Mushrooms - Fungi plant growth
  
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 **What is at stake is the preservation of our creative work enviroment – a historical excursion.** **What is at stake is the preservation of our creative work enviroment – a historical excursion.**
  
 **We called it media art.** It was a coinage to describe comprehensive work with material of all sorts. And it was in the 1980s when this concept was circulating heavily. The wild 1960s and 1970s did not want to „take“ in the fine arts. Warhol, Beuys and others were breaking up the structures of the classical art context, but the artists (actually predominantly male ones) where, as super heroes, still in the center of the art market. The impetus for media art was the fear about stagnation or relapse into the classical art context. Dynamics, change and movement were the springboard for describing new utopias with artistic work. Everything became material for work and machines brought about those dynamical qualities. Machine art therefore became a central element in media art. It also were those electronic devices with which you could integrate dynamic images in static structures with ease. Subsequently it was the digital machines with their possibilities to relocate events into different time contexts. Transformations of space and time brought about many new perspectives. A lot of these electronic machines were used in film and referred to as video art. **We called it media art.** It was a coinage to describe comprehensive work with material of all sorts. And it was in the 1980s when this concept was circulating heavily. The wild 1960s and 1970s did not want to „take“ in the fine arts. Warhol, Beuys and others were breaking up the structures of the classical art context, but the artists (actually predominantly male ones) where, as super heroes, still in the center of the art market. The impetus for media art was the fear about stagnation or relapse into the classical art context. Dynamics, change and movement were the springboard for describing new utopias with artistic work. Everything became material for work and machines brought about those dynamical qualities. Machine art therefore became a central element in media art. It also were those electronic devices with which you could integrate dynamic images in static structures with ease. Subsequently it was the digital machines with their possibilities to relocate events into different time contexts. Transformations of space and time brought about many new perspectives. A lot of these electronic machines were used in film and referred to as video art.
 The artist as a lab technician in the field of experimentation of life became an actor himself and an integral part of his work. Art did not derive from competence but from incompetence/​being dilettante and amateurish, from learning and from failure. The workspaces were labs, not ateliers. It had been digital systems that interlinked via information exchange and enabled the decentralisation acting. It had also been these systems that began to protect themselves from unauthorised manipulations via their digital layers. The artist became excluded, lost access to the lower layers, hence also the control over his material for work. Because of these technologies the systems however were working seamlessly and multi-disciplinarily. The system began to organise itself decentrally,​ it collected information and categorised it via algorithms. Hence order invaded art again, art became segmented into genres again, and media art became obsolete. The artist as a lab technician in the field of experimentation of life became an actor himself and an integral part of his work. Art did not derive from competence but from incompetence/​being dilettante and amateurish, from learning and from failure. The workspaces were labs, not ateliers. It had been digital systems that interlinked via information exchange and enabled the decentralisation acting. It had also been these systems that began to protect themselves from unauthorised manipulations via their digital layers. The artist became excluded, lost access to the lower layers, hence also the control over his material for work. Because of these technologies the systems however were working seamlessly and multi-disciplinarily. The system began to organise itself decentrally,​ it collected information and categorised it via algorithms. Hence order invaded art again, art became segmented into genres again, and media art became obsolete.
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 **The Infolab of the STWST** **The Infolab of the STWST**
 The artists eager to continue to include all sorts of materials and events into their projects cannot help but taking a look at the mechanical processing of information from the outside and to work isolated in labs. In the growing network of information there are new groups of people however who actively work with IT. They organise in hacklabs (labs for hackers) and fablabs (labs for crafting). The distinctive feature of such technological habitats was freedom of action, freedom from purpose and freedom of meaning (mindlessness) that could be encountered there. These freedoms enabled many new ideas, accompanied with incredible utopias. The persons who worked in those labs did not want to be situated in the art context anymore and financed themselves via member fees. The media artists failed to integrate the subjects related to IT and the technicians working in IT into their work. A few years before that every media artist worked together with technicians who then emancipated themselves with their new labs. In the art context such labs continued to be instead of ateliers, yet they quickly lost their freedom from purpose because of the usage of proprietary software owned by multinational corporations. The artists eager to continue to include all sorts of materials and events into their projects cannot help but taking a look at the mechanical processing of information from the outside and to work isolated in labs. In the growing network of information there are new groups of people however who actively work with IT. They organise in hacklabs (labs for hackers) and fablabs (labs for crafting). The distinctive feature of such technological habitats was freedom of action, freedom from purpose and freedom of meaning (mindlessness) that could be encountered there. These freedoms enabled many new ideas, accompanied with incredible utopias. The persons who worked in those labs did not want to be situated in the art context anymore and financed themselves via member fees. The media artists failed to integrate the subjects related to IT and the technicians working in IT into their work. A few years before that every media artist worked together with technicians who then emancipated themselves with their new labs. In the art context such labs continued to be instead of ateliers, yet they quickly lost their freedom from purpose because of the usage of proprietary software owned by multinational corporations.