10 February 2022, 19:00

@ Xcenter, Nova Gorica

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The presentation will focus on the project Catastrophe Jangled Hideously Out Of Process, the title and content of which is the work of artificial intelligence. 

The project consists of images generated from machine learning algorithms that were trained on hundreds of images of post-disaster scenarios from recent years – tsunamis, hurricanes, earthquakes, landslides, plane crashes, wildfires and war. The saturation of news media with such imagery has led to a certain desensitization, while simultaneously fuels enjoyment in the aesthetic of disaster and makes us desire more. The project asks how we could appease these compulsions of ours ‘ethically’. Is there a way to separate aesthetics from humanity? More about the artist and his work here.

The presentation will be followed by a moderated discussion with Andy Gracie which will focus on the artist’s broader research interest and practice on the intersection of art and science. In his projects Gracie probes the ways in which as humans we imagine, simulate and inhabit scenarios that test our understanding and our imagination of the future. The current expression of these ideas is in a body of work that outlines the psychology, culture and aesthetics of disaster and the impermanence of humanity on a cosmic scale.

The artist talk will be held in English and moderated by Tjaša Pogačar (Projekt Atol Institute).

Participation is subject to RVT conditions.

Production of the exhibition in Xcenter (Nova gorica, SI) is part of konS:: Platform for Contemporary Investigative Art.

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The inaugural event of the project Temporal Secessionism: Time Zone #4 by Nascent will take the form of a special edition of the 0x Salon, by Wassim Alsindi. There will be a short presentation of the project and a group discussion.

The participants will discuss the production of techno-time, transcendental time machines and strange temporalities.

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Wednesday, 24 November 2021 | 17:00 CET (11:00 EST)
@ online stream

The Digital Dish will offer a view behind the scenes of Paloma Kop’s multimedia art practice, focused on the process used to create Magnetic Field Recordings (2021) and her ongoing series, Electromagnetic Earth. Today, electricity and magnetism are mainly considered in the context of human-made technologies, but nature, the earth and the cosmos are alive with all forms of radiation and electrical activity. The artist investigates the blurry boundaries between nature and machines as well as how recent technology provides new ways to observe and explore the environment.

The presentation will be followed by a discussion with Ida Hiršenfelder.

Paloma Kop is a video and sound artist using feedback, electronic hardware and hybrid media processes to produce compositions, installations and performances. She deconstructs the boundaries between material space and electronic space and is interested in the universalities between natural phenomena, computing and chaos. She holds an MFA in Electronic Arts from Alfred University and has performed at Ibrida*Pluri Festival, Ann Arbor Film Festival, Ambient Church and others.
https://palomakop.tv

Ida Hiršenfelder (beepblip) is a Ljubljana-based sound artist and archivist. She performs under an onomatopoeic alias beepblip. She makes immersive bleepy psychogeographical soundscapes by use of analogue electronics, DIY and modular synths, field recordings and computer manipulations. Her solo album Noise for Strings, Vol. 1 (2019) and Noise for Strings, Vol. 2 (2020) were published by Kamizdat label. She currently studies Masters of Sonology at the Royal Conservatoire in The Hague.
Web: https://beepblip.org/. Sound: https://beepblip.bandcamp.com/.

Production: Ljudmila, Art and Science Laboratory, and Projekt Atol Institute.
With support from the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana – Department for Culture.

Cover illustration by Dorijan Šiško.

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Friday, 26 November 2021 | 16:00 CET
@ online stream

The lecture will discuss Parikka’s work-in-progress research on “vegetal images” in collaboration with Abelardo Gil-Fournier as an entry point to an alternative history of visual culture and photography. The talk draws on their recent practice-based engagement, the audio-visual essay Seed, Image, Ground (2020) that will be screened as part of the talk. Hence, questions of artistic methods are central in this respect as well.

Parikka will address how the project develops a genealogy of energetic and material forms of images that have emerged in the contexts of plant research since approximately the 1850s. The authors turn to plants, not only in the broader philosophical sense of the last years of discussions but also in the contexts of research in the modern history of sciences, experimental practices and modelling.

The work Seed, Image, Ground (2020) is part of the Operational Images project, which prompts us to consider the concept of operational and instrumental images in relation to environmental humanities – including addressing techniques of remote sensing, aerial vision and vegetal surfaces. While these relate to current forms of earth observation and thus to core questions about contemporary forms of control and governance through environmental monitoring, they also offer a speculative history that relates to the audio-visual essay and its themes concerning technologies of air, seeding and agricultural surfaces as image surfaces for operational procedures.

Links:

• Operational Images and Visual Culture project at the Academy of Performing Arts, Prague
• Abelardo Gil-Fournier’s web page
• Forthcoming Weather Engines exhibition (April 2022, Athens)

The presentation will be followed by a discussion with Robert Bobnič.

Jussi Parikka is a professor of Technological Culture & Aesthetics at Winchester School of Art (University of Southampton) and starting January 2022, a professor of Digital Aesthetics at Aarhus University (Denmark). He is a member of Academia Europeae and a visiting professor at FAMU, the Academy of Performing Arts in Prague where he leads the project Operational Images and Visual Culture (2019–2023). His published books include Insect Media (2010), Digital Contagions (2007/2016), A Geology of Media (2015) and What is Media Archaeology? (2012). Recently, he co-edited Photography Off the Scale (2021). He is the co-author of The Lab Book: Situated Practices in Media Studies (2021). https://jussiparikka.net

Robert Bobnič is a researcher at the Centre for Cultural and Religious Studies at the Faculty of Social Sciences, University of Ljubljana, and a PhD student in Media Studies at the Faculty of Social Sciences, University of Ljubljana. His PhD dissertation focuses on the study of algorithms and automation in the field of cultural consumption. In the past, he has worked as an editor at V.B.Z. publishing house (2018–2020), editor of the cultural editorial office at Radio Študent (2013–2016), chief editor of Tribuna (2011–2012). He was also a member of the editorial board of ŠUM Journal for Contemporary Art Criticism and Theory (2018–2019), among others.

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Production: Ljudmila, Art and Science Laboratory, and Projekt Atol Institute.

With support from the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana – Department for Culture.

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Erich Berger’s current work takes place under the umbrella of the Spectral Landscapes project, investigating radioactivity and the landscape. The exhibition in osmo/za presents the most recent part of this ongoing research that deals with notions of deep time, deep futures, innate and human made landscapes, and the nuclear contemporary.

More information about the project…

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Erich Berger: Of (Deep)Time Machines and Spectral Landscapes – Tales of the Rare Earth

The lecture is the first public event of a remote art residency to run until the end of 2021, in which Erich Berger continues a long term research project dealing with the relationship between radioactivity and the landscape. The lecture will be held in English.

Deep time is understood as the concept behind geological time: the history of the earth from its beginnings as a molten ball of matter until the present. Deep futures do not yet exist, they are a thought vehicle to speculate within the probability space of a future earth. The realization that anthropogenic impact is leading to transformations of the earth system which follow through into deep futures is not only discussed within the sciences. The Anthropocene and with it a strong interest directed towards deep time and matters of geology surface increasingly within artistic practices. At its core artists look at the origins and consequences of human impact and speculate about deep futures. Berger’s own interest, manifested in his artistic work, is to investigate the dichotomy between human time perception and the time in biological, environmental, and geological processes which we as humans are part of. This dichotomy arises from the present as we as individuals are challenged to change our way of life and to contribute to endeavours and measures to secure a future for humans beyond our lifetime.*

*
Erich Berger is an artist, curator and cultural worker based in Helsinki Finland. His focus is on the intersection of art, science and technology with a critical take on how they transform society and the world at large. Throughout his practice he has explored the materiality of information, and information and technology as artistic material. Berger’s current interest in issues of deep time and hybrid ecology led him to work with geological processes, radiogenic phenomena and their socio-political implications in the here and now. He moves between visual arts and science in an area which he also investigates and develops as director of the Bioart Society in Helsinki which was awarded the Finnish State Prize for multidisciplinary art in 2017. His installations, performances and interfaces are exhibited widely and Berger received awards from renowned institutions such as Prix Ars Electronica (AT), ZKM (DE), Vida Telefonica (ES), Files Prix (BR) and Arts at CERN (CH). Find out more about his work at https://randomseed.org*

*
Production: Zavod Projekt Atol with the support of the Ministry of Culture and the Department of Culture of the City of Ljubljana. The lecture is organized in the framework of AiR that is part of the project GREEN Revisited financed by EU Creative Europe programme.

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