Cultural Intelligence and Theaters of Reality

Cankarjev dom, Ljubljana
23 April 2015

Lecture-Performance by Austrian multi-media artist and activist Konrad Becker.

In his presentation Konrad Becker shed light on the subtexts of the policies that govern the information society, where they act as mirrors that reflect (our) illusions: print, photography, phonograph, film as well as the newest digital media are (always new) technologies that enable data storage and replication. They have fundamentally changed human perception and construction of (own) reality.

In reviewing the development of various ‘magical’ devices – from the ones we use today to the 19th-century vaudeville stages – Becker followed in their footsteps and dug up stories of (media) ghosts still haunting our world and human reality. At the same time, the performance revealed the subjective dimension (or the human factor) that works in information technology, as the so-called information dominance also interferes with the psycho-cybernetic coordinates of one’s individual reality.

In other words, technological development in the field of culture changes a person’s view of the world, but imagining something (as opposed to or in parallel with reality) is not just a subjective process that takes place exclusively in the individual and separately from the world and reality. Cultural Intelligence deals with mapping the intertwined dynamics of virtual and real, symbolic and material space.

Colophon

Production: Zavod Projekt Atol
Coproduction: Cankarjev dom (Ljubljana), t0 (Vienna, Austria)

The project received support by the Ministry of Culture and City of Ljubljana – Dept. of Culture.

Bio

Konrad Becker, director of the t0 Institute from Vienna and the ‘cultural intelligence’ agency World-Information.Net, has created a number of high-profile projects in the field of progressive cultural practices moving on the border between sound art, psycho- acoustics and elements of contemporary dance and theater art, with his projects passing over time and outgrowing genre definitions and categories and mutating into many by-products and derivatives, from meta-mathematical and performative multi-media installations to industrial-ambient ‘noise’ music , the art of sound programming and the involvement of (modern) dance and theater elements in projects he created in the early period of Rave culture. As an artist, he has been working independently since 1979 in the field of diverse, multi-disciplinary (artistic-technological-scientific) discourses as a researcher of ‘hyper-media’ practices, developer of interdisciplinary content, electronic music and (new) media as a musician, performer, composer, curator, producer and organizer of numerous multi-media productions, exhibitions and events, both independently and within international festivals and programs of various cultural institutions. In addition, he subscribes to numerous publications of printed, theoretical as well as (electronic) audio-visual works, lectures and teaches as a guest at many universities, and participates in various conferences and symposia. He is also a member of the boards of directors and bodies of various institutions in the field of information and communication technologies and art or culture.

Konrad Becker