Rogue Things, Biotechnical Thresholds, and Post-cybernetic Museums: A Critique

In this paper, I will propose that if we begin to understand museums as mediation-technologies then they could be seen as producers of thresholds that may navigate between anthropological problems and biotechnological umwelt. The question is: who navigates the archive of thresholds? A question which leads to the framing and naming of the post-cybernetic museum.

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Author and article information

Contributors

Morten Søndergaard

Conference

Publication date: September 2021

Publication date (Print): September 2021

Pages: 309-314

Affiliations

[0001]Aalborg University

Copenhagen, Denmark

Article

DOI: 10.14236/ewic/POM2021.41

SO-VID: f3277fb3-863a-459d-9863-666da8f52b0f

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of Politics of the Machines - Rogue Research 2021

Conference acronym: POM 2021

Conference number: 3

Conference location: Berlin, Germany

Conference date: September 14-17, 2021

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: debate and devise concepts and practices that seek to critically question and unravel novel modes of science

History

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/POM2021.41

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

W Benjamin (2010) The Work of Art in the Age of Its Technological Reproducibility. Grey room, 39, 11–38.
D. M Berry (2014). Post-Digital Humanities: Computation and Cultural Critique in the Arts and Humanities. Educause Review. http://er.educause.edu/~/media/files/article-downloads/erm1433.pdf ( 6 September 2021 )
K Bijsterveld & J van Dijk (2009) Chapter Three: The Preservation Paradox in Digital Audio. In K. Bijsterveld & J. van Dijk (Eds.) Sound, Souvenirs & Audio Technologies. Memory and Cultural Practices. Amsterdam University Press, Amsterdam.
W. H. K Chun (2016). Ubiquitous Memory: I Do Not Remember, We Do Not Forget. U Ekman, J. D Bolter, L Díaz, M Søndergaard & M Engberg (Eds.), Ubiquitous Computing, Complexity, and Culture (pp. 159–173). New York: Routledge.
V Flusser (2011) Into the Universe of Technical Images. University of Minnesota Press, Minneapolis.
C.Y Frostholm (2018) Træmuseet. Gyldendal, Copenhagen.
M.A.V Gonzales (2018) Keynote (not published). Politics of Machines Conference, Copenhagen. Paraphrase based on private notes.
M Hansen (2004) The Time of Affect, or Bearing Witness to Life”. Critical inquiry, 30 (3), 584–626.
M. B Hansen (2006) Media Theory. Theory, culture & society, 23 (2-3), 297–306.
M. B. N Hansen (2010) New Media. M. B. N Hansen and W. J. T Mitchell (Eds.) Critical Terms for Media Studies, University of Chicago Press, Chicago.
M. B. N Hansen and W. J. T Mitchell (2010) Time and Space. M. B. N Hansen and W. J. T Mitchell (Eds.) Critical Terms for Media Studies, University of Chicago Press, Chicago.
K Hayles (2010) The Way We Think. Digital Media and Contemporary Technogenesis, University of Chicago Press.
M Heidegger (1977) The Question Concerning Technology, and Other Essays. Harper & Row, New York.
P Højholt (1982) Praksis 4: Lynmuseet og andre blindgyder. Schønberg, Copenhagen.
F Kittler (1999) Gramophone, Film, Typewriter, Stanford University Press, Stanford.
J Lund (2020) Tid. J Lund & U Schmidt (Eds.) Medieæstetik: En Introduktion. Samfundslitteratur, Copenhagen.
C Paul (2014). Genealogies of the Digital: A Post-Critique. Ertan, Ekmel (Ed.) Histories of the Post Digital. Akbank Sanat, Istanbul.
C Paul (2015). From Immateriality to Neomateriality: Art and the Conditions of Digital Materiality. In Proceedings of the 21. International Symposium on Electronic Art, Vancouver, 14 – 19 August 2015 552–555. New Forms Art Press, Vancouver.
J Putnam (2001) Art and Artifact: The Museum as Medium. Thames and Hudson, London.
M Serres (1986) Statues. Les Le second livre des fondations. Gallimard, Paris.
M Serres (2007) Les nouvelles technologies: révolution culturelle et cognitive, Institut national de recherche en informatique et en automatique. http://iatranshumanisme.com/wp-content/uploads/2015/05/pdf_texte_de_la_conference.pdf ( 6 September 2021 )
N Sternfeld (2016) Deprovincialising the Museum. Body Luggage. Archive Books, Berlin.
B Stiegler (1998) Technics and time. Stanford University Press, Stanford.
C Whitehead (2012) Interpreting art in museums and galleries. Routledge, London.
T Wilke (2010) Tacti(ca)lity Reclaimed: Benjamin’s Medium, the Avant-Garde, and the Politics of the Senses. Grey room, 39, 39–56.

Comments

Comment on this article

[1] W Benjamin (2010) The Work of Art in the Age of Its Technological Reproducibility. Grey room, 39, 11–38.

[2] D. M Berry (2014). Post-Digital Humanities: Computation and Cultural Critique in the Arts and Humanities. Educause Review. http://er.educause.edu/~/media/files/article-downloads/erm1433.pdf ( 6 September 2021 )

[3] K Bijsterveld & J van Dijk (2009) Chapter Three: The Preservation Paradox in Digital Audio. In K. Bijsterveld & J. van Dijk (Eds.) Sound, Souvenirs & Audio Technologies. Memory and Cultural Practices. Amsterdam University Press, Amsterdam.

[4] W. H. K Chun (2016). Ubiquitous Memory: I Do Not Remember, We Do Not Forget. U Ekman, J. D Bolter, L Díaz, M Søndergaard & M Engberg (Eds.), Ubiquitous Computing, Complexity, and Culture (pp. 159–173). New York: Routledge.

[5] V Flusser (2011) Into the Universe of Technical Images. University of Minnesota Press, Minneapolis.

[6] C.Y Frostholm (2018) Træmuseet. Gyldendal, Copenhagen.

[7] M.A.V Gonzales (2018) Keynote (not published). Politics of Machines Conference, Copenhagen. Paraphrase based on private notes.

[8] M Hansen (2004) The Time of Affect, or Bearing Witness to Life”. Critical inquiry, 30 (3), 584–626.

[9] M. B Hansen (2006) Media Theory. Theory, culture & society, 23 (2-3), 297–306.

[10] M. B. N Hansen (2010) New Media. M. B. N Hansen and W. J. T Mitchell (Eds.) Critical Terms for Media Studies, University of Chicago Press, Chicago.

[11] M. B. N Hansen and W. J. T Mitchell (2010) Time and Space. M. B. N Hansen and W. J. T Mitchell (Eds.) Critical Terms for Media Studies, University of Chicago Press, Chicago.

[12] K Hayles (2010) The Way We Think. Digital Media and Contemporary Technogenesis, University of Chicago Press.

[13] M Heidegger (1977) The Question Concerning Technology, and Other Essays. Harper & Row, New York.

[14] P Højholt (1982) Praksis 4: Lynmuseet og andre blindgyder. Schønberg, Copenhagen.

[15] F Kittler (1999) Gramophone, Film, Typewriter, Stanford University Press, Stanford.

[16] J Lund (2020) Tid. J Lund & U Schmidt (Eds.) Medieæstetik: En Introduktion. Samfundslitteratur, Copenhagen.

[17] C Paul (2014). Genealogies of the Digital: A Post-Critique. Ertan, Ekmel (Ed.) Histories of the Post Digital. Akbank Sanat, Istanbul.

[18] C Paul (2015). From Immateriality to Neomateriality: Art and the Conditions of Digital Materiality. In Proceedings of the 21. International Symposium on Electronic Art, Vancouver, 14 – 19 August 2015 552–555. New Forms Art Press, Vancouver.

[19] J Putnam (2001) Art and Artifact: The Museum as Medium. Thames and Hudson, London.

[20] M Serres (1986) Statues. Les Le second livre des fondations. Gallimard, Paris.

[21] M Serres (2007) Les nouvelles technologies: révolution culturelle et cognitive, Institut national de recherche en informatique et en automatique. http://iatranshumanisme.com/wp-content/uploads/2015/05/pdf_texte_de_la_conference.pdf ( 6 September 2021 )

[22] N Sternfeld (2016) Deprovincialising the Museum. Body Luggage. Archive Books, Berlin.

[23] B Stiegler (1998) Technics and time. Stanford University Press, Stanford.

[24] C Whitehead (2012) Interpreting art in museums and galleries. Routledge, London.

[25] T Wilke (2010) Tacti(ca)lity Reclaimed: Benjamin’s Medium, the Avant-Garde, and the Politics of the Senses. Grey room, 39, 39–56.

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