Interferences of the Multitude

Interferences of the Multitude is an introductory analysis of the perspectives collected under the umbrella of the homonymous track, presented during the Rogue Research edition of the 3rd Politics of the Machines Conference in Berlin (September 14–17, 2021). The paper examines the implementation of arts-based research into the new modes of techno-ecofeminist imaginaries and investigates its generative potential for the enactment of the new materialist and feminist ethics of care, collaboration, and solidarity. The projects presented and discussed span the entangled fields of human–computer interaction, computer-supported cooperative work, material sciences, critical design and making, architecture, machine learning, interactive art, and post-human performance.

Content

Author and article information

Contributors

Taguhi Torosyan

Patricia Reis

Stefanie Wuschitz

Conference

Publication date: September 2021

Publication date (Print): September 2021

Pages: 55-62

Affiliations

[0001]Academy of Fine Arts Vienna

Vienna, Austria

Article

DOI: 10.14236/ewic/POM2021.7

SO-VID: 8af52761-9ed2-4fef-b0e0-1d3b8b377286

License:

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

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/POM2021.7

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

REFERENCES

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L. Cornell, & B. Droitcour (2013). Technical Difficulties (Reply to Claire Bishop, Digital Divide). Artforum (Jan), 36, 38.
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A. Sayal-Bennett (2018). Diffractive analysis: Embodied encounters in contemporary artistic video practice. Tate Papers, 29.
H. Scurto, B. Caramiaux, & F. Bevilacqua (2021, June). Prototyping Machine Learning Through Diffractive Art Practice. In Designing Interactive Systems Conference 2021 (pp. 2013–2025).
E. A. Shanken (2016). Contemporary art and new media. A Companion to digital art, 481-481.
C. Sollfrank (Ed.). (2020). The Beautiful Warriors: Technofeminist Praxis in the Twenty-First Century. Minor Compositions.
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I. van der Tuin, & R. Dolphijn (2012). New materialism: Interviews & cartographies. Open Humanities Press.
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J. Zylinska (2021). Hydromedia: From Water Literacy to the Ethics of Saturation. Saturation: An Elemental Politics.

Comments

Comment on this article

[1] C. Altini (2010). ‘Potentia ’as ‘potestas’: An interpretation of modern politics between Thomas Hobbes and Carl Schmitt. Philosophy & social criticism, 36(2), 252-252.

[2] A. Arlander (2020). Diffraction, Mixture and Cut-Ups in Performing with Plants. Performance Research, 25(5), 38-38.

[3] K. Barad (2014). Diffracting diffraction: Cutting together-apart. Parallax, 20(3), 187-187.

[4] A. Belsunces, L. B. Valero, U. Brandstätter, C. Escudero, F. Lamoncha, P. Pin, & E. Tomás (2017). Diffractive Interfaces: la difracció com a metodologia d’investigació artística. Artnodes, (20).

[5] J. Bennett (2010). Vibrant matter. Duke University Press.

[6] C. Bishop (2012). Digital Divide: Contemporary Art and New Media. Artforum, September. www.corner-college.com/udb/cproob2RNIDigital_Divide.pdf.

[7] B. Bolt (2007). Material thinking and the agency of matter. Studies in material thinking, 1(1), 4-4.

[8] R. Braidotti (2008). Intensive genre and the demise of gender. Angelaki: Journal of Theoretical Humanities, 13(2), 57-57.

[9] R. Braidotti (2012). Powers of Affirmation: Response to Lisa Baraitser, Patrick Hanafin and Clare Hemmings, pp. 280–284.

[10] R. Braidotti (2013). Becoming-world. After cosmopolitanism, 27-27.

[11] R. Braidotti (2019). A theoretical framework for the critical posthumanities. Theory, culture & society, 36(6), 61-61.

[12] R. Braidotti (2019). Posthuman Knowledge. Cambridge: Polity Press, p. 4.

[13] M. Carrigan, S. Magrizos, J. Lazell, & I. Kostopoulos (2020). Fostering sustainability through technology-mediated interactions: Conviviality and reciprocity in the sharing economy. Information Technology & People.

[14] O. Catts, & I. Zurr (2013). The vitality of matter and the instrumentalisation of life. Architectural Design, 83(1), 75-75.

[15] L. Cornell, & B. Droitcour (2013). Technical Difficulties (Reply to Claire Bishop, Digital Divide). Artforum (Jan), 36, 38.

[16] N. Czegledy (2021). Contemporary Art Practice: An Exploration of Alternative Strategies. Sztuka i Dokumentacja, (24), 164-164.

[17] J. A. Dane (1979). Potestas/potentia: Note on Boethius’s ‘De Consolatione Philosophiae’. Vivarium, 17(2), 89-89.

[18] M. P. de La Bellacasa (2017). Matters of care: Speculative ethics in more than human worlds (Vol. 41). U. of Minnesota Press.

[19] G. Dürbeck, C. Schaumann, & H. I. Sullivan (2015). Human and Non-human Agencies in the Anthropocene.

[20] S. Federici, & P. Linebaugh (2019). Re-enchanting the World: Feminism and the Politics of the Commons. Pm Press.

[21] F. Ferrando (2016). A feminist genealogy of posthuman aesthetics in the visual arts. Palgrave Communications, 2(1), 12-12.

[22] N. J. Fox, & P. Alldred (2021). Applied Research, Diffractive Methodology, and the Research-Assemblage: Challenges and Opportunities. Sociological Research Online, 13607804211029978.

[23] L. Gonzales, A. Shivers-McNair, & A. Bawarshi (2020). Transdisciplinary intra-actions. College English, 82(5), 442-442.

[24] D. Haraway (2020). Situated knowledges: The science question in feminism and the privilege of partial perspective(pp. 303–310). Routledge.

[25] D. J. Haraway (2008). When Species Meet. Minnesota: University of Minnesota Press.

[26] D. J. Haraway (2013). When species meet (Vol. 3). U. of Minnesota Press.

[27] D. J. Haraway (2016). Staying with the Trouble. Duke University Press.

[28] I. Illich (1973). Tools for conviviality. New York, NY: Harper & Row.

[29] R. Ioan (2021). Potentia: Hobbes and Spinoza on power and popular politics. Global Intellectual History, 6(2), 237-237.

[30] J. Israel (2021). How does Spinoza’s “Democracy” differ from that of Hobbes? A Discussion of Potentia: Hobbes and Spinoza on Power and Popular Politics. Hobbes Studies, 34(2), 240-240.

[31] S. Kember, & J. Zylinska (2012). Life after new media. Mediation as a vital process. Massachusetts: The MIT.

[32] W. Large (2017). Spinoza for our time: Politics and modernity. Contemporary Political Theory, 16(1), 164-164.

[33] J. S. Mulvogue (2017). Catastrophe Aesthetics: the moving image and the mattering of the world. Transformations (14443775), (30).

[34] A. Negri, & M. Hardt (2000). Empire (p. 326). Cambridge, MA: Harvard University Press.

[35] A. Negri, M. Hardt, & D. Camfield (2005). Multitude: war and democracy in the age of empire. Labour, (56), 359.

[36] A. Kleinman (2012). Intra-actions. Special dOCUMENTA, 13, 81-81.

[37] E. LaPensée (2014). Survivance as an indigenously determined game. AlterNative: An International Journal of Indigenous Peoples, 10(3), 275-275.

[38] M. Meskimmon (2019). Art Matters: Feminist Corporealââ‚¬?Materialist Aesthetics. A Companion to Feminist Art, 367-367.

[39] L. Morley (2016). Troubling intra-actions: gender, neo-liberalism and research in the global academy. Journal of Education Policy, 31(1), 45-45.

[40] J. Parikka (2015). Earth forces: Contemporary land arts, technology and new materialist aesthetics. Cultural Studies Review, 21(2), 75-75.

[41] L. Parisi (2017). Computational logic and ecological rationality. General ecology: The new ecological paradigm, 75.

[42] Z. Pearl (2021, July). The lasting influence of Cybernetics in Contemporary Art; theory into praxis. In 2021 IEEE Conference on Norbert Wiener in the 21st Century (21CW) (pp. 1–5). IEEE.

[43] V. Pitts-Taylor (Ed.). (2016). Mattering: Feminism, science, and materialism (Vol. 1). NYU Press.

[44] J. Prophet, & H. Pritchard (2015). Diffractive art practices: Computation and the messy entanglements between mainstream contemporary art, and new media art. artnodes, 15.

[45] J. Rancière (2013). The politics of aesthetics. Bloomsbury Publishing.

[46] P. Reis, & S. Wuschitz (2022). ‘Curating Hacking’. In: Radicalizing Care Feminist and Queer Activism in Curating. Elke Krasny, Sophie Lingg, Lena Fritsch, Birgit Bosold and Vera Hofmann (Eds), Vienna: Sternberg Press.

[47] J. L. Rosiek, J. Snyder, & S. L. Pratt (2020). The new materialisms and Indigenous theories of non-human agency: Making the case for respectful anti-colonial engagement. Qualitative Inquiry, 26(3-4), 346-346.

[48] A. Sayal-Bennett (2018). Diffractive analysis: Embodied encounters in contemporary artistic video practice. Tate Papers, 29.

[49] H. Scurto, B. Caramiaux, & F. Bevilacqua (2021, June). Prototyping Machine Learning Through Diffractive Art Practice. In Designing Interactive Systems Conference 2021 (pp. 2013–2025).

[50] E. A. Shanken (2016). Contemporary art and new media. A Companion to digital art, 481-481.

[51] C. Sollfrank (Ed.). (2020). The Beautiful Warriors: Technofeminist Praxis in the Twenty-First Century. Minor Compositions.

[52] K. Stewart (2010) ’Worlding Refrains’. In M. Gregg & G. Seigworth (eds), The Affect Theory Reader. London: Duke University Press, pp. 339–53.

[53] K. Stewart (2012) ’Tactile Compositions’, Affective Landscapes Conference, University of Derby, May 2012.

[54] I. van der Tuin, & R. Dolphijn (2012). New materialism: Interviews & cartographies. Open Humanities Press.

[55] S. Witzgall (2016). Overlapping Waves and New Knowledge Difference, Diffraction, and the Dialog between Art and Science. In Recomposing Art and Science (pp. 141–152). De Gruyter.

[56] J. Zylinska (2021). Hydromedia: From Water Literacy to the Ethics of Saturation. Saturation: An Elemental Politics.

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