The assassination of time (ζeta-philosophy)

The Digital Art Weeks PROGRAM (DAW06) is concerned with the application of digital technology in the arts. Consisting again this year of symposium, workshops and performances, the program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies in a series of performances, making artists aware of impulses in technology and scientists aware of the possibilities of the application of technology in the arts.

Digital Forestry: A white paper

Digital Forestry has been proposed as “the science, technology, and art of systematically acquiring, integrating, analyzing, and applying digital information to support sustainable forests.” Although rooted in traditional forestry disciplines, Digital Forestry draws from a host of other fields that, in the past few decades, have become important for implementing the concept of forest ecosystem management and the principle of sustainable forestry. Digital Forestry is a framework that links all facets of forestry information at local, national, and global levels through an organized digital network. It is anticipated that a new set of principles will be established when practicing Digital Forestry concept for the evolution of forestry education, research, and practices as the 21st century unfolds.

Spank [at Intimacy: across visceral and digital performance]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

To tremble the zero: art in the age of algorithmic reproduction

'To Tremble the Zero: Art in the Age of Algorithmic Reproduction' is a philosophic, political and sensuous journey playing with (and against) Benjamin's 'Art in the Age of Mechanical Reproduction'. In an age inundated by the 'post-': postmodernity, posthuman, post art, postsexual, post-feminist, post-society, post-nation, etc, 'To Tremble the Zero' sets out to re/present the nature of what it means to do or make 'art', as well as what it means to be or have 'human/ity' when the ground is nothing other than the fractal, and algorithmically infinite, combinations of zero and one. The work will address also the unfortunate way in which modern forms of metaphysics continue to creep 'unsuspectingly' into our understanding of contemporary media/electronic arts, despite (or perhaps even because of) the attempts by Latour, Badiou, or Agamben especially when addressing the zero/one as if a contradictory 'binary' rather than as a kind of 'slice' or (to use Deleuze and Guattari) an immanent plane of immanence. This work argues that by retrieving Benjamin, Einstein, Gödel, and Haraway, a rather different story of art can be told.