Martina Leeker|McLuhan. Media as environment and the artists
Martina Leeker|McLuhan. Media as environment and the artists
演讲者与讲题简介
Martina Leeker|McLuhan. Media as environment and the artists
[mks_dropcap style=”square” size=”52″ bg_color=”#ffffff” txt_color=”#dd3333″]T[/mks_dropcap]o understand today’s digital networks it might be helpful to go back into the history of media studies, in order to understand the aesthetics of infrastrastructures, smart things, and networks. The leading hypothesis is that the new world image they create comes out of a history of fascination, creating a “dispositif of technospheres”, containing: resonance, unmediatedness, the lust of the loss of control, an illusionary self and animism/ensoulment/enchantment. The fondation of this dispositif goes back to McLuhans notion of “media as environment” and the works of artists in the 1960th, trying to create hyper-ecological and psychedelic techno-environments. This work is continued in the 1990th e. g. in the collaboration of Mark Weiser and Rich Gold within the generation of Ubiquitous Computing, the precursor of today’s infrastructures. In order to imagine critical forms of reticulation it could be helpful to not repeat this history as it may be responsible for our willingness to operate as apparatuses of datagivers in today’s digital cultures.
[mks_dropcap style=”square” size=”52″ bg_color=”#ffffff” txt_color=”#dd3333″]M[/mks_dropcap]artina Leeker is a lecturer for Theatre- and Media-Studies. Since October 2013 she is senior researcher at Digital Cultures Research Lab (DCRL), Leuphana University Lueneburg. She was Assistent Professor for “Theatre and Media” (University Bayreuth 2002 – 2010), guest-professur at Bauhaus University Weimar and Universität der Künste Berlin, and Research Fellow at Morphomata. Genesis, dynamics and mediality of cultural figurations (University of Cologne, 2011 – 2012).The focus in her research is on: Digital cultures, digital methods, Mediaanthropology, Art and technology, Artistic research.
马丁娜·利克尔: 麦克卢汉，媒體做為环境与艺术家
如果要去理解今日的数字网络世界，有效办法是去回溯媒介研究的历史，以此来理解其基础结构、智慧物件與网络的美學。目前最盛行的假说是：这个由网络创造出的新世界形象实际上源于历史上之魅惑事物。它创造出了技术领域的部署，包括：共鸣、非媒介化、对失控的渴望、虚幻自我以及泛灵论等。此種部署要回溯到麦克卢汉“媒介作为环境”的概念和1960年代的艺术作品中，它们试着创造超级生态学和迷幻的電子環境。这个过程一直持续到1990年代，其中一个例子就是Mark Weiser和Rich Gold的合作《无处不在的计算》（Ubiquitous Computing）。为了能够想像网络化更批判的形式，在今日的數字文化裡不去重复歷史很有幫助，因為這歷史要為我們主動操作變成數據給出者的機器負責任。
马丁娜·利克尔是戏剧和媒介研究系的讲师。2013年10月起，她在吕讷堡Leuphana Universitiy DCRL（数字文化研究所）担任高级研究员。2002-2010年，她曾担任拜罗特伊大学“戏剧和媒体”的助理教授，魏玛包豪斯大学和柏林藝術大学的客座教授。2011-2012在科隆大学Morphomata Genesis、dynamics mediality of cultural figurations（创世纪、动力学）担任研究员。她的研究领域包含：数字文化、数码方法论、媒介人类学、艺术和技术、艺术研究等。
文章版权归原作者所有。
