Difference between revisions of "*.exe (ver0.2)"
| Line 45: | Line 45: | ||
Location: to be confirmed | Location: to be confirmed | ||
: 09.00 Workshop with Susan Schuppli (3 hrs): This talk and workshop explores two distinct mechanisms that have responded to the injustices of conflict and war in ways that are suggestively computational. The forums of the International Criminal Tribunal with their elaborated “Rules of Procedure and Evidence” have, I argue, transformed the juridical apparatus into a quasi-machinic set of operations that compress the affective realm of experience through the legal strictures of testimony and cross-examination. Moreover, the protocols that govern what counts as a evidence and who counts as a witness are scrupulously attended to, such that the subjective dimensions of testimony and the expressive qualities of material evidence are systematically flattened and disarticulated of all affect as witnesses and exhibits moves through the circuitry of the court. By contrast the Truth and Reconciliation Commission, which has no legal mandate but is organised by a quest for justice and ethical demand that the perpetrator of violence account for and admit to wrong-doing might be characterised as a kind of “incomputable object, one that operates in excess of calculation. The distressing and often-times novel forms of exchange between victims and perpetrators, which includes re-enactments and the performance of cultural rituals produces a surfeit of information that is not conditioned by legal codes that would render such expressive forms of testimony subservient or inadmissible. Unlike the rule-based logic that organises the Criminal Tribunal, the affective processes of the Truth Commission can’t be fully captured by an instrumental or algorithmic conception of justice. | : 09.00 Workshop with Susan Schuppli (3 hrs) | ||
: This talk and workshop explores two distinct mechanisms that have responded to the injustices of conflict and war in ways that are suggestively computational. The forums of the International Criminal Tribunal with their elaborated “Rules of Procedure and Evidence” have, I argue, transformed the juridical apparatus into a quasi-machinic set of operations that compress the affective realm of experience through the legal strictures of testimony and cross-examination. Moreover, the protocols that govern what counts as a evidence and who counts as a witness are scrupulously attended to, such that the subjective dimensions of testimony and the expressive qualities of material evidence are systematically flattened and disarticulated of all affect as witnesses and exhibits moves through the circuitry of the court. By contrast the Truth and Reconciliation Commission, which has no legal mandate but is organised by a quest for justice and ethical demand that the perpetrator of violence account for and admit to wrong-doing might be characterised as a kind of “incomputable object, one that operates in excess of calculation. The distressing and often-times novel forms of exchange between victims and perpetrators, which includes re-enactments and the performance of cultural rituals produces a surfeit of information that is not conditioned by legal codes that would render such expressive forms of testimony subservient or inadmissible. Unlike the rule-based logic that organises the Criminal Tribunal, the affective processes of the Truth Commission can’t be fully captured by an instrumental or algorithmic conception of justice. | |||
: 12.00 Lunch | : 12.00 Lunch | ||
: 13.00 Workshop with Femke Snelting (4 hrs) | : 13.00 Workshop with Femke Snelting (4 hrs) | ||
Revision as of 07:42, 9 March 2016
Executions: conversations on code, practice & politics (version 0.2)
Keynote presenters: Femke Snelting and Susan Schuppli
Venue: Malmö University | Nordenskiöldsgatan 1, 211 19 Malmö, Sweden
When: 28-30 April, 2016
Brief Description
This event investigates the cultural, material and political implications of execution. Software permeates our environment. We co-exist in an increasingly datafied present in which algorithms and abstract coded processes execute across different scales, materialising and operating at the micro and macro levels of our actions.
The aim of this event is to explore the concept of execution in the form of artisitic and critical practice. How can we understand the affective, embodied, performative, programmed processes of execution in the world today? By gathering together researchers working with diverse artistic practices, we hope to encourage a critical curiosity and engagement with the theme of execution.
Topics will include:
- execution as power / execution as decision / execution as performed instruction set / execution as enunciation / execution as critique / execution as temporal performance / execution as participation / execution as cruelty / execution as allegorical construct
This two-day event follows the earlier gathering in Dec 2015 for the Executions: conversations on code, power & death (version 0.1) event. There will be keynotes by Femke Snelting (Constant) and Susan Schuppli (Goldsmiths University), as well as workshops on the theme of execution.
These events are instantiations of an on-going discussion by the critical software thing group, a collection of researchers with a common interest in exploring, reflecting on and working with code.
Schedule
The schedule for the event, held at Malmö Högskola, is as follows (locations and exact times of schedule will be confirmed in the coming weeks):
Day 1: Keynote presentations and discussion
Date: Thursday, 28 April 2016 (4pm onwards)
Location: to be confirmed
- 16.00 Reception
- 16.15 Introduction of the event
- 16.30 Femke Snelting keynote
- 17.00 Susan Schuppli keynote: "Computing the Law//Searching for Justice"
- 17.30 Conversation between keynotes
- 19.00 Dinner
Day 2: Workshops
Date: Friday, 29 April 2016
Location: to be confirmed
- 09.00 Workshop with Susan Schuppli (3 hrs)
- This talk and workshop explores two distinct mechanisms that have responded to the injustices of conflict and war in ways that are suggestively computational. The forums of the International Criminal Tribunal with their elaborated “Rules of Procedure and Evidence” have, I argue, transformed the juridical apparatus into a quasi-machinic set of operations that compress the affective realm of experience through the legal strictures of testimony and cross-examination. Moreover, the protocols that govern what counts as a evidence and who counts as a witness are scrupulously attended to, such that the subjective dimensions of testimony and the expressive qualities of material evidence are systematically flattened and disarticulated of all affect as witnesses and exhibits moves through the circuitry of the court. By contrast the Truth and Reconciliation Commission, which has no legal mandate but is organised by a quest for justice and ethical demand that the perpetrator of violence account for and admit to wrong-doing might be characterised as a kind of “incomputable object, one that operates in excess of calculation. The distressing and often-times novel forms of exchange between victims and perpetrators, which includes re-enactments and the performance of cultural rituals produces a surfeit of information that is not conditioned by legal codes that would render such expressive forms of testimony subservient or inadmissible. Unlike the rule-based logic that organises the Criminal Tribunal, the affective processes of the Truth Commission can’t be fully captured by an instrumental or algorithmic conception of justice.
- 12.00 Lunch
- 13.00 Workshop with Femke Snelting (4 hrs)
- 19.00 Dinner
Day 3: Masterclass
Date: Saturday, 30 April 2016
Location: to be confirmed
- 12.00 Masterclass discussion of contributed prototypes and articles
- 19.00 Dinner
Keynote presenters:
Femke Snelting:
Femke Snelting is an artist and designer, developing projects at the intersection of design, feminism and free software. She is a core member of Constant, the Brussels-based association for arts and media, and co-initiated the design/research team Open Source Publishing (OSP). With delegates Jara Rocha, Seda Guerses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools. She formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring and recently co-ordinated the Libre Graphics Research Unit, a European partnership investigating inter-relations between free software tools and artistic practice. Femke teaches at the Piet Zwart Institute (Master Media Design and Communication). For more details, see http://snelting.domainepublic.net/
Susan Schuppli:
Susan Schuppli is an artist and researcher based in London. Her research practice examines media artefacts that emerge out of sites of contemporary conflict and state violence to ask questions about the ways in which media are enabling or limiting the possibility of transformative politics. Current work explores the ways in which toxic ecologies from nuclear accidents and oil spills to the dark snow of the arctic are producing an “extreme image” archive of material wrongs.
Creative projects have been exhibited throughout Canada, the US, Europe and Asia. Recent and forthcoming exhibitions include Casino Luxembourg, Extra City Antwerp, Stroom Den Haag, Shanghai Biennale, Charlottenborg, Galerie Wedding, Witte de With, Fundacion Proa and Bildmuseet Sweden. She has published widely within the context of media and politics and is author of the forthcoming book, Material Witness (MIT Press, 2015), which is also the subject of an experimental documentary.
She is Senior Lecturer and Deputy Director of the Centre for Research Architecture, Goldsmiths. From 2011-14 she was Senior Research Fellow on the ERC project Forensic Architecture led by Eyal Weizman (Principal Investigator). Previously she was an Associate Professor in visual/media arts in Canada. Schuppli received her PhD from Goldsmiths and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. For more details, see http://susanschuppli.com/