Photo by Maisie Cousins, 2018

End of 2018

The ten best experiences of my year
December 31st, 2018

Books While preparing my Transformats seminar for our Klang and Realität master program I came across the essay Must we burn Sade? by Simone de Beauvoir, and started to rediscover her. In this context Sarah Bakewell's At the Existentialist Cafe was another great discovery this year.
I believe that Simone de Beauvoir is the most important philosopher of the 20th century, and The second sex the most important book of that century – because something started to change.

Children I have not had the wish to reproduce, and I enjoy the company of young humans a lot. End of last year a one-year-old moved into my building, and in 2018 we spent quite some time together. She blows my mind, and to see how language and speech develop is an amazing experience – it teaches me humility.
Big shout-out to her parents for trusting me!

Concert This summer I went to see one of my all-time favorite pieces, I am sitting in a room, performed by Alvin Lucier himself, and afterwards my colleague Phillip Schulze introduced me to Lucier. A few days later a friend told me that Lucier said to them, it is his wish is to die while performing exactly this piece. Sawubona!

Client As a brand builder and creative catalyst it was an enormous inspiration to work with Reiner Michalke on his new music festival for Monheim am Rhein. Not often did I get the chance to work with a truly confident, intelligent, and sensitive client, who - because of this confidence - does really, really, really listen. This process might have easily been my favorite project in years.

Fandom Two of my favorite artists, Sarah Szczesny and Lena Willikens, joined forces for their Phantom Kino Ballett project. Saw them perform at Schauspielhaus Köln and was extremely impressed by the multitude of references, the energy of their choreography, and the composition altogether.
Here is a quote from their 2018 tape release, which I like a lot, "Phantom Kino Ballett is sound fragment and black theatre, Holly Woodlawn's nervous breakdowns, Taro's arpeggiated anime, Mario Montez' mobilee, Maria Callas' chiffre and Anna Opperman's eyelashes."

Listening session It was a pleasure and honor to work with two geniuses, Prof. Dr. Swantje Lichtenstein and Brigitta Muntendorf, on our listening session called Making the 3rd Ear (a quote by Maryanne Amacher), which we performed at NRW Forum Düsseldorf in December. We played music by ten of the best female composers of the last 50 or so years. Here is the PDF with all tracks we played.

Manifest The last 25 years I sat in meetings in which, most of the times, I was the only, or one of the few women at the table. Sara Ahmed's idea and feminist manifest of the Rolling Eyes is a life changer and massively helpful. The idea is simple, when you see people rolling their eyes at you for raising a feminist point, you now know that this gesture is not personal, instead it confirms that you touched an important structural issue.

Memory lane Cindy Keefer, director at Center for Visual Music, invited me to give a talk at their CVM Symposium 2018 Exploring & Preserving Visual Music in Sonoma County on August 14th about my Visual Music concentration at the Robert Schumann conservatory.
During the 90s I lived in San Fransico for year, and I was excited to see what has changed. Well, it became one of the most expensive cities of the world – a rather sad development, actually.
At least the symposium was a success, and I had inspiring conversations with brilliant people like, Ilene Susan Fort (LACMA Curator Emeritus, CVM  board member), Jack Ox (artist, Intermedia Projects, Albuquerque, N.M.), and Margaret Schedel (composer, Stony Brook University, NY). Thank you, Cindy!

Translation One of my oldest friends, Sandra Münchenbach, invited me to co-translate twelve of the beautiful Daily Reminders for Living a New Paradigm by Anne Wilson Schaef. I am very grateful for this experience, and all I have learned so far. Thank you!

Tribute Ralph Christoph asked me to give a speech at the c/o pop opening event in honour of Christa Päffgen aka Nico, who was born in my hometown Cologne 80 years ago. I convinced him to do a performance instead, and asked fabulous artist and friend Swantje Lichtenstein to write a piece for 11 voices and 2 narrators, which she called on c’s terms. heroine and sister. To top it, I invited ten powerful women to perform the piece with with me at the MAKK. We had a blast.

So, here we are... And what is next?

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"im here to learn so :))))))" is a four-channel video installation by Zach Blas that resurrects Tay, an artificial intelligence chatbot created by Microsoft in 2016.

It’s the End of the World and They Know It

How Dystopian Fiction Shapes Political Attitudes
December 23rd, 2018

Via Cambridge Core: "Given that the fictional narratives found in novels, movies, and television shows enjoy wide public consumption, memorably convey information, minimize counter-arguing, and often emphasize politically-relevant themes, we argue that greater scholarly attention must be paid to theorizing and measuring how fiction affects political attitudes. We argue for a genre-based approach for studying fiction effects, and apply it to the popular dystopian genre. Results across three experiments are striking: we find consistent evidence that dystopian narratives enhance the willingness to justify radical—especially violent—forms of political action. Yet we find no evidence for the conventional wisdom that they reduce political trust and efficacy, illustrating that fiction’s effects may not be what they seem and underscoring the need for political scientists to take fiction seriously.

Our research not only reinforces past work showing that people often fail to distinguish between fact and fiction in learning about the world, but also illustrates that the lessons of fiction may not be what they seem. […] Rather than creating political cynicism in readers and viewers or showing them that girls can be powerful too—both lessons that are at this point probably amply supplied by the American news media and lived experience—dystopian fiction seems to be teaching them a more subtle and perhaps more concerning message: that violence and illegal activities may be both legitimate and necessary to pursue justice. Dystopian fiction appears to subtly expand the political imagination of viewers and readers to encompass a range of scenarios outside the normal realm of democratic politics, and what people then consider reasonable and thinkable appears to expand accordingly.

These results should also highlight the peril for political scientists in assuming that fiction is just entertainment. The stories we tell ourselves have profound implications for how we think about political ethics and political possibilities, and as scholars of politics, we can and should do more to map out the effects of politically-inflected fiction and entertainment."

Copyright: © American Political Science Association 2018

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by Giuseppe Palmisano Trim.

2018 round up of 52 Immersive Things

by Lance Weiler
December 18th, 2018

Check out this fabulous list of 52 immersive things:

Via Medium: "The following is a round up of 52 immersive things from 2018 that mix storytelling, play, design and code."

Thanks to Sylke René Meyer!

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"Dusty Boots Line, The Sahara" by Richard Long (1988).

Do smart people have better intuitions?

We hypothesized that intuitive processes may differentiate high- and low-capacity reasoners
July 29th, 201

Via  National Center for Biotechnology Information, U.S. National Library of Medicine: "There is much evidence that high-capacity reasoners perform better on a variety of reasoning tasks (Stanovich, 1999), a phenomenon that is normally attributed to differences in either the efficacy or the probability of deliberate (Type II) engagement (Evans, 2007). In contrast, we hypothesized that intuitive (Type I) processes may differentiate high- and low-capacity reasoners. To test this hypothesis, reasoners were given a reasoning task modeled on the logic of the Stroop Task, in which they had to ignore one dimension of a problem when instructed to give an answer based on the other dimension (Handley, Newstead, & Trippas, 2011). Specifically, in Experiment 1, 112 reasoners were asked to give judgments consistent with beliefs or validity for 2 different types of deductive reasoning problems. In Experiment 2, 224 reasoners gave judgments consistent with beliefs (i.e., stereotypes) or statistics (i.e., base-rates) on a base rate task; half responded under a strict deadline. For all 3 problem types and regardless of the deadline, high-capacity reasoners performed better for logic/statistics than did belief judgments when the 2 conflicted, whereas the reverse was true for low-capacity reasoners. In other words, for high-capacity reasoners, statistical information interfered with their ability to make belief-based judgments, suggesting that, for them, probabilities may be more intuitive than stereotypes. Thus, at least part of the accuracy-capacity relationship observed in reasoning may be because of intuitive (Type I) processes. (PsycINFO Database Record."

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Image from the pilot episode from the 1960's TV show "Mission Impossible!" (1966)


"Today, too, I experienced something I hope to understand in a few days." –Jørgen Leth: The Perfect Human and The Five Obstructions
June 16th, 2018

Via Africa Knows: "The Zulu greeting, Sawubona means I see you and the response Ngikhona means I am here. Inherent in the Zulu greeting and in the grateful response, is the sense that until you saw me, I didn’t exist. By recognizing me, you brought me into existence. A Zulu folk saying clarifies this, Umuntu ngumuntu nagabantu, meaning A person is a person because of other people."

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“The Inflammatory Essays” (detail) by Jenny Holzer, (1979-1982), offset posters on colored paper, 17 x 17 inches.

Brand New

The Decade that Changed the Art World
May 13th, 2018

Via Hyperallergic: "If there’s one work emblematic of the entire show, it is surely Gretchen Bender’s (1951–2004) extraordinary 1984 installation Dumping Core, an 'electronic theater' of rapidly cut and cascading film footage, corporate logos, computer animations, and crashing noise presented across 14 television screens. The work debuted at The Kitchen in 1984, where the artist described it as a response to the 'corporatization of culture.' Bender operated beyond the sphere of fine art, editing music videos for New Order, R.E.M. and Megadeth. She also produced the frenzied and nightmarish title sequence for Fox television’s America’s Most Wanted. 'Today legal questions concerning movies are generally related to pornography' a female voice declares during Dumping Core, '… but the violent cry over movie content continues.' The voices sampled in Dumping Core are frequently interrupted by audio glitches and violent sounds including crashing glass, broken synth music, and gun shots. The work is as engrossing as it is unnerving.

The primary takeaway of Brand New is how high the stakes of representation became during a decade of proliferating imagery and technology. Much of the work on display sought to disrupt the mass media’s ability to perpetuate and normalize discrimination. Julia Wachtel’s 1983 painting, Love Thing isolates cartoon characters from two separate greeting cards: a young Native American woman with an arrow shot into her buttocks, and a well-coiffed white woman brandishing a pair of scissors. Each are bent over suggestively, with their buttocks prominently raised. The decontextualization of each character emphasizes their respective stereotypes while also amplifying the underlying violence of each image. [...]

It is extraordinary how current Brand New feels, whether it’s the ongoing relevance of Holzer’s The Inflammatory Texts or the remarkable prescience of Bender’s Dumping Core. The ’80s were a political decade and Brand New is a political show. The art world as we recognize it today was largely manufactured by the decade’s commercial prowess, and we’re still grappling with its fallout. Jetzer’s exhibition is by no means perfect. It stumbles with its coverage of collectives and often foregrounds blue-chip work whose thematic relevance is obvious. It remains however, an engrossing exploration of art and commerce that deserves far more critical attention. The exhibition indelibly contributes to ’80s scholarship by foregrounding the talents of the decade’s less-appreciated artists."

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Peter Saville on Richard Hamilton's "Toaster" (1967).

The game

Also known as the White Bear Principle
April 28th, 2018

Via my favorite blog the new sheldon wet/dry: "‘The trouble with comparing yourself to others is that there are too many others.’ –Sarah Manguso"

Via Wikipedia: "The Game is a mental game where the objective is to avoid thinking about The Game itself. Thinking about The Game constitutes a loss, which must be announced each time it occurs. It is impossible to win most versions of The Game. Depending on the variation of The Game, the whole world, or all those aware of the game, are playing it all the time. Tactics have been developed to increase the number of people aware of The Game and thereby increase the number of losses. [...]

The origins of The Game are uncertain. In a 2008 news article, Justine Wettschreck says The Game has probably been around since the early 1990s, and may have originated in Australia or England. One theory is that it was invented in London in 1996 when two British engineers, Dennis Begley and Gavin McDowall, missed their last train and had to spend the night on the platform; they attempted to avoid thinking about their situation and whoever thought about it first lost. Another theory also traces The Game to London in 1996, when it was created by Jamie Miller 'to annoy people'. Journalist Mic Wright of The Next Web recalled playing The Game at school in the late 1990s.

However, The Game may have been created in 1977 by members of the Cambridge University Science Fiction Society when attempting to create a game that did not fit in with game theory."

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Jee-ook Choi for Rimowa.

It’s all about reputation now

Say goodbye to the information age
April 8th, 2018

Via Aeon: "Gloria Origgi is an Italian philosopher, and a tenured senior researcher at CNRS (the French National Centre for Scientific Research) in Paris. Her latest book is Reputation: What It Is and Why It Matters (2017), translated by Stephen Holmes and Noga Arikha.

There is an underappreciated paradox of knowledge that plays a pivotal role in our advanced hyper-connected liberal democracies: the greater the amount of information that circulates, the more we rely on so-called reputational devices to evaluate it. What makes this paradoxical is that the vastly increased access to information and knowledge we have today does not empower us or make us more cognitively autonomous. Rather, it renders us more dependent on other people’s judgments and evaluations of the information with which we are faced.

We are experiencing a fundamental paradigm shift in our relationship to knowledge. From the ‘information age’, we are moving towards the ‘reputation age’, in which information will have value only if it is already filtered, evaluated and commented upon by others. Seen in this light, reputation has become a central pillar of collective intelligence today. It is the gatekeeper to knowledge, and the keys to the gate are held by others. The way in which the authority of knowledge is now constructed makes us reliant on what are the inevitably biased judgments of other people, most of whom we do not know. [...]

The paradigm shift from the age of information to the age of reputation must be taken into account when we try to defend ourselves from ‘fake news and other misinformation and disinformation techniques that are proliferating through contemporary societies. What a mature citizen of the digital age should be competent at is not spotting and confirming the veracity of the news. Rather, she should be competent at reconstructing the reputational path of the piece of information in question, evaluating the intentions of those who circulated it, and figuring out the agendas of those authorities that leant it credibility.

Whenever we are at the point of accepting or rejecting new information, we should ask ourselves: Where does it come from? Does the source have a good reputation? Who are the authorities who believe it? What are my reasons for deferring to these authorities? Such questions will help us to get a better grip on reality than trying to check directly the reliability of the information at issue. In a hyper-specialised system of the production of knowledge, it makes no sense to try to investigate on our own, for example, the possible correlation between vaccines and autism. It would be a waste of time, and probably our conclusions would not be accurate. In the reputation age, our critical appraisals should be directed not at the content of information but rather at the social network of relations that has shaped that content and given it a certain deserved or undeserved ‘rank’ in our system of knowledge.

These new competences constitute a sort of second-order epistemology. They prepare us to question and assess the reputation of an information source, something that philosophers and teachers should be crafting for future generations."

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Petit Biscuit “Presence” Album cover by Quentin Deronzier.

A list of 25 Principles of Adult Behavior

by John Perry Barlow (October 3, 1947 – February 7, 2018)
February 11th, 2018

Via Kottke: "Silicon Valley visionary John Perry Barlow died last night at the age of 70. When he was 30, the EFF founder (and sometime Grateful Dead lyricist) drew up a list of what he called Principles of Adult Behavior. They are:

1. Be patient. No matter what.
2. Don’t badmouth: Assign responsibility, not blame. Say nothing of another you wouldn’t say to him.
3. Never assume the motives of others are, to them, less noble than yours are to you.
4. Expand your sense of the possible.
5. Don’t trouble yourself with matters you truly cannot change.
6. Expect no more of anyone than you can deliver yourself.
7. Tolerate ambiguity.
8. Laugh at yourself frequently.
9. Concern yourself with what is right rather than who is right.
10. Never forget that, no matter how certain, you might be wrong.
11. Give up blood sports.
12. Remember that your life belongs to others as well. Don’t risk it frivolously.
13. Never lie to anyone for any reason. (Lies of omission are sometimes exempt.)
14. Learn the needs of those around you and respect them.
15. Avoid the pursuit of happiness. Seek to define your mission and pursue that.
16. Reduce your use of the first personal pronoun.
17. Praise at least as often as you disparage.
18. Admit your errors freely and soon.
19. Become less suspicious of joy.
20. Understand humility.
21. Remember that love forgives everything.
22. Foster dignity.
23. Live memorably.
24. Love yourself.
25. Endure.

Here’s what these principles meant to Barlow:

'I don’t expect the perfect attainment of these principles. However, I post them as a standard for my conduct as an adult. Should any of my friends or colleagues catch me violating one of them, bust me.'

You can read remembrances of Barlow from the EFF and from his friends Cory Doctorow and Steven Levy."

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Visions of the past (album, 1994) by Robert Leiner.

The good of boredom

by Andreas Elpidorou
February 3rd, 2018

Via Taylor & Francis: "I argue that the state of boredom (i.e., the transitory and non-pathological experience of boredom) should be understood to be a regulatory psychological state that has the capacity to promote our well-being by contributing to personal growth and to the construction (or reconstruction) of a meaningful life."

Thanks to Elmar Hintz for the cover!

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