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Monika Jaeckel (CV) |
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memacism related: Mema
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memacism
(2012 - ongoing) |
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artistic research project that evolves around the self invented notion of 'memacism'
-> list of presentations
-> portfolio incl. texts & video |
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memacism (motion embedded mind agency concept)
related: Mema (motion embodied mind agency)
Memacism as a terminology emerged from the interest into the recent research field of embodiment or embodied cognition. The approach understands the mind (cognition) as by fact being embodied and situated and thus defines its agency as simultaneously embedded in and emerging from a complex system. The definition of the body as “the possibilities of situations” by M.Merleau-Ponty has been an early predecessor of the definition of embodiment. |
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>>
mind the __ GAP*?
.. following a definition of space through its limits (like walls
etc..), interprets especially media space and its possiblities as
evolving through gaps
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GAP*
(2004/05 - still blogging) |
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(*defininition of the weblog as a
liminal space refers to A.
Galloway) |
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The gap as
the metaphor for the void / empty space which is necessary to have
other things evolve
-> to get a 'moving' / streaming image - a changing image
-> thus the gap as the moment of free space, defining the closed
'programmed' space / the scripted space, which needs the break to
get the next action running / the next character introduced
-> bits, morse, pulse, flash, etc..
The gap as the underlining concept, as the line, basis from where
things start to evolve.
The weblog as the initial starting point, as a liminal space*, a
space of in-between real/virtual, private/public. The performative
principles of staging and cinema set against each other.
1. to refer to the image as the interstice of gaps within the representational
tactics.
2. -> examine what evolved to bridge the loss of authenticity
emerging from the new technologies
3. netstrategies appeal to a general deterritorialization of the
brain - > consequently the evolving deterritorialisation of cognition
should also contribute to a non fixed / established view - >
meaning trying to find out about the 'gap' between the gaps
4. reference of artists, who do not point out that much a relation
between the images, but the invisible interstices of an underlying
script of embedded sociality and equally influenced response towards
technical terminology, which outlines new approaches ..
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Talking with ALICE ...
.... remote conversations ... a performative lecture together with Katharina
Weishaeupl and Lena Lee
pdf (german only) |
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Talking
with ALICE (2004) |
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Remote conversations refer
both in a literal sense to chat room exchanges with more or less ‘real’
interlocutors, and as well in a figurative way to the occurring dissociation
from signifying interpretations. It is a play with stereotyped forms
- as results of mediation - like direct addressing and visualization
of thinkable 'material life' contents, eventhough those constantly
extract themselves into the two-dimensional and ‘dissolve’.
Ironically this continuing visualization charges especially unclear
images with a symbolic meaning which strongly demands materiality.
Two imaginary ALICEs, one a virtual figure of the modern wonderland
Cyberspace, the other a fictive invention from the old (book/real)
wonderland assist as matrix and female assistants to get a flashing
beam - a 'reflection without mirror image' - of this wonderworld into
common environment. These conversations about 'passion / enthusiasm'
reflect a normative reality, which despite constant deconstructive
modules refer to a common in/capacity to see the image as the copy
it is, the world created.
... stating: The current illusions determine the visualizations of
the mirror image of ‘reality’. |
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PPT presentation 'Colors
of Perception' on invitation for Bettina Lockemann's exhibition 'Code
Orange'
pdf (german
only); (ppt web
version / currently only for IE) |
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C.O.P. (2003) |
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'Colors of Perception'
was presented as a ppt screening embedded lecture during the photography
exhibition of Bettina
Lockemann in october 2003. The talk refers to her newly created
work ‚Code Orange', which subtly questions the common approach towards
photography as a main index of reality.
Encoding affects perceptional strategies - thus a main aspect of my
work is the analysis of cultural and sociological influences onto
the perceptual/based constructions of reality. Considering both the
way these ascendancies are manifested in the everyday surround, as codes
of behavior and perception and as well the method of interpretation
itself.
There is no neutral language for the processes of encoding, as the
act of interpretation of the non/visible is likely to have inherently
paranoid traits attached to it. This leaves an unresolved sense in
the unknown, which empowers fear such as in the construction of the
notion of the 'Other'. Though conciously questioning the 'empty' space
of this projection, is attempting to allow in a freedom for development
of meanings that orient towards re-defining the language of the in/visible
and its inter-cultural interpretations. |
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The here
added chapter of ‘DOVwKP
– The Demand of Visibility within Knowledge Production’
focuses on how criteria of the scientific visual
abstract have emerged into the daily imaginary and influence the construction
of our view onto reality and the world. |
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DOVwKP
(2003) |
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The
creation of knowledge/information in western societies is dominated
by the logic belonging to predominantly scientific approach. This
construction in turn evolves structures defining the parameters of
in/visibility within the social. In this framework, the concept of
the seen' operates as if self-defined, as its interpretation remains
strictly based from within this system of scientific developments.
If assuming knowledge/information production today as still related
to 'making things visible', it is then equally associated to the instruments
developed and used for that process. In this regard, there appear
suggestive connections to the notion of a 'paranoid' construction
of the world made visible. A perfect example illustrating this is
B.Latour's analysis of Pasteur as mentioned by J.Hunt.
For Latour the creation of a proof is problematic as it is made obvious
as the slight, but unconscious perception of the whole subtle construction.
This constant endangering of dissolution through its own recognition
brings with it the demand for readable confirmation. Nowadays the
need for evidence and authenticity increases not only by the methods
used, but equally through the produced amount of ongoing visualization.
Scientific imaginary, which today depicts our world-view up to a high
degree, increasingly develops into abstract visualization. It is the
nature of the scientific image, that it only can be read in a chain
or flow, and trough a predefined code. Because of this, it cannot
be interpreted clearly, when standing for itself. The defining criteria
of the visual abstract increasingly are transformed onto almost any
material of visualization, this becomes evident either through the
devices employed or the methods applied. Though logically it simultaneously
establishes the inside structure as a self-centered construction of
the interpretation of the seen.
Connected to this is the dictate of dominant cultural forms of the
west, which still define diverse cultural representation and identity
from this predefined/coded material or better extremely centered point
of view. This equally leads to very narrow possibilities of 'visible'
self-definitions for other forms, as in many cases just not being
recognized. |
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.
. >>>
delegate-perception.net
hosts an ongoing project about the influence of remote seeing devices
on perception. It concentrates on a general analysis of the transmission
of digital imaginary in ‘DOP
- The Delegation of Perception’, which had been developed
in 2002. |
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DOP
(2002) |
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Starting
point of the work was a critical approach towards the actual visual
material in times of digital production and transmission. To limit
the area it concentrates on images provided through remote controlled
technical devices. This section of an indirect perception concerns
an increasing part of our visual information input, thus we rarely
consider a critical examination of this visualizations, but still
take it as a fact that `seeing’ is equal to `experience’. |
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