Andreas Broeckmann & Daniela Silvestrin
"Interfaces of Artistic Research"
Symposium Throwing Gestures
8 December 2018
Kunstquartier Bethanien, Studio 1, Mariannenplatz 2, 10997 Berlin

The exhibition and the international symposium are the finale of a two-year interdisciplinary research project investigating the interdependencies that exist between gestures and ubiquitous, globally networked technologies.
In their talk, Broeckmann and Silvestrin reported about an interdisciplinary research project on the topic of “anonymity” in which researchers from the social sciences and media studies worked together with a number of artists. The artistic programme, jointly organised by the two researchers and curators, sought to elucidate how research on a contemporary, societal issue can be done through art, contrasting, catalysing, and reflecting on different methods, ontologies and epistemologies. The notion of the “interface” was selected as an operational concept that connects between different systems, that creates interoperability, and that defines a zone of communication, interaction and agency. The research project employs the notion of the interface with regard to three aspects of such artistic research projects: the research topic as interface; the methods of interdisciplinary communication as interface; and the role of the curator as an interface in such interdisciplinary encounters.

"Artistic research as kaleidoscopic knowledge production"
Technosphärenklänge #6: Lectures and Talks
24 November 2018
Lecture Hall, House or World Cultures, Berlin

In the context of the world premiere of the performance Alia: Zǔ tài (a powerful sound choreography by Marco Donnarumma and Nunu Kong, in which an artificial intelligence connects three dancers equipped with sensors interacting with robotic prostheses to sound and light to create a kinetic feedback loop), an afternoon of talks took place as part of sixth edition of "Technosphärenklänge", a series organized in cooperation between Haus der Kulturen der Welt and CTM Festival.

While there is a clear development and turn towards research oriented artistic practices and an increasing presence and implementation of “Artistic Research” PhD programs, grants and fellowships, the term and notion is still controversially discussed. It remains a matter of debate what differentiates artistic “research” from other artistic practices, that nevertheless have to be regarded as types of research in the sense of exploring, scrutinizing, testing, and seeking insight and understanding of the world. Whether and how the term “research” as used within the sciences can and should be applied to such artistic practices and projects also remains and open and vividly discussed question. Just like artistic practices, also scientific research and knowledge production processes are not completely self-transparent, objective processes, but often based on intuition, creativity, or practices of experimentation characterized by “implicit knowledge”. More importantly though, “doing science” is defined by a value and justification system of result-oriented, classification-based, systematic, reproducible and falsifiable working methods.
The talk discussed Marco Donnarumma’s work in general and the "Configurations" series of performances (including "Alia: Zǔ tài") in particular within this larger context.

"Anonymität im Fokus kritischer Praxis und künstlerischer Forschung"
Vortragsreihe [Q]uerblicke: Anonymität
2. Juli 2018
Hörsaal 150, HCU Hamburg

Praktiken und Vorstellungen von Anonymität zählen zu den grundlegenden kulturellen Formationen der westlichen Moderne; Anonymität kann dabei dem Schutz persönlicher Freiheitsrechte dienen, kann durch fehlende Rechenschaftspflicht aber auch teils menschenverachtend und illegale Praktiken und Handlungsräume mit sich bringen. Ausgehend von künstlerischen Projekten und Positionen, die im Rahmen des Forschungsprojekts “Re-Configuring Anonymity” zu Anonymitätsregimen neu entwickelt wurden, sowie anderen existierenden Arbeiten mit thematischem Bezug, wirft dieser Vortrag einen Blick auf kritische, forschende künstlerische Praxis und den (teils umstrittenen) Begriff der “künstlerischen Forschung”. Anhand dieser Beispiele dafür, wie zeitgenössische Künstlerinnen und Künstler den Begriff und die Bedeutung von Anonymität adressieren widmet er sich der Frage, wie durch experimentelle Situationen die Struktur und Relevanz bestimmter Formen der Anonymität erforscht werden kann und was für Aspekte und Fragen der Anonymität durch die künstlerischen Forschungsprojekte adressiert und aufgeworfen werden können, die in alltäglichen Umgebungen sozialer Interaktion nicht leicht zu durchschauen und erforschen sind, aber in semi-autonomen Bereichen künstlerischer Forschungs-Arenen auf unterschiedliche Art auf die Probe gestellt, provoziert und überspitzt werden können.

Die Ringvorlesung wird in Kooperation mit dem VW Schlüsselthemenprojekt "Reconfiguring Anonymity - Reciprocity, Identifiability and Accountability in Transformation" der Universitäten Bremen, Leuphana und Hamburg organisiert.

Book Launch
META. Tracing Unknown Knowns
transmediale 2018, face value
February 4, 2018
Berlin, House of World Cultures

With: Víctor Mazón Gardoqui, Daniela Silvestrin, Mario de Vega, Carsten Stabenow, Dicey Studio
META. Tracing Unknown Knowns is an artistic investigation and publishing project, launched and presented at transmediale by the artists, editors, and designers who developed it. Its aim is to trace the symptoms, structures, and dynamics of how information is produced, controlled, and distributed in an era marked by so-called post-truth and post-factual politics, as well as more generally by what philosopher Harry G. Frankfurt describes as “bullshit”: the increasing indifference to what is being told as long as it has the desired effects. Based on the conjunction of a portable server, security print materials (UV ink), and a website, META oscillates between screen and paper, digital and analog, tangible and withdrawn, private and public, commodity and commons.