Warren Neidich · Ruído, Indeterminação e o Cérebro sem Órgãos (On-Line Lecture)

22.04.2021 18:30

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22.04.2021 18:30 Warren Neidich · Ruído, Indeterminação e o Cérebro sem Órgãos (On-Line Lecture) Link: https:///pt/central-eventos/warren-neidich-ruido-indeterminacao-e-cerebro-sem-orgaos-line-lecture

Como Chegar / How to Arrive
Universidade Católica Portuguesa - Porto

 

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Aulas abertas 2021 · Arte / Pensamento / Som
Warren Neidich · Ruído, Indeterminação e o Cérebro sem Órgãos
22 ABR · 18H30 · On-Line Lecture

Moderador · Cristina Sá
 
O ruído é predominante na nossa sociedade pós-industrial. Seja apresentada como a cacofonia da fábrica e da máquina de guerra, o barulho causado pelo movimento anárquico de carros e camiões, o clamor da música grunge emanando de colunas num centro comercial ou a estática do entupimento de redes de informação, o ruído tem má reputação. É habitualmente considerado ofensivo e algo que tem de ser controlado ou mitigado. Contudo, o ruído tem um outro lado mais positivo e emancipatório na medida em que hoje representa formas e meios de constituir novas formas de conhecimento e de formas de compreender organização. Esta conceção contemporânea de ruído cria novas possibilidades para as formas e eventos que caracterizam e acusticamente transformam a banda-sonora que constitui as nossas paisagens culturais – sejam elas reais, imaginárias ou virtuais. Onde no passado o ruído era algo a ser suprimido, hoje é um conceito chave para as noções de emergência, complexidade e não-linearidade. Hoje, o ruído e a incerteza são consideradas a par da contingência como forças motrizes de inovação, criatividade e resistência.
 
Depois de escrever esta nova estrutura conceptual a que chama Neuroestética Ativista, Warren Neidich pretende compreender uma nova possibilidade para o ruído enquanto desarticulador entre as condições materiais de associações culturais disruptivas e redes de atenção que abraçam o ruído, aquilo a que Neidich chama de cérebro extra-craniano, e a arquitetura material do cérebro intra-craniano hospedado no crânio ósseo. Fundamental aqui é o emaranhamento e o espelhamento do cérebro intra-craniano com a plasticidade cultural. Neidich pretende explorar as consequências políticas emancipatórias da cacofonia de indeterminação e a improvisação e a sua lógica cultural para compreender as ligações que existem entre si e a variação e plasticidade do cérebro.
 

A sessão será transmitida no dia 22 de abril às 18h30 nesta página.
 
The session will be broadcasted live in this page on April 22nd at 6:30 pm.
 

BIO

Tendo estudado fotografia, neurociência, medicina e arquitetura, Warren Neidich traz para qualquer plataforma de discussão uma posição interdisciplinar única a que ele chama "trans-pensamento." Atualmente utiliza vídeo e néon para criar polinização cruzada de trabalhos de texto conceptuais que refletem sobre situações na zona de fronteira entre arte, ciência e justiça social. O seu trabalho performativo e escultural “Pizzagate Neon” (2018), uma grande escultura de néon suspenso foi exposta recentemente na Bienal de Veneza de 2019, analisando as relações de Fake News, a economia de atenção em rede, a evolução de hábitos tecno-culturais e a co-evolução da arquitetura do cérebro.
 
O seu projeto conceptual "Drive-By-Art (Public Sculpture in This Moment of Social Distancing)" abriu recentemente na South Fork de Long Island e Los Angeles com críticas elogiosas em meios como The New York Times, Hyperallergic, The Art Newspaper, Time Out e Los Angeles Magazine. Ele é fundador e diretor do SaasFee Summer Institute of Art (2015-), uma pós-graduação de teoria intensiva que atrai estudantes de todo o mundo e que funciona em Los Angeles, New York City e Berlin.
 
Em 1996, ele fundou o www.artbrain.org e o Journal of Neuroaesthetics que está ativo até hoje incluindo um recente número sobre "Arte e Telepatia". Já recebeu os prémios Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts e Science Research Fellowship, Bristol e a Fulbright Scholarship. Adicionalmente, ele foi tutor nos departamentos de artes visuais, ciência computacional e estudos culturais no Goldsmiths College (2004-2008) onde, em colaboração com o Center for Cultural Studies, criou a primeira conferência em Neuroaesthetics (2005), bem como o Departamento de Neuroaesthetics (2005-2008). Enquanto bolseiro de investigação à distância da TU Delft School of Architecture ele coeditou (com Deborah Hauptmann) Cognitive Architecture: From Biopolitics to Noo-Politics. Desde então, editou três volumes das Psychopathologies of Cognitive Capitalism, publicados pela Archive Books, e Neuromacht, publicada em alemão pela Merve Verlag. O seu Glossary of Cognitive Activism foi publicado na inauguração da sua exposição solo “Rumor to Delusion” na Bienal de Veneza de 2019. Recentemente, foi professor de artes na Weißensee Kunsthochschule em Berlin (2017-2018).
 
No seu percurso tem sido orador visitante nos departamentos de arte em instituições como Brown University, GSD Harvard University, Columbia University, Princeton University, Southern California Institute of Architecture, UCLA, La Sorbonne Paris, University of Oxford e Cambridge University.
 


Open programme 2021 · Art / Thought / Sound
Warren Neidich · NOISE, INDETERMINACY AND THE BRAIN WITHOUT ORGANS

22 ABR · 18H30 · On-Line Lecture

Moderator · Cristina Sá

Noise is prevalent in our post-industrial society. Whether presenting as the cacophony of the factory and war machine, the racket caused by the anarchic movement of cars and trucks, the clamor of grunge music emanating from loud speakers in a mall or the static clogging of information networks, noise gets a bad rap. It is usually considered offensive and something that needs to be controlled or mitigated. However, noise has another side more positive and emancipatory as it today represents a ways and means to constitute new forms of knowledge and of ways of understanding organization. This contemporary conception of noise creates new possibilities for the forms, shapes and events that characterize and acoustically shape the sound track constituting our cultural landscapes – be they real, imaginary or virtual. Where in the past noise was something to be suppressed, today it is a key concept in notions of emergence, complexity and non-linearity. Today, noise and uncertainty are embraced alongside contingency as a driving force of innovation, creativity and resistance.
 
After describing the new framework I call Activist Neuroaesthetics I want to understand a new possibility for noise as an disarticulator between the material conditions of the disruptive cultural associations and attention networks that embracing noise generates, what I refer to as the extra- -cranial brain, and the material architecture of the intra-cranial brain housed in the bony skull. Key here is the intracranial brains entanglement with and mirroring of cultural plasticity. I want to explore the emancipatory political consequences of the cacophony of indeterminacy and improvisation and its cultural logic to understand the links between it and the brains neural variation and plasticity.

BIO

Having studied photography, neuroscience, medicine and architecture, Warren Neidich brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking.” He currently uses video and neon to create cross pollinating conceptual text-based works that reflect upon situations at the border zone of art, science and social justice. His performative and sculptural work “Pizzagate Neon” (2018), a large hanging neon sculpture recently on display at the 2019 Venice Biennial, analyzed the relations of Fake News, networked attention economy, evolving techno-cultural habitus, and the co-evolving architecture of the brain.
 
His recent conceptual project Drive-By-Art (Public Sculpture in This Moment of Social Distancing) just opened on the South Fork of Long Island and Los Angeles to acclaim including reviews in The New York Times, Hyperallergic, The Art Newspaper, Time Out and Los Angeles Magazine. He is founder and director of the SaasFee Summer Institute of Art (2015-), a theory intensive postgraduate course that attracts students worldwide operating in Los Angeles, New York City and Berlin.
 
In 1996, he founded www.artbrain.org and the Journal of Neuroaesthetics which is still active today including a recent issue on “Art and Telepathy.” He is a recipient of the Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts and Science Research Fellowship, Bristol and a Fulbright Scholarship. Additionally, he was a tutor in the departments of visual art, computer science and cultural studies at Goldsmiths College (2004-2008) where, in collaboration with the Center for Cultural Studies, he created the first conference on Neuroaesthetics (2005), as well as a Department of Neuroaesthetics (2005-2008). As a remote research fellow at TU Delft School of Architecture he coedited (with Deborah Hauptmann) Cognitive Architecture: From Biopolitics to Noo-Politics. Thereafter, he edited three volumes of the Psychopathologies of Cognitive Capitalism, published by Archive Books, and Neuromacht, published in German by Merve Verlag. His Glossary of Cognitive Activism was published for the opening of his solo exhibition “Rumor to Delusion” at the 2019 Venice Biennial. Recently, he served as Professor of Art at Weißensee Kunsthochschule in Berlin (2017-2018).
 
He has been a visiting lecturer in art departments at Brown University, GSD Harvard University, Columbia University, Princeton University, Southern California Institute of Architecture, UCLA, La Sorbonne Paris, University of Oxford and Cambridge University.
 
 

Interfacing Art, Science and Social Justice in Warren Neidich’s Artwork by Cristina Sá

 
There is always an experience of excitement when navigating an overwhelmingly interesting aggregate of information. 
 
There are too many important threads to follow and too many possibilities to weave them. 
Dots-lines-planes (plateaus) revolve fluently, dynamically intersecting in a heterogeneous complex. 
Intertwining resonations at a sensitive, emotional and cognitive level. 
 
Such was the nature of my encounter with Warren Neidich’s work. 
When facing such an imminent incapacity for synthesis, I often return to the concept of interface as a complex of mediation. It helps me to navigate and allows me to observe everchanging connections, because my standing point is the in-between space. From there, I can follow the path of the activated interstices between different elements. This is how I hope to see Warren Neidich’s work at work, doing what it does: combining.
 
art, science and social justice
theory and practice
concepts and instances 
 
and doing so by creating and curating artworks.
In an interdisciplinary position and exercising the possible “trans-thinking”, I feel confident to grasp the originality on these impure territories for creation.
Neidich works in the “border zone of art, social justice and science”. This means not only recognizing the tangencies of these fields but to move further, deeper, to the very fabric that dynamically links photography, neurosciences, medicine and architecture. 
 
To work in between. 
To work in the transposing place in which metaphors flourish,
not on one side, not on the other, on both, on none. 
Hybrid. 
 
This is a happy vibrating place, where intermittent liaisons change by the moment. 
 
Not permanent. 
Plastic.
 
And the artist lets this in-betweenness be patent in the artwork. I believe this is what Warren Neidich means by saying he is a wet artist. He reverses “the conceptualists’ movement that withdrew sensitivity from their artwork in the search for a pure cognitive experience”. An interdisciplinary practice cannot be dry, it’s nature it not one of restraining, or of sustaining cleavages, or even of withholding possibilities in the search for purity. On the contrary, it is inclusive, open, and embraces the crossbreed: the mutt, if I may say so. 
 
The be open is to be changeable. 
To be reconfigurable.
To leave all options available.
To be open is to be unlimited and to accept the stimulus that come from without (environment)
To recognize the influence of your milieu.
And to act upon it.
And to act is the possibility to change, perchance to attain truth and reestablish justice.
 
Wet, through moist media (in Ascott’s assertion).
In the firm believe that it is through the interface that media are experienced and therefore instantiated in space-time-matter, this reference to moist media leads me to question the materiality of Neidich’s work. 
 
Artworks’ matter
 
It is absolutely necessary to consider matter in its trinity along with space and time, and to do that through light:
 
“Once astrophysicists stop talking exclusively about ‘space-time’ and start talking about ‘space-time-matter’ […] introducing a third kind of interval of the ‘light’ type alongside of those of ‘space’ and ‘time’, they engineer the emergence of a new conception of time, which is no longer exclusively the time of classic chronological succession, but now a time of (chronoscopic) exposure of the duration of events at the speed of light” 
Paul Virilio, Open sky. (London: Verso 2003) Reprint. ed. p.3 
 
From Einstein on, understanding space-time implies considering the masses, the particles and their behavior, namely through its relation with light: something very appropriate in this digital dematerialization era. Even more appropriate is to consider Light Art in this digital dematerialization era.
Immediately comes to mind the artists’ text-based neon sculptures. With their “light” material and in their networked textual arrangements, they open possibilities of interconnection.  
 
the continuum
from past to present, of art
from material to immaterial, through light
from network-based model of the brain to networked digital experience.
 
And through this apparent continuity of space-time-matter (continuous only in our experience level, yet granular and dynamic on its fabric) these pieces mirror the subject of our time. A subject whose individuality and sociability are technically determined and equipped, not only in terms of sensitivity and sensibility, but also in terms of affections and emotions.