Postdigital

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Postdigital is a term that has been established for some time, based on the scenes and discourses of the digital music and art scenes, in other areas such as philosophy, anthropology and the social sciences. It was introduced into the academic discourse of electronic music in 2000 by Kim Cascone in his treatise The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music, and refers to a concept proposed by Nicholas Negroponte in a 1998 column Issue of The Wired magazine under the heading Beyond Digital .

background

“Like the air and drinking water, the digital will only be noticed by its absence and not presence. Computers as we know them today will a) be boring and b) disappear into things that are first and foremost something else: fingernail design, self-cleaning shirts, driverless cars, therapeutic Barbie dolls [...] Computers are becoming an important but invisible part of our everyday lives be: we will live in them, wear them, even eat them. [...] See it - the digital revolution is over. Yes, we live in a digital age, as far as culture, infrastructure and economy (in that order) allow us. But the really surprising changes will take place elsewhere, in our way of life and how we manage ourselves together on this planet. [...] I mean, it is foreseeable that five forces of change from the digital age will remain and change the planet profoundly: 1) global imperatives, 2) comparison of proportions, 3) a redefinition of time, 4) social synergies and 5) the insignificance of territories. "

- Nicholas Negroponte : Beyond Digital

Accordingly, Negroponte describes the attitudes associated with a post-digital attitude as " Being global, Being big and small, Being prime, Being equal, Being sub-territorial ". A short paragraph explains what this means. First of all, there is a shift in the focus of attention and discussion from dealing with digital media to a more anthropological orientation of everyday life and the associated incorporation of the possibilities of digital information processing, for example in everyday life. In 1991 a corresponding approach by Marc Weiser appeared in the treatise The Computer for the 21. Century :

"Specialized elements of hardware and software, connected by wires, radio waves and infrared, will be so ubiquitous that no one will notice their presence."

Music and art

Kim Cascone mainly refers to two styles of electronic music, glitch and microsound in his article . Glitch, in particular, is about using errors in digital data processing as the basis of compositions. Using these scenes, Cascone observes that with the development of e-business , in the course of which "digital cuddly goods are thrown onto the market in mass production per gigabyte , [...] there is less value overall on an interest in the composer himself". An evaluation of publications with regard to a generally valid paradigm confronts one with the decision: Either the post-digital society should have a meaning of its own or it is related to a valid understanding in which art as a whole is included. The telematics Artists and theoreticians Roy Ascott shows in both ways, that the distinction between digital and post digital is the handling of the real part. In The Future of Art in a Postdigital Age , Mel Alexenberg defines postdigital art through a collection of works of art that appeal to the humanization of digital technologies, "through an interplay of digital, biological, cultural and spiritual systems [...]" and through Collaborations in which the role of the artist is redefined. In Art after Technology , Maurice Benayoun overlooks possible further developments for post-digital art. He points out that the digital tide has changed the entire social, economic, artistic landscape and that artists will be guided by ways in which they seek an escape from the realm of technology without being able to discard it completely . From low-tech to biotech to critical fusion (“a mode of action based on situations in which fiction and reality, life and spectacle, virtual and real interfere in order to make the artificialities of everyday life visible”), new art forms emerge from the digital age.

Philosophy, outlook

Lately, the perception of the post-digital has developed more and more in terms of a description of creative behavior towards the computer age. In 2002 Giorgio Agamben describes the new paradigms as thinking more about things than about things. Like the computer age, the post-digital age is also a paradigm; however, it does not refer to a life after experiencing the digital, but rather tries to describe the possibilities of exploring the consequences of the digital and computer age today. While the computer age has advanced people with inviting and eerie prostheses, the post-digital can create a paradigm with which it is possible to understand this progress.

literature

  • Mel Alexenberg: The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness. Intellect Books / University of Chicago Press, Bristol, Chicago 2011, ISBN 978-1-84150-377-6 .
  • Mel Alexenberg, (Ed.): Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology, and Culture. Intellect Books / University of Chicago Press, Bristol, Chicago 2008, ISBN 978-1-84150-191-8 , pp. 344 ff. (Post-digital chapters by Roy Ascott, Stephen Wilson, Eduardo Kac and others).
  • Ray Ascott: Telematic Embrace. Ed. Edward Shanken. University of California Press, Berkeley 2003, ISBN 0-520-21803-5 .
  • Ricardo Barreto, Paula Perissinotto: The Culture of Immanence. In: Internet Art. Ricardo Barreto and Paula Perissinotto (organizers). IMESP, São Paulo 2002, ISBN 85-7060-038-0 .
  • Maurice Benayoun: Art after Technology. Abstract by Maurice Benayoun in: Technology Review. French edition, N ° 7 June – July 2008, MIT, ISSN  1957-1380 .
  • Maurizio Bolognini: Postdigitale. Carocci, Rome 2008, ISBN 9788843047390 .
  • Martin Conrads, Franziska Morlok (eds.): Was postdigital better? Revolver Publishing, Berlin 2014, ISBN 978-3-95763-004-9 .
  • Oliver Grau: The Complex and Multifarious Expression of Digital Art & Its Impact on Archives and Humanities . In: A Companion to Digital Art. Edited by Christiane Paul. Wiley-Blackwell, New York 2016, 23–45.
  • Robert Pepperell, Michael Punt: The Postdigital Membrane: Imagination, Technology and Desire. Intellect Books, Bristol, UK, 182 ff. (2000)
  • Stephen Wilson: Information Arts: Intersections of Art, Science, and Technology. ISBN 0-262-23209-X (2003)

Web links

Individual evidence

  1. ↑ Kim Cascone - The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music. ( Memento of the original from February 27, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mitpress.mit.edu
  2. ^ Nicholas Negroponte - Beyond Digital
  3. ↑ ibid.
  4. ↑ Marc Weiser - The Computer for the 21st Century (1991) second heading at wiki.daimi.au.dk ( Memento of the original from November 16, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / wiki.daimi.au.dk
  5. ↑ The Aesthetics of Failure ( Memento of the original from February 27, 2012 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mitpress.mit.edu
  6. ↑ Roy Ascott: Alexenberg, M. (ed .; 2008) - Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology, and Culture
  7. ↑ Mel Alexenberg (2011) - The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness
  8. ↑ Maurice Benayoun (2005) in: Jean-Baptiste Barrière , Maurice Benayoun: The Mechanics of Emotions. Festival text Ars Electronica ( online )
  9. ^ Maurice Benayoun (2008) - Art after Technology
  10. ↑ Agamben (2002) - What is a Paradigm (video lecture in ten parts, English)