| March 30-31, kanarinka visit |
| Wednesday, 29 March 2006 19:00 | |||
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kanarinka (Catherine D'Ignazio) is a
new media artist who creates collaborative experiments in public spaces
both online and offline using old calculus texts, techniques from cartography,
and the participation of the general public. Her current project, "The
Institute for Infinitely Small Things," is a research organization
that supports various ways of going on expeditions in the world to find
and create infinitely small things. By conducting microperformative
interventions and supporting research into infinitely small things,
"The Institute for Infinitely Small Things" creates experimental
social and political spaces for members of the public to imagine new
forms of resistance to the current condition of Empire.
kanarinka is Co-Director of iKatun, a collaborative group of artists
and technologists, and the Associate Director of Art Interactive, Boston's
premier new media arts space. She is a regular contributor to GlowLab,
a collective of artists interested in psychogeographic practices. kanarinka
has been commissioned by Turbulence.org and the 7a*11d International
Performance Art Festival. Her work has been shown at MASSMoCA and the
DCKT Contemporary Gallery in NYC among other locations. kanarinka is
a 2005 candidate for an MFA degree in Studio Art from the Maine College
of Art.
THURSDAY March 30 4pm--5pm. -- elin slavick studio, Hanes Art
Center #312, red door -- US bombsites and other projects
Recent Projects:
Corporate Commands Database www.ikatun.com/k/thesis/catherine_thesis.doc Micropolitical machines are social technologies engineered by distributed agents to produce experiences of dissonance, complexifying encounters, qualitative difference, multiplicity, disrecognition and invisibility. The Control Society - our current sociopolitical configuration under global capitalism - deploys quantitative, over-determining technologies to produce complex circuits of consumer desire. Though decentralized and rhizomatic in structure, the Control Society constitutes a new kind of overcoding machine concerned at all times with social production to accelerate economic exchange. Micropolitical machines are engineered not as mechanisms of resistance or revolution in response to the Control Society, but as the effectuation of molecular lines of flight from it – the deployment of tiny, sociopolitical beginnings. The performance- frameworks and social systems discussed in this paper reengineer circuits of consumer desire, stage encounters with qualitative multiplicity, and, most importantly, operate in the Virtual as opposed to the Real. These micropolitical machines utilize existing capitalist infrastructure in order to deploy a beginning (or the beginning of a beginning) of another society, another politics, another world. This is the territory of the micro-: instead of relying on representation, symbolism or didactics, these artists traffic in affect to effect social transformation. Artists and researchers discussed include Yoko Ono, Krzysztof Wodiczko, Cesare Pietroiusti, The Institute for Applied Autonomy, Lucy Orta, Stefanie Trojan, and my own work with iKatun and with The Institute for Infinitely Small Things.
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| Last Updated on Tuesday, 27 March 2007 21:18 |
