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
FRIDAY March 31 1.00-2.00pm: kanarinka presentation: ‘how to make the invisible stay invisible: on biopolitical engineering’ Saunders Hall 2nd Floor Conference Room.
FRIDAY March 31 5.00-7.00pm: A gathering on critical mapping. 204 Saunders Hall.
Short presentations of various critical cartography and alternative economies projects. Presenters (5-10 minutes each): Bring material to share (including maps, texts, flyers, etc both electronic and touchable) we can project them and hang them on the walls as a mode of temporary exhibition. The presentations could be timed, no more than 10 to 15 min. each, including a time for brief discussion at the end of each one.
kanarinka — new projects
Maribel Casas Cortes — feminista de la deriva
Sebastian Cobarrubias, MC, Juan Aparicio, and JP – delete the borders
Tim Stallman and Craig Dalton — dis-Orientations
Michal Osterweil — alternative economies network
Lauren Rosenthal — maps and art activism
Denis Wood – projects on art mapping
UNC derive, Dana Powell, Angela Cacciaru, Others.
Institute for Infinitely Small Things
Corporate Commands Database
42 or 363 Definitions of Cartography (Book)
100(11) Instruction Works
Glowlab is an artist-run production and publishing lab engaging urban public space as the medium for contemporary art and technology projects. We track emerging approaches to psychogeography, the exploration of the physical and psychological landscape of cities. Our annual Conflux festival, exhibitions, events and our bi-monthly web-based magazine support a network of artists, researchers and technologists around the world.
In South Slavic, “katun” means “temporary village” and is used to designate seasonal communities near pastures and bodies of water. iKatun’s mission is to foster and develop temporary communities that experiment with art, geography and political engagement in everyday life. iKatun provides fiscal sponsorship to artists, produces experimental educational gatherings such as conferences, walks and reading groups, and conducts field research with the Institute for Infinitely Small Things.
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.