SYNAESTHETIC MEDIA SPACE
May 9 2007 at 7 pm
Schirmacher, Hauptplatz 6, Linz/A
Moderation: Mag. arch. Sandrine von Klot, r&d_research
Charlotte Poechhacker, ARTIMAGE
Architektur+Medien / Graz
As a founder of ARTIMAGE since 1992 Charlotte Poechhacker initiates exhibitions and conferences dealing with topics crossing the disciplines of architecture, urbanism, art and media. In 1993 she also implemented the GRAZ Biennale on Media and Architecture awarding especially cross-disciplinary projects. The 7th Biennale in 2006 emphasized on works from Chris Marker and Armin Linke.
Univ.Prof. Dr. Christa Sommerer
Interface Culture / Art University Linz
Since 2004 Christa Sommerer and Laurent Mignonneau share a professorship at the Interface Research Lab at the Kunstuniversität in Linz. As media artists they also collaborate on art projects since 1992. Their main focus lies on issues concerned with interface design and the human being as a `machine´ interacting and transforming.
In 1998 they published the book with the title art@science. For many years as researchers and guestprofessors they lived in Japan.
In a time where image and sound are easily reproduced, probably followed soon by the coding of smell, taste and sensation, the question of perception becoming increasingly technological, the medial anatomies, options and transpositions of imagination and the intersection between media and affect, arises.
What kind of staging, confusion or even change of our senses, what sort of fluctuation and sensory overlay can we depict in the fields of media arts/ interface culture?
Within societies based on media-plurality and their aim for simultaneous and transitory perception, actual limitations of our individual senses no longer appear to be apparent.
For example, skin and hands, to feel and to touch, are being summarized in the sense of touch - what are the implications of this sort of increasing technology-based perception for our perceptual reading of space today?
Tactile aspects of the gaze, the physical implications of sound waves, the visibility of tones and voices, the audibility of images, body type, the rhythm of senses, atmospheres, transformative processes, change of media and affective force lines - former hierarchies within sensory abilities are increasingly replaced by trans-sensory models. What strategies in the area of fine arts manage to reflect these issues presently? Which types of media contribute to objectifying our perception in order for it to become more measurable, ascertainable, and able to be inter-subjectively experienced for third parties?
To what extend can artistic concepts today be capable of forming resistance against procedures objectifying perception to the degree of making them freely available for others?