Future Media

"It is important to establish the “Proto-dynamo” as concept that represents an entirely new paradigm of economic infrastructure. The concept alludes to the “dynamo” which is a machine that uses opposing magnetic forces to efficiently produce/convert energy. The principle behind the dynamo is to use opposing forces within the same machine to get a consolidated output of energy. If the new paradigm of “protodynamism” can be represented by an electrical generator, the old paradigm of Keynesian theory can be represented by a meat grinder in which ten pounds of product goes in one side, and six ounces of tasteless sausage comes out the funnel possibly tainted with formaldehyde or some random pesticide that is unpronounceable. "

Last year, at this conference, I discussed how distinctions between nature and culture, and humans and animals, can arise from the technical processes of food production (see "Food as an object of cultural technical study "). Drawing on the work of cultural techniques (e.g. Siegert 2015; Vismann 2013) and Levi-Strauss' The Raw and the Cooked (1970), I argued that the relationship between humans and food is primary to how the human understands itself and forms part of the ground of human ontological systems. I'd like to take this argument further today, to a system-level perspective of food production and beyond, to a posthuman future where food no longer resembles what we know it as today, and because of this, where the human as such arguably ceases to exist, as the ground upon which it has defined self and species is transcended. I'm responding both to fictional future food visions and aspirations towards technical solutions to our current food-related crises.

Technology plays an ever increasing role in our lives, more so now than ever in human history. With advances in the fields of biology, neuroscience, robotics and engineering, we stand on the precipice of great and exciting change according to some, or a moral and social pitfall according to others. In this essay, I introduce the reader to the ‘transhumanist agenda’,  explore the writings of Friedrich Nietzsche on the quandary of human purpose and destiny; canvass the different opinions of various authors, philosophers, scientists and artists on the topics of human augmentation and bring to light the potential effects such technology might have on society in the future. This dissertation proposes and argues the need for more public exposure to the concept of ‘Transhumanism’, how mainstream media can help to provide the means to do so, and why it is important for humanity to ask the relevant questions on its implications at this present time.

Written whilst a Research Fellow at ResCen, Centre for Creation Processes in the Performing Arts, Middlesex University, London, Autumn 2000

This paper was written 10 years into my work on virtual presence, just after directing 2 workshops focusing on the performative use of telematics (CellBytes00 at Arizona State University and Corpos Online at Lugar Commun in Portugal). The following paragraph sets the context of the debate. Ghislaine Boddington April 2020

What is live? What is natural? What does it mean to be embodied? How many identities can one have? What is the essence of presence? This was a period of investigation for the performing arts, which have traditions deeply integrated with live presence through their special performer-to-spectator connection. My work as a director of performing arts has immersed me to work in to the dramaturgies and process design of virtual physical events.

Across the last thity years I have engaged with telepresence - led live event processes and have worked with many combinations of body technologies. I have been experimenting in the interface demands of the digitalised body alongside the live physical body.

This has for me brought up many questions which are highly topical in sectors well beyond the arts, as is in proof today with the COVID-19 extraordinary situation of lockdown, meaning advanced use of telepresence through video conferencing in all sectors globally. I detail some of this early work in the following text (written in 2000) and contextualise these explorations within the wider socio-cultural engagement with telephonics. This text explores some of the reasons why there is a need for far more in depth research and development of the  concepts of presence (and therefore identity) that will exist in the future.

Please do look at further writings on ongoing work post 2000 by Ghislaine Boddington

There is a call in industry and research for objective evaluation of player experience in games. With recent technological advancements, it is possible to automatically log numerical information on in-game player behavior and put this into temporal, spatial, and psychophysiological context. The latter is done using biometric evaluation techniques, like electromyography (EMG), electroencephalography (EEG), and eye tracking. Therefore, it is necessary to discuss experimental results in academia and best practices in industry. This panel brings together experts from both worlds sharing their knowledge using conventional and experimental, qualitative and quantitative methods of player experience in games.

Instructional design follows the advancement of technology but lags behind with a phase difference.
Gutenberg’s mechanics in printing made the libraries integral part of school settings. Nowadays computers and mobile phones occupied the domain of education. Applications such as virtual reality, e-labs, e-books, simulators, on line assessment, video conferencing are expanding the hinterland of schools. Computer Aided Design, e-commerce, e-manufacturing, internet banking, on-line bureaucracy, home-office applications are commonplace learning outcomes. Trans-ocean employment is changing the international affairs. There are of course some negative side effects of the uncontrolled growth of technology:  Hackers, gamblers, spies are also exploiting hi-tech. Hoaxing, phishing, tele-pornography and other kinds of misuses of internet are disturbing the rights of the privacy of ordinary citizens. Techno-mania and techno-phobia are dividing the society. Digital divide is multiplying the adverse effects of inequality in society. Misinformatin and disinformation are also the realities of information society. Let us conclude optimistically: space navigation, deep-sea mining, deep-sea-farming, communication with animals, brain transplantation are still among the mega-trends in societies. Education, health and tourism are the foremost agencies of happiness industry which will take over the control manufacturing industry.

Gutenberg’in icadı kütüphaneleri okulların ve evlerin eğitim eklemi haline getirmişti. Şimdilerde ise sanal gerçeklik, kurgu deneyler, uluslar arası kapsamda eğitim gerçekleşiyor. Bireyler küresel bilgi ağlarına bağlanıyorlar. Video konferanslarla uzmanlarla doğrudan etkileşime girilebiliyor. Bilgisayar destekli tasarım, bilgisayar destekli üretim, bilgisayar destekli pazarlama, bilgisayar destekli bankacılık, elektronik oylama artık herkesin bildiği işler. Etkileşimli gazete, kağıtsız ofis ve yönetim yaygınlaşan uygulamalar. Sayaçların uzaktan okunması, yangın, deprem v.b. afetlere karşı telegüvence sistemlerinin ayaksesleri kapıda. Denizleraşırı istihdam (teleiş) sektörü de patlamak için kıvılcım bekliyor.  Tabii herşey toz pembe değil. Telegöz ve telekulaklar bireylerin özel haklarına saldırıyorlar. Teledolandırıcılık olmasa elektronik ticaret daha hızlı yaygınlaşırdı. Toplumdan dışlanmış vandalların bulaşıcı virüsleri hayatımızı karartabiliyor. İftira ve dedikodu da eskisine göre daha hızlı, kolay ve daha yıkıcı boyutlarda yapılabiliyor. Tele-pornografi doğal heyecanların hazzını törpülüyor. Gerçek yaşam sanal yaşama karşı bağışıklık sistemini yitirmek tehlikesini yaşıyor. Ama, yine de iyimser bitirelim: Deniz dibi tarımı, hayvanlarla iletişim, uzay yolculuğu gibi yeni gerçek yaşam boyutları gelişiyor. Eğitim, turizm ve sağlık sektörleri mutluluk endüstrisi olarak gelişiyor.

AI plays a crucial role in the global cultural ecosystem. It recommends what we should see, listen to, read, and buy. It determines how many people will see our shared content. It helps us make aesthetic decisions when we create media. In professional cultural production, AI has already been adapted to produce movie trailers, music albums, fashion items, product and web designs, architecture, etc. In this short book, Lev Manovich offers a systematic framework to help us think about cultural uses of AI today and in the future. He challenges existing ideas and gives us new concepts for understanding media, design, and aesthetics in the AI era.

Alternative Journalism is the first book to investigate and analyse the diverse forms and genres of journalism that have arisen as challenges to mainstream news coverage. From the radical content of emancipatory media to the dizzying range of citizen journalist blogs and fanzine subcultures, this book charts the historical and cultural practices of this diverse and globalized phenomenon. This exploration goes to the heart of journalism, prompting a critical inquiry into the epistemology of news, the professional norms of objectivity, the elite basis of journalism and the hierarchical organization of news production. 

In investigating the challenges to media power presented by alternative journalism, this book addresses the issues of politics and empowerment as well as those of the journalism of popular culture and the everyday. The result is essential reading for students of journalism - both mainstream and alternative.

"Chris Atton and James Hamilton have created a provocative, inspiring and challenging intervention in both journalism and media studies.[ . . . ] Writing a textbook that enables the development of new knowledge is rare and important. Alternative Journalism is inspiring. It offers an alternative history beyond the tales of great men, great newspapers, great editors and great technologies. It adds value and content to overused and ambiguous words such as 'community' and 'citizenship' and captures the spark of new information environments."
--Tara Brabazon, in The Times Higher Education Supplement

"Alternative Journalism is a key text for journalism and media studies students. It contains some excellent examples and case studies, inspiring people to think about how alternative journalists all over the world have sought to challenge and redefine mainstream practices".
--Caroline Mitchell, University of Sunderland

“Atton and Hamilton offer a rich, textured account of alternative journalism.  They steer clear of cramped conceptions of ‘journalism’ and ‘alternative’, instead opening up the discussion to a wide range of public communication.  They provide an intellectually engaging framework for their examination of alternative journalism, a context in which they explain what others have merely described”. 
-- Theodore L. Glasser, Stanford University

Video games are increasingly becoming an important media today, despite the light connota-tion of its initial categorization. Today they are an industry that produces billions of dollars and employs engineers and artists alike in an art form spanning interactive games, to virtual socie-ties where millions of people dwell. However, like all human products, our same fears, flaws and xenophobia show in the games, with the reflection of hatred, racism and stereotypes that are our everyday experience. Also, because of the influence of other media, like television, with misrepresentations of blacks, Latinos and other races, or the objectification of women are pre-sent in video games. The significant thing found researching for this assignment is that most of those who use these games are themselves part of minorities or races that are not exactly white Americans. Abuse of the frustrations and desires of the user, handling codes and the system an-swers of gamers to maintain the player engagement, has more resemblance to the use of illegal drugs than with art, but however, the complexity of the design, stories and global assessment, have led to other considerations by experts. Competing in the games could be considered as having more of escapism that the reality of engaging, but all human beings are expected in their tribes to compete and demonstrate their value as a member while complying with social norms or expectations. Same as satisfying or surrender to corporate or group interests. Here are some thoughts for the purpose of this study.

Creativity and imagination are the most important ingredients for coping with post-normal times, according to Sardar.This paper looks at the way creativity itself is being transformed in the West, from the individualistic/atomistic view of Modernity towards a more contextual, collaborative, complex approach. It explores the potential and possibilities for this more participatory creativity to help go beyond the ‘‘crisis of the
future,’’and argues that the centrality of creativity must go beyond the mythology of genius and inspiration to inform philosophy, ethics, and action. Philosophical reflection and the imagination of desirable futures can emerge from a creative ethic that stresses the value of generative interactions and contexts that support creativity.

This article aims to reassemble a feminist genealogy of the posthuman in the arts, with a specific focus on the visual works conceived by female artists after the rise of what has been retrospectively defined as first-wave Feminism. Starting with the main avant-garde movements of the first half of the twentieth century—specifically, Futurism, Dadaism and Surrealism—this genealogy analyses the second-wave Feminism of the 1960s and 1970s, with its integral exploration of the body highlighted by performance art. Following this, it takes into account the third-wave Feminism of the 1990s and its radical re-elaboration of the self: from Cyberfeminism and its revisitation of technology, to the artistic insights offered, on the one side, by critical techno-orientalist readings of the futures, and on the other, by the political and social articulations of Afrofuturism and Chicanafuturism. Lastly, this genealogy accesses the ways contemporary female artists are dealing with gender, social media and the notion of embodiment, touching upon elements that will become of key importance in fourth-wave Feminism.

Many of today's digital document formats are strongly based on a digital emulation of printed media. While such a paper simulation might be appropriate for the visualisation of certain digital content, it is generally not the most effective solution for digitally managing and storing information. The oversimplistic modelling of digital documents as monolithic blocks of linear content, with a lack of structural semantics, does not pay attention to some of the superior features that digital media offers in comparison to traditional paper documents. For example, existing digital document formats adopt the limitations of paper documents by unnecessarily replicating content via copy and paste operations, instead of digitally embedding and reusing parts of digital documents via structural references. We introduce a conceptual model for structural cross-media content composition and highlight how the proposed solution not only enables the reuse of content via structural relationships, but also supports dynamic and context-dependent document adaptation, structural content annotations as well as the integration of arbitrary non-textual media types. We further discuss solutions for the fluid navigation and cross-media content publishing based on the proposed structural cross-media content model.

The question of how and why people adopt technologies is an area that has received great scrutiny, but less attention is given to those who willingly choose to avoid particular technologies. This article considers current models of technology adoption and explores how technology influences us as a society and individually, paying special attention to how large-scale shifts in technological change come to bear on individuals who choose not to adopt specific technologies. By combining scholarship in the information sciences with observations from media ecology theorists, this article proposes a more nuanced view of technology adoption and resistance.

A sociedade do século XXI produz, armazena e processa um número cada vez maior de dados digitais diariamente. Esses dados são oriundos de objetos, mídias sociais, sensores, smartphones e do próprio corpo humano. Essa variedade, volume e velocidade que esses dados são processados e armazenados leva o nome de Big Data que, quando utilizado para pessoas, pode tornar a publicidade uma ferramenta impactante para a vida humana. Descobrir se uma pessoa tem sede e oferecer uma bebida de sua preferência, detectar se o leite acabou e sugerir uma nova compra, ou prever que uma pessoa não se exercita e oferecer opções de academias, são exemplos de como uma abordagem centrada em pessoas e baseada em dados pode mudar a publicidade que hoje é baseada em interrupção. Esta pesquisa tem como objetivo analisar os impactos do Big Data na sociedade, na comunicação e como ele pode tornar a publicidade mais relevante para a vida das pessoas.

Selalu menarik ketika kita memandang sesuatu dari sudut pandang filsafat, tak terkecuali dalam melihat masa depan teknologi tekomunikasi. Filsafat dalam hal ini dapat digunakan sebagai refleksi atas ilmu teknologi komunikasi, sehingga dapat melihat berbagai perubahan masyarakat akibat berkembangnya teknologi media komunikasi secara kritis. Salah satu kutipan yang menarik yang diungkapkan oleh Alfred North Whitehead mengenai realitas dan masa depan adalah, dunia bukanlah hal yang telah serba jadi, melainkan sebaliknya, dunia yang serba belum jadi, serba terbuka, selalu harus dibentuk dan dibentuk kembali, harus setiap kali direstrukturasi. Sehingga hal tersebut merupakan gambaran suatu proses yang tak pernah berhenti, selalu berkembang, berproses, dan selalu menjadi. Demikian halnya dengan teknologi komunikasi, hal tersebut bukanlah sesuatu yang statis, tetapi terus bergerak dan berubah dalam suatu proses evolusi yang tak kunjung berhenti.

The origin of video games lies in early cathode ray tube-based missile defense systems in the late 1940s. These programs were later adapted into other simple games during the 1950s. By the late 1950s and through the 1960s, more computer games were developed (mostly on mainframe computers), gradually increasing in sophistication and complexity. Following this period, video games diverged into different platforms: arcade, mainframe, console, personal computer and later handheld games.

A tie between cyber journalists and bio-journalists has already occurred. – Three threats to journalism. – News story on earthquake and tectonic shifts. – Generative journalism. – Two arguments about “robots’ incapability”. – Road map for robot journalism. – Forecasts and suggestions.

While it has always been hard to do, establishing a clear difference between mainstream media and alternative media has grown even more difficult within the past twenty years. With the emergence of such efforts as open publishing, web-logging and video-logging, video-posting websites, citizen journalism, creative-commons initiatives, and image-focused anti-corporate activism, it has become increasingly difficult to navigate within this emerging media landscape. The traditional lines between mainstream and alternative and between producers and consumers have been blurred.

This growing inability to adequately map this landscape demands that these lines be reconsidered. New ways must be formed for probing implications of these new media outlets for democratization and global-justice movements. This book reconstitutes the cultural and historical roots of this protean media landscape and assesses its relevance to democratic communications.

Using a comprehensively argued cultural and historical analysis, the book rethinks long-standing assumptions about alternative media and democratic communications. By providing greater understanding of historical resources, limitations, and possibilities, this book makes a key contribution not only to scholarship in this area, but also to this pressing social, political, and cultural issue.

"Democratic Communications is a must-read for all students and scholars of media, and all activists interested in developing challenges to the mainstream media. The book adds historical depth and important new insights to old questions, and will forever change the way you think about  alternative' media."—T. V. Reed, author of The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle

"There is no more thoughtful historian of the notion of alternative media than James Hamilton; his erudition and intelligence are on full display in Democratic Communications. This book should be read by every scholar committed to understanding the history and meaning of progressive media. If you think you already know what you're talking about when you discuss alternative media, reading Hamilton's book will make you think again; if you don't think much of the promise of alternative media, Hamilton will make you rethink that too."—John Nerone, professor, College of Communications Scholar, and director of graduate studies for Institute of Communications Research at the University of Illinois, Urbana-Champaign

"This book is splendidly chewy, offering both an absorbing array of historical specifics and arguments, and of conceptual challenges. It lends considerable muscle to the rapidly growing debate on social movements and their media."—John Downing, director of the Global Media Research Center and professor of international communication at Southern Illinois University Carbondale

"Democratic Communications is one of the most thoughtful and literate studies of alternative media to date. Hamilton's work carries us across the centuries, inviting reflection on what it means for media to serve public needs rather than private wealth. One is not only impressed with the rigor of his research but also with the breadth and subtlety of his analysis."—Michael Curtin, author of Playing to the World's Biggest Audience and Redeeming the Wasteland"

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

This collection of essays engages the ways in which anthropological understandings of Indigenous media can be expanded and reimagined through a focus on futurity. Throughout, the contributors pose two distinct yet interconnected questions: What does the future of Indigenous media hold? And, how is the future itself being increasingly asserted through Indigenous media production? In a sense, then, the collection serves as both retrospective and opening. We reflect on the history of Indigenous media scholarship in tracing the trajectory of emerging forms and content, while also considering how the future is mobilized as a means for establishing temporal sovereignty in relation to anachronistic pasts. In doing so, we aim to provoke new questions about the histories, politics, and futures of Indigenous self-representation.

This essay advocates for a significant reorientation and reconceptualization of communication studies in order to accommodate the opportunities and challenges introduced by increasingly intelligent machines, autonomous decision making systems, and smart devices. Historically the discipline of communication has accommodated new technology by transforming these innovations into a medium of human interaction and message exchange. With the computer, this transaction is particularly evident with the development of computer-mediated communication (CMC) in the later half of the 20th century. In CMC, the computer is understood and investigated as a more-or-less neutral channel of message transfer and instrument of human interaction. This formalization, although not necessarily incorrect, neglects the fact that the computer, unlike previous technological advancements, also occupies the position of participant in communicative exchanges. Evidence of this is already available in the science of AI and has been explicitly described by some of the earliest writings on communication and the computer. The essay therefore 1) demonstrates that the CMC paradigm, although undeniably influential and successful, is insufficient and no longer tenable and 2) argues that communication studies needs to rework its basic framework in order to address and respond to the unique technological challenges and opportunities of the 21st century.

The shutdown of two of the oldest Canadian newspapers on the last Friday of January, 2016, was accompanied by mystical coincidences. Not only were the newspapers closed on the same day, but they also illustrated their last front pages in the same way – with a mysterious number “30”.

"The exponential increase in computing power has allowed for interaction in imaginary places – utopian spaces – and the endless re-configuration of those places. There are then good reasons to make links between the realm of the virtual and the creation of utopian and future worlds. We explore some of these links in this article.

Having offered a preliminary discussion of the nature of traditional utopian and future world thinking, we draw a distinction between stable state and flexible utopias, the former characterized by structurally fixed blueprints, the latter by the possibilities of virtual technologies which allow us endlessly to re-configure virtual spaces. This distinction leads us on to a debate that is implicit in the writings of Sherry Turkle and Richard Coyne, namely the analysis of the virtual from a Husserlian, as opposed to the dominant Heideggerian view. We defend a Husserlian analysis which, it is shown, better satisfies the concept of 'flexible utopias’. The totalizing existential experience by a Heideggerian analysis corresponds well to ‘immersion’ technologies e.g. games and VR, utopias as ready-mades but, a Husserlian approach allows us to account for the creative process of making utopian or future worlds using software such as interior design when one changes items ad infi nitum as part of the normal practices of being a designer."

Advertising is experiencing a huge disruption to every aspect of the industry. The revolution is certainly creating considerable concern among those comfortable with traditional industry structures and approaches. Yet this shift will open up new opportunities in terms of media and advertising formats, and consumer reach and engagement-not to mention cross-disciplinary collaborations, specializations, delivery technologies, financial structures, and reception performance approaches. As Internet technology guru Clay Shirky recently stated: "It is the people who work out how to work simply in the present, rather than the people who mastered the complexities of the past, who get to say what happens in the future."

This article considers the ethics of sexual telepresence by tracing the history of mechanical and digital sex and exploring the possibilities facilitated by current and emerging technology. My aim is to consider how people have used technology to engage in new forms of sexual expression in order to more clearly delineate exactly what constitutes cheating and the ethical lines surrounding such behaviours. As with non-digital forms of intimacy, it seems clear that there is a range of behaviours that invite different people to draw the lines in different places, ranging from flirtation to erotic talk, to physical contact. But the goal of this article is not merely to consider where the lines may lie, but rather to examine how the medium in which the interaction takes place invites individuals to make particular moral judgments concerning what lines should exist at all concerning both physical and emotional intimacy.

The article develops Marshall McLuhan's approach to the interplay between media, the sensorium, and reality. McLuhan's concepts of " acoustic space " and " visual space " are unfolded with regard to the consequences that digital media will have on the human ability to perceive reality. Reality–sensorium interaction is systematized in the article. This systematization includes the environments of the given, the represented, and the induced. These environments are shaped by sequential stages of media evolution, which relate to preliterate media, alphabet-based media, and digital media. Existing and upcoming media technologies are presumed to alter human biology and transcend it. Within the set of media technologies that alter human biology, artificial flavours, electrically induced senses, immersive media, augmented reality, and virtual reality are treated. Within the set of media impacts that will change the human sensorium, the dismissal of gravity (related to the McLuhanian " angelism " of electronic discarnate man), the switch in navigation from biological networking to social networking, the sense of others, and the thirst for response are treated. Plato, Lenin, Wittgenstein, Benveniste, Logan, Carr, Shirky, and other thinkers are employed in the article to support these McLuhanian speculations, and sketch out prospective trends in the evolution of media and the sensorium.

Without doubt, the desire to communicate is intrinsic to the human condition. As interpersonal communication is inevitably noisy, ambiguous, volatile, and often unsuccessful, the history of media can be seen as what De Vries dubs a “tragicomical quest for communicative fulfilment” (p. 8). De Vries’ objective is to uncover the deep mythological roots of communication technologies, showing how contradictory and untenable narratives of progress towards perfect communication continue to play an important and agentive role in the relationship between technology and society. This theoretical investigation, conducted through a media-archeological approach, is inscribed in a branch of media scholarship that, since the 1990s, has tackled the ideological and mythological imaginary of new media, consistently seen as the enabler of paradise or hell (e.g. Mosco 2004, Barbrook 2007).

Mit Texten von:
Rasheed Araeen, Lisa Anne Auerbach, Jens Badura, Dirk Baecker, Christoph Behnke, Timon Beyes, Tobia Bezzola, Alain Bieber, Jacob Birken, Nicolas Bourriaud, Bazon Brock, Christoph Brunner, Judith Butler, Carolyn Christov-Barkargiev, Piotr Czerski, Guy Debord, Annet Dekker, Christian Demand, Diedrich Diederichsen, Stephan Dillemuth, Florian Dombois, Okwui Enwezor, Hal Foster, Holm Friebe, Richard Buckminster Fuller, Johannes Gees, Simon Grand, Isbelle Graw, Boris Groys, Johannes M. Hedinger, Christine Heil, Jörg Heiser, Martin Heller,Hanna Hölling,  Johanns Hoff, Roman Horak, Matthias Horx, Kornelia Imesch, Gila Kolb, Pius Knüsel, Gesa Krebber, Herbert Lachmayer, Ben Lewis, Li Zhenhua, Franz Liebl, Rachel Mader, Florian Malzacher, Oliver Marchart, Chuz Martinez, Karl Marx, Torsten Meyer, Timo Meisel, Markus Miessen, Heike Munder, Ingo Niermann, Hans Ulrich Obrist / Simon Castets, Karl-Josef Pazzini, Sibylle Peters, Sebastian Plönges, Mikkel Bolt Rasmussen, Milo Rau, Gerald Raunig, Hanno Rauterberg, Basil Rogger, Irit Rogoff, Philipp Sack, Jerry Saltz, Christian Saehrendt, Jörg Scheller, Michael Seemann, Imanuel Schipper, Klaus Schönberger, Trebor Scholz, Konstanze Schütze, Tomas Sedlacek, Peter Sloterdijk, Serge Stauffer, Bettina Steinbrügge, Nora Sternfeld, Ernst Strouhal, Aaron Swartz, Wolfgang Ullrich, Koert van Mensvoort, Jan Verwoert, Friedrich von Borries, Dirk von Gehlen, Joanna Warsza, Christoph Weckerle, Peter Weibel, Ulf Wuggenig, Beat Wyss, Slavoj Zizek, u.a.

Künstlerstatements von:
Marina Abramovic, Aram Bartholl, Michale Betancourt, Stanley Brouwn,Paul Chan, Armin Chodzinski, Com&Com, Jeremy Deller, Jimmie Durham, Thomas Feuerstein, Noah Fischer, Fischli/Weiss, Claire Fontaine, Andrea Fraser, Gilbert & Georg, Thomas Hirschhorn, Austin Kleon, Heinrich Lüber, Manifesto Club, Jonathan Meese, Gustav Metzger, Gerald Nestler, Neue Dringlichkeit, Yoko Ono, Dan Perjovschi, Pussy Riots, Raqs Media Collective, Reinigungsgesellschaft, Tino Sehgal, Superflex,
Swoon, The Yes Men, Rirktrit Tiravanija, UBERMORGEN.COM, Voina, Wochenklausur,u.a.

As medical technology continues to progress, we are able to correct deficiencies in the body through means such as cochlear implants and prosthetic limbs. This has led some scholars to argue that we are creating technologized, cyborg bodies. However, these technologies have also enabled us to correct perceived cultural flaws in the body. This article explores the nature of the body through the lens of posthumanism, examining ways that individuals attempt to reshape their bodies through cosmetic surgery and other forms of body modification. Specifically, this article examines the practice of hymen restoration, Genesis Breyer P-Orridge’s artistic endeavours in cosmetic surgery and Stelarc’s cybernetic experimentations. These cases yield three potential visions of the body: the body must be restored; bodies must be unified; and the body must evolve. Such visions have consequences; the ways in which the body is rhetorically constructed influence how people choose to alter their own bodies. By considering the body itself as medium and as an interface with other technologies, we can better theorize what it truly means to be human.

The inception of storytelling can be found right from the existence of Homo sapiens (Humans). Humans used the method of storytelling to preserve their stories, history and cultural traditions of their ancestors primarily in an oral tradition. Historically, Storytelling have been used by the tribal communities to share language, traditions, and beliefs from one generation to another. Different societies have taught key principles through storytelling for thousands of years. (Brady, 1997; MacDonald, 1998). In many ancient cultures, without a written language storytelling was the only way to convey a society's culture, values, and history. Verbal communication is one of the fundamental forms of communication, whether humans once communicated with primitive grunts. As humans are social creatures, they use different mediums to communicate which also proves as an evidence of socialism of humans. Consequently, storytelling evolved from stone scripts to the digital and now it is further transforming to the immersive medium format. Different cultures documented their stories, history and digitized it to preserve it. Many ways of storytelling developed along with the development of human being. The technology played a vital role in establishing various new formats of storytelling. Stone scriptures, literature, narrations, audio formats, recordings, paintings, visuals and audio-visuals etc. is the normal journey of storytelling. As the visual medium emerged the core part of it became the images which further transformed into video. Aesthetics and content of the storytelling is creatively enhanced with the help of various processes. Amongst which audio-visuals are the most important. Audio visual storytelling took its shape right from the grandmother stories and immerged as the most effective medium of storytelling in the journey of all forms of storytelling. Image processing; the set of techniques used to modify a digital image in order to improve it (in terms of quality), or to reduce its size or to get information out of it. Digital image processing is a new sector of knowledge that has quickly developed due to the emergence of new information technologies. This research gives spotlight on the analysis of multidimensional role of audio-visuals in altering the complete way of contemporary storytelling. It deals with various aspects of audiovisual production process related to audio, video and images. The main purpose of the study is to discuss the future development in the audiovisual format of storytelling with respect to the technological aspect.

This will be an invitation to adventurous readers  who  seek  new  creative,  hopeful  and  speculative  modes  of  understanding  and  intervening  in  a  world  of  crisis.  Written  by  Yoko  Akama,  Sarah Pink and Shanti Sumartojo, with contributions  from  Debora  Lanzeni,  Elisenda  Ardevol,  Katherine  Moline,  Ann  Light,  Tom  Jackson  and  David  Carlin,  the  book  was  launched  on  11  December  2018  at  RMIT  University  in Melbourne. It is not just a book that offers  new  perspectives  on  the  central  issues  of  uncertainty  and  possibility,  but a compilation of diverse experiences that embark on new research methods, profiting  from  disruptive  and  experimental techniques.

Predictions and forecasts around the future of digital media are usually presented as ‘innocent’ and unbiased. In contrast, "New Media and the Imagination of the Future" aims to examine predictions on digital media as cultural constructs that are embedded in political, social, cultural, and ideological frames. This introduction provides an overview of approaches and theoretical viewpoints to the relationship between media and the imagination of the future. It discusses the contribution of historical perspectives and illuminates the centrality of digital and mobile media in contemporary visions of the future and media predictions.

El libro ha sido considerado a lo largo de la historia como el contenedor cultural por excelencia, como el medio del conocimiento y discurso humanos. Estos fenómenos lo
han convertido en un objeto estético simbólico.

La revolución cultural que vivimos hoy, una revolución con orígenes tecnológicos, está poniendo en jaque estos paradigmas, pues al transformar nuestra forma de interactuar con la realidad, han cambiado nuestra manera de consumir información y comunicarnos: la manera de materializar el discurso.

Dichas transformaciones, han desatado preocupaciones en las industrias rebasadas por ellas. Una de estas es la involucrada con la industria del libro, que se vió involucrada en un debate respecto al futuro de su industria. Sin embargo, el debate quedó atrapado en medio de posturas rígidas que, en lugar de aprovechar las posibilidades dadas
por un momento con potencial tecnológico sin precedentes, se estancó por varios años considerando si el internet traería consigo la desaparición del libro.

Una parte de esta, está conformada por los diseñadores editoriales, que formados en la tradición del diseño trabajan mayormente en proyectos que conciben el consumo como el principal fin. Sin embargo, como se ha comprobado, el ritmo actual de consumo y todas las consecuencias que este supone no muestran un panorama muy favorecedor casi para nadie excepto para las industrias gigantescas y sus dueños.

Los diseñadores han sido capacitados con un conjunto de conocimientos que les permite influir en el comportamiento y las decisiones de las personas.

Este trabajo intenta promover el uso de estos conocimientos para participar en proyectos de índole no comercial, promover la participación activa del diseñador en su entorno como ciudadano que cuestiona su realidad de forma crítica y propone nuevas vías de reflexión mediante el lenguaje del diseño para generar nuevas vías de discusión que podrían llevar a la acción a sus espectadores/usuarios.

Con el objetivo de retomar el debate sobre el futuro del libro proponiendo alternativas tecnológicas generadas desde el diseño editorial, el presente proyecto se pregunta:

¿Cuáles son los alcances del diseñador editorial en la transformación de los espacios donde lleva a cabo su práctica, es decir, la transformación del libro?

¿De qué herramientas metodológicas puede servirse para estudiar su contexto e involucrarse activamente con las necesidades de su época?

Para ello, el diseñador editorial debe comprender la estética del nueva dimensión y cuestionarla. Con este fin, el presente proyecto desarrolla un ejercicio mediante la
metodología del diseño especulativo.

El diseño especulativo es una corriente crítica que busca activar debates y acciones a través de la creación de escenarios para el futuro. Elabora preguntas desde el presente para imaginar qué tipo de futuros deseamos.

El debate que esta tesis busca reactivar es aquel que causó tanta preocupación durante los primeros años del libro digital, nos basaremos en dos propuestas principales que la industria sostiene alrededor del debate.

Posturas opuestas y al mismo tiempo parecidas: o el libro digital libera al libro impreso o lo sustituye.

El pensamiento del diseño especulativo, como algunas otras corrientes de diseño crítico, propone que la labor del diseñador sirva a la sociedad como un medio para modificar las dinámicas de consumo.

Por ello fue para abordar este tema; no se pretende pronosticar el futuro del libro ni desarrollar un prototipo ideal al que debemos intentar alcanzar; el presente proyecto explora el debate actual, sus dificultades y argumentos y con ello construye un escenario que intenta situarse en el punto medio. Un escenario fruto de un futuro editorial que aún no existe y que por medio de las condiciones presentes podemos mirar para preguntar qué papel juega el diseñador en la construcción cultural y tecnológica de este futuro.

From 2012 until today, I have given several seminars on metadesign, strategic design and collaborative design in Brazil (Unisinos), Mexico (Universidad Iberoamericana and Tecnológico de Monterrey), Italy (Università di Bologna), Guatemala (Universidad Rafael Landivar) and Colombia (Universidad de Caldas).
I collected the various contents in a single presentation that I am making available to my students and to the design scientific community.
The presentation does not consider the practical activities, due to its great diversity.