Digital and Post-digital Conditions: Challenges for Nexts Arts Educations

Digital and Post-digital Conditions:

Challenges for Next Arts Educations

International Winterschool „Spectra of Transformation“Akademie für Schultheater und performative Bildung

Nuremberg, Feb 21, 2017

Prof. Dr. Benjamin JörissenLehrstuhl für Pädagogik mit dem Schwerpunkt

Kultur, ästhetische Bildung und Erziehunghttp://joerissen.name

[email protected]

„The Next Art is the art of the Next

Society.“

„Like all pedagogy, Next Art Pedagogy has to be radically thought

towards future.“

2013

2007

Next Art Education

Next Arts Education

2013 http://kunst.uni-koeln.de/kpp/_kpp_daten/pdf/KPP29_Meyer.pdf

Digital „Bildung“ (?)

Education in digital cultures?

Arts education in digital cultures?

1. Three ways of reflecting

upon the relation of education and (post-) digital transformation

Digitalization as …

didactical resourceinstructional topiccultural process

didactical resource

Focus: Transformation of learning tools

e-Learning OER ed-tech innovation

innovative teacher/academic training „digital schools“

Digitalization as …

instructional topic

Focus: Transformation of media-related topics

media literacy media design

informatics education

teaching values for the digital era Internet-Certificates

school subject „digital media education“?

Digitalization as …

kultureller Prozess

Focus: Transformation of everyday life/mundane lifeworld

ValuesAesthetics Self

„Culture“Sociality

conditional structures Knowledge

„Subjectivity“

Digitalization as …

„Digitalization provides new learning tools and

innovation!“

„Digitalization has to be imparted in order to deal

with its effects!“

„Digitalization transforms culture, sociality, and

subjectivity.“

didact. resource

instructional topic

cultural process

risks of a reductionalistic view upon digitalization

2. Once upon a time …

(somewhat naïve) hopes in the benefits of digital medialities

Media „Bildung“

(2009)

• collaborative knowledge achievement on Wikipedia

• community-building in online-communities

• avatars as exploration and pluralization of identity

• sharing biographical reflections on Youtube

• etc. …

meanwhile …• social web evolving as a mass media • ubiquity of self-staging; moral crisis of

public articulation • attention economies • ubiquituous surveillance • most public spaces owned by companies • decline of public discourse (viral network

effects taking over, postfactual age)

3. digitality, power and

hegemoniality

The new medial opportunities of digital communication and articulation arise in technologically „walled gardens“, strictly

capitalized and strictly „designed-for-surveillance“ spaces.

„Digitalization“ is on its way of becoming a synonym for „new technologies

of hegemonial governance“.

core problem:

The digital web is mycelium:h"

ps://commons.w

ikimedia.org/w

iki/File:Heksenkring.jpg

What you see.

h"ps://w

ww.flickr.com

/photos/bushman_k/6177595969

What you get.

The digital web is mycelium:

Software & Code/Algorithms

Data & Data Structures

Networks & Protocols

Interfaces & Materialities

CLOUDHARD WARE

software

data networks

interfaces

„code is law“ vs.

„code as logos“Lawrence Lessig (2000). Code Is Law. On Liberty in Cyberspace. http://

harvardmagazine.com/2000/01/code-is-law-html [20.6.2015] Wendy Hui Kyong Chun: Programmed Visions: Software and Memory. MIT Press 2011.

Lawrence Lessig (2000). Code Is Law. On Liberty in Cyberspace. http://harvardmagazine.com/2000/01/code-is-law-html [20.6.2015]

Wendy Hui Kyong Chun: Programmed Visions: Software and Memory. MIT Press 2011.

„code is law“ vs.

„code as logos“

„Softwarization“ of logistics, communication,

and management

Parisi, L. (2016). Contagious Architecture: Computation, Aesthetics, and Space. MIT Press. Hörl, E., & Parisi, L. (2013). Was heißt Medienästhetik?

Zeitschrift für Medienwissenschaft, 8(2).

environmentality

Hörl, E., & Parisi, L. (2013). Was heißt Medienästhetik? Zeitschrift für Medienwissenschaft, 8(2).

„an automatic, but non-reflexive thinking, which marks a specific operating mode of calculation, classification,

and organization of data,enabling

as a spatially thinking modus of power

Rob Kitchin/Martin Dodge: Code/Space. Software and Everyday Life. MIT Press, 2011.

„Everyware“

http://www.rael-sanfratello.com/?p=1771

form und matter as manifestation of code

http://www.emergingobjects.com/2013/09/27/concrete/

„solutionism“

Morozov, Evgeny (2013): To Save Everything, Click Here: The Folly of Technological Solutionism, Philadelphia: Public Affairs.

„computationalism“

David Golumbia: The Cultural Logic of Computation. Harvard Univ. Press 2009.

„[…] the computer encourages a Hobbesian conception of this political relation: one is either the person who

makes and gives orders (the sovereign), or one follows orders. There is no room in

this picture for exactly the kind of distributed sovereignty on which

democracy itself would seem to be predicated […]“

David Golumbia: The Cultural Logic of Computation. Harvard Univ. Press 2009.

• „[…] the post-digital is represented by and

indicative of a moment when the computational

has become hegemonic.“

Berry, David M. (2014). Post-Digital Humanities. In: Educause Review May/June 2014. http://er.educause.edu/~/media/files/article-downloads/erm1433.pdf

„we found digital computation because our society is already so

oriented toward binarisms, hierarchy, and instrumental rationality“

David Golumbia: The Cultural Logic of Computation. Harvard Univ. Press 2009.

strategies of re-appropriation

http://tincon.org/

strategies of re-appropriation

Menkman, R. (o. J.). Institute of Network Cultures | No. 04: The Glitch Moment(um), Rosa Menkman. Amsterdam: Institute of Network Cultures. Retrieved from http://networkcultures.org/blog/publication/no-04-the-glitch-

momentum-rosa-menkman/

strategies of re-appropriation

3. Transformations with regard to subjectivity, sociality, and culture

„everyday life“

digitally transformed practices of

„subjectivation“** (power-related reflexive, communicative, ritualized, institutionalized practices,

in which culturally specific forms of self-relating subjectivities arise)

self optimization: „Quantified Self“

self images: „Selfie“

individualization: „echo chambers“

„ProdUser“-Ideology: „Be creative!“

42

favstar.fm

ExternerService,derseit2009„Favsterne“und„Retweets“einesUserssammeltundu.a.in„Leaderboards“präsentiert.

digitally transformed sociality

algorithm-enhanced sociality

e.g. Facebook-Filteralgorithms,

recommendation-–algorithms

…

network-sociality Attention ecomonies

Viral dynamics Smartmobs Shitstorms

WhatsApp-networked Peers and Families

…

digitally transgressed „gouvernementality“*

* = embodied mentality of „self-governance“; cf. „gouvernementality studies“

Smart Agriculture

Smart Environments

Monitoring/Controlling Energy Use

Sustainable Behavioral Change toward Healthy Lifestyle

Body Sensor Networks in Clinical Settings/Elder Healthcare …

Social Sensor Networks for Transportation Management

RFID for Next Gen Automotive Services

etc.

Ilyas, M., Alwakeel, S. S., Alwakeel, M. M., & Aggoune, el-H. M. (2014). Sensor Networks for Sustainable Development. CRC Press.

„Smart“ Everything als conglomeration of

datamining, surveillance, solutionism and moralization?

digital transformation of culture/

cultural objekcts

• MIDI

as a „lock-in“-

phenomenon

Jaron Lanier: Gadget. Warum die Zukunft uns noch braucht. Frankfurt/M.: Suhrkamp 2010.

MIDI (Music Instrument Digital Interface)

byte 1: note on/offbyte 2: coded note value (diachronic)

byte 3: velocity (0-128)

MIDI (Music Instrument Digital Interface)

byte 1: note on/offbyte 2: coded note value (diachronic)

byte 3: velocity (0-128)

• MP3

as a cultural artefact and

„(im-) perceptual capital“

Sterne, Jonathan (2012). MP3. The Meaning of a Format. Duke Univ. Press

4. Conclusion

Whose knowledge, whose algorithms?

Whose communication, whose communicational spaces?

Whose data, whose added value?

Whose creativity, whose copyright?

Thesis 1

Software and its (practical, aesthetical, social, economical, political) logics are

constitutive for processes of subjectivcation and „Bildung“.

Education thus can no longer be understood without regard to the conditions of postdigital culture.

Thesis 2

The cultural and aesthetic dimension is (at least) as important as the cognitive

dimension:

The digital/informational sphere is as much a genuin part of our cultures as

other infrastructural encounters, such as urban construction and development.

Thesis 3

If software + networks are, in our present situation, the central form of power, control and governance, then

education has not to refuse, but to embrace digitality throughout its fields.

Because:

The critical practice is „fundamentally dependent on the horizon of knowledge effects within which it operates“; it is formed „in the crucible of a particular exchange between a

set of rules or precepts (which are already there) and a stylization of acts (which extends and reformulates that

prior set of rules and precepts). This stylization of the self in relation to the rules comes to count as a ‚practice‘.”

(J. Butler, What is Critique? An Essay on Foucault’s Virtue)

Lawrence Abu Hamdan: Earshot (2015)Abb: http://lawrenceabuhamdan.com/#/new-page-1/

inverted surveillance as a civic/artistic counterstrategyhttp://lawrenceabuhamdan.com/#/new-page-1/

http://www.portikus.de/de/exhibitions/199_earshot