Bestand wählen

The Work of Art in the Age of Digital Assassination

Zitierlink des Filmsegments
Embed Code

Automatisierte Medienanalyse

Erkannte Entitäten
true and that
and is and in the end of the what I wanna talk about today is the conundrum of reality and non reality of our world and the fictional or artificial worlds and works of art and everything from what Grace's museums and galleries the to wide enters are living rooms in the form of television or video games the the the title as you may
know is in reference to the works of Walter Benjamin the most important procrastinator in modern history and then you mean is a pioneer in media studies this study of cinema and how we consume media on a societal level in dark movie theaters from Berlin to New York watching technically reproduced images like the 1 we have in this Beamer and today streamed on the Internet over and over again his
essay is 1 of the most assigned texts in the Humanities itself technically reproduced and culturally consumed on a hyper level its primary theoretical focus is on ideology specifically banana means rather unique Marx's perspective about political progress and the fascist political order that he was working under during World War Two what I want to connect this to you
is what I call the current conflict what others call the war on terror and the things that go along with it so over here is a the 1st page of a legal memo memo regarding the applicability of federal criminal laws and the Constitution to the contemplated to that contemplated lethal operations against and well aliki was not a military general or a terrorist tactician was primarily a propagandist this authorizes the killing of an American citizen without trial by jury and authorize violation of the Constitution in both the 6th and if you think about it the 1st Amendment the violation of the 6th Amendment has it happened in the American uh in in the American context as the Civil War and this 1 was executed by Reaper drone this is an artifact from reality the this
artifact I want to connect to the artifacts of our current section such as those found all over in popular media of an intolerant and Muslim world region with anger against your freedoms as the West violates our lives and bodies in the hundreds of thousands and indeed violet violating its own rules and why arts
it's because the relationship between art and reality is not an easy 1 I want to point that even the most basic terms of our current reality say a word like assassination or assassins have multiple layers and historical residues the term assassin comes from the
Arabic has Shaheen or those who take hashish or stoners it was during the Crusades that the assassin word entered into European languages end as meaning specifically as someone who does targeted political killings it's based on a myth
or fictional propaganda against a small 2nd as long as this may these the story went that there was an old man of the mountain who would take young men to the garden and given so much hashish that they believed they were in heaven In more elaborate versions of there were gardens full of naked women music wine you know you get the idea and when the hashish were off and they're kind of going over there hashish hang over the old man would convince the young man that the only way for them to go back to to uh to heaven is by killing 1 of his enemies in was effectively a suicide mission when the young assassins the hash Rasheen were killed the immediately in a sense come back to the gardens the purpose of this story is to make the assassins look weak willed anything stupid though this sector may have performed political assassinations marijuana was not likely involved the sorry is probably completely bullshit but now we're stuck with the word assassin it's a fictional error or propaganda glitch in our current linguistic reality the can but the difference
the case you the slide explain to you the top it's a drone operators up there and in the bottom it's Cheech and Chong assassins has said or vise versa my argument is that the difference between reality and fiction or serious acknowledgment that this is real and that over there is never the just a story just a TV show just a video game is an logical difference on the level of ideas during the current conflict ideas that have a life of their own that are animated by new technologies like pieces of paper in the Middle Ages that propagated the Crusader myths of the assassins cultural Addis artifacts reflect multiple facets those signs of human advancement and human tragedy yeah the work of art
even as an object has a political valence the artist and the and the art work are all constituent parts of what we colloquially called the art scene that some what kind of toxic social construct that in turn makes up the art market and even more toxic construct does anyone recognize the unimpressive painting you normally wouldn't except it was done by a young struggling Austrian artist by the name of Adolf Hitler the Hitler was rejected from art school struggling to pay rent any gentrifying but vibrant Vienna the 1st steps in a sequence of events that give us the most devastating leader of the last century in case you're wondering yes I'm saying the art world give us Hitler the
speaking about art i don't wanna make like the facility to trump transition but it's hard to avoid television creatives were the minds behind the apprentice and the creation of Trump as a public persona with leadership qualities maybe life imitates art maybe art imitates life but reality television might be remembered as the highest form of terrorism OK so let's move on to
good or better art at least uh Chris Burden's 1981 on installation a tale of 2 cities is composed of 26 times of sand rocks plants and thousands
of toys depicting a war it
shows the frontier of 2 bordering states war with 1 of the states being larger and more developed than the other there is a harbor and airport and mountainous region toy airplanes and fighter jets hanging overhead in flight there is a small town in urban center and what looks like a tribal area here you can see the release of the
mountainside 1 side this
God with evidence of bombing and devastation the other appears unharmed notice surrounded by military infrastructure burdens installation was on display several times since 1981 and change kind of organically over time and told to kind of a final shape in the new museum retrospective in 2013 and was replicated in the permanent collection of the Orange County Museum of Art which I'd like to thank for the images a Tale of Two Cities straddles the historical time frame of the so-called war on terror 2 decades before and 1 decade after 9 11 anyone can help you imagine that the 2 cities became a metaphor for North America and the Middle East the Burns work is both a premonition and a testament to the nature of the current conflict the juvenile nature war from the aggressive side no less shows how removed Western democratic societies are from the site of conflict the is a game going on over there far away my question for today is how can
people in the west even make political art with so much historical baggage in the contemporary moment the following are colliders by a Syrian artist uh called as names a and handover who makes scenes uh of the war in Syria and the refugee crisis with these kind of kitschy surreal movie images from from Hollywood of the 19 fifties and sixties showing kind of
the bombing of places like Damascus is being perpetuated by UFOs instead of
Russians Americans and immoralities
placing the surreal devastation of Aleppo as an extraterrestrial experience as a Syria is not even on the planet Earth the Joab play on scale and
perspective attempts to contextualize and uh the historical heaviness of the current refugee crisis by showing these kind of over size of children sleeping on the beach side or the overreaction to
displays of western culture of models on culture in the West like the Bertini incident in France the horror of it they're of
surpassing the imagined futures of the past where control centers determine the fate of poor innocent people seem to the glassy days of technology trying to ensure the security of faraway states that are completely unaffected by the conflict
this next section I kind of put in jest but I also like partially serious and I want to kind of leave you with the idea that for better or worse the 2 most important artists today were their probably banks in these cup or and still in a way that their work embodies the issues of the art world with with this this and the idea of the current conflict from below and above the art
world feels compelled to be political to the point that if you make a non-political art it's some ways it's perceived as not only gauche but uh devastating the or shows you're kind of so removed from reality that you occupy and so is interesting when we think about how art collectors seem to be indifferent to the actual art itself and think of it on its market value as consumers and critics we to voice their concern about the context and not just the content of the arteries subjected to from the artist point of view they feel they feel a compulsion to that affect the world through the spray can or massive art commissions but those energies remain Indonesia's they become self serving as ways for careers to be made they need to be translated into something far more concrete more sincere and more human than the absurd unending wars we're constantly and and yeah I guess we have plenty of
time for questions as I said I've found out about this presentation 9 PM yesterday and was a little worried I was editing of way more types of thank you very much for the same and and and so the my and the the same this is done All-Russian all at once now good news that actually my 2nd chaos in a row speaking sir the whole this 1 is far more chaotic and 1st I must say they are thank you very much everyone and 0 and that is that you have to do it yeah like it's the what it yeah I had more
artists that I want to talk to but again in the context of how to sit in a harmful for units of bigger more intellectual of projects and putting burden verses eligible for me was uh 1 1 hand using a very established conceptual artist who's who's known that to someone who is unknown was just working actually entrapped in Syria and can't leave and I want to show that there is a genuine difference even if the intention of the artist is good that that the content and the context uh is detritus is in a sense devastating uh when you put it in a larger sphere of the war and a i to connect everything from the television shows and video games to gallery art as being part of the same ecosystem is not an easy thing you can do in 30 minutes for in my case tend to to my all of this is like post-doctural work so this is the stuff I didn't in my PhD I actually do the esthetics of the Islamic movement from themselves so such a kind of a more internal uh thing then from the external parties now this is kind of a a 1 1 Circle removed from what I was actually trained on him my my my my the home has and and game theory you don't the and the and the words so that maybe you can just tell us so all of the Socialist of the collages knowledge of his work and he actually is the self trained well for Chris Burden they put on Jewish assure thanks so well I guess burdens of installation is kind of famous um uh III himself the amount of income switched off hello OK yeah have uh burdens work the is 1st work is uh that he uh claims for was called shoot where he was actually shot by a colleague of it is in a gallery by a 22 rifle and then it was recorded on video and this was his kind of performance art that broken into B and conceptual art world and his art works in the seventies got bigger and bigger and with this is 1 of the ones that culminated in kind of a very cheek anti-war is the image knows that so uh was trying to but like in the context of someone who is kind of very very established to someone who is basically working on his laptop using Illustrator and Photoshop I and and then that de the end of the day I think that the the current conflicts that depicting itself in these images is in a sense it's own constants and all thing the and I we and and I all of the and all a group the the problem with that but if think that is a form of of ss to it
it and so thefts TSD TSD
Neuronales Netz
Arithmetische Folge
Ordnung <Mathematik>
Bildgebendes Verfahren
Kartesische Koordinaten
Operations Research
Kontextbezogenes System
Gesetz <Physik>
Gesetz <Physik>
Arithmetisches Mittel
Formale Sprache
Wort <Informatik>
Nichtlinearer Operator
Radikal <Mathematik>
Vorzeichen <Mathematik>
Gruppe <Mathematik>
Wort <Informatik>
Metropolitan area network
Objekt <Kategorie>
Demoszene <Programmierung>
Folge <Mathematik>
App <Programm>
Ganze Funktion
Overhead <Kommunikationstechnik>
Web Site
Shape <Informatik>
Natürliche Zahl
Demoszene <Programmierung>
Grundsätze ordnungsmäßiger Datenverarbeitung
Surreale Zahl
Bildgebendes Verfahren
Zentrische Streckung
Surreale Zahl
Inhalt <Mathematik>
Twitter <Softwareplattform>
Kombinatorische Gruppentheorie
Kontextbezogenes System
Twitter <Softwareplattform>
Einheit <Mathematik>
Inhalt <Mathematik>
Bildgebendes Verfahren
Drall <Mathematik>
Kontextbezogenes System
Soziale Software
Projektive Ebene
Manufacturing Execution System


Formale Metadaten

Titel The Work of Art in the Age of Digital Assassination
Serientitel 34th Chaos Communication Congress
Autor Al-Zaid, Saud
Lizenz CC-Namensnennung 4.0 International:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/34841
Herausgeber Chaos Computer Club e.V.
Erscheinungsjahr 2017
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract My talk explores the interconnected nature of war and culture. It does so through the context of technology and political discourse in contemporary art. With a view from the battle fields of the Middle East, both real and imagined, I attempt to dissect how the political discourse of academia and the art world trickles down to everyday discussions. A simple word such as "assassination" becomes rife with racism when its etymology can be linked to anti-Muslim propaganda that originated during the Crusades. And today assassination is the primary political tool of the West to negotiate with Muslim radicals, even violating their own rules of citizenship, constitutional, and human rights protections in the process. With this backdrop, we see how the artistic works of such diverse artists such as Chris Marker, Chris Burden, Haroun Farouki, Anish Kapoor, and Banksy have evolved to reflect the political discourse of the moment. The digital advancements of the war zone, I argue, are reflected in the diametrically opposed peaceful spaces of the gallery, museum, or art house cinema. As the digital defeats analogue, the act of killing becomes disconnected from the killer, with democracies spreading thei blame over systemic failures rather than facing the reality of death.
Schlagwörter Art & Culture

Zugehöriges Material

Folgende Ressource ist Begleitmaterial zum Video
Video wird in der folgenden Ressource zitiert

Ähnliche Filme