Krisis | Orientation

Krisis is a publication that aims to provide a critical research in the fields of design, arts, communication and contemporary languages. The project is developed by Unità di Crisi, a research unit composed by communication designer, theorists and teachers, focused on the phenomenon of the global and permanent crisis. Its underlying aim is to suggest a reflection about different aspects of the permanent crisis and about the responsibilities which come from operating as designer, that is to say as the ones who shape things, both material and immaterial, within the contemporary scenario.

Krisis has adopted the form of an archive: in other words a folder containing contributions, projects, interviews, and research. In this way every issue acts as an archive for each individual emergency dealt with, in order to create an itinerary and a discussion between heterogeneous and multiform elements. The sense of this approach is to create new constellations of meanings, starting from a multitude of particular elements, in such a way as to offer new perspectives and interpretations. Krisis Magazine forthcoming issue is called Krisis | Orientation.

Contribute to its funding.

Also, check out the Archive of Disorientation.

SubMap - Visualizing bikes movement in a day

SubMap, a project developed by Kitchen Budapest, is a unique tool to visualize geographic and time-based data on distorted maps. It has a huge potential in coping with data from a physically distributed network of independent sensors. In particular  it visualizes the bicycles' movements happening in Budapest.

Read more on the website.

An Ecology of Mind (2010)

An Ecology of Mind is a film portrait of Gregory Bateson, celebrated anthropologist, philosopher, systems theorist and autor, produced and directed by his daughter, Nora Bateson.

Francesco Tacchini - Uneven grounds: from the archive to the glitch

A dissertation presented to The School of Arts and Digital Industries (ADI) of the University of East London by Francesco Tacchini in 2013.

Foreword

This paper is an investigation into remediation trends in the realm of contemporary art and design. The analysis will extend into a methodology of the reuse of both the mere materiality of technological media devices and their operative modes. I will approach the topic under the umbrella of “media archaeology”, a branch of media studies devoted to alternative media discourses. Media archaeology is a methodical way for excavating repressed or forgotten devices and remediation practices, as well as an artistic modus operandi close to bricolage culture, software and hardware hacking, circuit bending and other Do-It-Yourself exercises.

My thesis work is structured as follows: the first part introduces the key theoretical concepts that make up the ground onto which carrying out the media-archaeological investigation. I will briefly outline the genesis of this (sub-)field of media studies and then point out what media archaeology has been up to now. The second part of this paper will execute the media-archaeological analysis undertaking three different case studies. The first is an investigation of works from Yuri Suzuki, a Japanese sound designer and artist, which I had the opportunity to meet and interview regarding what I am writing about. I will discuss how his artistic intervention celebrates the non-linear pasts of media culture by manipulating technological devices.

The second and third case studies witness a shift from the previous manual intervention on the physical device to a more subtle (re)mediation at the level of its processual modes. I will turn to designers engaging with (programming) contemporary media and repurposing the clean aesthetics of lines, geometrical patterns, algorithms and data processing, as well as the random noisy aesthetics of glitches, dis/continuities and visual abstraction.

Laura Cull - Theatres of Immanence. Deleuze and the ethics of performance - Palgrave Macmillan, Uk, October 2012

Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Gilles Deleuze's philosophy for theatre and performance. Engaging with a wide range of interdisciplinary practitioners including Goat Island, Butoh, Artaud, John Cage, the Living Theatre, Robert Wilson and Allan Kaprow, as well as with the philosophies of Deleuze and Guattari, Henri Bergson and François Laruelle, the book conceives performance as a way of thinking 'immanence': the open and endlessly creative whole of which all things are a part. 

Theatres of Immanence builds upon Deleuze's emphasis on immanence, affect, change and movement to provide new approaches to five key topics in theatre and performance: 1) authorship and collaboration, 2) voice and language, 3) animals in performance, 4) audience participation and 5) time or duration. The book provides an accessible introduction to Deleuze's ideas and draws attention to the ethical dimensions of performance, asking: 'what good is theatre, and particularly immanent theatre, anyway?'

Contents: Immanent Authorship: From the Living Theatre to Cage and Goat Island
Disorganizing Language, Voicing Minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent Imitations, Animal Affects: From Hijikata Tatsumi to Marcus Coates
Paying Attention, Participating in the Whole: Allan Kaprow Alongside Lygia Clark
Ethical Durations,Opening to Other Times: Returning to Goat Island with Wilson
In-Conclusion: What 'Good' is Immanent Theatre? Immanence as an Ethico-aesthetic Value

LAURA CULL is Senior Lecturer in Theatre Studies at the University of Surrey, UK. She is editor of Deleuze and Performance(2009) and co-editor with Karoline Gritzner of On Philosophy and Participation (2011) – an issue of the journal Performance Research. She has published chapters on Deleuze and performance in the edited collections Deleuze and Ethics andContemporary French Theatre (both, 2011) and a range of articles on Performance and Philosophy including in Theatre Research International (2009 & 2012). Laura is Secretary of Performance Studies international (PSi) and the founder and Chair of the PSi Performance and Philosophy working group.

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Axel Cherniavsky - Concept et méthode : La conception de la philosophie de Gilles Deleuze - Publications de la Sorbonne, Fr, Novembre 2012

La philosophie est définie par Gilles Deleuze comme une création de concepts. Elle implique l'invention d'une écriture et comporte une part inévitable de fiction. Elle s'apparente ainsi à l'art littéraire et au travail de l'écrivain. Deleuze lui-même revendique cette filiation : " Je ne sais pas si je me considère comme un écrivain en philosophie, déclare-t-il ; je sais que tout grand philosophe est un grand écrivain ". La démarche d'Axel Cherniavsky consiste ici à étudier la conception de la philosophie de Gilles Deleuze sous l'angle de cette question de la mise en oeuvre en la confrontant à la pratiques philosophiques des philosophes comme Hume, Kant, Spinoza ou Bergson qui ont accompagné son parcours et nourri sa réflexion.


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L’insistance avec laquelle Gilles Deleuze a essayé d’ouvrir la philosophie aux non-philosophes est directe- ment proportionnelle à la force qu’il a mise à saisir sa singularité. C’est pourquoi sa conception de la philosophie est une des plus précises et systématiques de l’histoire de la discipline. Elle se divise en une théorie des éléments, qui comporte le concept, le plan d’immanence et les personnages conceptuels, et en une théorie de la création qui comprend une théorie de la méthode malgré la méfiance que Deleuze exprimait à l’égard de cette notion, une histoire de la philosophie qui lui valut un grand nombre de reproches, et une conception du discours philosophique, peut-être implicite, certes, mais non moins consistante.
Concept et méthode se propose de dévelop- per cette conception de la philosophie à partir de la formule que Deleuze a employée pour définir la discipline depuis ses premiers travaux jusqu’aux derniers : « création de concepts ». Elle est elle-même une création conceptuelle, mais qui ne dévoile toute son originalité que si on la replace dans la tradition.

Axel Cherniavsky : Docteur en philosophie de l’université Paris 1 Panthéon-Sorbonne et de l’université de Buenos Aires, Axel Cherniavsky est profes- seur de philosophie contemporaine et de métaphysique à la faculté de philosophie de l’université de Buenos Aires. Il est l’auteur de Exprimer l’esprit. Temps et langage chez Bergson (L’Harmattan, 2009). 

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The Deleuze Dictionary - Edited by Adrian Parr - Columbia University Press, Usa, 21 nov. 2012 (Paperback)

This dictionary, the first dedicated to the work of Gilles Deleuze, offers an in-depth and lucid introduction to one of the most influential figures in continental philosophy. It defines and contextualizes more than 150 terms relating to Deleuze's philosophy, including “becoming,” “body without organs,” “deterritorialization,” “difference,” “repetition,” and “rhizome.” The entries also explore Deleuze's intellectual influences and the ways in which his ideas have shaped philosophy, feminism, cinema studies, postcolonial theory, geography, and cultural studies. More than just defining and describing specific terms, the dictionary elaborates on Deleuze's ideas to reveal the varied applications of his philosophy.

The contributors, who include some of the most prominent Deleuze scholars, bring their expert knowledge and critical opinion to bear on the entries. Their work provides a range of theoretical, historical, and aesthetic contexts for anyone interested in Deleuzian thought.

Contributors include: Ronald Bogue, University of Georgia; Rosi Braidotti, Utrecht University; Claire Colebrook, University of Edinburgh; Tom Conley, Harvard University; Eugene Holland, Ohio State University; Tamsin Lorraine, Swarthmore College; Paul Patton, University of New South Wales; Kenneth Surin, Duke University; Alberto Toscano, Goldsmiths College

Adrian Parr is professor of contemporary art and design at the Savannah College of Art and Design. She is the coeditor (with Ian Buchanan) of Deleuze and the Contemporary World.

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