With: Thierry Bardini, Philip Beesley, Caroline van Eck, Gustav Fechner, Mark Frost, George Gessert, Tim Ingold, Arjen Mulder, John Ruskin, Steven Shaviro, Lars Spuybroek, Wendy Steiner, Daniel N. Stern.

Edited by Joke Brouwer, Arjen Mulder and Lars Spuybroek.

Our need for beauty and our pleasure in it have not been annihilated, as hard as the 20th century’s various forms of modernism tried to erase it from art and life and supplant it with “the sublime.” The sublime is awesome: it does not evoke empathy, let alone sympathy with the world and the things in it. Beauty does: it not only makes life interesting but brings well-being into the picture. We do not associate beauty in any way with Prince Charles-type neoclassicism, but neither do we link it to recent attempts to come up with a “bioclassicism” that would reintroduce the ideal proportions of natural systems as measures for human aesthetics. Technology is the new nature, and the updated kind of beauty we’ll explore in this symposium is a technological one. We will call this beauty “vital,” in honor of the 19th-century art critic John Ruskin, who distinguished between “typical,” conventional beauty and the “vital” kind, which surprises us with new connections, relations and potentialities.

The publication will be released during the Vital Beauty Symposium at May 16 in de Balie, Amsterdam.

The Vibrancy Effect was a closed expert meeting held at V2_ in April 2011 and curated by Chris Salter that sought to bring together a select group of natural and social scientists humanists and artists, working in different disciplines but united in their underlying urge to explore the aesthetic-political-technical-ethical effects of “vibrant matter.”

Concept by Chris Salter and Erik Adigard

Edited by Chris Salter, Harry Smoak and Michel van Dartel   

Design & production by M-A-D / Erik Adigard, Patricia McShane & Htet Win

Book Launch

Vibrancy Effect will be presented during the DEAF2012 festival,
Gouvernestraat 133 Hotspot, on May 18, 12:00-13:00.

Author: Various Issued: 2005 Type: Paperback, illustrated, full color   Pages: 264 Language: English	Dimensions: 23.5 x 16 cm ISBN: 90-5662-389-3 Price: € 21.50 Design: Joke Brouwer

With: Andrew Benjamin, Josephine Bosma, Andy Cameron, Timothy Druckrey, Rudolf Frieling, Mark B. Hansen.

Edited by Joke Brouwer, Arjen Mulder and Anne Nigten.

aRt&D: Research and Development in Art lays open a new investigative field of art that emerged in the last few decades as a result of media and technology influences. aRt&D introduces the diversity of this new art domain to a broader audience. It is the first book that is entirely dedicated to artistic research and development.

In the past decades a new international trend has emerged within the arts, usually referred to as "electronic," "digital," or "interactive" art. In the 1980s, artists mainly worked with radio and video, where in the last fifteen years digital media and network technologies have emerged as their instruments of choice. This new art domain is characterized by collaboration between artists, designers, engineers and scientists, who join forces in researching and experimenting with new opportunities for using technology for artistic ends.

aRt&D: Research and Development in Art not only provides a unique insight in the art practice through essays in which artists write about their personal experiences, it also develops a theoretical framework for these projects. The book contains contributions by the award-winning performance group Blast Theory, media artist Thecla Schiphorst, art critics Josephine Bosma and Rudolf Frieling, media theorist Andy Cameron, curators Mark Hansen and Inke Arns, philosopher Andrew Benjamin, and many others. Timothy Druckrey, expert in this field, evaluates the importance of artistic research and development so far. aRt&D positions itself as a pioneering work: it is the first book ever published that focuses in depth on interdisciplinary research and development from an artistic perspective.

Essays

• Introduction
• Andrew Benjamin: Plurality of Actions: Notes on an Ontology of Technique
• Josephine Bosma: Net Art: Building Something out of Nothing
• Andy Cameron: Dinner with Myron or: Rereading Artificial Reality 2: Reflections on Interface and Art
• Timothy Druckrey: (Ad)Venture Aesthetics?
• Rudolf Frieling: Database and Context: Artistic Strategies within a Dynamic Field of Action
• Mark B.N. Hansen: Embodyment: The Machinic and the Human
• Anne Nigten: Blurred Disciplines, Expressive Software

Artist Projects

• Archined, Stealth and V2_Lab
• Ars Electronica Futurelab and Brucknerhaus
• Blast Theory
• Sara Diamond
• Sher Doruff
• Edwin van der Heide and Lars Spuybroek
• Margarete Jahrmann and Max Moswitzer
• Knowbotic Research
• David Link
• Esther Polak
• David Rockeby
• Q.S. Serafijn and Lars Spuybroek
• Christa Sommerer and Laurent Mignoneau
• Zoltán Szegedy-Maszák and Márton Fernezelyi
• Time's Up
• whisper

Author: Arjen Mulder, Maaike Post Issued: 2000 Type: Paperback, illustrated, full color   Pages: 184 Language: English	Dimensions: 27.5 x 20.5 cm ISBN: 0-6617-255-X Price: € 20.50 Design: Joke Brouwer

Interviews with: Dick Raaijmakers, Stelarc, Steina and Woody Vasulka, Peter Weibel, Roy Ascott, Adilkno, Erik Hobijn, Felix Hess, Lars Spuybroek, Kodwo Eshun, Geert Lovink, Seiji Shimoda. 

In the past 25 years the electronic arts have left their pioneering days behind and grown into a fully fledged and richly varied form of art. Electronic art concerns both an artistic approach to technological devices and a technological approach to artistic concepts. Electronic art necessitates a reevaluation of the classic concept of art, and this is exactly what is done in the five essays included here. These essays were written with a lay audience in mind and describe the cultural, scientific, art historic, military-political and socioeconomic backgrounds with which electronic art is in dialogue.

The electronic arts as described here include spectacular devices such as Dutch artist Erik Hobijn's "suicide machine" and the "third arm" of Australian body artist Stelarc, and sophisticated interactive installations like those of Germany's Ulrike Gabriel and Japan's Seiko Mikami. They also include complex Internet projects by the Austrian/German Knowbotic Research (IO_dencies) and the English art inspiration Roy Ascott and the motion architecture of Rotterdam's Lars Spuybroek/NOX. These and other artists are given a voice in the Book for the Electronic Arts. Also included are interviews with pioneers and theorists of electronic art like Dick Raaijmakers, Peter Weibel, Steina and Woody Vasulka and Kodwo Eshun.

The Book for the Electronic Arts is lavishly illustrated with full-color photographs and other documents from the archives of V2_Organisation in Rotterdam, where over the past twenty years, virtually everything that was of interest in electronic art or was later proven to be has been presented.

"Electronic art necessitates a reevaluation of the classic concept of art, and this is exactly what is done in the five essays included here". UNESCO.org

Essays

• Non-Producing Machines
• Unstable Media
• Imageless Art
• Counterintuitive Interfaces
• Incommunicative Networks

Interviews

• Dick Raaijmakers
• Stelarc
• Steina and Woody Vasulka
• Peter Weibel
• V2_Organisation
• Roy Ascott
• Adilkno
• Erik Hobijn
• Felix Hess
• Lars Spuybroek
• Kodwo Eshun
• Geert Lovink
• Seiji Shimoda

Issued: 1992

ISBN: 90-9004840-5

Dimensions: 17 x 24 cm

Pages: 168

Type: Paperback, Illustrated, b-w

Language: English

With: Eric Bolle, Florian Rötzer, Jeffrey Shaw, Kristine Stiles, Georges Teyssot with Diller Scofidio, Paul Virilio, Peter Weibel, Gregory Whitehead, Achim Wollscheid.

Edited by Alex Adriaansens, Joke Brouwer, Rik Delhaas and Eugenie den Uyl.

This era, in which ideological oppositions no longer seems to exist, is dominated by the achievements of the Western model: science and technology. It is the era in which all systems are "compatible," in which an adapter can always be found for every opposition and every irregularity is erased by technology; in which, world-wide, the liberal-capitalist democracy is considered ideal; that is the era of the hegemony of technology, a technology which simulates a reality of its own, outside our physical reality, and which absorbs everything. 

In this book, visual artists and scientists involved in media art ask themselves the question of how to deal with the hegemony and the repression of, and the liberation by, technology. Their questions are not only directed at the image of reality produced by technology, that is: simulated reality, but also at the moment when our perception changes. The moment when criticism is still possible and we have not yet been absorbed by this simulated reality. It is a book about media art, which is aware of a changed world vision and which manifests these changes in its relationship with the public. Media art, which clearly distinguishes itself from art based on traditional standards, which has so far been shunning this development, but whose "images" are, indeed, being reproduced by the new technologies.

Essays

• Eric Bolle: Antisocial Scenarios
  
• Jefrey Shaw: Interactive Digital Structures
  
• Kristine Stiles: Selected Comments on Destruction Art
  
• Peter Weibel: New Space in the Electronic Age
  
• Florian Rötzer: Fascinations, Reactions, Virtual Worlds and other Matter
  
• Achim Wollscheid: Shifts
  
• Georges Teyssot with Diller Scofidio: Erasure and Disembodiment
  
• Gregory Whitehead: Radio Art Le Mômo
  
• Paul Virilio: The Law of Proximity

Issued: 2003

ISBN: 90-5662-310-9

Dimensions: 23 x 16 cm

Pages: 216

Type: Paperback, Illustrated, full color

Language: English

With: Arjun Appadurai, Simon Conway Morris, Antonio Damasio, Manuel DeLanda, George Dyson, Boris Groys, Ingo Günther, Ryszard Kapuściński, Winy Maas, Brian Massumi, Sadie Plant, Scott Lash.

Edited by Joke Brouwer and Arjen Mulder.  

More and more artists and architects are developing software systems that automatically organize data into complex knowledge systems, in a process within which the user is only one determining factor. Information Is Alive considers the artistic potential of these couplings in a selection of essays, interviews and projects.

Arjun Appadurai reports on the desire to shape collective memory, as expressed through examples such as the official discourse on archives, and discusses alternative ways of forming such memory being put into place by subjects who are ignored by world capitalism. In a meditation on various theoretical perspectives, Sadie Plant looks at cellphone use as a social bond in communities whose members are geographically dispersed. Artist Ingo Günther presents Worldprocessor (1988–2003), a project that proposes interfaces for visualizing statistical data related to global geopolitical phenomena (life expectancy, immigration rates, energy consumption). Through a philosophical reflection on the concept of movement, Brian Massumi evokes the paradoxical nature of information, which is both rooted in abstract systems (language, computer code) and understood subjectively when it is physically deployed.

The book also includes interviews with researchers working in different scientific fields (Simon Conway Morris in biology, George Dyson in epistemology, Winy Maas of the collective MVRDV in architecture, Antonio Damasio in neurology, and Scott Lash in sociology). These specialists comment on procedures used to sort and interpret the data gathered in their research.

 “We know we live in a universe that’s hospitable to information or we wouldn’t be here making note of this.”

Essays and Interviews

• Arjen Mulder and Joke Brouwer: Introduction
• Manuel DeLanda: The Archive Before and After Foucault
• Arjun Appadurai: Archive and Aspiration
• Sadie Plant: Mobile Knitting
• Simon Conway Morris: The Deep Pattern of Life
• George Dyson: On the Loose
• Winy Maas: Permanent Testing
• Brian Massumi: The Archive of Experience
• Ingo Günther: Esse Est Percipi
• Antonio Damasio: The Memory as Living Archive
• Boris Groys: What Carries the Archive - and for How Long?
• Scott Lash: Information Flows and Involuntary Memory
• Ryszard Kapuściński: These People, Where Are They?

Artist Projects

• George Legrady: Pockets Full of Memories
• Ari Versluis/Ellie Uyttenbroek: Exactitudes
• Herwig Weiser: Zgodlocator
• Yasuhiro Suzuki: Globe-Jungle Project
• Blast Theory: Can You See Me Now?
• Volker Morawe/Tilmann Reiff: PainStation
• Jonah Brucker-Cohen: PoliceState
• Ingo Günther: Worldprocessor
• Lynn Hersman: Agent Ruby.com - Synthia
• Tamás Szakál: Phonic Frequencies
• Josh On & Futurefarmers: They Rule
• Jeffrey Shaw: Web of Life
• David Link: Poetry Machine_1.5
• Lev Manovich: Soft Cinema
• Stahl Stenslie A.O.: Erotogod
• Geert Mul: 100,000 Streets

Editors: Arjen Mulder, Joke Brouwer Issued: 2007 Type: Paperback, illustrated, full color   Pages: 220 Language: English	Dimensions: 23 x 16 cm ISBN: 978-90-5662-577-1 Price: € 22.50 Design: Joke Brouwer

With: Sean B. Carroll, Alberto Toscano, Jeanne van Heeswijk, Michael Hensel, Eva Jablonka, Noortje Marres, Brian Massumi, Detlef Mertins, Arjen Mulder, Lars Spuybroek, Gilbert Simondon.

Interaction is a defining characteristic of every living being. Bodies and objects build connections, form networks, and then, through interaction, achieve organization, structure, memory and heredity. The only selection criterion for interaction is whether it works, that is, whether it is operational. Interactivity is on the one hand a method of bringing something into being - a form, a structure, an organization, a body, an institute, a work of art - and on the other hand a way of dealing with it.

Interact or Die! takes an interdisciplinary approach to its theme. It contains a series of interviews with leading biologists in the field of evolutionary developmental biology (“evo-devo”) and with architects and art historians in the field of bioconstructivism. It also features a series of outstanding essays on interactive art, interactive politics and interactive philosophy.

Interact or Die! received the 2008 Media.Art.Research.Award from the Ludwig Boltzmann Institute and Ars Electronica in Linz, Austria.

“There is no information in the genes or in the environment unless it is interpreted by the organism.”

Essays and Interviews

• Joke Brouwer and Arjen Mulder: Interact or Die!
• Sean B. Carroll: The Genes and Switches for Animal Forms
• Eva Jablonka: Information Is Everything That Can Be Interpreted
• Arjen Mulder: The Excercise of Interactive Art
• Brian Massumi: The Thinking-Feeling of What Happens
• Jeanne van Heeswijk: Empathy as a Radical Act: An Argument for Re-Scripting the City
• Detlef Mertins: Where Architecture Meets Biology
• Lars Spuybroek: The Aesthetics of Variation
• Michael Hensel: Absolute Convolut-o-rama
• Noortje Marres: There Is Drama in Networks
• Alberto Toscano: Technical Culture and the Limits of Interaction: A Note on Simondon
• Gilbert Simondon: Technical Individualization

Artist Projects

• Thomas McIntosh: Ondulation
• Donna Conlon: Coexistence
• Garnet Hertz: Experiments in Galvanism
• Herwig Weiser: Death before Disko
• Exenemo: Object B
• Code 31: SE/30
• Roman Kirschner: Roots
• Workspace Unlimited: Common Grounds
• Valentina Vuksic: Harddisko
• Edwin van der Heide: Pneumatic Sound Field
• Übermorgen: Amazon Noir
• Marnix de Nijs: EI4
• Zhang Peili: Lowest Resolution
• 5Voltcore: knife.hand.chop.bot
• Zhou Hongxiang: Chinese Portaiture
• Yang Zhenzhong: Surrounded
• Hu Jie Ming: Go Up! Go Up!
• Antoine Schmitt: World Wide Ensamble
• Graham Smith: MOBI and Morphing Machinery
• Zachary Liebermanz: drawn

Issued: 1997

ISBN: 90-6617-183-9

Dimensions: 17 x 24 cm

Pages: 64

Type: Paperback, Illustrated, full color

Language: English & Dutch

With: Knowbotic Research, William Mitchell, Stefan Münker, Stephen Perella, Stacey Spiegel, Siegfried Zielinski.

Edited by Joke Brouwer and Carla Hoekendijk.

Published in 1997, this booklet in the form of a hypertext on paper covers the then-central questions about the Internet’s ontological status.

“The interface is not a border. It is a field of fluctuating activities. It is by working at and in the difference between the possible and the makeable that the room for agency is opened up.”

Are computer networks a virtual world, parallel to a "real" world? Can a superhighway be digital? Can a city be digital? Is the Internet nothing but a huge collective mental projection, constructed with the aid of a large number of (architectural) metaphors? If the answer to these questions is affirmative, we – together with these authors – will have to address a number of essential issues. What does this mean to the cities we inhabit now? And if this technological extension of the urban space has so much "reality effect," are we willing to throw ourselves on the Net for shopping, education and even to search for money and happiness? In the end, will we have to metaphorize ourselves, with our bodies becoming nothing but a protrusion of the screen?

Contents

• Stefan Münker: Interfacing Realities
  
• Knowbotic Research: Non-Locations/Event: Under Construction
  
• William Mitchell: As If
  
• Stephen Perella: Hypersurface architecture and the question of interface
  
• Stacey Spiegel: Landscape of memory
  
• Siegfried Zielinski: Towards a dramaturgy of differences
  

Editors: Arjen Mulder, Joke Brouwer Issued: 2000 Type: Paperback, illustrated, full color   Pages: 190 Language: English	Dimensions: 23 x 16 cm ISBN: 90-5662-189-0 Price: € 22.50 Design: Joke Brouwer

With: Douwe Draaisma, Kodwo Eshun, Robert Levine, Detlef Linke, Atau Tanaka, Mark C. Taylor, Eugene Thacker, Francisco Varela, Peter Weibel.

What is "the Now" wrapped in technological immersion? Is the depth of the moment, only something to remember or are we continually confronted by non-stop moments in real-time?

In contrast to extensive time, the time of duration and continuity, technology provokes intensive time, according to Virilio - intensive time being the technological acceleration of moments which we are unable to grasp. Whereas the millisecond may be child"s play to the computer, the brain takes about 0.3 seconds to find synchronicity in the experience of time and space. As the intensive time of the computer drastically eliminates the space continuum, all focus moves to purely time-based media, producing high-speed machine times. How does the mind relate to these machine times? How does extensive time collide and perhaps intertwine into the accelerated pace of technology? Must we shift gears to matrix-minded speeds just to keep up? The DEAF_00 book may prove the impulse ... with texts by Francisco Varela, Detlef Linke, Mark Taylor, Eugene Thacker, Douwe Draaisma, Atau Tanaka, Kodwo Eshun, Robert Levine, Peter Weibel and Æ.
Also linked to the symposium, the book gives catalogue information on the exhibition and other presentations at the festival ... coming to grips with the synchronization of time-based information, perhaps it is time to speed up your sensory data input?

Essays and Interviews

• Introduction
• Francisco Varela: The Deep Now
  
• Detlef Linke: The Rhythms of Happiness
  
• Mark C. Taylor: We are the incarnation of complex Worldwide Webs
  
• Eugene Thacker: Regenerative Medicine: We Can Regrow It For You Wholesale
  
• Douwe Draaisma: The Clockwork of the Mind
  
• Atau Tanaka: Speed of Sound
  
• Kodwo Eshun: Visions of rhythm in the kinematic pneumacosm of Hype Williams
  
• Robert Levine: Time Talks, with an Accent
  
• Peter Weibel: Chronocracy
  
• Æ: S8P Antennas, Transmission
  

Artist Projects

• Andrej Ujica: Out of the Present
• Claudia Kölgen: Sitting
• Martin Reinhard/Virgil Widrich: tx-transform
• Mari Soppela: Heimola
• Akisugu Maebayashi: Sonic Interface
• John F. Simon jr.: Every Icon
• Marnix de Nijs: Panoramic Acceleration
• Eike: X=X+1 (INCREmental)
• Christian Kessler: Transverser
• IBW: Yes, we have no Norit
• Ron Kuivila: Twilight of the Second Hand
• Dieter Jung: Light Mills
• Perry Hoberman: Timetable
• Woody Vasulka: Time/Energy Object and its Building Element, the Waveform
• Atau Tanaka/Kasper Toeplitz: Global String
• Gerald van der Kaap: 12th of Never
• Ana Giron: Artificial Time
• Gregory Barsamian: The Trap
• ART+COM: Ride the Byte
• Ikuo Nakamura: The Mirror

Editors: Joke Brouwer, Arjen Mulder Issued: 2003 Type: Paperback, illustrated, full color   Pages: 101 Language: English	Dimensions: 16 x 20 cm ISBN: 90-5662-309-5 Price: € 17.50 Design: Joke Brouwer

With: Sher Doruff, Rafael Lozano-Hemmer, Brian Massumi, Lev Manovich, Anne Nigten, Joel Ryan.

Today we have a wide range of precise systems that have been developed to describe and categorize spoken and written communication – phonologically, morphologically, syntactically, semantically, pragmatically, stylistically. But nothing similar exists for visual and audio communications, in spite of the fact that the importance of these media has increased dramatically. To realize such a system, the archive of documents must be transformed into a digital sound and image database.

Making Art of Databases is a series of essays about attempts to develop systems for the deployment of databases in interactive, dynamic artworks in which the database plays an active role. Lev Manovich, Sher Doruff, Joel Ryan and Rafael Lozano-Hemmer, together with Brian Massumi, share their ideas on the use of databases and archives and present the results of master classes they gave in various European cities in their particular areas of expertise. 

“Urban city intervention is not the best fit to reflect the reality of the city, for the simple reason that it is better suited to revise it.”

Essays

• Anne Nigten: How Do We Make Art of Databases?
• Lev Manovich: 'Metadating' the Image
• Rafael Lozano-Hemmer and Brian Massumi: Urban Appointment: A Possible Rendezvous with the City
• Joel Ryan: MuViz - Visualization Notes
• Sher Doruff: Collaborative Culture and EmergentC's

Author: Geert Lovink Issued: 2003                    Type: Paperback   Pages: 296 Language: English	Dimensions: 20 x 14 cm ISBN: 90-5662-353-2 Price: € 22.50 Design: Joke Brouwer

In My First Recession, Geert Lovink maps the transition of critical Internet culture from the mid-1990s Internet craze to the dot-com crash, the subsequent meltdown of the global financial markets, and 9/11. In his discussion of the dot-com boom and bust cycle, he lays out the challenges faced by critical Internet culture today.

In a series of case studies, Loovink meticulously describes the ambivalent attitude that artists and activists take as they veer back and forth between euphoria and skepticism. As part of this process, Lovink examines the internal dynamics of virtual communities through an analysis of the use of moderation and "collaborative filtering" on mailing lists and weblogs. He also confronts the practical and theoretical problems that appear as artists join the growing number of new media educational programs. Delving into the unexplored gold mines of list archives and blogs, Lovink reveals a world that is largely unknown to both the general public and the Internet visionaries.

Geert Lovink is an Amsterdam based media theorist and Internet critic, a cofounder of numerous online projects such as Nettime and Fibreculture, and the author of Dark Fiber (2002), Uncanny Networks (2002) and Zero Comments (2008).

Contents

Introduction
Currents in Critical Internet Culture

Post-Speculative Internet Theory
Three Positions: Dreyfus, Castells, Lessig

Anatomy of Dotcom Mania
Overview of Recent Literature

Deep Europe and the Kosovo Conflict
A History of the V2_East/Syndicate Network

Principles of Streaming Sovereignty
A History of the Xchange Network

The Battle over New-Media Art Education
Experiences and Models

Oekonux and the Free-Software Model
From Linux to the GPL Society

Defining Open Publishing
Of Lists and Weblogs

Conclusion
Boundaries of Critical Internet Culture

Notes
Bibliography
Acknowledgments

Editors: Arjen Mulder, Joke Brouwer Issued: 2004 Type: Paperback, illustrated, full color   Pages: 208 Language: English	Dimensions: 23 x 16 cm ISBN: 90-5662-423-7 Price: € 22.50 Design: Joke Brouwer

With: Arjun Appadurai, Mike Davis, Alexander Galloway/Eugene Thacker, Tijs Goldsmith, Christopher Kelty, Arjen Mulder, Karim Nader, Loretta Napoleoni.

Interactive art is organized as an open system: it is able to exchange matter, energy, and information with its environment while maintaining its coherence. Interactive art is art in a state of rest that must be disturbed: it is a system that has to become network before it becomes art at all. In order to come to grips with the phenomenon of interactive art, one must first understand the relationship between systems and networks.

“To find form or to see form arise, seek the systems in the network.”

Feelings Are Always Local analyzes the ways in which networks organize, expand, come together, and rearrange themselves from the inside out. With the help of specific examples, the authors investigate how we live in networks, how possibilities are created within them, opportunities seized, escape routes chosen – and how things sometimes go utterly wrong. The first question is scientific in nature: How do networks function? The second is political: How are networks made manageable at the concrete, everyday level?

Feelings are Always Local was published on the occasion of DEAF04, the 2004 Dutch Electronic Arts Festival, which focused on interactivity as an open system and interactivity in open systems. The book looks at projects with a social and political slant as well as those with a technological or biological character. It includes a series of essays, interviews and projects by international theorists and artists.

Essays and Interviews

• Arjen Mulder/Joke Brouwer: Introduction - Feelings Are Always Local
• Arjun Appadurai: Minorities and the Production of Daily Peace
• Mike Davis: Planet of Slums
• Alexander Galloway/Eugene Thacker: In Defiance of Existence: Notes on Networks, Control and Life Forms
• Tijs Goldschmidt: Every Species Is The Embodiment of Experience with the World
• Christopher Kelty: Opening the Brown Box: Networks, Science and Infrastructure
• Arjen Mulder: Body and Soul: Ludwig von Bertalanffy's Biological Worldview
• Karim Nader: Memories are Constructive in Nature
• Loretta Napoleoni: The New Economy of Terror

Artist Projects

• 0100101110101101.org: Perpetual Self Dis-Infecting Machine
  
• Beat Brogle and Philippe Zimmermann: Onewordmovie
  
• Jean-Michel Bruyère: Si Poteris narrare
  
• Chris Cunningham: All Is Full of Love
  
• Emanuel Danesch and David Rych: Utopia Travel
  
• Eastwood: Civilization IV
  
• Zhang Ga: Peoples' Portrait
  
• Tobias Grewenig: Bitmirror
  
• Axel Heide, OnesAndZeros, Philip Pocock, Gregor Stehle: UnMovie
  
• Luke Jerram: Tide
  
• Roman Kirschner: Ohrwurmbeschleuniger
  
• Ulf Langheinrich: Perm
  
• Seiko Mikami and Sota Ichikawa: Gravicells
  
• Mobile Cartographic Command Center
  
• Mumbai Streaming Attack: TramJam
  
• Marnix de Nijs: Run Motherfucker Run
  
• David Rokeby: n-cha(n)t
  
• Gebhard Sengmüller: Very Slow Scan Television
  
• Alexei Shulgin, Victor Laskin: WIMP
  
• Christa Sommerer and Laurent Mignonneau: Mobile Feelings
  
• Sponge: Membrane
  
• Time's Up: The Bar Bot
  
• Workspace Unlimited: DEVMAP
  
• Joachim Montessuis and Eléonore Hellio: M.U.S.H.

Author: Arjen Mulder Issued: 2004                    Type: Paperback   Pages: 230 Language: Dutch	Dimensions: 20 x 14 cm ISBN: 90-5662-387-7 Price: € 21.00 Design: Joke Brouwer

In Over mediatehorie wordt beschreven hoe onze communicatiemiddelen bepalen wat en wie we zijn, hoe we ons gedragen, waarover we wel en niet nadenken, hoe we onze gevoelens ontplooien of laten inperken, en wie we wel of juist niet kunnen bereiken. 

De mediatheorie biedt een verklaring voor praktisch alles wat er in onze wereld door mensen wordt gedacht, gedaan en ervaren. Dit explosieve gedachtegoed is in de afgelopen vijftig jaar ontwikkeld door allerlei auteurs van over de hele wereld, maar een synthese van hun ideeën bestond tot nu toe niet.

Over mediatheorie biedt zo'n synthese. Arjen Mulder vat het werk van eerdere auteurs samen, maar maakt de mediatheorie inzichtelijk door alle belangrijke begrippen, benaderingen en aandachtspunten van de mediatheorie te bespreken op grond van concrete voorbeelden en ervaringen. Dat houdt het boek toegankelijk - ook als het over complexe onderwerpen gaat als de geschiedenis van het taalgebruik, de werkwijze van de kunst of de onbewuste manier waarop we ons laten beïnvloeden door de media van de informatiemaatschappij.

Soms hilarisch, vaak fascinerend en altijd hoogst informatief, is Over mediatheorie een boek dat niet alleen bedoeld is voor studenten en kunstenaars, maar voor een ieder die belangstelling heeft voor onze tijd.

Arjen Mulder doceert mediatheorie op onder meer de Film en Televisieacademie in Breda en het HISK te Antwerpen.

Inhoud

Vooraf
Mediatheorie, de nieuwe wetenschap

Algemene mediatheorie: 

- Inleiding 

- Communicaties 

- Hermediatie 

Historische Mediatheorie:

- Inleiding 

- Gesproken taal 

- Geschreven taal

- Gedrukte taal 

- Getypte taal 

Praktische mediatheorie:

- Inleiding 

- Situaties en 'de media' 

- Analoge lichamen, digitaal bewustzijn 

- Het virtuele object van interactieve kunst  

- Van media- naar softwaretheorie 

Noten

Literatuur 

Editors:  Joke Brouwer and Carla Hoekendijk Issued: 1997 Type: Paperback, illustrated, full color   Pages: 368 Language: Dutch and English	Dimensions: 23 x 16 cm ISBN: 90-6617-186-3 Price: € 19.50 Design: Joke Brouwer

With: Louis Bec, Kerstin Dautenhahn, Stefaan Decostere, Manuel DeLanda, Mark Dery, Jozef Keulartz, Knowbotic Research, Detlef Linke, Humberto Maturana, Wim Nijenhuis, Lars Spuybroek, Stelarc, Gerburg Treusch-Dieter, Paul Virilio.

Will technomorphization – the reorganization of the organic based on the intelligent machine model – become the dominant process of our age? Has evolution entered a technological scientific phase in which humans no longer develop in natural ways, in which the human body instead adapts itself to the parameters of a technological era?

In this book, fourteen internationally acclaimed authors give their views on this blurring of borders and the fusion of the biological with the technological. It offers ideas on angels and robots, viruses and mad cows, a world where machines are anthromorphized and humans technomorphized. If the glare of our monitors is all that illuminates us, is it time to build a museum for the sun?

“A body capable of incorporating movement that from moment to moment would be a pure machinic motion performed with neither memory nor desire ...”

Essays

• Stelarc: Parasite Visions
• Manuel Delanda: The Machinic Phylum
• Knowbotic Research: The Urban as Field of Action
• Gerburg Treusch-Dieter: Caught in the Net; from Limb-Machine to Cyborg
• Wim Nijenhuis: Assault and Absence
• Mark Dery: An extremely Complicated Phenomenon of a Very Brief Duration Ending in Destruction: The 20th Century as Slow-Motion Car Crash
  
• Kertin Dautenhahn: Life, Intelligence and other Dangerous Constructions of Mind and Matter
• Detlef Linke: Theoids, Androids and Clonoids
• Stefaan Decostere: Angels in Hell - Benjamin in Cyber
• Louis Bec: Squids, Elements of Technozoosemiotics
• Jozef Keulartz: Primitive Imagination in Mechanical Metaphors
• Paul Virilio: The Museum of the Sun
• Lars Spuybroek: Motor Geometry
• Humberto Maturana: Metadesign
  

Author: Lars Spuybroek Issued: 2008 Type: Paperback, illustrated, b-w   Pages: 292 Language: English	Dimensions: 20 x 14 cm ISBN: 90-5662-637-2 Price: € 18.50 Design: Joke Brouwer

"That buildings are made of elements doesn't mean that architecture should be based on elementarism; on the contrary, we should strive for an architecture of continuity that fuses tectonics with textile, abstraction with empathy, and matter with expressivity."

This is the crux of the argument Lars Spuybroek makes in this book, the first fully theoretical account of his innovative work. The state of contemporary architecture is the product of a 150-year battle between the Polytechnique and Beaux-Arts schools of design, which has forced us into a stalemate between the radically opposed positions of high-tech and sculpturism. Spuybroek aims to do no less than mend this rift through rethinking technology as an extension of our feeling senses, materiality as the realm of activity and agency, and structure as the result of genesis.

Building on Gottfried Semper's materialist theory of architecture, he takes us from a philosophy of technology to a surprisingly historical argumentation that constantly revives the words of John Ruskin, William Hogarth and Wilhelm Worringer. Alongside a number of essays, the book contains extensive conversations in which we witness him refining and sharpening his arguments ("We will see a merging of Art Nouveau and Bauhaus, where empathy has been liberated from manual labor and machines have been liberated from uniform repetition"). In a period of theoretical tranquility in architecture, this book takes a refreshing turn back to the basics, one in which tools, methodology and architectural aesthetics are recalibrated.

Lars Spuybroek is Professor and Thomas W. Ventulett III Distinguished Chair in Architectural Design at the Georgia Institute of Technology in Atlanta. He is also the principal of NOX, an architecture and art studio in Rotterdam, the Netherlands. His previous books are The Weight of the Image (NAi Publishers, 2000) and NOX: Machining Architecture (Thames & Hudson, 2004).

"This Spuybroek guy is the cat's pyjamas of parametric architecture. I read his Continuity book and it was like being hit over the head with a Gothic column."

Bruce Sterling

Contents

Foreword by Detlef Mertins

Introduction: Experience, Tectonics and Continuity

Motor Geometry

Substance and Accident

The Motorization of Reality

The Primacy of Experience

The Soft Machine of Vision

Africa Comes First

The Structure of Vagueness

Sensograms at Work

The Lives That Are Hidden

Machining Architecture

The Architecture of Continuity

Textile Tectonics

The Aesthetics of Variation

Steel and Freedom

Acknowledgments
References

The Architecture of Continuity is made possible by the Netherlands Architecture Fund (Stimuleringsfonds voor Architectuur). www.archfonds.nl and the Prins Bernhard Cultuurfornds. www.prinsbernhardcultuurfornds.nl