1,721,032 research outputs found
The (Post-)Digital Condition - An Interview with Felix Stalder
No full textThis interview appears in advance of the upcoming conference “Digital Cultures: Knowledge/Culture/Technology” at the Centre for Digital Cultures (CDC) in Lüneburg, where Felix Stalder will speak on the “Digital Condition”
Aesthetics, Commons and the Production of the Subject: An Interview with Cornelia Sollfrank and Felix Stalder
No full textTwo of the editors of the volume Aesthetics of the Commons (Diaphanes 2021) Cornelia Sollfrank and Felix Stalder discuss with WPCC journal the potential and meanings of the digital commons in creating new subjectivities and new imaginaries on and off the internet. Within this they question whether the focus on the aesthetics of the commons is useful for understanding phenomena such as 'artistic shadow libraries', pointing towards the need to build institutions for which 'practices of commoning are central'. Also considered are the modern art system, copyright, and the corrosive individualism of Western modernity in the artistic sphere. Against these factors they note instead that, 'the commons are structured through different relations, and care expresses that difference'. New economic approaches are needed in the arts supported by political actors which might include the 're-envisioning [of] public institutions, such as public broadcasting, as part of a commons'.+ ID: 593099 + PeerReviewed: Peer Reviewe
Against Immunisation: Boxing as a Technique for Commoning
No full textA score for the exhibition: Open Scores - How to program the Commons, Panke Gallery, Berlin curated by Shusha Niederberger, Cornelia Sollfrank, Felix Stalder in the context of the research project "Creating Commons", at the Institute for Contemporary Art Research, Zurich University of the Arts
Review: Aesthetics of the Commons
Full text linkA review of Aesthetics of the Commons edited by Cornelia Sollfrank, Felix Stalder, and Shusha Niederberger published in the September 2021 issue of ARLIS/NA Reviews (https://reviews.arlisna.hcommons.org)
Kultur der Digitalität
No full textDas zentrale Thema des Seminars L2D2 ist die „Kultur der Digitalität” und wie diese Kultur im Bildungsbereich ankommt. In dieser Sitzung beziehen wir uns auf den Text von Felix Stalder
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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