The Work of Art in the Age of Digital Reproductions

95 Pages·2016·14.83 MB·English

█ █ █ H λ и и 3 s Д и d з R § 0 и
T h e W o r k o f
A r t i n t h e A g e
o f I m m a t e r i a l
R e p r o d u c t i o n s
i n p u t s , o u t p u t s
& i n b e t w e e n s
version 0.2
2016

T h e W o r k o f A r t i n t h e A g e o f I m m a t e r i a l
R e p r o d u c t i o n s
I n p u t s , O u t p u t s & I n b e t w e e n s
V e r s i o n 0 . 2
H a n n e s A n d e r s s o n
H a n n e s A n d e r s s o n
i s a n a r t i s t , f i l m m a k e r a n d r e s e a r c h e r . B o r n i n G o t h e n b u r g
( S w e d e n ) a n d c u r r e n t l y b a s e d i n t h e N e t h e r l a n d s
2 0 1 6
w h e r e h e u n d e r t a k e s a M F A i n M e d i a , A r t , D e s i g n a n d
T e c h n o l o g y a t t h e F r a n k M o h r I n s t i t u t e , M i n e r v a A r t
A c a d e m y . B e f o r e h e s t u d i e d D i g i t a l F i l m & A n i m a t i o n
a t S A E I n s t i t u t e B a r c e l o n a ( C a t a l o n i a ) . H a n n e s i s c o -
f o u n d e r o f t h e a r t c o l l e c t i v e C h i n o s I n t e r n a t i o n a l C C ,
c e n t r e d o n t h e d e v e l o p m e n t o f i n t e r a c t i v e a r t a n d o p e n
s o u r c e t e c h n o l o g y a s w e l l a s r e s i d e n t a r t i s t a t t h e
E u r o p e a n A r t - S c i e n c e - T e c h n o l o g y N e t w o r k ( E A S T N ) .
H e i s d i r e c t o r a n d c o - f o u n d e r o f t h e i n d e p e n d e n t f i l m
g r o u p A n d e r s s o n R o d r i g u e z F i l m s , m a i n l y p r o d u c i n g
d i g i t a l v i d e o a n d n a r r a t i v e c i n e m a s h o r t s f o r o n l i n e
d i s t r i b u t i o n . H i s a r t i s t i c w o r k f o c u s e s o n p e r c e p t i o n
a n d c o m m u n i c a t i o n i n t h e i n - b e t w e e n o f a r t a n d s c i e n c e
a n d h a s b e e n p r e s e n t e d i n t e r n a t i o n a l l y a t e v e n t s a n d
v e n u e s s u c h a s M u t e k ( S p a i n ) , O p u s ( B e l g i u m ) , B l u e
M e t r o p o l i s F e s t i v a l ( C a n a d a ) , S k e p t o I n t e r n a t i o n a l
F i l m F e s t i v a l ( I t a l y ) , M u m b a i I n t e r n a t i o n a l F i l m
F e s t i v a l ( I n d i a ) , A V a r t s F e s t i v a l ( G r e e c e ) , F e s t i v a l
I n t e r n a c i o n a l M a p p i n g G i r o n a ( S p a i n ) a n d Z K M G l o b a l e
D i g i t a l e ( G e r m a n y ) .
H a n n e s a l s o u s e s t h e A l i a s e s D o n u a n ( v i d e o / v j / c i n e m a
r e l a t e d w o r k ) a n d L h y n k x ( m u s i c / s o u n d r e l a t e d w o r k s ) .
h t t p : / / h a n d e r s s o n . n e t
For Norma & Hendrik
I find it increasingly harder to separate my thinking from yours
For Jonas, Anastasia & Romy
Keeping me grounded and always being there when I needed
For Rickard
Going for that great beyond,
Rest in piece my brother
For my parents
who always believed in me
For Chinos Everywhere hacking away at the world
2016 Frank Mohr Institute
This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike
4.0 International License.
To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/4.0/.
Andersson, Hannes, 1985-
The Work of Art in the Age of Immaterial Reproductions: Inputs, Outputs & Inbetweens
Version 0.2
Acknowledgements,
First and foremost, much credit for this book and its content should be given to Norma
Deseke, who is largely responsible for the conceptualising of its format, and who has
given me so much valuable input, support, thoughts and feedback (and editing) that she
could be - at least partly - credited for everything that I have produced since 2013 (Our
book will be way better Sandy). Much credit should also be given to Hendrik Hantschel
as idea balling with him is invaluable in-, and by now more or less inseparable from- my
artistic process as well as general thinking (what are we going to do today Pinky?). Also
to Romy Joya Kuldip Singh who (apart from collaborating on various projects) saves
me from many steep edges, and has a very inspiring conquer-the-world-kind-of-attitude
comparable to that of Genghis Khan (go get them little sister).
Most likely, none of the artworks in this book would have materialised without me meeting
Anastasia Pistofidou, Ovidiu Cincheza and Marte Roel; Who have a credit list way
too long to mention here, but are probably the best production team (and flatmates) that
one could possible have; the combined force outclassing almost anyone in everything from
digital production & programming to mountain climbing and music making; Who are, together
with the rest of the Chinos - especially Philippe Bertrand, Daniel Gonzales
Franco, Tony Higuchi and Jordi Planas (as well as Eva Domènech for whatever its
worth) - responsible for getting this whole thing rolling in the first place.
It also goes without saying, that much credit goes to the other half of Andersson
Rodríguez Films: Luis Simón Jose Gregoria De La Santisima Trinidad Núñez
Rodríguez [yes, that is actually his name] (May you live forever in Jah army and may
your hair grow big and fluffy).
Special thanks to my teachers Hugo Garcia, Jan Klug and Ruud Akse, as well as to everyone who
has contributed in different ways to the making of my works, especially Jonas Larsson, Sander
Trispel, Ioana Bacanu, Laila Tafur, Oscar Diaz Huerta, Rikke Wahl, Anders Hattne, Adrian Papari,
Christian Cherene, Alex Dubor, Max Verstrepen, Bruno Barrán, Richard Fraser, Ariana Cardenas,
Saskia Lillepuu, Augusto Zuniga, Kuba Markiewicz, Michal Kukucka, Pascal Gielen, Ioana Păun, Lucas
Capelli, Tomas Diez, Jerome Villeneuve, Valentina Sutti, Elena Lamberti, Paolo Granata, Iannis
Zannos, Kim Sawchuk, Ryan Bishop, Daniela Marques, Lee McDonnald, Salim Bayri, Jip De Beer, Kimball
Holth, Jorrit Van De Waal, Bobbo and Rickard Moroso.
Contents
Introduction 15 Part 4. Adiovisuology
[VJing, Cinema & Projection Mapping] 99
Part 1. Image in Motion, From Gothenburg with love 17 Teatre Du Nord: Facade Mapping 102
Trajectory 19 Thoughts from a late night in Berlin 108
A/Vgration - An interactive video work on the topic Andersson Rodriguez Films 123
of place 30 Lara | Camilla: a short film about leaving reality 125
Fragmented 38 Papercities (music Video) 128
Morphing Faces - A multichannel video installation about 100 wrong turns(music Video) 132
cultural identity 40
Conceptualising Framework for Morphing Faces Part 5. Living in the Anthropocene 137
by Norma Deseke 46
The Digital Naturality Manifesto 139
Helio2.0 142
Part 2. Hacking the Reality A visit to Brussels 150
[Art, Science & Technoshamanism] 49 Technological Artist 164
The Chino Manifesto 55
Psychosis Helmet (Prototype) 62 Part 6. Po[e]litics From the Anthropocene
Osmosis Methods Groningen: A collaborative effort of [work in progress] 167
disintegrating aesthetics 65
Seastates, a Data Sonification of the Sea 170
EAtDCS: Electro-Alchemic transcranial Direct Current
Oedipus Reaches Maturity 172
Stimulator 72
Dear Mr Wilde, 184
Antenna 76
Artist Investigation and the Paranoid Method 81
Tangibility in Art & Technology
(an Interactive Documentary) 84
Artists Make Enormous 3D Printed Interactive Mountain Art
Installation
by Bridget Butler Millsaps 86
Sisyphus 88
10 11

Introduction
Dear reader,
The book you hold (or see on your screen) is made with the purpose of
documenting my work and to make explicit my thinking as well as artistic
process. It is version 0.2 of a book that might never be finished, as it
–much like the process that it documents - will be subject to constant
revision.
It also serves as a conceptualising framework for what I refer to as
Po[e]litics, and for the artistic research project ‘Po[e]litics from the
Anthropocene’.
Po[e]litics can be thought of as a Portable Philosophy Format, a .ppf
with variable compression.
Po[e]litics sometimes takes the form of annotated poetry (illustrated for
example in ‘Oedipus Reaches Maturity’), but it is not solely a concept
relating to the written word, but rather an aesthetic container for mixed
media hyper-narratives, which can be read in any order as well as on
various levels of depth.
It is an attempt at constructing a language capable of addressing the
complexities of contemporaneity: A trans-medial language appropriate of
the anthropocene; A language for the networked human.
I will try, dear reader, to explain what I mean by this, and I will do so
in the language of po[e]litics, this book being a po[e]litical argument.
Before you might understand me, you must know me.
I shall hence introduce myself,
[ If you are looking for a more ordered overview of my finished work you
can find this on my website handersson.net ]
15
Part 1.
I m a g e i n M o t i o n
F r o m G o t h e n b u r g
w i t h l o v e
17
T r a j e c t o r y
This is a story from Gothenburg to expensive neighbourhood (the kind
Groningen. that is also sometimes a bed with
A travel distance of 929 km, and a tons of storage underneath (there
ten hour drive according to Google was a very symbiotic relationship
Maps, although I seriously doubt between the amount of stuff I had
that, having myself never done that and the storage capacity of that
drive in less that than two days. car)).
But then again, the times that I
did drive the Google way, it was But they came later, those drives
with the Amazon in her Mercedes, with the Mercedes,
which, being made in 1972, was quite on the Google way that didn’t take
frankly not the fastest car. Plus ten hours.
the battery change never seemed
urgent enough, and we had a habit The first Gothenburg to Groningen
of making detours. is a different kind of story, one
Great car though. that also didn’t take ten hours, but
Very cinematographic. As well rather something like six years.
as comfy for that matter, you 929 km in six years makes roughly
drive it like you would drive a 0,018 km / hour.
motorised couch. And then I don’t Pretty slow you might think.
mean this crappy kind couch that But then again, I did not know the
your friends used to have in their Google way back then, and the way
first apartment. More like the kind that I found was not that straight.
of couch that you would find in
a small apartment situated in an
18 19