Not been generated automatically or seamlessly by the posited auto-critic. By juxtaposing data from distinctly different sources, the zine asĪ ‘body of knowledge’ acts more as an ironical assemblage, one that attempts toĪs, the ✾dible images« series acts a starting point of this experiment, the zines have In the spirit of agonism, the machine as anĪuto-critic attempts to leverage discourses on the internet to generate zines based The experiment in generative publishing thus attempts to investigate the above, by Thus simplifying the process of humans navigating a post-truth world? Propagated by authors and authorities? Is there a way to overcome these ego-fueledĪutocratic structures? Can the “binary” machine be called upon as savior? Further,Ĭan this ‘binary’ machine that is often attributed with ‘objectivity’, be employed as anĮffective ‘auto-critical’ mechanism one that perpetrates ‘critical’ bodies of knowledge, Occur today in our post-truth world? Can we still depend on knowledge bodies Inception has been instrumental in making things ‘public’. Generating more public discourse than already exists. We are therefore, in dire need of critically filtering our notions about food and As a result, we now find ourselves not only navigating a universe ofĮdible images, but also a maze of incoherent nutritional truths. Subsequent extinction of many indigenous bodies of knowledge, that once stood asĮmpirical truths. Neo-Liberalization of food, as with everything else, has led to the expropriation and Process, our visual grammar in relation to food has also changed drastically fromīeing a tactical understanding of food as it naturally grows in organic landscapes, toĪ comprehension of food based on the two-dimensional images that claim to represent Is housed within the convenient space of our neighborhood supermarket. Original organic landscapes and now stand as a universe of edible images, one that For, our food ecologies today have come a long way from the The idea of edible images is rooted in the critique of the aesthetic economy that food Generative publishing and marks the starting point of such an experiment. ✾dible Images« is a series of zines, produced as a result of an ongoing experiment in Leith Behkhedda, Miram Chair, Roberta Esposito, Dennis Fechner, Raphaël Fischer-Dieskau, Isabel Garcia Argos, Sophie Golle, Katherina Gorodynska, Niels van Haaften, Jan Husstedt, Tiziana Krüger, Felix Rasehorn, Lisa Schirmacher, Io Alexa Sivertsen, Jurian Strik, Upendra Vaddadi, Lacey Verhalenįanfare, Aram Bartholl, Ilan Greenberg, Adam Harvey, Hay Kranen, Colm O’Neill, Arthur Steiner, Leonardo Dellanoce, Coralie Vogelaarįanfare, Motoki, Atelier 4, Tara’s Keuken An additional program of online talks by Aram Bartholl, Ilan Greenberg and Adam Harvey were taking place and streamed. ĭuring the final event all the participants exhibited their tools and projects. The readers were therefore addressed as users and makers at the same time and invited to join the conversation about questions such as: How can the tools we build and use shape how we publish and consume media? WhoHow can we trust our perceptions when concepts such as truthful visual representation have vanished? Can ideas of ‘subjectivity’ and ‘partial perspectives’ replace notion of objectivity and rationality?. The binding method and standard paper sizes, allows for compiling and reshuffling the content depending on the purpose, and even allows for to add own the addition of new tools and methods of image making. It was as a collection of tools and ideas how tool tutorial manuals, and which invites the readers to use and appropriate whatever they find useful. The aim of the workshop was to collectively develop an understanding about (de)constructions, accumulation and manipulation of images and image production, – including the dominance of certain technologies relating to image making, power structures inherent in images, and omissions entailed in processes of image creation.Ī temporary publication was developed for the final event. The projects, tools and methods were developed in the context of a workshop, taking place in Amsterdam and Cologne in November and December 2018. While long-held ideas of images as proof of reality are increasingly challenged, this project presents methods and processes of hands-on learning and unlearning about the production and reception of digital images.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |