Post-Digitalism

How have digital tools and networks transformed the far right's strategies and transnational prospects? This volume presents a unique critical survey of the online and offline tactics, symbols and platforms that are strategically remixed by contemporary far-right groups in Europe and the US. It features thirteen accessible essays by an international range of expert scholars, policy advisors and activists who offer informed answers to a number of urgent practical and theoretical questions: How and why has the internet emboldened extreme nationalisms? What counter-cultural approaches should civil societies develop in response?
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This chapter discusses questions of digitalization in the context of aesthetics, arts, and cultural education, and cultural sustainability. We first outline in what respect (post-)digitalization becomes relevant with regards to the UNESCO Sustainable Development Goals. (Post-) digitalization, we argue, must be understood as an integral part of aesthetics, arts, and cultural education, because it has already brought forth (new) cultural techniques relevant in the understanding of and thus the participation in one’s own culture and on a global scale. After introducing the concept of post-digitalization, we present two case studies from research projects within this research area Digitalization & Arts and Cultural Education, analyzing creative coding in online “learning ecologies” (Post-Digital Art Practices in Cultural Education) and the virtual character Hatsune Miku (Post-Internet Art(s) Education Research) respectively. Following their preliminary findings, we focus on collective creative practices as (new) post-digital cultural techniques and on distributed production effects that arise in post-digital settings. Questions of structure, of implicit power relations and hierarchy, and of new processes of subjectivation are addressed in particular. We argue that it is precisely aesthetics, arts, and cultural education that have the potential to contribute to how we not only understand (post-)digitality but also shape it towards cultural sustainability.

In less than two decades, digital networks have moved from providing a macro background environment – actively accessible by only a small coterie of scientists, experts, and state or corporate agents – to pervading and augmenting our lives at an increasingly micrological level. As our world is plugged into the matrix, we know from direct experience that the pace of change is feverish, the scope infinite and the effects in need of constant reckoning. The Post-Media Lab offers a space in which to examine, reflect and operate upon the networked, mediatised society from an unhurried perspective.
The term ‘post-media’ was coined by Felix Guattari's and subsequently taken up by other critical theorists to describe social and medial assemblages, which unleash new forms of collective expression and experience. The Lab aims to build a place where the aesthetic and utopian moments of ubiquitous media can be recaptured, and the multilayered forces and textures of media space become newly legible. We take up 'post-media' as an inherently critical notion adequate to the media strategies of scenes, movements and collectives – rather than the individualities and normativities produced by commercial media – which construct and intensify social agencies, help develop new forms of relation and generate counter-meanings.

Guiding principles of the Lab will be to maintain a wide historical perspective and to scrutinise established programmatic and strategic positions; the concepts, experiments and radical promise of past engagements with telecommunications, digital media and aesthetics will be kept in mind, as much to reprise their energies and enthusiasms as to create a gauge for where we find ourselves today.

Between 2012 and 2013 the work of the Post-Media Lab was structured around four topics: Connecting People Apart (January to June 2012), The Subsumption of Sociality (July to December 2012), The Question of Organization After Networks (January to June 2013), Life versus Object. Comrade Things and Alien Life (July to December 2013).

Post-Media Lab operates on different levels, working with different simultaneous tectonics::
* Building a peer community interested in post-media (inter alia through a system of 'Visiting fellows')
* Translocal publics (extending collaboration between Lüneburg region and other localities on the planet)
* Transnational networks (assembling and short-circuiting different spheres like civil society, media activism, media art, hacktivism, media based research)
* Free, experimental and clandestine forms of publication (PML Books and other hybrid publications like 'Beyond the Timeline')

The “Speculations on Anonymous Materials” exhibition, curated by Susanne Pfeffer and held from September 2013 to February 2014 at the Fridericianum de Kassel Museum is the starting point for this text, which aims to address some aspects that I consider to be crucial in respect of art and speculative futures. With more than 50 artworks by 25 European and North American artists – most of them first- or second-generation children of immigrants – the exhibition demonstrated a new eclectic aesthetic that seems to interweave the Pop and Post-humanist, Post-Internet or Post-Digital styles, with different nuances that go from the abject to some form of contemporary futurism. The exhibition displayed a “futurised” present (or a “presentised” future), to which one can attribute some reflection about the “hyper” and “trans” aestheticization of the everyday life (Lipovetsky and Serroy) in the current consumerist, post-Fordist society, in particular in terms of its ultra-digitised artistic capitalism. Taking Speculative materialism and Speculative Realism (Meillassoux; Bryant; Harman) and #ACCELERATE: Manifesto for an Accelerationalist Politics (Alex Williams; Nick Srnicek) as its starting point, this article will attempt to theoretically contextualise the exhibition and examine conceptually some of the participating artists, such as Timur Si-Qin, Pamela Rosenkranz, Katja Novitskova, Josh Kline and Ryan Trecartin, among others. These novel artists work with the material aspect of new digital and industrial technologies and of everyday objects (plastics, digital images, synthetic products, and so on) in works whose physical reality is conformed by subliminal digital processes, thereby evidencing the hyperreality in which we are submerged. Their works are born from a reaction to the complexity of contemporary capitalist society and to its everyday landscape, and they express the real and virtual environment in which the current and future generations seem destined to live. But above all the exhibition expresses, from the perspective of aesthetics and the theory of contemporary art, a change of onto-epistemological paradigm, which is a symptom of an evolution with respect to the paradigms in force until now.

Keywords speculative realism, consumption, post-digital, synthetic materiality, production

Having been asked to respond to Action Ideal VIII by the Mayday Group, concerning technology and its impacts on music education, what follows are some observations and reflections from my experiences teaching undergraduate music and music technology degrees in the UK. I put forward the idea that Post-Digital music aesthetics reflect an emergent sensibility in contemporary music cultures, and this represents an opportunity for music educators to reconfigure and strengthen their pedagogical approaches. By recognizing the legitimacy of new and varied forms of musicianship, and acknowledging the ways in which our subject area continues to grow in its range of practices and necessary literacies, strategies can be developed to support a music student experience that is cohesive, inclusive, hybridized, meaningful and useful.

O artigo apresenta uma reflexão acerca da produção de imagens em um contexto pós-digital, abordando a influência das tecnologias digitais em práticas artísticas artesanais. Por um lado, as produções em arte desde a modernidade têm evidenciado sobreposição de procedimentos e técnicas, apropriações, ampliação das linguagens e hibridismos. Por outro lado, a popularização das tecnologias digitais e a incorporação dessas em larga escala faz com que a presença das mesmas em etapas nos processos artísticos aconteça de forma naturalizada, mesmo naqueles que não têm as tecnologias como questão central de investigação. Conclui-se que as mudanças ocorridas por meio da naturalização das tecnologias digitais em nosso cotidiano e a forma como estas estão nos afetando atualmente, oferecem um novo olhar às estratégias utilizadas pelos artistas e colocam ainda novos problemas a eles.

In 2018, the City of Athens initiated a project, titled This is Athens -Polis, which aimed at reviving closed and abandoned shops in the city centre by calling the creative communities Create PDF in your applications with the Pdfcrowd HTML to PDF API PDFCROWD

This article investigates the prothesis of identity through the process of branding. It examines cross-cultural manifestations of this phenomena from sixth millennium BCE Syria to twelfth century Japan and Britain. From the Neolithic Era, humanity has sort to extend their identities using pictorial signs that were characteristically simple. Designed to be distinctive and instantly recognisable, the totemic symbols served to signal the origin of the bearer. Subsequently, the development of branding coincided with periods of increased in mobility both in respect to geography and social strata. This includes fifth millennium Mesopotamia, nineteenth century Britain, and America during the 1920s.

En el año 2010, la Royal Society del Reino Unido anunció que, a partir de 1945, el Holoceno podía darse por acabado, iniciándose así el Antropoceno (Irwin, 2011, p.34). Este término para denominar a la nueva época geológica actual, fue creado por el biólogo Eugene F. Stoermer y popularizado por el ganador del Nobel de química Paul J. Crutzen, si bien ellos apuntaron la fecha de 1784 para dar inicio a esta nueva época (Issberner y Léna, 2018, p.7). El Antropoceno, geológicamente, se origina por el impacto derivado de la presencia y la actividad del ser humano en el planeta. Pero este término ha transcendido lo puramente geológico, usándose también para hablar de las repercusiones sociopolíticas y filosóficas resultantes por la huella humana en la Tierra (Rull, 2017, p.2).

How to deal with digitalization? Several aesthetic developments have emerged over the past few years in the laboratory called music video. Videos show tendencies to avoid the look of the digital by going analog and retro, or, just the opposite, they are stressing the fact of digital artificiality, exposing and over-affirming it by being hyper-digital. Hyper-digital music videos have not only shown and praised the potential and power of the digital, but they have shown how the digital infects our lives, our conditions of living, our identity, making the digital and its effects on our lives the main subject itself. Quote: Lund, Holger (2017): „What’s Left? The Critique of Digital Life in Hyper-digital Music Videos.“ In: Kulle, Daniel/Lund, Cornelia/Schmidt, Oliver/Ziegenhagen, David (Hrsg.): Post-digital Culture, http://www.post-digital-culture.org/hlund2

This chapter explores how videos on YouTube have become an everyday form of producing and consuming instructions, how-to:s and tutorials. It presents of a number of use scenarios as “examples to think with” in order to explore the larger implications of such videos. Particularly, the chapter focuses on how a political economy of expertise is distributed across bodies and machines. The presented scenarios are grounded partly in interviews with young adults as well as in more anecdotal empirical experiences from the authors’ everyday lives. What they have in common is that YouTube was always discussed as an arena for the sharing of everyday expertise. The chapter will begin by presenting a brief genealogy of the instructional video. After that, the chapter argues for a developed analysis of the instructional video on YouTube, not restricted to efficiency. The instructional video is then discussed in terms of YouTube as an all-purpose archive of everyday expertise; YouTube as a non-neu...

The German word “Auflösung” refers to both the resolution of an image, the technical term for its assembled constituents - digitally implemented: its amount of pixels - and to dissolution: of sugar in water, of people in laughter or tears, of objects or details merging with the background. The workshop Re/Dissolution aims to investigate this double meaning not as a coincidence but as a real connection between an increasingly greater resolution of an image with its high amount of pixels, promising a sharper image or a visual “higher definition,” and the dissolution in this very process where single pixels become less and less visible as they dissolve into millions of other pixels around them. While “sharpness” brings up an alleged phenomenological indication to see more details of an object and to differentiate it from its surrounding, it also entails a loss of distinction when focusing on the pixels rather than the assembled object.
Roger Caillois begins his famous text Mimicry and Legendary Psychasthenia with the claim that “from whatever side one approaches things, the ultimate problem turns out in the final analysis to be that of distinction: distinction between the real and the imaginary, between waking and sleeping, between ignorance and knowledge, etc. - all of them, in short, distinctions in which valid consideration must demonstrate a keen awareness and the demand for resolution.” For Caillois, the distinction between the organism and its surroundings is among the most clear-cut and it is the failing to uphold this distinction that marks legendary psychasthenia. However, where Caillois observes the dissolution of the organism into the environment because of the lack of distinction, digital images show a dissolution happening within the pursuit of distinction.
Thus, the phenomenon of re/dissolution points at what is lost in a process that seems to be ever more inclusive (including more pixels to include more details). This is evident not only in digital images but in surveillance more generally. Striking examples are cases where face recognition fails to identify the faces of persons with dark skin, or where Asian users set off a detection when taking a picture asking them if they blinked. While these might just be glitches - errors in the software - exclusion plays a central role in digital surveil- lance or Big Data. Indeed, the claim to objectivity by data based surveillance hinges on a process to exclude intentionality and subjectivity from the data. Data is sorted through by algorithms and not individuals, implicitly claiming that these processes are thereby free of biases because by concentrating only on patterns and correlations it abstains from making any judgements. Data itself is considered objective only because it does not require a self-depiction, e.g. in form of a questionnaire, but is produced by traces left unintentionally while shopping online, using Google or Facebook or just walking around with one’s cell phone. There is no need and no possibility to present oneself in a certain light.
However, Caillois also offers himself for a different reading. The images he uses to describe the “assimilation to space” are not all frightful, but at times depict losing oneself as an joyful and almost erotic experience. Similarly, the moments of loss within the pursuit of distinction described here - the exclusion of subjectivity, the glitch and the dissolution - contain possibilities of resistance. In Hito Steyerl’s video installation HOW NOT TO BE SEEN: A Fucking Didactic Educational .MOV File performers dressed as pixels - with white, grey and black cubes over their heads - dance against the backdrop of resolution targets. This is, a voiceover tells us, the third lesson: How to become invisible by becoming a picture, how to become part of a picture by becoming smaller or equal to one pixel. In a similar spirit, Legacy Russell proposes the glitch as a central figure of resistance, embracing the error and questioning what constitutes an error in the first place. Likewise, Glitch Art and the Post-Internet discourse think about the broken or dissolved digital image as a way to expose the inherent processuality of the digital as messy transmissions. Working as a manual, artist Rosa Menkman’s The Vernacular of File Formats, compares digital file formats based on their visible and differing compression artifacts. The aesthetical output can be used as a guide through the confusing state of numerous digital file formats and not only treats files as vague black boxes that help content to travel through its digital surroundings, but visually specifies them and their way of transmission.

A series of creative text physicalizations are accounted for herein, with reference to research literature and, most importantly , to an experimental algorithmic system designed and implemented by the author. The latter concerns a series of experimental pipelines that 'understand' the input text generating keywords, that utilize them to query 3D data from WWW, and, finally, that transfigure and merge the latter so that new original artefacts are synthesized. The various physical, digital, and post-digital material affordancies of the resulting physicaliza-tions are scrutinized in some depth and in an analytic fashion. Objects of sorts are shown to be ascribed a certain kind of emergent neo-materiality, in that they are themselves hybrid manifestations of interwoven physical and digital affairs. As such, they constitute situated inquiries of the very same (technological) paradigms that brought them forth, as well as of their cultural and ideological offshoots. Physicalizations of sorts are shown to be 'Herzian', post-optimal, and disruptive, being both the creative means towards an exploration of new kinds of materiality/objecthood, and an implicit critique of the canonical functional design schemata that largely pertain digital fabrication nowadays.

Revisiting the origins of the term "Postinternet," a decade on, I assess its contemporary relevance from a psychological, political, and architectural perspective, in the context of the E-Flux series on Postinternet Cities. While I initially conceived of it as a way to refer to "art after the internet," I've more recently called for a focus on the postinternet condition as reflective of "symptoms of network culture." In this text I identify some of those symptoms, particularly the emotional affects of living our lives primarily online. I also speculate about the physical and residential needs of future lonely internet users.

This chapter explores how videos on YouTube has become an everyday form of producing and consuming instructions, how-to:s and tutorials. It presents of a number of use scenarios as “examples to think with” in order to explore the larger implications of such videos. Particularly, the chapter focuses on how the “political economy of expertise is distributed across bodies and machines” 1. The presented scenarios are grounded partly in interviews with young adults as well as in more anecdotal empirical experiences from the authors’ everyday lives. What they have in common is that YouTube was always discussed as an arena for the sharing of everyday expertise. The chapter will begin by presenting a brief genealogy of the instructional video. After that, the chapter argues for a developed analysis of the instructional video on YouTube, not restricted to efficiency. The instructional video is then discussed in terms of YouTube as an all-purpose archive of everyday expertise; YouTube as a no...

Joseph Nechvatal is a post-conceptual artist. On his early years he was part of the no-wave movement and a founder of Tellus Audiocassette Magazine. His work consists on sound pieces and digital paintings that he makes using computer viruses.

Year: 2012

This anthology, with a foreword by Steve Dixon, professor at LASALLE College of the Arts, brings together the writings of artists and interviews with directors and performers working with digital technology. It offers 65 contributions grouped into seven parts devoted to time, space, dramaturgy, actor, spectator, device, and creative process. The texts were mainly conceived between 2014 and 2017 and were written, in most cases, exclusively for this book. Each part is preceded by a theoretical context that is intended to sketch a topography of the major transformations affecting the paradigm under analysis. The present contributions deal with the major changes affecting the theatre, transforming it into a digital stage, as well as its transition to the post-digital era. These are first-hand accounts, on the spot, coming from the experience of the stage and therefore relatively rare to find and little archived. It is a unique collection on the market because it deals specifically with theatre and its hybrid forms. It is a rich source of information for researchers, PhD students and also students. The book supports courses on digital performance in universities, art schools and theatre schools.

Similar to most cultural forms today, history is collected, edited, manipulated, stored, displayed, distributed, and otherwise produced through a complex network of post-digital techniques and media. It is often produced only by historians. History Moves is a public history project that aims to produce cogent and collective historical experiences within the cultural frame of mutable and highly distributed media forms. It does this by bringing history, design, and historical subjects into conversation to shape public space. The project uses a participatory process that mobilizes people to interpret history by mobilizing digital and analogue media. History Moves transforms historical subjects into history-makers while simultaneously and repeatedly transfiguring media into forms that are engaging and accessible to widely distributed audiences. This article recounts a case study where History Moves worked with a group of women living with HIV/AIDS to present a history of the epidemic an...

The recent works of Dávid Biró investigate human perception in the context of the technology-driven environment of our time. By employing the potentials of the medium of photography he aims to raise awareness on questioning and revising our visual experiences and rethinking the cognitive process of understanding images. Through his works, he aims to propose a new approach of interpreting the relationship between the photo and reality from an ontological perspective.

The photo series entitled Front End includes camera-made images, reflecting on the transition between real and computer-generated visual environments through the representations of mock-ups evoking the visual associations of CGI technology, video games and 3D graphics. The series intends to highlight the uncertainty of our visual interpretations. The scenery-like surfaces and the creative process behind them put the nature of visual representation into focus. Dávid Biró refers to the camera as a tool, that serves as the “prosthesis” of the eye, thereby enabling a deeper understanding of our reality. With the exhibited series, the artist aims to differentiate the notion of reality by questioning the authenticity of the photographic representation, evoking the manipulativeness of photo editing software and modelling virtual environments in an analogue way. These pictures operate as a simulation of virtuality – expanding the notion of "real virtuality” often used by Lev Manovich and Manuel Castells. Thereby reality gets connected with the illusion of surreality. By reversing the relation between reality and reproduction, the series gives a novel context to the critical perspectives on digital photography. It aims to emphasize the critique of our technology-driven and virtuality based daily life as well. However, the visitors’ interpretation also depends on their experiences with digital culture.

The series created in 2017 has been recently developed with new pieces. The resulting new series is publicly presented now for the first time, accompanied in the exhibition with sitespecific elements. The blue light dominating the ceiling evokes the context of virtuality, while the spatial installation with columns aims to visualize data regarding our daily habits of (digital) image consumption. The programs organized around the exhibition aim to give further context to self-reflection and to generate new discourses on the complex relations of contemporary art and new digital technologies.

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Biró Dávid munkásságának fókuszában az emberi észlelés és érzékelés napjaink technológiai környezetében való vizsgálata áll. A fotográfia mediális lehetőségeit alkalmazva a nézőt a vizuális tapasztalás realitásának megkérdőjelezése és revideálása, illetve a kép kognitív befogadásának újragondolása felé irányítja. Munkáival a fotó és valóság kapcsolatát érintő képontológiai kérdéseket vet fel.

A Front End című sorozat olyan fotografikus úton létrehozott képekből áll, melyek műtermi környezetben megépített makettek leképezésével, a CGI technológia, videójátékok és 3D grafikák látványvilágát megidézve, a valós és számítógép által generált látvány határvonalán egyensúlyoznak – ezzel vizuális befogadókészségünk bizonytalanságára mutatva rá. A díszlet-szerű felületek és a mögöttük rejlő alkotófolyamat a képi reprezentáció mibenlétét helyezik középpontba. Biró Dávid a kamerát olyan eszköznek tekinti, mely a szem „protéziseként” alkalmas a valóság mélyebb megismerésére. Jelen sorozatban a fotográfiai hitelesség megkérdőjelezésével, a képszerkesztő programok manipulációjának megidézésével, szoftverek látványvilágából ismert virtuális szituációk analóg módon való modellezésével a művész a valóság fogalmának jelentésrétegeit differenciálja. A képek a virtualitás szimulációjaként működnek – továbbgondolva a Lev Manovich és Manuel Castells által használt „real virtuality” fogalmát –, a valós látványt a szürrealitás illúziójához kapcsolva. Valóság és leképezés viszonyának kifordításával az alkotó új kontextusba helyezi a digitális fotográfiai eljárás kapcsán máig gyakran felmerülő kritikus nézőpontokat is. A sorozatnak célja, hogy a digitális technológia és a virtuális valóság uralta környezetünk, és az ezt legitimáló technopozitivista szemlélet kritikai olvasatát adja. Ugyanakkor a sorozat értelmezését a befogadó technológiai jártassága, digitális kultúrához való mindennapos viszonya is befolyásolja.

A 2017 óta folyamatosan bővülő sorozat az elmúlt időszakban eddig publikálatlan darabokkal egészült ki, melyek első bemutatására a Stúdió Galéria kiállítása biztosít lehetőséget. A kiállítótérben a fotósorozat problémafelvetéseit árnyaló helyspecifikus fény- és térbeli installáció látható: a galéria plafonját uraló kék fény a virtualitás kontextusát idézi, míg a térben elhelyezett adatvizualizációs diagramoszlopok installatív elemekként (digitális) képfogyasztási szokásainkra reflektálnak. A kiállítás célja, hogy a kapcsolódó eseményekkel párbeszédet ösztönözzön kortárs képzőművészet és technológia összetett viszonyának megvitatásáról is.

Vortrag im Rahmen des Panels: Re/Dissolving Mimesis durch Splitting, Smearing, Zooming. Materialstudien zur digitalen Bildlichkeit

In seinem Artikel „LOL History“, erschienen bei e-flux (Ausgabe #83/Juni 2017), unterzieht der Autor Shumon Basar ein im Februar 2017 am Flughafen von Kuala Lumpur aufgenommenes und über die Medien verbreitetes CCTV-Bild einer investigativen Analyse. Das Bild zeigt Doan Thi Huong, die angeklagt ist Kim Jong-nam, den älteren Bruder des nordkoreanischen Diktators Kim Jong-un, ermordet zu haben. In seinem Text beschreibt Basar, wie er von der zirkulierenden Fotografie angezogen ist, wie er sich immer weiter in die Pixel des Digitalbilds vertieft, die Ansicht zerstückelt, Teile vergrößert und neu zusammensetzt.

Alle Vorträge des Panels beziehen sich auf Basars Materialstudie, die das Bild zerteilt und zerschneidet und so Informationen und Daten verschmiert. Das Panel macht Basars Postproduktion zum wissenschaftlichen Objekt. Nicht nur die Arbeit am CCTV-Bild, sondern auch das Interesse der Vortragenden an den bildforensischen Investigationen lässt sich dabei als epistemologisches Zoomen verstehen: Basars Blow-Up, wie der medienwissenschaftliche Blick auf sein Bild-Text-Gefüge.

Im Versuch einer methodischen Anähnlichung an Basars Blick möchte das Panel eine mimetische Relation zwischen der wissenschaftlichen Analyse und ihrem Material erkennen. Gerade digitale Materialität, so soll zu zeigen sein, fordert dabei die Überholung einer normativen Hierarchisierung von Vor- und Nachbild. Mimesis erscheint hier vielmehr als Prozess der unkontrollierten Verbreitung, Vervielfältigung und Vernetzung jenseits von Originalen und Kopien. Wie Basars Bildpraktik vorgibt, ist eine Annäherung an digitale Bildlichkeit ein Verlieren im und eine Veränderung des Materials. Mimesis löst hier im doppelten Sinne auf: einerseits bringt das affirmative Anähneln ans Material Details hervor und lässt es höher aufgelöst erscheinen. Andererseits zersetzt der mimetische Bezug Formen der Ähnlichkeit: er löst das Bild unter dem investigativen, hochauflösenden Blick auf – Re/Dissolving Mimesis.

Epistemologisch Zoomen ins RAW-Material postdigitaler Wirklichkeit

Mit dem Begriff des Rohmaterials stellt Siegfried Kracauer bekanntlich das Verhältnis von Kamera und Wirklichkeit unter die Vorgaben eines filmischen Realismus zur „Errettung der äußeren Wirklichkeit“. Keine ästhetisierenden Eingriffe sollen im formalistisch-künstlerischen Sinne von der Materialität einer physischen Realität abstrahieren. Wirklichkeit im Rohzustand ist für Kracauer datendichtes Material, das „vielfältige[…] Bedeutungen“ und Wirklichkeitsdimensionen „mit vagem Sinngehalt“ anzubieten hat (Kracauer 1985, S. 47). Die enthüllende Filmkamera soll sich mit technischer Einfachheit dem unerschöpflichen Fundus der Wirklichkeit stellen und ein „Studium der Vergrößerung“ der Bilder gewähren, „in denen nacheinander Dinge auftauchen, die wir im Original nicht vermutet hätten – und vielleicht noch weniger in der Wirklichkeit“ (S. 48).
Der Vortrag möchte in Anschluss an Kracauers Rohmaterialbegriff auf eine rohe Materialität digitaler Bildlichkeit kommen: das RAW-Format. Anhand des Skandals um die „Gaza Burial“-Fotografie, die 2013 als Gewinner des renommierten Wettbewerbs der World Press Foto Foundation ausgezeichnet und im Nachhinein auf Grund nachzuweisender Eingriffe auf das RAW-Format diffamiert wurde, soll die Frage nach dem Wirklichkeitsgehalt postproduzierender Verfahren gestellt werden.
Ganz im Sinne von Shumon Basars forensischem Eintauchen und Vertiefen in das digitale CCTV-Bild, ist die These, die diese Überlegungen anleitet, dem postproduzierenden Umgang keine verschleiernde, von der Wirklichkeit abstrahierende Agitation zu unterstellen. Vielmehr ermöglicht das Postproduzieren einen erkenntnisgeleiteten Bezug zwischen digitalbildlicher RAW-Materialität und postdigitaler Wirklichkeit – ganz im Sinne Kracauers „Studium der Vergrößerung“. Diese Relation soll als „epistemologisches Zoomen“ bezeichnet und als eine künstlerische, dokumentarische, aber wissenschaftlich-methodische Praxis im Umgang mit digitalbildlichem Material identifiziert werden.

Under the imperativist title “Make It Real and Get Dirty!” the analysis considers the development of several strategies of post-digital aesthetics in music video. A first look will be taken at examples for an interrelation between post-digitality and realness—the latter term here used to describe a material, tangible reality. Then an attempt will be made to more closely define the semantic range of the post-digital, before finally the development of post-digital aesthetics in music video is followed from a historical viewpoint based on a choice of various characteristic videos. Digitality forces entities to disassemble, since they have to be fed into binary digital code. The integrity of any entity is necessarily shattered to allow for digital processing and representation. How to respond to this process? Several aesthetic strategies have been developed within the post-digital like a) a return to analog synthesizers and a bric-a-brac aesthetic in both music and video, b) the simulation of analogicity by digital means, for example by digital simulations of analog synthesizers or bric-a-brac aesthetics, c) the creation of “handmade-digital” hybrids, and d) a phenomenon that could be labeled hyper-digitality. Here, digitality is exposed very openly and points to the inadequacies attached to the digital. What is the result of these strategies? Often enough a paradox attempt to achieve an unfragmented, true and real analogicity through the means of digitality, which, of course, fragments truth and realness by default. But that is not everything . . . Quote: Lund, Holger (2017): „Make It Real and Get Dirty! On the Development of Post-digital Aesthetics in Music Video.“ Kulle, Daniel/Lund, Cornelia/Schmidt, Oliver/Ziegenhagen, David (eds.): Post-digital Culture, http://www.post-digital-culture.org/hlund-eng