{"id":7571,"date":"2025-11-16T15:43:53","date_gmt":"2025-11-16T14:43:53","guid":{"rendered":"https:\/\/edi-typ-24154.stage.sites.vh3-schrittweiter.de\/veranstaltungen\/lecture-series-worlds-of-images-worlds-of-knowledge-art-and-science-in-dialog-5\/"},"modified":"2025-11-26T15:35:43","modified_gmt":"2025-11-26T14:35:43","slug":"lecture-series-worlds-of-images-worlds-of-knowledge-art-and-science-in-dialog-5","status":"publish","type":"event","link":"https:\/\/edi-typ-24154.stage.sites.vh3-schrittweiter.de\/en\/events\/lecture-series-worlds-of-images-worlds-of-knowledge-art-and-science-in-dialog-5\/","title":{"rendered":"Lecture series: Worlds of images – worlds of knowledge. Art and science in dialog 5"},"content":{"rendered":"

Timothy Druckrey<\/strong><\/p>\n

Cinemedia: Archaeologies of Computation in Cinema – On the Archaeology of the Computer in Cinema<\/strong>\n<\/p>\n

(Lecture in English)\n<\/p>\n

Since its origins, cinema has been inextricably linked
\nwith mechanization and culture in equal measure through the technical equipment required
\nand the emerging metaphors
\n. The “omnipresence” of the machine fills the archives of
\nfilm history, as the omnipotent technical gaze of the camera or as an
\nobserver of the process of mechanization itself.\n<\/p>\n

In the 1950s, the computer appeared on the
\nscreen in entertainment, experimental and documentary films.
\n At the same time, a whole range of film material emerged from
\ncorporate archives, advertising films and television documentaries.
\nMisguided scientific research, scientists who had lost their
\nminds and out-of-control machines were
\nreplaced by autonomous technologies; images of insidious
\nprogrammers and sentient and ultimately superior
\ncomputers contrasted with the glorification of amazing
\nprogress on the one hand, and lamentations about the consequences of automation or
\n the dangers of artificial intelligence on the other.\n<\/p>\n

Godard’s “Alphaville”, Fassbinder’s “Welt am Draht”,
\nMarker’s “Level 5”, Scott’s “Bladerunner”, the Wachowski brothers’ “Matrix”,
\nRusnack’s “The 13th Floor” and Cronenberg’s “eXistenZ” can be found on the
\n long list of films that reveal an ongoing interrogation of the
\nafter-effects of digital technologies, simulation and
\nartificial intelligence in cinema. Documentaries such as
\n“The Machine that Changed the World”, “Computer Pioneers”, “The Net”
\nby Dambeck or “The Century of the Self” by Curtis examine
\nthe stages of development and implications of computer culture in a more targeted way.
\nNumerous films and videos produced for advertising,
\nfocus on specific technologies and their applications.\n<\/p>\n

The lecture will be comprehensively illustrated by examples
\n from this fund, which were selected
\nin particular from the point of view of providing historical access to a fascinating tradition at
\nand at the same time a critical consideration of the attractiveness of
\nsimulation, the consequences of artificial intelligence and the significance
\nof this special film material, which represents an important component in the
\ndevelopment history of media art.\n<\/p>\n

Short biography:\n<\/p>\n

Timothy Druckrey directs the Graduate Photography and
\nDigital Imaging Program at the Maryland Institute, College of Art. He lives
\nin New York City and works as a freelance curator, writer and editor.
\n He lectures worldwide on the social impact of digital
\nmedia, the transformation of representation and communication in
\ninteractive and networked spaces. He is co-organizer of the
\ninternational symposium “Ideologies of Technology” at the Dia Center of
\nthe Arts and co-editor of the volume “Culture on the Brink: Ideologies
\n of Technology” (published by Bay Press). He also served as <\/x>co-curator of the exhibition “Iterations: The New Image” at the International <\/x>Center of Photography and edited the volume of the same name published by MIT<\/x> Press. He published “Electronic Culture:
\nTechnology and Visual Representation” and is editor of the series
\n“Electronic Culture: History, Theory, Practice”, also published by MIT
\nPress. This series includes the volumes “Ars Electronica: Facing the
\n Future”, “net_condition: art and global media” (with Peter Weibel),
\nGeert Lovink’s “Dark Fiber”, and “Future Cinema: The Cinematic
\nImaginary After Film” (edited by Jeffrey Shaw and Peter Weibel),
\n“Stelarc. The Monograph” (ed. by Marquard Smith), “Deep Time of the <\/x>Media: Toward an Archaeology of Hearing and Seeing by Technical Means” <\/x>(by Siegfried Zielinski). Recent exhibitions curated by Druckrey <\/x>include “Bits and Pieces” and “Critical Conditions”, and<\/x> he was co-curator of the exhibition “New Media” in Beijing (2006). He
\nheld visiting professorships at the University of Applied Arts in Vienna
\n (2004) and at the Richard Koopman Distinguished Chair for the Visual Arts
\nat the University of Hartford (2005).\n<\/p>\n

Sponsored by:\n<\/p>\n

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