Keynote, Int. Winterschool "Spectra of Transformation", Akademie für Schultheater und performative Bildung, Nürnberg, 21.2.2017 Also, you may like to check out the youtube playlist I assembled im preparation to this talk & workshop: https://www.youtube.com/playlist?list=PLhXEPPnT87bzAUEuPZvXy4vC6xuIH8hoZ

1. Digital and
Post-digital Conditions:
Challenges for Next Arts Educations
International Winterschool „Spectra of Transformation“
Akademie für Schultheater und performative Bildung
Nuremberg, Feb 21, 2017
Prof. Dr. Benjamin Jörissen
Lehrstuhl für Pädagogik mit dem Schwerpunkt
Kultur, ästhetische Bildung und Erziehung
http://joerissen.name
benjamin@joerissen.name

2. „The Next Art is the
art of the Next
Society.“
„Like all pedagogy,
Next Art Pedagogy has
to be radically thought
towards future.“
2013
2007

3. Next Art Education
Next Arts Education
2013
http://kunst.uni-koeln.de/kpp/_kpp_daten/pdf/KPP29_Meyer.pdf

4. Digital „Bildung“ (?)
Education in digital cultures?
Arts education in digital cultures?

5. 1.
Three ways of reflecting
upon the relation of
education and (post-)
digital transformation

6. Digitalization as …
didactical resource
instructional topic
cultural process

7. didactical resource
Focus: Transformation of learning tools
e-Learning
OER ed-tech innovation
innovative teacher/academic training „digital schools“
Digitalization as …

8. instructional topic
Focus: Transformation of media-related topics
media literacy media design
informatics education
teaching values for the digital era
Internet-Certificates
school subject „digital
media education“?
Digitalization as …

9. kultureller Prozess
Focus: Transformation of everyday life/mundane lifeworld
Values
Aesthetics Self
„Culture“
Sociality
conditional structures Knowledge
„Subjectivity“
Digitalization as …

10. „Digitalization provides
new learning tools and
innovation!“
„Digitalization has to be
imparted in order to deal
with its effects!“
„Digitalization transforms
culture, sociality, and
subjectivity.“
didact. resource
instructional topic
cultural process
risks of a reductionalistic
view upon digitalization

11. 2.
Once upon a time …
(somewhat naïve) hopes
in the benefits of
digital medialities

12. Media „Bildung“
(2009)
• collaborative knowledge
achievement on Wikipedia
• community-building in online-
communities
• avatars as exploration and
pluralization of identity
• sharing biographical reflections
on Youtube
• etc. …

13. meanwhile …
• social web evolving as a mass media
• ubiquity of self-staging; moral crisis of
public articulation
• attention economies
• ubiquituous surveillance
• most public spaces owned by companies
• decline of public discourse (viral network
effects taking over, postfactual age)

14. 3.
digitality, power and
hegemoniality

15. The new medial opportunities of digital
communication and articulation arise in
technologically „walled gardens“, strictly
capitalized and strictly „designed-for-
surveillance“ spaces.
„Digitalization“ is on its way of becoming a
synonym for „new technologies
of hegemonial governance“.
core problem:

16. The digital web is mycelium:
h"ps://commons.wikimedia.org/wiki/File:Heksenkring.jpg
What you see.

17. h"ps://www.flickr.com/photos/bushman_k/6177595969
What you get.
The digital web is mycelium:

18. Software & Code/Algorithms
Data & Data Structures
Networks & Protocols
Interfaces & Materialities

19. CLOUD
HARD
WARE
software
data networks
interfaces

20. „code is law“
vs.
„code as logos“
Lawrence Lessig (2000). Code Is Law. On Liberty in Cyberspace. http://
harvardmagazine.com/2000/01/code-is-law-html [20.6.2015]
Wendy Hui Kyong Chun: Programmed Visions: Software and Memory. MIT Press 2011.

21. Lawrence Lessig (2000). Code Is Law. On Liberty in Cyberspace. http://
harvardmagazine.com/2000/01/code-is-law-html [20.6.2015]
Wendy Hui Kyong Chun: Programmed Visions: Software and Memory. MIT Press 2011.
„code is law“
vs.
„code as logos“

22. „Softwarization“
of logistics, communication,
and management
Parisi, L. (2016). Contagious Architecture: Computation, Aesthetics, and Space. MIT Press.
Hörl, E., & Parisi, L. (2013). Was heißt Medienästhetik?
Zeitschrift für Medienwissenschaft, 8(2).

23. environmentality
Hörl, E., & Parisi, L. (2013). Was heißt Medienästhetik?
Zeitschrift für Medienwissenschaft, 8(2).
„an automatic, but non-reflexive thinking, which marks
a specific operating mode of calculation, classification,
and organization of data,
enabling
as a spatially thinking modus of power

24. Rob Kitchin/Martin Dodge: Code/Space. Software and Everyday Life. MIT Press, 2011.
„Everyware“

25. http://www.rael-sanfratello.com/?p=1771
form und matter as manifestation of code
http://www.emergingobjects.com/2013/09/27/concrete/

26. „solutionism“
Morozov, Evgeny (2013): To Save Everything, Click Here:
The Folly of Technological Solutionism, Philadelphia: Public Affairs.

27. „computationalism“
David Golumbia: The Cultural Logic of Computation. Harvard Univ. Press 2009.

28. „[…] the computer encourages a
Hobbesian conception of this political
relation: one is either the person who
makes and gives orders (the sovereign),
or one follows orders. There is no room in
this picture for exactly the kind of
distributed sovereignty on which
democracy itself would seem to be
predicated […]“
David Golumbia: The Cultural Logic of Computation. Harvard Univ. Press 2009.

29. • „[…] the post-digital is
represented by and
indicative of a moment
when the computational
has become hegemonic.“
Berry, David M. (2014). Post-Digital Humanities. In: Educause Review May/June 2014.
http://er.educause.edu/~/media/files/article-downloads/erm1433.pdf

30. „we found digital computation
because our society is already so
oriented toward binarisms, hierarchy,
and instrumental rationality“
David Golumbia: The Cultural Logic of Computation. Harvard Univ. Press 2009.

31. strategies of re-appropriation

32. http://tincon.org/
strategies of re-appropriation

33. Menkman, R. (o. J.). Institute of Network Cultures | No. 04: The Glitch Moment(um), Rosa Menkman. Amsterdam:
Institute of Network Cultures. Retrieved from http://networkcultures.org/blog/publication/no-04-the-glitch-
momentum-rosa-menkman/
strategies of re-appropriation

34. 3.
Transformations with
regard to subjectivity,
sociality, and culture

35. „everyday life“

36. digitally transformed
practices of
„subjectivation“*
* (power-related reflexive, communicative, ritualized, institutionalized practices,
in which culturally specific forms of self-relating subjectivities arise)

37. self optimization: „Quantified Self“
self images: „Selfie“
individualization: „echo chambers“
„ProdUser“-Ideology: „Be creative!“

42. 42

43. favstar.fm
Externer Service, der seit
2009 „Favsterne“ und „Retweets“
eines Users sammelt und u.a.
in „Leaderboards“ präsentiert.

44. digitally transformed
sociality

45. algorithm-enhanced
sociality
e.g. Facebook-
Filteralgorithms,
recommendation-–
algorithms
…
network-sociality
Attention ecomonies
Viral dynamics
Smartmobs
Shitstorms
WhatsApp-networked
Peers and Families
…

46. digitally transgressed
„gouvernementality“*
* = embodied mentality of „self-governance“; cf. „gouvernementality studies“

47. Smart Agriculture
Smart Environments
Monitoring/Controlling Energy Use
Sustainable Behavioral Change toward Healthy Lifestyle
Body Sensor Networks in Clinical Settings/Elder Healthcare …
Social Sensor Networks for Transportation Management
RFID for Next Gen Automotive Services
etc.
Ilyas, M., Alwakeel, S. S., Alwakeel, M. M., & Aggoune, el-H. M. (2014).
Sensor Networks for Sustainable Development. CRC Press.

48. „Smart“ Everything als
conglomeration of
datamining, surveillance,
solutionism and moralization?

49. digital transformation
of culture/
cultural objekcts

50. • MIDI
as a „lock-in“-
phenomenon
Jaron Lanier: Gadget. Warum die Zukunft uns noch braucht.
Frankfurt/M.: Suhrkamp 2010.

51. MIDI
(Music Instrument Digital Interface)
byte 1: note on/off
byte 2: coded note value (diachronic)
byte 3: velocity (0-128)

52. MIDI
(Music Instrument Digital Interface)
byte 1: note on/off
byte 2: coded note value (diachronic)
byte 3: velocity (0-128)

53. • MP3
as a cultural artefact and
„(im-) perceptual capital“
Sterne, Jonathan (2012). MP3. The Meaning of a Format. Duke Univ. Press

54. 4.
Conclusion

55. Whose knowledge, whose algorithms?
Whose communication, whose
communicational spaces?
Whose data, whose added value?
Whose creativity, whose copyright?

56. Thesis 1
Software and its (practical, aesthetical,
social, economical, political) logics are
constitutive for processes of
subjectivcation and „Bildung“.
Education thus can no longer be
understood without regard to the
conditions of postdigital culture.

57. Thesis 2
The cultural and aesthetic dimension is (at
least) as important as the cognitive
dimension:
The digital/informational sphere is as
much a genuin part of our cultures as
other infrastructural encounters, such as
urban construction and development.

58. Thesis 3
If software + networks are, in our present situation, the
central form of power, control and governance, then
education has not to refuse, but to
embrace digitality throughout its fields.
Because:
The critical practice is „fundamentally dependent on the
horizon of knowledge effects within which it operates“; it is
formed „in the crucible of a particular exchange between a
set of rules or precepts (which are already there) and a
stylization of acts (which extends and reformulates that
prior set of rules and precepts). This stylization of the self in
relation to the rules comes to count as a ‚practice‘.”
(J. Butler, What is Critique? An Essay on Foucault’s Virtue)

59. Lawrence Abu Hamdan: Earshot (2015)
Abb: http://lawrenceabuhamdan.com/#/new-page-1/
inverted surveillance as a civic/artistic
counterstrategyhttp://lawrenceabuhamdan.com/#/new-page-1/
http://www.portikus.de/de/exhibitions/199_earshot