Russegger, G., Tarasiewicz, M. & Wlodkowski, M. (2011). Coded cultures. New creative practices out of diversity. In Coded cultures (pp. 8-40). Springer.

Month: October 2017

In recent years global economies and city policies have set their sights on the codes of creative cultures. With questionable terms like creative and cultural industries, this movement has not been able to grasp the complex state of the art in which new innovative operations are being pushed by creative and artistic modes of delineation. In fact the involved inventors are becoming ≫disoriented≪ within the parameters of these unstable policies. Being creative, flexible, mistake-friendly, open to life long learning, economically stable and socially networked are the abilities needed to earn a living in creative labor. The current situation calls for the development of a broader view of inflationary used terms like creativity, innovation or code. This introduction presents examples and sketches theoretical descriptions as pathways to a non-economical understanding of codes and programs that underlie creative cultures.

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VIZINHOS is an exhibition focuses on networked art in Brazil, which takes place over two weeks in the open space of the MuseumQuartier Wien, presents positions in the synergy between situationism, media art and architecture of the BASE project. In the period of the 4th EU Latin American Summit in Vienna five Brazilian artists are invited by the 5uper.net group as part of the Artist in Residence Program of the MuseumQuartier Wien.

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SETUP is the platform for all in Utrecht, interested in the combination of technology and creative culture. It was founded in 2010 as an initiative of several local people and groups active in new media, art and design. SETUP is not a regular media lab: the approach is different. The initiative focuses not so much on the technology itself but on the social implications, cultural significance and creative ways to use new technologies.

The message of SETUP is spread through the organization of events such as readings, workshops and exhibitions. The target group is widespread and highly diversified, from technology enthusiasts to academics to designers and technology developers, the most diverse people meet in the SETUP premises.

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Newman, A., & Tarasiewicz, M. (2015b). Experiments in art and value: Burning bitcoins to buy Ai Weiwei:. In Proceedings of the 21st international symposium on electronic art. Vancouver: Simon Fraser University.

Critical new media art is based on research-based art practice. It is both research- and process-oriented, so that the final result is not “completed” works (products) but rather process artifacts. This paper describes the artistic research and development of the art-group “Artistic Bokeh”, which is developing new documentation formats, and conducting experiments about the value of artistic practice and labor.


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Newman, A., & Tarasiewicz, M. (2015a). Cryptocurrencies as distributed community experiments. In D. L. K. Chuen (Ed.),

This paper outlines the major criticism cryptocurrencies faced since Bitcoin’s introduction in 2009 that resulted in the iterative development of various ‘altcoins’. These alternative cryptocurrencies, which can be seen as ‘distributed community experiments’, introduced new algorithms while also tackling social and other evolving problems that emerged throughout the various phases of adaptation and collective learning processes. Often introduced through self-published white papers or online announcements, these alternative coins represent hypotheses by the respective creators until they can show a significant user-base and ultimately are accepted in online cryptocurrency exchanges. We examine the important experiments and alternative approaches to specific issues of the Bitcoin design and describe differences in coins that have been launched. We not only discuss successful experiments, but also show attempts that failed in the relatively short but eventful past five years of cryptocurrencies. We demonstrate how the initial design of Bitcoin has been extended and improved by so called ‘next generation cryptocurrencies’, while the two main aspects – the blockchain ledger as well as strong cryptography – remain key elements to all of these new systems. Finally we outline possible future problems and developments around the blockchain, which not only is the invention that started cryptocurrencies, but remains the most experimental and challenging part with no long-term strategy yet.

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Newman, A. (2017) Fake Organum: The Uneasy Institutionalisation of Art as Research. In  Proceedings of the 24th international symposium on electronic arts. Manizales: Universidad de Caldas

Artistic research is still in its infancy and continues to pander to dominant institutional discourses of what research is. In particular artists too often ‘borrow’ methodologies from the sciences to justify their practice as research. There is a need for a Novum Organum Artium that will form the foundation of an artistic method, just as Francis Bacon’s Novum Organum Scientarium did for the scientific method.

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Newman, A., & Tarasiewicz, M. (2013). Experimental cultures and epistemic spaces in artistic research. In L. Fisher, R. Harley, & K. Cleland (Eds.), Proceedings of the 19th international symposium on electronic art. Sydney: University of Sydney.

In this paper we use developments in the history of science to demonstrate the significance of experimental cultures and epistemic spaces within artistic research as an experimental system. We propose that ‘artistic products’ are process artefacts, which are of epistemic nature (epistemic-aesthetic things). We suggest that artistic research provides a unique opportunity to integrate diverse epistemic practices that currently exist outside traditional institutional frameworks to develop new hypotheses-generating experimental cultures.
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Wagner, S. (2017). Establishing the continuously unfinished: The institution as an artistic medium. In  Proceedings of the 24th international symposium on electronic arts. Manizales: Universidad de Caldas

When realising themselves as dispostifs, no matter whether they extend into a physical or nonphysical dimension, artistic works are motivated by urgency. The engagement of artists with and within institutions increased within the last century, yet they may well not only be applicants or founders of institutional formats, but utilise these formats and the processes establishing them as an artistic strategy, creating a dispostif to meet an urgency framed by a specific historical context. This paper discusses the properties of institutions, which are indeed exemplary for dispositifs and are permitting their appliance as artistic media.

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Newman, A. (2015). Knowledge. In Runway Journal for Australian Experimental Art (26)

Art, as the post enlightenment embodiment of myth and superstition, could position itself equally alongside science as a significant pillar of knowledge to resurrect what Adorno and Horkheimer describe as a true enlightenment. Yet as art begins to reconfigure itself as research for the purpose of asserting its value within a knowledge economy, it risks infecting itself by communing with the diseased discipline of science. The military-industrial complex bedded science long ago and the discipline has been bed-ridden ever since, bound to keep pushing papers and producing knowledge in the ongoing service of some abstract arms race.

ISSN: 1448-8000

Read Runway Australian Experimental Art Issue 26. Knowledge.

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Newman, A., Tarasiewicz, M., & Wagner, S. (2015). Epistemic cultures in arts and technology. Journal for Research Cultures, 1(1)

Approaches to how research is executed depend on epistemologies, which vary considerably, both – within and between humanities and sciences. They are the connecting element of the collective and shape perception by incorporating certain shared assumptions of a prevailing research culture. How knowledge is acquired is further vastly influenced by the structure of the system that it is generated in, which is configured and adapted due to the various contexts. Hence these context require analysis if one wants to uncover more about the process itself, or how Ludwik Fleck phrased it: “(…) epistemology without historical and comparative investigations is no more than an empty play on words or an epistemology of imagination.” (Fleck 1979)

ISSN 2411-3751

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