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Authorship</title></head><body>
<div><b>HeK</b> (House of Electronic Arts Basel)<x-tab>
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<div><b>Augmented Authorship</b></div>
<div><i><br></i></div>
<div><i>Digital Strategies for Artistic Collaboration</i><br>
</div>
<div>May 20-21, 2021</div>
<div><br>
<a
href=
"https://email.e-flux-systems.com/campaigns/bz730hn6e711f/track-url/rl482sqxhp5a5/fdf40d75126dcd8dc5e338d6493beea162d18170"><span
></span>augmented-authorship.ch</a><br>
<a
href=
"https://email.e-flux-systems.com/campaigns/bz730hn6e711f/track-url/rl482sqxhp5a5/a43c4e455686487573853a1c5573790e29b37610"><span
></span>www.hek.ch</a><br>
<a
href=
"https://email.e-flux-systems.com/campaigns/bz730hn6e711f/track-url/rl482sqxhp5a5/5db5f8f5be39327843cc73724c2f2d77b1c74d50"><span
></span>Instagram</a><br>
</div>
<div>Access the live event on Zoom <a
href=
"https://email.e-flux-systems.com/campaigns/bz730hn6e711f/track-url/rl482sqxhp5a5/eddffbb32275dcf25daa81c6e14b6f7c7ed0b028"><span
></span>here</a>.<br>
</div>
<div><b>Participating speakers</b><br>
Tega Brain, Julie Carpenter, Keiken, Lachlan Kermode (Forensic
Architecture), Sam Lavigne, Lauren Lee McCarthy, !Mediengruppe Bitnik,
Protektorama (Johannes Paul Raether), and Nishant Shah.<br>
</div>
<div>Today, digital tools have shifted the relationship between work
and author in the implementation of artistic strategies. The images
that surround us are no longer subject to authorial control but are
autonomous byproducts and evidence of our role as communicative
participants in contemporary digital society. The online symposium
will examine the role of current digital technologies in shaping new
forms of authorship and will discuss the capabilities and limitations
of this kind of<i> augmented authorship</i>.<br>
</div>
<div>In two panels, leading artists, experts and theorists in the
field will discuss methods of digital work in which the role of the
author is-partly or entirely-expanded and will examine the
capacity of artistic practices to investigate the mechanisms of our
fragile digital society.<br>
</div>
<div>Hosted by Lucerne University of Applied Sciences and Arts -
Lucerne School of Art and Design and HeK (House of Electronic Arts
Basel).<br>
</div>
<div>The online symposium is public and free and will be held in
English as a Zoom webinar from 1:30 to 5:30 CEST. Links to the live
event, together with the detailed programme and information are
available on the <a
href=
"https://email.e-flux-systems.com/campaigns/bz730hn6e711f/track-url/rl482sqxhp5a5/9e3ef12dd38c229a89a4d27b96ab0a57991421d5"><span
></span>website</a>.<br>
</div>
<div><b>Let it happen: accept the image?</b><br>
The digital tools that we now have at our disposal have come to
dominate everyday life in the current media landscape and have shifted
the relationship between work and author in the implementation of
artistic strategies. The lockdown following the COVID-19 pandemic made
this all the more evident: the many images that surround us every day
seem to pop up in our communication feeds without any involvement on
the part of the author; they are no longer subject to authorial
control, they seem to be autonomous byproducts and, at the same time,
evidence of our role as communicative participants, bound up as we
are-and this includes artists-in the media-dominated mechanisms of
contemporary society.<br>
</div>
<div>But the climate of social and technological development in which
we live can actually help artists find new strategies of authorship as
they examine their own attitudes towards the self-empowerment of
image-making and the intentionality of their images. As agents
integral to our digital society and the current crisis, artists are
inextricably tied up with the images and iterations of images they
produce, so they need to rethink their practices and positions. The
critically reflective deployment of new technologies is also helpful
in the context of critical visual studies, where the parameters of
pictorial concepts of perception can be made visible and
comprehensible whether they stem from the natural sciences, from the
art world, or from everyday life.<br>
</div>
<div>Expanding concepts of production to the point where the work, if
not self-generating, can be created or at least co-created by other
entities will establish new positions as we negotiate prevailing
structures-images, art, society-and their limitations.</div>
<div><br></div>
<div><b>Concepts of digital participation generate new work-and vice
versa</b><br>
How does all this give rise to new definitions of authorship? What are
the new capabilities and the new limitations of this kind of<i>
augmented authorship</i>? How do these new artistic strategies differ
from other, analogous conceptual positions and artistic practices?<br>
</div>
<div>The digital technologies used in the creation of such works
provide some guidance on how to find nuanced answers to these
questions. From our communication feeds and the structures of our
social media platforms, through data accumulation and blockchain
technology to program-controlled design, artificial intelligence, and
machine learning, today's artists-besides virtual forms of spatial
expression such as VR and AR-have at their disposal an
ever-expanding range of technologies that can be developed for and
applied to new forms of empowered, connected and critical
authorship.<br>
</div>
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<b>HeK (House of Electronic Arts Basel)</b><br>
Freilager-Platz 9<br>
4142 Basel<br>
Switzerland</div>
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