e-flux & HaFI Conference: Art After Culture: Navigation Beyond Vision, April 5 & 6, 2019, HKW, Berlin

Harun Farocki, Parallel IV, 2014 © Harun Farocki GbR, Berlin

Navigation Beyond Vision
Lectures, films, and discussions
Fri, Apr 05, 2019, 7pm
Sat, Apr 06, 2019, 11am – 8pm
Location: Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin
In English, free admission

With Ramon Amaro, Julieta Aranda, James BridleKaye Cain-NielsenMaïté ChénièreKodwo EshunAnselm FrankeJennifer Gabrys, Charles Heller, Tom HolertInhabitantsDoreen MendeMatteo PasquinelliLaura Lo PrestiPatricia ReedNikolay Smirnov, Hito Steyerl, Oraib Toukan, and Brian Kuan Wood.

Navigation begins where the map becomes indecipherable. Navigation operates on a plane of immanence in constant motion. Instead of framing or representing the world, the art of navigation continuously updates and adjusts multiple frames from viewpoints within and beyond the world. Navigation is thus an operational practice of synthesizing various orders of magnitude, each with its own horizon. Super-modernity’s expansive enclosures of global infrastructure, time zone logistics, and data-behaviorism become external abstractions as much as computational and territorial facts.

Only a few weeks prior to his untimely death in 2014, Harun Farocki briefly referred to navigation as a contemporary challenge to montage—editing distinct sections of film into a continuous sequence—as the dominant paradigm of techno-political visuality. For Farocki, the computer-animated, navigable images that constitute the twenty-first century’s “ruling class of images” call for new tools of analysis. Drawing on Alexander Galloway’s concept of “actionable objects” in gamespace, Farocki began to ask: How does the shift from montage to navigation alter the way images—and art—operate as models of political action and modes of political intervention?

Today, we “navigate” known and unknown, real and virtual, concrete and abstract space—cities, territories, lives, and narratives. As we attempt to map and record the terrain, we are ourselves being mapped and recorded. If Google Maps seeks to map space and global finance seeks to map affective responses to possible events, Farocki appears to have employed the question of navigation to ask: What are the interfaces of navigation that transcend the realm of the purely technical, even as a form of visualization that paradoxically supersedes the spatial and temporal constraints of images completely?

Rather than finding orientation by way of images in the real world, real world experiences may be increasingly used to find orientation within images. An image may mutate into a sort of interface—an operational tool reaching beyond visual-cognitive persuasions, beyond the documentary, beyond “the image” itself, enabling seemingly boundless and borderless mobility between spaces, scales, temporalities. The navigational also redraws as well as challenges power relations inherent to orientation and movement, when, for example, groups begin visiting distant “home countries” based on DNA test results, just as many from those countries flee to foreign countries moved by promise.

Against the backdrop of platforms that swell into worlds, disorientation may have become an ethical resource.

“Navigation Beyond Vision” asks: How do navigational paradigms in virtual and offline environments increasingly inform the politics of the image? If navigation puts ontological pressure on the static frame of a photographic or cinematic image, then how are our concepts of political action, visual literacy and collective intervention also pressured to surpass or perform model worlds? How does the operative and performative character of immersion in computational environments—navigating with and within images—impact the function and the status of the visual as such? Has navigation ever been a visual technology at all, or has it always compounded cosmological, mathematical, and sensorial orders of magnitude into aggregate spatial orders that surpass the visual entirely?

 

PROGRAM

FRIDAY, APRIL 5, 7–9pm

7pm Introduction:  Doreen Mende, Brian Kuan Wood
7.15pm Keynote and screenings:  James Bridle, Hito Steyerl

SATURDAY, APRIL 6, 11am–8pm

11am  Introduction:  Kaye Cain-Nielsen, Tom Holert
11.15am  Sensory Counter-Mappings:  Anselm Franke, Jennifer Gabrys, Laura Lo Presti, Mariana Silva (Inhabitants), Nikolay Smirnov,
moderated by Tom Holert
2.15pm  The Tasks of Abstract Space:  Ramon Amaro, Matteo Pasquinelli, Patricia Reed,
moderated by Brian Kuan Wood
5pm Extra-Image Violence:  Maïté Chénière, Charles Heller, Oraib Toukan,
moderated by Doreen Mende
7.15pm Closing Response:  Kodwo Eshun

 

“Navigation Beyond Vision” is the third in the conference series “Art After Culture?” organized in Rotterdam, Paris, Berlin, and New York launching off the next ten years of e-flux journal. It is co-organized by the Harun Farocki Institut (HaFI) and e-flux journal in cooperation with Haus der Kulturen der Welt (HKW). With additional support from the CCC Research-Based Master of Visual Arts at HEAD – Genève.

February 27th, 2019, Event / Projects
Interface

Jodi Dean on work in neofeudal times, via Los Angeles Review of Books: “When work is imagined — and some on the left think that we should adopt a ‘postwork imaginary’ — it looks like either romantic risk-free farming or tech-work, ‘immaterial labor.’ By now, the exposés on the drudgery of call center work, not to mention the trauma-inducing labor of monitoring sites like Facebook for disturbing, illicit content, have made the inadequacy of the idea of ‘immaterial labor’ undeniable. It should be similarly apparent that the postwork imaginary likewise erases the production and maintenance of infrastructure, the wide array of labor necessary for social reproduction, and the underlying state structure.”

May 23rd, 2020, Tom

Naomi Klein on the “Screen New Deal” (via The Intercept): “Calling [Bill] Gates a ‘visionary,’ [New York governor Andrew] Cuomo said the pandemic has created ‘a moment in history when we can actually incorporate and advance [Gates’s] ideas … all these buildings, all these physical classrooms — why with all the technology you have?’ he asked, apparently rhetorically. It has taken some time to gel, but something resembling a coherent Pandemic Shock Doctrine is beginning to emerge. Call it the ‘Screen New Deal.’ Far more high-tech than anything we have seen during previous disasters, the future that is being rushed into being as the bodies still pile up treats our past weeks of physical isolation not as a painful necessity to save lives, but as a living laboratory for a permanent — and highly profitable — no-touch future.”

May 11th, 2020, Tom

Andrea Bagnato on Red Zones, isolation, metaphors, blame, risk and coexistence (at e-flux architecture): “[…] the current manifestation of confinement is better thought of not so much as epidemic control, but as a form of risk displacement: a minority of workers is made to keep the economy going so that a majority of the population can stay at home. And the reverse is true as well: millions of people have to put up with extended confinement so that the risk posed by industrial workers doesn’t grow out of control. In the necropolitical calculations of the State, the physical health of workers and the mental health of everyone else are both a price worth paying.”

May 5th, 2020, Tom
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