Toward a Minor Tech:AnikinaKeskintepe5000 - Revision history

Simoon: /* Spirit Tactics:(Techno)magic as Epistemic Practice in Media Arts and Resistant Tech */

2023-09-13T12:46:46Z

Spirit Tactics:(Techno)magic as Epistemic Practice in Media Arts and Resistant Tech

← Older revision		Revision as of 12:46, 13 September 2023
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	In the first proposition, (techno)magic could be called “ethico-onto-epistemological”, following Karen Barad’s suggestion of the inseparability of ethics, ontology and epistemology (Barad, 90), precisely because it exists at the intersection of politics of nature and culture that argues against separation of these philosophical entities, and because it lends itself to problematising the experiences of the self and being-in-the-world.		In the first proposition, (techno)magic could be called “ethico-onto-epistemological”, following Karen Barad’s suggestion of the inseparability of ethics, ontology and epistemology (Barad, 90), precisely because it exists at the intersection of politics of nature and culture that argues against separation of these philosophical entities, and because it lends itself to problematising the experiences of the self and being-in-the-world.

	Returning to the second proposition, in which (techno)magic complicates the relations of scale by inserting granular relationalities, technology, in relation to magic, should be liberated from being a despirited tool (a hammer), or from being a magic-wand type solution to the world’s problems; (techno)magic activates a possibility of the ineffable, and therefore, uncapturable of magic in certain space-times inside techno-capitalist infrastructures. (Techno)magic does not simply become a technological prosthesis, but also does not become completely externalised as a miracle. Rather, its minor narratives are about acts of personal becoming political through interaction. The relationality of 'becoming-familiar' with the machine can be read as a literal familiarising yourself with a machine or technology that is unknown, and experiencing joyful co-production once the machine becomes known to the body and to its epistemic operation. But it can also be read as becoming-closer, like a familiar of a witch, meaning a useful spirit or demon (in European folklore) with whom a contract is made to collaborate. What is important here is the context of opening up new capacities to act, or capacities to act differently in a reality that was previously hidden.		Returning to the second proposition, in which (techno)magic complicates the relations of scale by inserting granular relationalities: technology, in relation to magic, should be liberated from being a despirited tool (a hammer), or from being a magic-wand type solution to the world’s problems; (techno)magic activates a possibility of the ineffable, and therefore, uncapturable of magic in certain space-times inside techno-capitalist infrastructures. (Techno)magic does not simply become a technological prosthesis, but also does not become completely externalised as a miracle. Rather, its minor narratives are about acts of personal becoming political through interaction. The relationality of 'becoming-familiar' with the machine can be read as a literal familiarising yourself with a machine or technology that is unknown, and experiencing joyful co-production once the machine becomes known to the body and to its epistemic operation. But it can also be read as becoming-closer, like a familiar of a witch, meaning a useful spirit or demon (in European folklore) with whom a contract is made to collaborate. What is important here is the context of opening up new capacities to act, or capacities to act differently in a reality that was previously hidden.

	Having proposed to take magic seriously as an ethical and epistemic practice, we would like to offer methodological speculation on what kind of practices could be considered within the remit of the (techno)magical, following these two propositions. One example is a ritual-based work by artist Choy Ka Fai. Rituals are important relational practices since they weave together physical bodies through a set of symbolic actions that allow participants to build relationships with each other, with technologies, as well as other entities with the aim of bringing forth a transformational process for the self.		Having proposed to take magic seriously as an ethical and epistemic practice, we would like to offer methodological speculation on what kind of practices could be considered within the remit of the (techno)magical, following these two propositions. One example is a ritual-based work by artist Choy Ka Fai. Rituals are important relational practices since they weave together physical bodies through a set of symbolic actions that allow participants to build relationships with each other, with technologies, as well as other entities with the aim of bringing forth a transformational process for the self.
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	The work suggests the interconnectedness between the human body, nature, ritual and technology, culminating in the phrase “I have arrived at the centre of the universe - the universe inside you [me]” (Choy) that appears on the screen during documentary sequences. What Choy Ka Fai suggests is reaching a place and a state of deep connectedness attained through oscillation created by the many components of the ritual. The audio-visual experience, employing music and intense visuals, reaches the point where the energy of sound vibration is felt as a bodily encounter with the magical reality of the 3D figure on the screen.		The work suggests the interconnectedness between the human body, nature, ritual and technology, culminating in the phrase “I have arrived at the centre of the universe - the universe inside you [me]” (Choy) that appears on the screen during documentary sequences. What Choy Ka Fai suggests is reaching a place and a state of deep connectedness attained through oscillation created by the many components of the ritual. The audio-visual experience, employing music and intense visuals, reaches the point where the energy of sound vibration is felt as a bodily encounter with the magical reality of the 3D figure on the screen.

	Speaking of (techno)magic in the case of Choy Ka Fai’s work offers an opportunity to consider what kind of relationality the technological aspects of the work enable in relation to the spiritual ones. While the technology of motion capture in itself focuses on quantifying and abstracting the lived experience and often serves the monetisation and further capture of data’s value, in Tragic Spirits it seems to be employed towards another goal, namely, mediating the experience of facing the ineffable. The movement between the documentary film, the dancer, the music and the avatar creates a closed circuit loop between the bio-techno-kinetics and their representation on the screen. In doing so, the performance weaves the 'blackbox' of technology within a sacred ritual. The motion capture animates the avatar on the screen, allowing the viewers to see the connection between it and the dancer. Yet, considering this bond and the dancer in the traditional sense of shaman entering an altered state of consciousness, the viewers don’t make the same journey as her - the motion capture can mediate and make visible, but can not abstract or data-fy the spiritual journey. This is, precisely, one of the major points of the work: the unknowable must be confronted, seen, heard and experienced without being subsumed.		Speaking of (techno)magic in the case of Choy Ka Fai’s work offers an opportunity to consider what kind of relationality the technological aspects of the work enable in relation to the spiritual ones. While the technology of motion capture in itself focuses on quantifying and abstracting the lived experience and often serves the monetisation and further capture of data’s value, in ''Tragic Spirits'' it seems to be employed towards another goal, namely, mediating the experience of facing the ineffable. The movement between the documentary film, the dancer, the music and the avatar creates a closed circuit loop between the bio-techno-kinetics and their representation on the screen. In doing so, the performance weaves the 'blackbox' of technology within a sacred ritual. The motion capture animates the avatar on the screen, allowing the viewers to see the connection between it and the dancer. Yet, considering this bond and the dancer in the traditional sense of shaman entering an altered state of consciousness, the viewers don’t make the same journey as her - the motion capture can mediate and make visible, but can not abstract or data-fy the spiritual journey. This is, precisely, one of the major points of the work: the unknowable must be confronted, seen, heard and experienced without being subsumed.

	The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.		The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.
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	Where Allado-McDowell suggests that a future ecosemiotic AI translating between the human and non-human worlds is construed as “what in the Amerindian view might look like a shaman” (71), bringing the Amerindian epistemology into the Western one, we would like to continue the line of questioning into the specific Western politics of imagination, care and labour without choosing a specific magical tradition. In relation to this view, (techno)magic leaves open the question of interweaving specific cultural practices into its understanding of ‘magic’. At the moment, (techno)magic, while taking the considerations we outlined above on board, leaves open the question of interweaving a specific cultural practice of magic. This is an unresolved tension that we reserve as a potential task for future research. Our address to the (techno)magical primarily deals with the messy practice of post-digital culture inheriting from Western modernity, focusing on ethics of relationality as understood by feminist technoscience as ethics that operationalise the terms of labour, embodied experience and care.		Where Allado-McDowell suggests that a future ecosemiotic AI translating between the human and non-human worlds is construed as “what in the Amerindian view might look like a shaman” (71), bringing the Amerindian epistemology into the Western one, we would like to continue the line of questioning into the specific Western politics of imagination, care and labour without choosing a specific magical tradition. In relation to this view, (techno)magic leaves open the question of interweaving specific cultural practices into its understanding of ‘magic’. At the moment, (techno)magic, while taking the considerations we outlined above on board, leaves open the question of interweaving a specific cultural practice of magic. This is an unresolved tension that we reserve as a potential task for future research. Our address to the (techno)magical primarily deals with the messy practice of post-digital culture inheriting from Western modernity, focusing on ethics of relationality as understood by feminist technoscience as ethics that operationalise the terms of labour, embodied experience and care.

	The reasons are twofold: first, we are wary of positioning these systems of knowledge as ready-made solutions: indigenous knowledge is not an instrument of care for the Western world. Rebuilding relations of care requires attention to the material and embodied worlds within existing epistemologies. ~~see decolonial epistemologies.~~ Secondly, in the context of existing media art and resistant tech practices, the ideas of 'magic' come from very different lifeworlds. Some are employing specific vocabularies to describe technology, such as 'spells' or 'codebooks', while not necessarily practicing magic as traditionally understood (some members of varia and syster server collectives). Some directly draw on the existing witchcraft practices (Cy X, a ''Multimedia Cyber Witch'', or Lucile Olympe Haute, artist and author of ''Cyberwitches Manifesto''). The ''International Festival of Technoshamanism'' in Brazil unites practitioners who integrate computation, software and hardware into existing systems of belief by techno-mediating rituals and approaching technological artefacts as magical tools, beings or effigies. Following this, if there is a specific tradition of magic to draw upon, there is also a multiplicity of potential (techno)magics, each requiring an exploration of the situated knowledge systems and ethical positions of people who adopt them. What becomes important in the context of the current article is considering how these multiple positions plug into the existing Western epistemics, and how the disruption of the dominant knowledge systems takes place.		The reasons are twofold: first, we are wary of positioning these systems of knowledge as ready-made solutions: indigenous knowledge is not an instrument of care for the Western world. Rebuilding relations of care requires attention to the material and embodied worlds within existing epistemologies. Secondly, in the context of existing media art and resistant tech practices, the ideas of 'magic' come from very different lifeworlds. Some are employing specific vocabularies to describe technology, such as 'spells' or 'codebooks', while not necessarily practicing magic as traditionally understood (some members of varia and syster server collectives). Some directly draw on the existing witchcraft practices (Cy X, a ''Multimedia Cyber Witch'', or Lucile Olympe Haute, artist and author of ''Cyberwitches Manifesto''). The ''International Festival of Technoshamanism'' in Brazil unites practitioners who integrate computation, software and hardware into existing systems of belief by techno-mediating rituals and approaching technological artefacts as magical tools, beings or effigies. Following this, if there is a specific tradition of magic to draw upon, there is also a multiplicity of potential (techno)magics, each requiring an exploration of the situated knowledge systems and ethical positions of people who adopt them. What becomes important in the context of the current article is considering how these multiple positions plug into the existing Western epistemics, and how the disruption of the dominant knowledge systems takes place.

	==Care, Feminist Technoscience and (Techno)magic as Relational Ethics==		==Care, Feminist Technoscience and (Techno)magic as Relational Ethics==

Simoon at 10:18, 22 July 2023

2023-07-22T10:18:53Z

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	== Abstract ==		== Abstract ==
	Speculative narratives of (techno)magic such as those offered by feminist technoscience, cyberwitches and techno-shamanism come from knowledge systems long marginalised in a hyper-optimised and hard-science-reliant capitalist discourse. Aiming to de-centre Western rational imaginaries of technology, they speak from decolonial and translocal perspectives, in which the relations between humans and technology are reconfigured in terms of care, relationality and multiplicity of epistemic positions. In this paper, we consider (techno)magic as an act of transgressing a knowledge system plus relational ethics plus capacity to act beyond the constraints of the current capitalist belief system. (Techno)magic is about disentangling from commodified forms of belief and knowledge and instead cultivating solidarity, relationality, common spaces and trust with non-humans: becoming-familiar with the machine. What critical approaches, epistemic and aesthetic procedures do these speculative practices enable in media art and resistant tech? In what ways does “magic” act as an alternative political imaginary in the age of hegemonic Western epistemologies? Drawing on feminist STS and the works of artists such as Choy Ka Fai, Omsk Social Club, Ian Cheng, Suzanne Treister and others, we propose to address (techno)magic seriously as an ethical and epistemic practice.		Speculative narratives of (techno)magic such as those offered by feminist technoscience, cyberwitches and techno-shamanism come from knowledge systems long marginalised in a hyper-optimised and hard-science-reliant capitalist discourse. Aiming to de-centre Western rational imaginaries of technology, they speak from decolonial and translocal perspectives, in which the relations between humans and technology are reconfigured in terms of care, relationality and multiplicity of epistemic positions. In this paper, we consider (techno)magic as an act of transgressing a knowledge system plus relational ethics plus capacity to act beyond the constraints of the current capitalist belief system. (Techno)magic is about disentangling from commodified forms of belief and knowledge and instead cultivating solidarity, relationality, common spaces and trust with non-humans: becoming-familiar with the machine. What critical approaches, epistemic and aesthetic procedures do these speculative practices enable in media art and resistant tech? In what ways does “magic” act as an alternative political imaginary in the age of hegemonic Western epistemologies? Drawing on feminist STS and the works of artists such as Choy Ka Fai, Omsk Social Club, Ian Cheng, Suzanne Treister and others, we propose to address (techno)magic seriously as an ethical and epistemic practice.

			<div class="page-break"></div>

	<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>		<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>
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	The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.		The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.

	~~<div class="page-break"></div>~~

	==Decolonising (Techno)magic ==		==Decolonising (Techno)magic ==

Simoon at 20:25, 21 July 2023

2023-07-21T20:25:50Z

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	__NOTOC__		__NOTOC__
	~~= Spirit Tactics: (Techno)magic as Epistemic Practice in Media Arts and Resistant Tech =~~
	'''xenodata co-operative (Alexandra Anikina, Yasemin Keskintepe)'''		'''xenodata co-operative (Alexandra Anikina, Yasemin Keskintepe)'''
			= Spirit Tactics:<br>(Techno)magic as Epistemic Practice in Media Arts and Resistant Tech =

			<span class="running-header">Spirit Tactics: (Techno)magic as Epistemic Practice in Media Arts and Resistant Tech</span>

	== Abstract ==		== Abstract ==

Manetta: /* Spirit Tactics: (Techno)magic as Epistemic Practice in Media Arts and Resistant Tech */

2023-07-21T18:35:04Z

Spirit Tactics: (Techno)magic as Epistemic Practice in Media Arts and Resistant Tech

← Older revision		Revision as of 18:35, 21 July 2023
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	==Works cited==		==Works cited==
			<div class="workscited">
	Allado-McDowell. K. ''Air Age Blueprint''. Ignota Books, 2023.		Allado-McDowell. K. ''Air Age Blueprint''. Ignota Books, 2023.

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	Whitechapel Gallery. "Magic: Documents of Contemporary Art". ''YouTube,'' 2021, September 18, https://www.youtube.com/watch?v=pUOYhzZkxwk&ab_channel=WhitechapelGallery.		Whitechapel Gallery. "Magic: Documents of Contemporary Art". ''YouTube,'' 2021, September 18, https://www.youtube.com/watch?v=pUOYhzZkxwk&ab_channel=WhitechapelGallery.
			</div>

	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:5000 words]]		[[Category:5000 words]]

Simoon at 14:43, 17 July 2023

2023-07-17T14:43:35Z

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	<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>		<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>
	~~<div class="page-break"></div>~~
	==Introduction==		==Introduction==
	Recent exhibitions demonstrate an interest in technology as connected to, intermixed with or implicated in magical practices. Inke Arns’ ''Technoshamanism'' (2021) at HMKV Hartware MedienKunstVerein, in Dortmund, Germany, was, perhaps, the most directly relevant to the topic. ''Post-Human Narratives—In the Name of Scientific Witchery'' (2022) at Hong Kong Museum of Medical Sciences, curated by Kobe Ko, explored para-scientific, esoteric and unorthodox medical practices mixing science and witchcraft. ''Wired Magic'' (2020) at Haus der Elektronischen Künste Basel, curated by Yulia Fisch and Boris Magrini, focused on the rituals and methods of artists intertwining magical practices with technology. Recently, ''The Horror Show!'' (2023) at Somerset House, London, contained a section titled ''Ghost'', which outlined the British history of post-spiritualist hauntologies of electronic media.		Recent exhibitions demonstrate an interest in technology as connected to, intermixed with or implicated in magical practices. Inke Arns’ ''Technoshamanism'' (2021) at HMKV Hartware MedienKunstVerein, in Dortmund, Germany, was, perhaps, the most directly relevant to the topic. ''Post-Human Narratives—In the Name of Scientific Witchery'' (2022) at Hong Kong Museum of Medical Sciences, curated by Kobe Ko, explored para-scientific, esoteric and unorthodox medical practices mixing science and witchcraft. ''Wired Magic'' (2020) at Haus der Elektronischen Künste Basel, curated by Yulia Fisch and Boris Magrini, focused on the rituals and methods of artists intertwining magical practices with technology. Recently, ''The Horror Show!'' (2023) at Somerset House, London, contained a section titled ''Ghost'', which outlined the British history of post-spiritualist hauntologies of electronic media.

Simoon at 14:41, 17 July 2023

2023-07-17T14:41:52Z

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	<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>		<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>

	<div class="page-break"></div>		<div class="page-break"></div>

	==Introduction==		==Introduction==
	Recent exhibitions demonstrate an interest in technology as connected to, intermixed with or implicated in magical practices. Inke Arns’ ''Technoshamanism'' (2021) at HMKV Hartware MedienKunstVerein, in Dortmund, Germany, was, perhaps, the most directly relevant to the topic. ''Post-Human Narratives—In the Name of Scientific Witchery'' (2022) at Hong Kong Museum of Medical Sciences, curated by Kobe Ko, explored para-scientific, esoteric and unorthodox medical practices mixing science and witchcraft. ''Wired Magic'' (2020) at Haus der Elektronischen Künste Basel, curated by Yulia Fisch and Boris Magrini, focused on the rituals and methods of artists intertwining magical practices with technology. Recently, ''The Horror Show!'' (2023) at Somerset House, London, contained a section titled ''Ghost'', which outlined the British history of post-spiritualist hauntologies of electronic media.		Recent exhibitions demonstrate an interest in technology as connected to, intermixed with or implicated in magical practices. Inke Arns’ ''Technoshamanism'' (2021) at HMKV Hartware MedienKunstVerein, in Dortmund, Germany, was, perhaps, the most directly relevant to the topic. ''Post-Human Narratives—In the Name of Scientific Witchery'' (2022) at Hong Kong Museum of Medical Sciences, curated by Kobe Ko, explored para-scientific, esoteric and unorthodox medical practices mixing science and witchcraft. ''Wired Magic'' (2020) at Haus der Elektronischen Künste Basel, curated by Yulia Fisch and Boris Magrini, focused on the rituals and methods of artists intertwining magical practices with technology. Recently, ''The Horror Show!'' (2023) at Somerset House, London, contained a section titled ''Ghost'', which outlined the British history of post-spiritualist hauntologies of electronic media.

Simoon: /* Spirit Tactics: (Techno)magic as Epistemic Practice in Media Arts and Resistant Tech */

2023-07-17T14:31:25Z

Spirit Tactics: (Techno)magic as Epistemic Practice in Media Arts and Resistant Tech

← Older revision		Revision as of 14:31, 17 July 2023
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	<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>		<blockquote>Sorcery? It is a metaphor, of course? You don't mean that you believe in sorcerers, in 'real' sorcerers who cast spells, transform charming princes into frogs or make the poor women who have the bad luck to cross their path infertile? We would reply that this sort of accumulation of characteristics translates what happens whenever one speaks of the 'beliefs' of others. There is a tendency to put everything into the same bag and to tie it up and label it 'supernatural’. What then gets understood as 'supernatural' is whatever escapes the explanations we judge 'natural’, those making an appeal to processes and mechanisms that are supposed to arise from 'nature' or 'society’. – Philippe Pignarre and Isabelle Stengers, ''Capitalist Sorcery: Breaking the Spell''</blockquote>

			<div class="page-break"></div>

	==Introduction==		==Introduction==

Simoon at 14:16, 17 July 2023

2023-07-17T14:16:14Z

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	The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.		The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.

			<div class="page-break"></div>

	==Decolonising (Techno)magic ==		==Decolonising (Techno)magic ==

Simoon at 13:35, 7 July 2023

2023-07-07T13:35:35Z

← Older revision		Revision as of 13:35, 7 July 2023
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	The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.		The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.



	==Decolonising (Techno)magic ==		==Decolonising (Techno)magic ==

Simoon at 13:35, 7 July 2023

2023-07-07T13:35:03Z

← Older revision		Revision as of 13:35, 7 July 2023
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	The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.		The potential for human-technology relationality that extends beyond the instrumental and the techno-solutionist, of course, doesn’t have to be restricted to media art or research contexts. It can be traced to a variety of lived experiences of technology, from mundane to techno-spiritual. However, it is in artistic practices that we find useful fissures and tensions, and where politics have the potential to become most immediately visible and negotiated.