The book Post-technological Experiences Art-Science-Culture is a record of the research processes and practices carried out at the intersection of art, science and technology, and of the artistic and design activities of the last few years, which have been described and analyzed in a few dozen original texts. Considered as whole, this book demonstrates the great potential of conducting inter- and transdisciplinary research, which is the methodological and contextual basis for many of the texts presented here, which address issues associated with post-technological experiences. The texts gathered together in this volume present post-technology as a new category of culture connected with the spread of laboratory procedures, scientific knowledge systems and research practices at the end of the 20^th century and the beginning of the 21^st. Post-technological culture has made the latest art an experimental and speculative research practice. And it is this art – with its undetermined procedures – that becomes in this reality a tool for prototyping new forms of society, and for generating discussions about important ethical, ontological, scientific and technological layers of the contemporary world.

Post-technological Experiences. Art-Science-Culture, Adam Mickiewicz University Press 2019

editor: Michał Krawczak

graphic design: Raman Tratsiuk

graphics on the cover and the title pages: Przemysław Jasielski

copy editor: Stephen Dersley

authors: Michał Krawczak, Roy Ascott, Agnieszka Jelewska, Elizabeth McTernan, Jill Scott, Joanna Jeśman, Joanna Hoffmann-Dietrich, Przemysław Jasielski, Piotr Zawojski, Paweł Janicki, Jakub Alejski, Jan Słyk, Bronka Nowicka, Rafał Syska, Natalia Juchniewicz, Jacek Wachowski, Gaja Karolczak, Magdalena Zamorska, Małgorzata Dancewicz, Justyna Stasiowska, Tomasz Misiak, Jeff Gburek, Rafał Zapała

TABLE OF CONTENTS:

Michał Krawczak, Post-technological Experiences: Introduction

Roy Ascott, The Academy: Receding or Re-seeding? Notes Towards an Electronic-nanonic Discourse

PART I: LABORATORY AS CULTURAL PROCEDURE

Agnieszka Jelewska, Spaceship Earth and the Beginnings of New Environmentalism

Elizabeth McTernan, The Coastline Paradox: Measuring a Nameless Island

Jill Scott, Creative Incubators for a Common Culture: Art and Science

Joanna Jeśman, What Can We Learn from Art and Science Collaborations? On the Multidimensional Educational Implications of Bioart

Joanna Hoffmann-Dietrich, The Molecular Approach: Metamorphosis of Image / Metamorphosis of Imagination / Metamorphosis of Gaze

Przemysław Jasielski, Nonsense Technologies

Michał Krawczak, Transforming the Whole World into a Laboratory. Cultural and Artistic Practices in the Post-technological Times

PART II: NEW MEDIA ART AND AFTER

Piotr Zawojski, Hybrid Art – A New Category of Cyberart

Paweł Janicki, Will Art be the Next Theology?

Jakub Alejski, Illusory Inteligence in Video Games

Jan Słyk, From Transdisciplinary Communication to Digital Education. Music – Architecture Interactions and the Substance of Design

PART III: POST-PHENOMENOLOGICAL PERCEPTION

Bronka Nowicka, The Exchange of a Body for an Image. An Attempt to Capture the Way of a Thing from Matter to Memory

Rafał Syska, SnorriCam – A New Look at the Face

Natalia Juchniewicz, A Postphenomenological Approach in the Studies on Human-Technology Relations. The Philosophy of Don Ihde

Jacek Wachowski, The Post-technological Experience or the Doppler Effect

PART IV: TECHNOLOGY AND EMBODIMENT

Gaja Karolczak, Virtual Corporeality and the Phantomic Understanding of the Body

Magdalena Zamorska, Is the Spectator Supposed to Spectate? Triggering the Dance Audience

Małgorzata Dancewicz, A New Concept of the Performer in the Context of Current Developments in Science and Technology

PART V: SOUND AND MATERIALITY

Justyna Stasiowska, Soft Machine – Somaintrument

Tomasz Misiak, Viral Inflammation of Sound Art. Based on MP3 Deviation by Yasunao Tone

Jeff Gburek, Beyond the Now: Reframing Listenership in the Pre-Recorded Universe

Rafał Zapała, Integral Artistic, Technological and Social Strategies in the Sound Installation Sensorium