Felix Stalder, Prof. DfA

appropriation_in_art_and_culture

Anonymous (anonymous@undisclosed.example.com) — 2018-05-22T05:38:18+00:00

Feb 20, 2018: The Cannibal from Brazil Oswald de Andrade, 1928.Cannibalist Manifesto transl. Leslie BarySource: Latin American Literary Review, Vol. 19, No. 38 (Jul. - Dec., 1991), pp. 38-47 Dunn, Christopher 1996. The Tropicalista Rebellion. Interview with Caetano Veloso. Transition(70): 116. Caetano Veloso, Tropicalia, 1968 Hélio Oiticica.

art_ai

Anonymous (anonymous@undisclosed.example.com) — 2025-04-11T07:10:03+00:00

Art and AI. What Kind of AI Do We Want? Bringing Artistic and Technological Practices Together. Main Teaching Staff: Nora al Badri & Felix Stalder This is a joint module for BFA students (ZHdK) and BA students of Computer Science (ETH) to bring together artistic and technological perspectives taking place in both universities. Our starting point is to consider «Artificial Intelligence» (AI) as a historical-material practice, that is, shaped by the concrete conditions of its development and use…

art_and_ai._machine_visions

Anonymous (anonymous@undisclosed.example.com) — 2021-03-11T08:00:26+00:00

Art and AI. Machines Visions. Date: Week 9, March 1 - 5, 2021 Time: 10:00 - 17:00 The course takes place online: The link is sent to you by email. Course requirements: * active participation in group activity * active individual work (via pad)

art_and_ai_--_how_machines_think_and_see_ii

Anonymous (anonymous@undisclosed.example.com) — 2020-12-14T10:32:22+00:00

Course preview Artificial intelligence (AI) is all around us, transforming the way we see the world and the world sees us. Sometimes, we barely notice, sometimes, the results of AI can be very impressive, though sometimes so impressively bad, that Hito Steyrl and others started to talk about “Artificial Stupidity”. But almost always, the actual procedures of AI remain mysterious, locked away in a black box.

art_and_appropriation

Anonymous (anonymous@undisclosed.example.com) — 2021-04-30T07:17:31+00:00

Course Description In 1928, Oswald de Andrade published the “Cannibal Manifesto” (Manifesto Antropófago) that identified the principle of cultural appropriation as key to Brazilian culture. He wasn't the only one. Throughout the 20th century, numerous artistic movements – cubism and dada, music concrete and found-footage film, situationism, pop art, and appropriation art to name but a few - have worked with pre-existing cultural materials as an avant-garde practice. With the spread of digital m…

art_and_the_paradoxes_of_copyright

Anonymous (anonymous@undisclosed.example.com) — 2025-02-13T12:28:29+00:00

PARADOXES OF COPYRIGHT Week 42: 14 - 18 October, 2024 Location: ZT 5.D02 Abstract: Contemporary art’s relation to copyright is paradoxical. Copyright gives artists a claim of ownership over their own work. Yet, it enforces a type of individual original authorship that poorly fits contemporary artistic practices, which are often collaborative, generative, and building on the works of others. Since Dada, many avant-garde movements intended to undermine the notion of artistic control and origin…

art_and_the_techno-politics_of_ai

Anonymous (anonymous@undisclosed.example.com) — 2025-12-08T09:35:27+00:00

Date: 27.-31.10. Room: 6K.04 Abstract Starting from the collaborative work of the artist Vladan Joler and the researcher Kate Crawford, we investigate the techno-politics of AI long various points in the chain of production, use and disposal. We use the framework of

art_artifical_intelligence

Anonymous (anonymous@undisclosed.example.com) — 2021-09-06T09:43:40+00:00

Watching “Machines” See Input: 07.09.2021 Recognizing visual patterns: Edges, Shapes, and Colours * !Mediengruppe Bitnik SAME SAME. WATCHING ALGORITHMS - CABARET VOLTAIRE EDITION 2015 * Mario Klingemann & Simon Doury X Degrees of Separation, 2018 Attributing Meaning; Training sets and labeling * !Mediengruppe Bitnik!

art_copyright

Anonymous (anonymous@undisclosed.example.com) — 2025-03-01T12:50:49+00:00

PARADOXES OF COPYRIGHT Week 8: 17 - 21 Feburary, 2025 Location: ZT 5. K111 Abstract: Contemporary art’s relation to copyright is paradoxical. Copyright gives artists a claim of ownership over their own work. Yet, it enforces a type of individual original authorship that poorly fits contemporary artistic practices, which are often collaborative, generative, and building on the works of others. Since Dada, many avant-garde movements intended to undermine the notion of artistic control and orig…

art_post-human_photography

Anonymous (anonymous@undisclosed.example.com) — 2021-11-02T16:27:16+00:00

Week 40: October 4-8, 2021 Abstract The Western visual language has long been modeled on the human experience. Images were created to represent the world as it was seen by a single person. Mechanical photography both strengthened this regime by producing vast amounts of images that claimed to represent external reality, but also began to undermine it by separating the visual capacity from the human eye. In the 1920s Russian avant-garde director Dsiga Vertov built a visual theory and aesthetics…

art_post-human_photography._how_to_account_for_the_real

Anonymous (anonymous@undisclosed.example.com) — 2023-06-17T09:17:17+00:00

Art & Post-Human Photography. How to account for the real. Week 19: 09-13.05.2022 Abstract For over one hundred years, photography was one of the most important ways to document and account for our external reality, extending a visual regime that started with the development of the central perspective in the 15th century. Its claim to veracity lies in the technical replication of the visual experience of a single human being.

art_the_paradoxes_of_copyright

Anonymous (anonymous@undisclosed.example.com) — 2022-05-24T07:12:03+00:00

Week 42: 18 - 22 October Abstract: Contemporary art’s relation to copyright is paradoxical. On the one hand, copyright gives artists a claim of ownership over their own work. On the other hand, it enforces a type of individual, original authorship that poorly fits contemporary artistic practices which are often collaborative and building on the works of others. At least since the 1960s, numerous artists and activists have explored this paradox in their works, variously coming into conflict wit…

commoning_as_artistic_practice

Anonymous (anonymous@undisclosed.example.com) — 2019-05-23T09:59:36+00:00

Digital Theory: Commoning as artitics practice Tuesdays, 09:15 – 12:45 Based on the ongoing research project “Creating Commons” the module will focus on the theory and artistic practice of “commoning”. Commons are free resources created and managed by a community, for example, alpine meadows, urban gardens, or Wikipedia. Commons embody an alternative idea of property, of cooperation and, in the cases that we will focus on, also of artistic practice. One of the projects we will look at in dept…

commoning_as_practice_of_creation_and_publication_commoning_als_arbeits-_und_publikationspraxis

Anonymous (anonymous@undisclosed.example.com) — 2025-01-16T14:55:30+00:00

This module focuses on the theory and artistic practice of “commoning”. Commons are free resources created and managed by a community, for example, alpine meadows, urban gardens, or, online Wikipedia, archives and libraries. Commons embody an alternative idea of property, of cooperation and, in the cases that we will focus on, also of artistic practice, particularly the separation between production and presentation. They are opting instead for a practice that is process-oriented and open-ended…

cybernetics_--_how_machines_think_i

Anonymous (anonymous@undisclosed.example.com) — 2019-12-02T10:55:15+00:00

Shared notes and protocoll About: In the late 1960s, a series of landmark performances, such as Robert Rauschenberg's “Open Score” (1966, NYC), exhibitions such as “Cybernetic Serendipity” (1968, London) and books, such as Marshall McLuhan's Understanding Media, marked a turning point in popular culture. Once esoteric notions of

digitale_ausstellungsformate

Anonymous (anonymous@undisclosed.example.com) — 2020-10-30T14:19:07+00:00

Thema Das Digitale, so heisst es oft, sei immateriell und prozesshaft, mit vertieften Formen der Interaktion, Partizipation und Appropriation. Gleichzeitig ist die Ausstellung, die besucht werden kann, eines der zentralen Medien der künstlerischen Präsentation. Während in den Anfängen der Netzkunst der traditionelle Ausstellungsraum bewusst vermieden wurde und neue online Formate entwickelt wurden, sind in den letzten 15 Jahren eine Vielzahl hybrider Formate entstanden und die Linie zwischen Au…

distributed_agency

Anonymous (anonymous@undisclosed.example.com) — 2017-03-30T15:56:34+00:00

Praxismodul: Verteiltes Handel / distributed agency (FS 2017) Dozierende: Gordan Savicic, Felix Stalder, Riika Tauriainen Wie können wir zusammenarbeiten, wenn es, zumindest am Anfang, unklar ist wer oder was mit „wir“ gemeint ist? Inwieweit wird das (eigene) künstlerische Schaffen durch andere menschliche und nicht-menschliche AkteurInnen beeinflusst? Wir erleben gerade, wie lange stabile Grenzen zwischen den Menschen, zu den Maschinen aber auch zu anderen Lebewesen flüssig werden und gewöhne…

how_to_edit_his_wiki

Anonymous (anonymous@undisclosed.example.com) — 2022-05-09T07:18:54+00:00

In order to edit this wiki, you need to log-in first. The button is in the upper right corner of the page. Simply use your normal ZHdK credentials, that is, the ZHdK user name and password you also use for email and WLAN. Once your logged in, you go to the page you want to edit. If it has more than one section, go to the section you want to edit and click the

james_bridle_--_how_an_artists_acts

Anonymous (anonymous@undisclosed.example.com) — 2021-05-28T10:58:58+00:00

Pad for notes: In diesem Modul beschäftigen wir uns mit einen Künstler, der sich sehr intensiv mit Digitalität auseinandersetzt: James Bridle. Interessant ist hierbei nicht nur, womit er sich konkret beschäftigt, sondern wie sich diese Beschäftigung über eine Vielzahl von Formaten und Genres zieht.

kritik_der_digitalitaet_soziologische_perspektiven

Anonymous (anonymous@undisclosed.example.com) — 2026-01-09T12:35:30+00:00

Im Modul „Kritik der Digitalität, Soziologische Perspektiven“ werden aktuelle Entwicklungen des Digitalen anhand aktueller Texte eingeführt und diskutiert. Wir nehmen anhand der Arbeiten von Vladan Joler und Kate Crawford künstlerische und wissenschaftliche Strategien der Sichtbarmachung der materiellen Dimensionen der Digitalität und der darin enthaltenen sozialen und ökologischen Konflikte in den Blick.

kunst_kuenstliche_intelligenz

Anonymous (anonymous@undisclosed.example.com) — 2020-09-01T07:41:39+00:00

Z-Modul Kunst + Künstliche Intelligenz Montag 31. August bis Freitag 11. September, 2020, Projektraum: Galerie 1+2 (4.K13+5.K09) Lecturers Andreas Kohli. DKV BA Art Education || Felix Stalder, DFA BA Fine Arts || Olivier Pasquet, DMU Wissenschaftlicher Mitarbeiter ICST || René Bauer, DDE Leitung MA Game Design, Game Lab

kybernetik_neoliberalismus

Anonymous (anonymous@undisclosed.example.com) — 2017-03-31T09:35:04+00:00

Theorie: Kybernetik und Neo-Liberalismus Dozent: Felix Stalder “Wie kommt es, dass uns jeden Tag mehr Freiheit versprochen wird, und wir dennoch immer enger kontrolliert werden?” Mit dieser Frage eröffnet der Britische Filmemacher Adam Curtis seinen dreiteiligen Dokumentarfilm

painted_by_numbers

Anonymous (anonymous@undisclosed.example.com) — 2019-01-08T08:03:26+00:00

“The book of nature is written in mathematics” Galileo Galilei (1564-1642) “What gets measured gets managed.” Peter Drucker (1909-2005) ”Not everything that counts can be counted, and not everything that can be counted counts.” Albert Einstein (1879 -1955)

post-human_photography_and_the_question_of_the_real

Anonymous (anonymous@undisclosed.example.com) — 2024-08-22T07:30:15+00:00

Art & Post-Human Photography. How to account for the real. Week 17: 22-26.04.2024 Abstract For over one hundred years, photography was one of the most important ways to document and account for our external reality, extending a visual regime that started with the development of the central perspective in the 15th century. Its claim to veracity lied in the technical replication of the visual experience of a single human being.

posthuman_photography

Anonymous (anonymous@undisclosed.example.com) — 2025-06-08T20:58:38+00:00

Art & Post-Human Photography. How to account for the real? Week 22: 26. - 30.05.2024 Abstract For over one hundred years, photography was one of the most important ways to document and account for our external reality, extending a visual regime that started with the development of the central perspective in the 15th century. Its claim to veracity lied in the technical replication of the visual experience of a single human being.

post_digitales_kuratieren

Anonymous (anonymous@undisclosed.example.com) — 2022-10-07T08:05:18+00:00

Formate des (Post)Digitales Kuratieren Klassische White Cube Ausstellungen und digitale, vernetzte Formate treten in immer engeren Austausch und sind in vielen aktuellen Ausstellungen direkt aufeinander bezogen. Die Erfahrungen der Pandemie haben diesen Trend nochmals deutlich verstärkt. So widmet sich die Ausstellung “DYOR”, die am 8.10. in der Kunsthalle Zürich eröffnet wird, diesem Thema explizit, in dem sie den lokalen Ausstellungsraum um diverse Plattformen zeitlich und räumlich erweitert.…

praxis_2._semester

Anonymous (anonymous@undisclosed.example.com) — 2020-02-18T15:03:59+00:00

18./19.02. Vorbereitung auf Sybille Berg, Schauspielhaus, 16.6. Thema: Anarchismus Von Uhrmachern zu Hackern Tancrède Ramonet, 2013 Kein Gott, kein Herr! Eine kleine Geschichte der Anarchie 1/2. 71 Min Die Jurassische Förderation (1872) James Guillaume: Ideas on Social Organization (1876) Aus: Guérin, D. (Ed.), Sharkey, P. (Trans.). (2005). No gods, no masters (Complete unabridged ed). Edinburgh, Scotland ; Oakland, CA: AK Press. (Lesen; I. Foreword (247-8), III. Industrial Workers (251-253)…

praxis_gs17

Anonymous (anonymous@undisclosed.example.com) — 2017-09-25T12:27:31+00:00

Hier bitte die Semesterfazite hochladen. Dazu müssz ihr euch einloggen (normaler ZHDK Login/PWD) und dann sie Seite editieren. Siehe auch:

start

Anonymous (anonymous@undisclosed.example.com) — 2026-04-10T08:41:00+00:00

Office Hours on appointment: felix.stalder AT zhdk.ch (Post-)Digital Culture “Technology is the active human interface with the material world. Its technology is how a society copes with physical reality: how people get and keep and cook food, how they clothe themselves, what their power sources are (animal? human? water? wind? electricity? other?) what they build with and what they build, their medicine — and so on and on. Perhaps very ethereal people aren’t interested in these mundane, bodi…

testtesttest

Anonymous (anonymous@undisclosed.example.com) — 2025-02-16T09:51:55+00:00

art_copyright [Original file] PARADOXES OF COPYRIGHT Week 8: 17 - 21 Feburary, 2025 Location: ZT 5. K111 Abstract: Contemporary art’s relation to copyright is paradoxical. Copyright gives artists a claim of ownership over their own work. Yet, it enforces a type of individual original authorship that poorly fits contemporary artistic practices, which are often collaborative, generative, and building on the works of others. Since Dada, many avant-garde movements intended to undermine the not…

the_paradoxes_of_copyright

Anonymous (anonymous@undisclosed.example.com) — 2022-11-17T12:56:44+00:00

Week 46: 14 - 18 November, 2022 Abstract: Contemporary art's relation to copyright is paradoxical. Copyright gives artists a claim of ownership over their own work. Yet, it enforces a type of individual original authorship that poorly fits contemporary artistic practices, which are often collaborative, generative, and building on the works of others. Since Dada, many avant-garde movements intended to undermine the notion of artistic control and originality. At least since the 1960s, numerous a…

unlearning_copyright

Anonymous (anonymous@undisclosed.example.com) — 2017-12-05T20:09:26+00:00

Unlearning Copyright: Collaboration, Piracy and the Commons In this module, we want to unlearn “copyright”, that is, a particular social construction consisting of individual authorship, stable works, audiences, personal property, and markets. Not only is this construction far from universal, rather it emerged in Europe of the 18th and 19th century, but it imposes considerable violence on practices that do not fit its categories.

unlearning_copyright_2020

Anonymous (anonymous@undisclosed.example.com) — 2020-12-14T08:30:05+00:00

Unlearning Copyright In this module, we want to begin to unlearn “copyright”, i.e. a particular social construction consisting of individual authorship, stable works, audiences, personal property, and markets. It emerged in Europe during the 18th and 19th centuries. Not only is this construction far from universal, but its global application imposes considerable violence on practices that do not fit its categories. For a long time, these have been primarily those rooted in non-western tradition…

what_kind_of_ai_do_we_want

Anonymous (anonymous@undisclosed.example.com) — 2022-03-23T12:30:41+00:00

What kind of AI do we want? Bringing artistic and technological practices together. In this seminar, we look at “artificial intelligence” (AI) as a historical-material practice. That is, we understand AI as shaped by the concrete conditions of its development and use. We will address the current discourse within our democratically shaped society around bias in AI, trustworthy AI, and look at decolonial as well as indigenous approaches to AI.

what_kind_of_ai_do_we_want._generative_ai_and_normalization

Anonymous (anonymous@undisclosed.example.com) — 2026-04-10T11:05:49+00:00

“Liberate the possible from the tyranny of the probable.” (Dan McQuillan, Goldsmith University) About: In this module, we will combine theoretical and technical/practical approaches to AI, trying to develop a critical perspective and some hands-on experience at the same time. Our starting point is to consider «Artificial Intelligence» (AI) as a historical-material practice, that is, shaped by the concrete conditions of its development and use.

what_kind_of_ai_do_we_want._the_case_of_generative_ai

Anonymous (anonymous@undisclosed.example.com) — 2025-03-20T09:58:49+00:00

What kind of AI do we want? The case of generative AI This is a joint module for BFA students (ZHdK) and BA students of Computer Science (ETH) to bring together artistic and technological perspectives. Our starting point is to consider «Artificial Intelligence» (AI) as a historical-material practice, i.e. shaped by the concrete conditions of its development and use. We focus on