Today, the prospects of digital technologies are both auspicious and frightening: With digital assistance and whole new virtual environments, as well as promising advances in AI and machine learning on the one hand, and surveillance capitalism, discriminating datasets and life-threatening cyberwars on the other. How did this conflicting situation come about? To answer this question, we have to acknowledge that technologies are temporally and spatially produced, affected by different epistemes, ideologies, political interests, economic forces and cultural practices.
Accordingly, technological development is always fragmented.
Christian Freude/Christina Jauernik/Johann Lurf/Fabian Puttinger/Rüdiger Suppin Velvet Eyes, 2023, Installation, Auto-stereoscopic medium format slide projection. Projectors, wood, steel, plexiglass, paper, velvet, velcro, and engine (Photo: Paul Pibernig)
Luiza Prado O. Martins, Rome Is No Longer In Rome, It Is Wherever I Am, Installation, 3D Print, 2023 (Photo: Lea Dörl)
Anna Vasof, The Second Life of Burned Trees, Video, 2023 (Photo: Anna Vasof)
Mary Maggic, FASTER, HIGHER, STRONGER, Interactive Installation, Bioreactor, Fitness Bike, 2022 (Photo: Paul Pibernig)
Christina Gruber, Black Gold, Installation, Prints, 2020 (Photo: Lea Dörl)
kennedy+swan, Manifesto of Fragility (Morning Routine), Video, 2022 (Photo: Lea Dörl)
Cyrus Kabiru, C-Stunners Series, Photographies, 2012–22 (Photo: Lea Dörl)
Anna Vasof, Things and Wonders, Series of Video Works, 2018–2023 (Photo: Lea Dörl)
Christiane Peschek, OASIS, Mix Media Installation, 2022 (Photo: Paul Pibernig)
Kumbirai Makumbe, Living Doesn't Mean Your'e Alive, Video and Sculptures, 2021 (Photo: Paul Pibernig)
kennedy+swan, Delphi Demons, Stereoscopic film, 2022 (Photo: kennedy+swan, video still)