Post Planetary Capital Symposium

logo
Sunshine, Boyle

Post Planetary Capital Symposium
Monday, March 24, 2014 from 9:00 AM to 9:30 PM (EDT)
Schedule of panels TBA
Wollman Hall 66 West 12th Street 5th floor   New York, NY
Free and open to the public. Seating is limited-please register:
https://www.eventbrite.com/e/post-planetary-capital-symposium-tickets-10521234295

As the dull glow of nationalism and cold war politics has faded from governmental space programs it is little surprise that space exploration has undergone widespread privatization.
Yet it is only recently that potentially massive profitability has accelerated off-planet projects, replacing narrower and perhaps unrealistic dreams of space tourism with asteroid mining (purportedly a multi-trillion dollar industry) and long term Mars colonization. Such projects present an odd combination of new technologies (especially advanced robotics) and lower cost older technologies (rocket propulsion) deployed in unfamiliar and lawless territory.

While much has been said regarding the internal limits of capital, much yet remains to be said about how capitalist imperatives can be taken off-world, questioning whether capital[ism] has external limits as it begins to spread across the solar system and out into space. Is the fact that asteroid mining extends an old logic of environmental degradation rendered moot by its non-terrestrial location? Does off-world colonization by non-governmental entities lay troubling ground work for the advent of mega-corporations and unregulatable capitalism?

Furthermore, the complicity between capitalist expansion and space exploration which centers upon large-scale collective action potentially questions stock oppositions between capital and ecological betterment, technological progression and radical politics, as well as space travel and non-national collectivity. This one day symposium aims to address the potential strategies and claims surrounding these issues.

- Ben Woodard, Ed Keller

PARTICIPANTS
Julieta Aranda [artist / editor of eflux journal]
Amanda Beech [CalArts]
Kai Bosworth  [UMN]
Benjamin H. Bratton [DGP/UCSD]
Ed Keller [CTM/Parsons]
Deneb Kozikoski [Columbia]
Carla Leitao [RPI/Pratt]
Geoff Manaugh [Gizmodo/BLDGBLOG]
Rory Rowan [Wageningen University, The Netherlands ]
Keith Tilford [New School]
Ken Wark [New School]
Ben Woodard [University of Western Ontario]
Kazys Varnelis [Columbia Univ. GSAPP]

Additional speakers TBA

Encoded Matter: Ezio Blasetti lecture

encoded

Encoded Matter, Ezio Blasetti
March 17, 6.30 PM
Klein Conference room [510], 66 W 12th St, New York, NY

This lecture will reflect upon computational craft that creates consistency and precision within formal explorations.  Material constraints can be consciously redefined through pattern and code, which incubate a search for progressive manufacturing methods. Pure algorithmic design encapsulates the potential for new patterns, which manifest around generative procedures and scripted logic. This abstract material logic embodiment enables an engagement with the complexities of organizational space. ‘Encoded matter’ attempts to draw a parallel between material behavior, emergence in simple software and spatial narratives.

Ezio Blasetti, registered architect TEE-TCG, is the co-founder of maeta design (2011), ahylo studio (2009), apomechanes (2009) and algorithmicdesign.net (2008). Ezio’s recent collaborations include new-territories, biothing, acconci studio, a|Um studio and serge studio. He has taught generative design studios and seminars by means of computational geometry at Pratt Institute, the Architectural Association, Sciarc, RPI, UTS, PennDesign and Columbia University. In 2004 he co-founded otn studio, a young design-build practice and completed several projects in Greece. His work has been exhibited and published internationally and is part of the permanent collection of the Centre Pompidou.

Free and Open to the Public- seating is limited, please register at Eventbrite
http://www.eventbrite.com/e/ezio-blasetti-encoded-matter-future-of-guitar-design-lectures-tickets-10754002511?aff=efbevent

Function: Decomposition, Localization, Abstraction- Brassier & Negarestani

functions_small
Function: Decomposition, Localization, Abstraction

Speakers: Ray Brassier, Reza Negarestani
March 25, 2014, 6:30pm

Although principally associated with a thesis in the philosophy of mind, functionalism has wide-ranging ramifications. The concept of “functional role” or “functional organization” ties together a metaphysical problem about the basis of the distinction between matter and form, an epistemic problem about how to distinguish semantic content from physical information, and an engineering problem about the relation between structural and functional properties.

This workshop will try to unravel the metaphysical, epistemic, and engineering aspects of functionalism by developing themes from the work of philosophers including William Bechtel, Robert Brandom, Wilfrid Sellars, and William Wimsatt.

Date and Time: March 25, 2014, 6:30pm
Location: Wollman Hall, The New School
66 West 12th Street  New York, NY 10011

This is a free event and open to the public.
Seating is limited: please order tickets via Eventbrite.

MANUAL OVERRIDE: THE SABOTAGE OF CAPITAL

pale-flower-clock2

MANUAL OVERRIDE: THE SABOTAGE OF CAPITAL
4 Lectures by Evan Calder Williams

Lecture 2: THE SABOTAGE OF TIME
March 10, 7 PM – 10PM
E206 Glass corner conf. room  25 East 13th street, 2nd floor
Free and open to the public. Seating is limited: please register on Eventbrite.
https://www.eventbrite.com/e/evan-calder-williams-manual-override-lecture-2-the-sabotage-of-time-tickets-10660867943

This lecture examines one of sabotage’s central qualities and a primary cause of its frequent demonization throughout the last century: its peculiar timescale. This is a mode of time fundamentally opposed to the identity of subject and act that underpins any representational politics, be it voting or street protests. In place of that, sabotage suggests making use of the very paths and delays of circulation. By the time the damage is discovered, no one source can be found, because the commodity, technique, or idea has already routed through the world in the name of capitalizing on uneven zones of wealth and resource. It is a failure without an author. Running counter to the very idea that one should stand up and be counted, sabotage hijacks the time of circulation and arms it against itself. Topics considered include: friction, feedback, and hoards; Veblen on competition and dog-owning; Castoriadis, Simondon, and Stiegler on technical time; steamship ruins in the Bermejo River; supply chains; Ballard; cunning and speed; pipes that go nowhere.

_____________

An overview of all four of Calder Williams’ talks: 

http://ctm.parsons.edu/events/lecture-series/2013-14-fellows-lectures/

 

The Future of Guitar and Instrument Design

2013-14 CTM Lecture, workshop and performance series
TrueTemp

In 2013-14, CTM presents a series of lectures, workshops, & performances focusing on the cutting edge present and future of guitar and instrument design. Organized and coordinated by Ed Keller, and co-sponsored by Mannes School of Music, the series functions as a platform to build cross divisional collaboration at The New School, and opens exclusive external collaborations. Internationally renowned luthiers, designers, builders, materials innovators, composers, performers, theorists, and sound designers come together to explore points of connection between the traditions of musical instrument design and sound production, and new forms of design thinking facilitated by materials science, emergent materials, parametric design, the internet of things, physical computing, networked sound, and the politics of ‘noise’.

In the spring of 2014, our guests include guitarist/teacher/technologist Joe Ravo, architect, designer and coder Ezio Blasetti, luthier Michihiro Matsuda, luthier Florian Vorreiter, and more TBA.  Guest performances and workshops will be linked to the lecture series via our spring Collab course ‘The Radical Future of Guitar‘.

In the fall of 2013, our first guests in this project included some of the most internationally recognized and innovative guitar designers of recent decades: Ken Parker, Ned Steinberger, Ola Strandberg, and Gary Lee. Each lecture was accompanied by panel discussions, performances and demonstrations by internationally acclaimed artists including Allan Marcus, Charlie Hunter, Fred Hand, Charles Yang, Barry Salmon, Dom Minasi, & Ratzo Harris. Theorists and performers speaking on the current and future envelope of instrument design join these events; Martin Rosenberg was our guest in December in this capacity.

SPRING 2014 EVENT DATES:
Joe Ravo: March 3, 6.30PM, Klein conf. room 510, 66 West 12th Street, NY NY
Ezio Blasetti: March 17, 6.30PM, Klein conf. room 510, 66 West 12th Street, NY NY
Michihiro Matsuda: date TBA
Florian Vorreiter: date TBA

 

LECTURERS and GUESTS in the series:

ezioEzio Blasetti, registered architect TEE-TCG, is the co-founder of maeta design (2011), ahylo studio (2009), apomechanes (2009) and algorithmicdesign.net (2008). He has taught generative design studios and seminars at Pratt Institute, the Architectural Association, Sciarc, RPI, UTS, PennDesign and Columbia University.  His work has been exhibited and published internationally and is part of the permanent collection of the Centre Pompidou.

 

joe-ravo
Joe Ravo
A native New Yorker, Joe has performed with jazz greats Dave Brubeck and Stanley Turrentine and worked in the orchestras of various hit Broadway shows including, A Chorus Line, 42nd Street, Secret Garden, City of Angels, and Dancin’. As the guitarist of Johnny Rodgers Band (JRB), Joe has toured around the globe as a cultural ambassador for the United States. When MIDI (Musical Instrument Digital Interface) was introduced, Joe exploited his engineering background to develop software for Korg USA as a contract programmer. As well as serving as director of technology for Mannes College the New School for Music since 2000, Joe is currently on the faculties of the music conservatory’s preparatory and extension divisions.

 

matsudaJazzGtr

Michihiro Matsuda
Pairing traditional woodworking skills with an innovative sense of design and construction, Matsuda builds around ten to twelve guitars each year at his lutherie studio in Oakland California. His instruments integrate fine materials with organic shapes and graceful lines.

 

 

 


florian

Florian Vorreiter
The emphasis in Florian’s work is on traditional construction methods and state-of-the-art knowledge from research as well as elaborate measuring procedures (Chladni-modes, FFT-Analysis, deflection measurements). The unique sound of Vorreiter-Instruments is accomplished by combining intuition and scientific procedures.

 

 

 

 

KenAndYoYoFINAL

 

Ken Parker Currently building world class, innovative jazz archtop guitars in his personal shop Ken Parker Archtops, Parker was the founder of Parker guitars in 1991, a company which developed radically innovative electric guitars utilizing cutting edge manufacturing and materials.

 

 

 

 

ned

Ned Steinberger Today designing and building both electric classical bowed instruments and electric guitars and basses with his company NS Design, Steinberger was renowned in the 1980s for his use of carbonfiber in his eponymous Steinberger ‘headless’ guitars and basses from that period.

 

 

 

 

ola

Ola Strandberg’s line of ergonomically designed instruments extrapolate the design ideas seen in other ‘headless guitars’, and his innovations in neck profile design, CNC milling, materials, fanfret and tempered fretboards- as well as Creative Commons licensing much of his design work- make him one of the most exciting designers/builders today. CTM & Parsons will be partnering exclusively with Strandberg in Spring 2014 in a collab course studying the ‘Radical Future of Guitar’.

 

 


Gary Lee
Trained as a research scientist with a Ph.D. in biochemistry,
in 2007 Gary launched Lee Guitar Works and the transition to building guitars full-time. Gary’s research background inspires creativity, thoughtful design and exacting execution. His handcrafted classical guitars incorporate the best of traditional design with contemporary features such as adjustable-action necks, elevated fingerboards, double top laminate soundboards, bridges with 12-hole tieblocks, and rigid sides with solid linings for excellent projection.

 

As part of the series, CTM  presents theorists and performers speaking on the current and future envelope of instrument design.

Martin
Martin E. Rosenberg wrote his dissertation on the cultural work across the arts of the scientific concept of “emergence,” beginning with Henri Poincaré, Henri Bergson, and Marcel Duchamp, and ending with Gilles Deleuze and Félix Guattari, Ilya Prigogine, Francisco Varela and Thomas Pynchon.   He recently published on emergent behaviors, visible in music notation, in jazz improvisation and composition, and currently researches the cognitive neuro-science of improvisers. Originally trained in jazz composition at the Berklee College of Music, he has returned (after thirty years) to performing in the Pittsburgh area.

 

 

What Is At Stake With Ergonomics in Guitar Design

Rosenberg

What Is At Stake With Ergonomics in Guitar Design:
Fretboard Cognition, Embodiment, Collective Intelligence

Kellen Auditorium, Parsons The New School for Design
66 Fifth Avenue, New York, NY
Monday, December 2, 2013       7.00pm until 10.00pm
Free and Open to the Public
Seating is limited: Please register on Eventbrite
http://www.eventbrite.com/event/9125818569/efbevent

Dr. Martin E. Rosenberg
Ratzo Harris–Bass     Dom Minasi–Guitar
Ed Keller, Director, CTM—Respondent

This talk seeks to use as a point of departure the question of ergonomics in guitar design, or, how the body couples with an instrument, to reflect on the neuroscience of musical performance during improvisation.  By shifting attention away from the instrument to the player, we can reflect on how processes within the brain and body enable the performance of music on the guitar.  I wish to focus on jazz improvisation, because the specific training in spontaneous composition required for it, which can be applicable to other musical genres, places the greatest demands upon the player.  Contemporary research in cognitive science, and more specifically in the neuroscience of musical listening and performance, give us new ways to think about fretboard cognition as both top-down and bottom-up cognitive performance.  Paradoxically, practicing and performing jazz requires both unerring precision and maximum flexibility.  During preparation, it requires meticulous visual mapping of pathways onto the fretboard, which, through diligent practice, form internal schema and proprioceptive memories involving fretting and plucking strings, to instigate performance.  During performance, it requires precipitous decisions beneath the threshold of awareness by which one of any number of internal schema and corresponding proprioceptive actions might be enacted from one instant to the next.  I call these two stages top-down “Projective Apprehension” and bottom-up “Proprio-Sentience.”  Finally, while examining the emergent neuronal behavior within the individual during the performance of jazz, we must also confront how the feedback loops between the individual and the ensemble during performance can alter the individual’s choices as well as the ensemble’s musical trajectory. This reciprocity mimics emergent neuronal behavior at a larger scale.  The guitar fretboard, and its cognition, becomes the circumstance by which we may inquire into an embodied form of collective intelligence at work.  With the help of guitarist Dom Minasi and bassist Ratzo Harris, we will demonstrate both “projective apprehension” and “proprio-sentience,” and offer “conventional” and “free” jazz performances that will, through a concluding panel discussion, enable us to muse on the relationship between embodiment and collective intelligence that begins with the cognition of pathways onto the fretboard of a guitar cradled in the arms of a player.
* * *

Martin E. Rosenberg wrote his dissertation on the cultural work across the arts of the scientific concept of emergence, beginning with Henri Poincaré, Henri Bergson, and Marcel Duchamp, and ending with Gilles Deleuze and Flix Guattari, Ilya Prigogine, Francisco Varela and Thomas Pynchon. He recently published on emergent behaviors, visible in music notation, in jazz improvisation and composition, and currently researches the cognitive neuro-science of improvisers. Originally trained in jazz composition at the Berklee College of Music, he has returned (after thirty years) to performing in the Pittsburgh area.

Ratzo Harris, one of the worlds few six-string upright bassists, has had a stellar career as a jazz performer, composer, educator and journalist. His forty-year career as a performer includes recording and touring with Joe Henderson, Kenny Werner, Mose Allison, Joe Lovano, Bobby Hutcherson, Charles Lloyd, Jim Pepper, Bob Moses, Joanne Brakeen, Arturo OFarrill, Betty Carter, Karl Berger, Lee Konitz, Jane Ira Bloom, Dave Liebman, and many, many others. His compositions have been recorded by pianist Kenny Werner, trombonists Bob Brookmeyer and Ed Neumeister, and guitarists Bruce Arnold and Royce Campbell, among others. Additionally, he has many performances and composing credits in film and television, as well as dance recitals. Harris has taught at many colleges and universities in Europe and the United States, including Rotterdam University and the University of Ludwigsburg, the New School for Jazz, New York University, the Manhattan School of Music, Berklee College of Music, Indiana University and Rutgers University. Although a high school dropout, he earned his Masters Degree from Rutgers in Jazz History under Coltrane biographer Lewis Porter, and is now considered an important emerging scholar. He currently writes a widely-acclaimed blog for NewMusicUSA, which appears every Friday: http://www.newmusicbox.org/articles/a-bird-uncaged/.

Dom Minasi has been a professional jazz guitarist, educator and composer for fifty years. Largely known as an avant-gardist who leans outside, Minasi began his career as a mainstream jazz guitarist who worked with such luminaries as Arnie Lawrence, George Coleman, Frank Foster, Jimmy Heath and Dave Brubeck, and recorded several albums as a leader with Blue Note Records. Parallel to his performing career, Minasi has taught thousands of students, published a number of music education books for both guitar and voice, and, in conjunction with his work teaching song writing to youngsters through Young Audiences New York, has composed over three hundred children’s songs. Inspired by the work of Roger Kellaway, Minasi began serious study of composition, contributing significantly to M.I.C.E. (Manhattan Improvisational Chamber Ensemble), which specialized in “through-composed” music with improvisation. He continues to compose all the music for his various current ensembles. He and his wife Carol Mennie formed CDM Records, and Minasi became a fixture in the avant-garde community with his acclaimed album Takin The Duke Out: Live at the Knitting Factory (2001), which was followed by several others. In 2006 his most ambitious release in two discs, The Vampires Revenge, was highlighted by a number of European and American journalists as one of the best recordings of 2006. Since 2006, he has released albums on re:KonstruKt Records: Dissonance Makes The Heart Grow Fonder (2009), The Bird, The Girl and the Donkey (2010); followed by a solo effort Looking Out/Looking In. Nacht Records released Synchronicity (2011), with Creative Music Studio founder Karl Berger on vibes and piano, and he awaits the imminent release of a double disc of improvisations with Anthony Braxton, called A Moment in Time.

In 2013-14, CTM presents a series of lectures, workshops, & performances focusing on the cutting edge present and future of guitar and instrument design. Co-sponsored by Mannes School of Music, functioning as a platform to build cross divisional collaboration at The New School, and opening exclusive external collaborations, this series will bring internationally renowned luthiers, designers, builders, materials innovators, composers, performers, theorists, and sound designers together to explore points of connection between the traditions of musical instrument design and sound production, and new forms of design thinking facilitated by materials science, emergent materials, parametric design, the internet of things, physical computing, networked sound, and the politics of noise.

In the fall of 2013, our first guests in this project include some of the most internationally recognized and innovative guitar designers of recent decades [with more guests TBA for Spring 2014]:
Ken Parker, Ned Steinberger, Ola Strandberg, and Gary Lee. As part of the series, CTM presents theorists and performers speaking on the current and future envelope of instrument design.

A Rogue Frequency: book and record launch

Yume Cyan, Last Dance of the Fairies, Nagoya City, Japan (June 2013)

punctum and the Center for Transformative Media, Parsons The New School for Design are co-hosting A Rogue Frequency on Saturday, September 28th, from 5:30-8:00 pm @Kellen Auditorium, Sheila C. Johnson Design Center (66 Fifth Avenue), to celebrate the launch of punctum records and to feature a reading/sound/music mashup with musical artist Taft, plus Katherine Behar + Emmy Mikelson, Jamie “Skye” Bianco, Andreas Burckhardt (author of punctum’s A Sanctuary of Sounds), Rachel Cantor, Oliver Kellhammer, Léopold Lambert, Marget Long, Dominic Pettman, Allen W. Strouse (author of punctum’s forthcoming My Gay Middle Ages), and Marina Zurkow. Books will be available for purchase and there will also be a reception. The Facebook page for the event is HERE.

Cyber-Nietzsche | 04.13.2013

cybernww

On April 13,  2013, The Center for Transformative Media (CTM) at Parsons The New School for Design presented ‘Cyber-Nietzsche: Tunnels, Tightropes, Net-&-Meshworks’: a day-long symposium on the relation of Friedrich Nietzsche’s philosophy to Media Studies, Cybernetics, and the so-called ‘Digital Humanities’ (Human, All too Human?).

The Nietzsche Workshop@Western is an annual international conference that provides an academic forum for scholars and students to discuss the most salient issues of contemporary society in light of the critical perspectives and politico-philosophical insights of the German philosopher Friedrich Nietzsche.

Speakers included:

Jen Boyle, Coastal Carolina University;  Sarah Choukah, Universite de Montreal;  Pawel Krol, Universite Laval;  Nicola Masciandaro, City University of New York;  Jimmy Raskin, Miguel Abreu Gallery; Dylan Wittkower, Old Dominion University; Joseph Nechvatal, School of Visual Arts;  Eugene Thacker, The New School;  Babette Babich, Fordham University;  Gary Shapiro, University of Richmond, Emeritus;  Shannon Bell, York University;  Dominic Pettmann, The New School; and Nandita Biswas Mellamphy & Dan Mellamphy, Western University.

Full conference at UStream: NWWiv

Selected NWWiv presentations at Vimeo:

Introduction and Jen Boyle from Center for Transformative Media on Vimeo.

Future of Security: Ethical Hacking, Big Data and The Crowd | 10.24.12

future-of-sec

On October 24th, 2012,  The Parsons Institute for Information Mapping [PIIM] and the Center for Transformative Media at The New School [CTM] hosted The Future of Security: Ethical Hacking, Big Data, and the Crowd.  This event was a day long series of panels discussing emerging, disruptive forces changing the landscape of global security across a wide range of disciplines, and brought researchers, practitioners, and security professionals together to explore what might be broadly characterized as the current [and rapidly evolving] global security landscape.

Key panels included the following topic areas:

  • Ethical Hacking / Hacktivism- Emerging landscapes of identity and anonymity in a networked world.
  • The impact and future of open source tools and resources.
  • Big Data and Networks “Just-in-time” Support for governments, industry and organizations during crises.
  • The future landscape of national and global network security, new forms of sovereignty.
  • Understanding the use, misuse and linking of broad topical datasets.
  • Real-time monitoring and social network exchanges.
  • Crowd-sourced data exchange, walled-garden networks, and Kickstarter funded hardware and software hacks.
  • Impacts of open data structures on health networks and crisis response.
  • Citizens and sensors and the changing landscape of privacy.

The conference was developed by PIIM and CTM as an extension of research begun in 2011 with several separate projects, including Parsons The New School for Design entry in the ‘Digital Media and Learning Competition’, a yearly event which focused in 2011/12 on the emerging use of digital badges and alternate credentialing systems in online learning and the potential for new ‘open badges’ credentialing to be deployed in citizen science, hacktivist, and crisis response scenarios.
PIIM & CTM: The Future of Security Conference Fall 2012
Selected panels:

For more information, visit the Future of Security website.