Luciano Floridi and contemporary art practice

This article examines how the thinking of Luciano Floridi, especially his emphasis on information, could affect the way we approach art practice. It aims to situate art practice in relation to contemporary informational theories and suggests that the way we view contemporary art practice needs to move beyond existing theories. Key components to Floridi’s philosophy are introduced with relevance to art practice, followed by an analysis of these concepts with examples from the history of art. It is hoped that, by clarifying some of the more complex terms and concepts, readers will form a better understanding of the connections and potential synergy between art practice and the sciences of information, through the philosophy of Floridi

Assign and Arrange:Methodologies of Presentation in Visual Art and Dance

In recent transdisciplinary discourses, contributors from visual art and dance have used terms like mise-en-scène, situation, setting, parcours and choreography in order to define artistic forms of presentation, as well as to specify the aesthetic experience made by the spectators. What these terms have in common is that they point to particular methodologies of assigning and arranging – to different ways by which spaces, objects, meanings and people are activated and related to each other. Therefore, to ask who or what assigns or is assigned in what way, who or what arranges or is arranged, is of critical importance in order to understand the interrelations and transgressions that have developed between the two fields since the 1960s. Taking into account historical and current examples, and involving perspectives from art history, dance studies and architecture, this conference discusses methodologies of assigning and arranging in visual art and dance. Focussing on moments of transgression, it aims to explore similarities and differences in the respective practices, as well as in the theoretical concepts they correspond with. No registration required. Programme Friday, 7 December 2012 14:30 Welcome and Introduction: Gabriele Brandstetter and Gregor Stemmrich 14:45 Liz Kotz (Riverside, California) Convergence of Music, Dance and Sculpture 1961 15:45-16:15 Coffee break 16:15 Nina Gülicher (Ludwigshafen) Movements and Energy: Modular Principles in Modern Exhibition Spaces 17:15 Ramsay Burt (Leicester) Geometric Order and Corporeal Imprecision: Trisha Brown’s Group Primary Accumulation (1973) Different Venue: 19.30 Evening Performance: Andrea Bozic (NL) After Trio A Venue: HAU2 at Hebbel am Ufer: Hallesches Ufer 32 in 10963 Berlin Followed by a discussion. Saturday, 8 December 2012 10.30 Adrian Heathfield (London): The Ghost Time of Transformation 11.30 Franziska Bork Petersen/Minnie Scott (Stockholm) The Unruly Spectator Lunch break: 12:30-14:00 14.00 Christian Teckert (Vienna) The Mobilized Spectator: On the Architectural History of Museum Scripting and Staging. 15:00 Ina Blom (Oslo) The Autobiography of Video: Technical Arrangements Coffee break: 16:00 -16:30 16:30 Dorothea von Hantelmann (Berlin) Economies of Attention: Regimes of Time in Contemporary Art Exhibitions 17:30 Ursula Frohne (Cologne) The Anamorphic Subject: Scenes and Situations of Mobile Spectatorship 19:00 ReceptionAssign and Arrange: Methodologies of Presentation in Visual Art and Dance, conference, ICI Berlin, 7–8 February 2012 <https://doi.org/10.25620/e120207