Links for Reclaim Futures 2020

Hi, if you’re here it’s because you’re associated with Reclaim Futures 2020.

In the spirit of the conference, I want to share two writings:

A paper published last year about epistemic and ontic novelty in psychedelic drug studies. Emphasis is on methodology.

An unpublished paper about Mark Fisher’s capitalist realism, Franco Berardi, the algorithmic cancellation of the future, and psychedelic research. It’s got some bits from the above, it’s more political, and it’s not very well edited.

For more about my work, you can also give the homepage of this website a look. –E.S.

Examples of live coding music:

Citations for my talk:

Aaron, Sam. “Programming as Performance.” YouTube, uploaded by Tedx Talks, July 22 2015, https://www.youtube.com/watch?v=TK1mBqKvIyU&t=333s. Accessed June 30 2020.

“A History of Live Programming.” Live Prog Blog, January 13 2013, liveprogramming.github.io/liveblog/2013/01/a-history-of-live-programming/. Accessed June 30 2020.

Bergson, Henri. The Creative Mind: An Introduction to Metaphysics. Translated by Mabelle L. Andison. New York City, Carol Publishing Group, 1992.

Bergson, Henri. Time and Free Will: An Essay on the Immediate Data of Consciousness. Translated by F.L. Pogson. Mineola, Dover Publications, 2001.

Deleuze, Gilles. Difference and Repetition. Translated by Paul Patton. New York City: Columbia University Press, 1994.

Deleuze, Gilles. “Postscript on the Societies of Control.” October 59, pp. 3-7, 1992.

Deleuze, Gilles. Bergsonism. Translated by Hugh Tomlinson and Barbara Habberjam. New York, Zone Books, 1991.

DiPiero, Dan. “Improvisation as Contingent Encounter, Or: The Song of My Toothbrush.” Critical Studies in Improvisation / Études Critiques En Improvisation, 12(2), 2018. doi:10.21083/csieci.v12i2.4261

Fazi, M. Beatrice. Contingent Computation: Abstraction, Experience, and Indeterminacy in Computational Aesthetics. London: Rowman & Littlefield International, 2018.

Fazi, M. Beatrice. “Digital Aesthetics: the Discrete and the Continuous.” Theory, Culture & Society, 36(1), pp. 3-26, 2018. doi:10.21083/csieci.v12i2.4261

Fortune, Stephen. “What on Earth Is Livecoding?” Dazed Digital, May 14 2013, www.dazeddigital.com/artsandculture/article/16150/1/what-on-earth-is-livecoding. Accessed June 12 2020.

Kreković, Gordan, & Pošćić, Antonio. “Modalities of Improvisation in Live Coding.” Proceedings of xCoaX 2019, the 7th Conference on Computation, Communication, Aesthetics & X. July 5 2019, Fabbrica del Vapore, Milan, Italy.

Magnusson, Thor. “Algorithms as Scores: Coding Live Music.” Leonardo Music Journal

Volume 21, pp. 19-23, 2011. doi/10.1162/LMJ_a_00056

Magnusson, Thor. “Improvising with the Threnoscope: Integrating Code, Hardware, GUI, Network, and Graphic Scores.” Proceedings of the International Conference on New Interfaces for Musical Expression. July 1 2014, Goldsmiths, University of London, London, England.

Portanova, Stamatia. Moving Without a Body: Digital Philosophy and Choreographic Thoughts. Cambridge, The MIT Press, 2013.

Rouvroy, Antoinette.“The Digital Regime of Truth: From the Algorithmic Governmentality to a New Rule of Law.” Translated by Anaïs Nony and Benoît Dillet. La Deleuziana, Online Journal of Philosophy, No. 3, 2016.

Stiegler, Bernard. For  A New Critique Of Political Economy. Malden, Polity Press, 2012.

Stiegler, Bernard. “Biopower, Psychopower and the Logic of the Scapegoat.” Ars Industrialis, (no date given). www.arsindustrialis.org/node/2924. Accessed July 9 2020.