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LABS 2016 Top-Rated LABS Abstracts 2016 533 DIGITAL DEBRIS OF INTERNET ART An Allegorical and Entropic Resistance to the Epistemology of Search Nils Jean The research explores the idea of digital debris in Internet Art from 1993 to 2011. Here, digital debris is understood as streams of data that are turned into a material. As a result, the thesis aims at unpacking and defining the paradoxical state of digital debris. The research argues that the digital debris of Internet art represent an allegorical and entropic resistance to what art historian David Joselit calls the Epistemology of Search. To do so, the project develops a speculative language in between the agency of the artist and the autonomy of the algorithm. While New Realist studies are concerned with the material object of the computer as debris, very few studies have analyzed waste as discarded data in their visuality . Illustrations of such considerations can be found, for instance, in Cory Arcangel’s work Data Diaries (2001)— where QuickTime files are stolen, disassembled and then re-used in new displays—or in Jodi’s Jodi.org (1993) and Asdfg (1998), where websites and hyperlinks are detourned, deconstructed and presented in abstract collages that reveal the architecture of the Internet. Not only does the thesis question the status of digital debris once it is incorporated into art practices but it also examines the method according to which it is retrieved, manipulated and displayed to submit that digital debris of Internet art is the result of both semantic and automated processes. The PhD concludes that the serendipity at play in digital debris holds a form of entropy that imbues it with criticality. Nils Jean: . PhD diss., Royal College of Art, U.K., 2016. Nils Jean, Digital Debris, an Installation, digital print, RCA SHOW, 2015. (© Nils Jean. Photo: Dominic Tschudin.) Guy Keulemans This research is concerned with the experimental design of furniture and homewares, and their affective relationships to issues of production, consumption and the environment. Most mass-produced domestic objects use standardized designs and materials, which, apart from their often-noted detrimental effects on the environment, also limit possibilities for expressivity and affective encounter. Experimental design practices can open up spaces for affective relations with domestic objects. This research proposes that a particular process, that of “repair,” can facilitate these encounters and resituate thinking about, and place within, production and consumption. Three experimental design groups of the past 50 years— Italian radical design, Dutch conceptual design and critical design—are examined in this dissertation as the context in which practice-based research can be located. Their practices that implicitly resonate with concepts of affect from the philosophers Gilles Deleuze and Félix Guattari are identified. These concepts are then developed and deployed to critique dominant industrial design techniques that emphasize the appeal of surfaces and reduce consumer awareness of their products’ material ecologies. The traditional Japanese craft of kintsugi is used to demonstrate the contrary propensity of repaired objects to expresses material ecologies and embody dual perceptions of environmental catastrophe and amelioration. The practice-based research, which forms the core of this thesis, discovers techniques of experimental design and repair to catalyze awareness of production and consumption processes and their environmental consequences, discussed via three of the author’s own works: Marble & Steel Room Divider, Archaeologic Vases and Copper Ice Cream Scoops. Guy Keulemans: . PhD thesis, University of New South Wales, Australia, 2015. Guy Keulemans, Archaeologic Vase (series 3), ceramic and photoluminescent glue, 2015. (© Guy Keulemans) Thrown and fired to bisque by Kiyotaka Hashimoto. AFFECT AND THE EXPERIMENTAL DESIGN OF DOMESTIC PRODUCTS top margin purposely violated to fit­ — here and on page 536 ...

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