CAC Presents | 前·颜，或如何从终结开始

Please scroll down for the English.

讲者：

艾米·爱尔兰（Amy Ireland）

日期：

2019.12.05（周四）

时间：

16:00 — 17:00

地点：

Open Hub @新时线媒体艺术中心（上海市普陀区莫干山路50号18号楼）

语言：

英文 （现场中文翻译）

支持方：

上海纽约大学

*活动免费，点击“阅读原文”提前预约

西方计算的历史始于脚注。既不是正式的著述，也不是公开演讲，而是脚注。由女性撰写的匿名脚注。尽管女性的这项贡献在过去两个世纪最重要的技术发展进程中并未被提及，但作者、自学成才的数学家阿达·洛夫莱斯（Ada Lovelace）在其日记中写道，她自视为“先知”。她确实名副其实。脚注中包含一种算法，该算法将被公认为是欧洲第一个可运行的计算机程序，之后用了超过一个世纪的时间才发明出可将其运行的机器。

利用巴贝奇（Charles Babbage）发明的”分析引擎”计算伯努利数的算法图表。出自意大利工程师 Luigi Menabrea于1842年发表的《巴贝奇分析引擎原理》（Sketch of the Analytical Engine Invented by Charles Babbage），由洛夫莱斯翻译并在每篇文章下添加了批注。图片来源：Wikimedia Commons。

延续萨迪·普兰（Sadie Plant）的赛博女性主义著作，该讲座将解读女性的不知情、匿名化和中介地位，女性在计算历史上主要起着“基础设施”的作用，不是亟待纠正的机能不全，而是指涉为预言的奇怪力量，最终源于她们占据了历史时间之外的本体论地位。至少在西方神话中，女性与其他局外人或间质表达（例如半机械人、杂交体、嵌合体、怪物、幽灵和机器）共同享有这种地位。普兰特认为，这些被排除在外且经常被病态化的怪兽受制于他们的“抽象编织”才能——一种历史悠久的女性化实践，且应被理解为一种操纵时间的技术。

萨迪·普兰著作，发布于1998年

由于抽象编织的不可感知且匿名的过程始终在本体论上先于历史，因此从结构上讲不可能确定它在未来的表现方式。因为这种情况对于我们的时代来说就像洛夫莱斯与她的算法一样，在当下是难以理解的。该讲座将在预言的形式中总结，提出时空个体化后的后人类伦理，将女性、怪兽、丛林和现代都市编织在一起，以期实现未来人工智能的图景。

 关于讲者 

图片由艺术家惠允

艾米·爱尔兰（Amy Ireland）是目前居住在新加坡的澳大利亚作家、理论家和实验诗人。她的作品跨越了学科和形式的界限，跨越了哲学、小说、代码、神秘主义、表演、诗歌和声音。爱尔兰的研究重点是现代性中的代理和技术问题，并且是技术唯物主义跨女权主义团体Laboria Cuboniks的成员，该组织的出版物《异化的女性主义：政治的湮灭》已经被翻译成十四种语言，包括即将进行的中文翻译。近期作品包括论文《冷雕像旁》（Beside a Cold Statue）（入选弗洛里安·赫克（Florian Hecker）的专辑《视察II》（Inspection II））；伦敦巴比肯艺术中心人工智能展览“超越人类”委任创作的3D打印诗歌作品；以及收录在《Audient – Unsound：Undead》中的作品。

 特别鸣谢 

上海纽约大学成立于2012年，是经教育部批准，在上海市及浦东新区政府大力支持下，由华东师范大学和纽约大学合作创办的中国第一所中美合办研究型大学，也是纽约大学全球体系中具有学位授予资格的三大校园之一。

上海纽约大学立足中国面向世界，依托纽约大学的先进教育理念和优质教育资源，致力于奉献卓越的教学、科研和社会服务，成为中国高等教育改革当中具有变革意义的“试验田”，培养学生成为具有国际视野、跨文化沟通能力以及创新能力的世界公民。

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CAC Presents | PRE FACE, Or How to Begin at The End

Speaker:

Amy Ireland

Date: 

2019.12.05 (Thursday)

Time: 

16:00 - 17:00

Venue: 

Open Hub @Chronus Art Center (Building 18, No.50 Moganshan Road, Shanghai)

Language: 

English (with Chinese translation)

Supported by New York University Shanghai

*Free admission, please click Read More for reservation.

The history of Western computing began with a footnote. Not a formal treatise, not a public lecture, but a footnote. An anonymous footnote written by a woman. Although her contribution to the most significant technological development of the last two centuries was not seen for what it was at the time, its author, a self-taught mathematician named Ada Lovelace, wrote in her diary that she considered herself a ‘prophetess’. And indeed, she was. The footnote contained an algorithm that would come to be recognised as Europe’s first working computer program, penned well over a century before the kind of machine required to run it would even be built.

Following the cyberfeminist work of Sadie Plant, this talk reads the imperceptibility, anonymity and intermediary status of women, who predominantly function as ‘infrastructure’ in the history of computation, not as an insufficiency to be corrected, but as indicative of a strange power of prophecy that ultimately stems from their occupation of an ontological position outside of historical time. A position that women share, at least in the Western mythological imaginary, with other outsider or interstitial figures such as cyborgs, hybrids, chimeras, monsters, wraiths and machines. These excluded and often pathologised monstrosities, Plant contends, are bound by their talent for ‘abstract weaving’—a historically feminised practice that should be understood as nothing less than a technology for the manipulation of time.

Since the imperceptible and anonymous process of abstract weaving is always ontologically prior to history, it is structurally impossible to identify how it might manifest in the future, let alone the present, for such occurrences will be equally as unintelligible to our time as Ada Lovelace’s algorithm was to hers. The talk concludes, then, in the modality of prophecy, positing a posthuman ethics of spatio-temporal individuation that weaves women, monstrosity, the jungle, and the modern city together in a vision of future artificial intelligence.

 About the Speaker 

Amy Ireland is an Australian writer, theorist, and experimental poet currently based in Singapore. Her work transects disciplinary and formal boundaries, crossing into philosophy, fiction, code, occultism, performance, poetry, and sound. Amy's research focuses on questions of agency and technology in modernity, and she is a member of the technomaterialist transfeminist collective, Laboria Cuboniks, whose Xenofeminism: A Politics for Alienation has been translated into fourteen languages, including a forthcoming Chinese translation. Selected recent work includes ‘Beside a Cold Statue’ for Florian Hecker’s Inspection II (Urbanomic and Editions Mego, 2019); ‘Module 3’, a 3D printed poetry work commissioned for the Barbican’s AI: More Than Human exhibition catalogue (2019); and texts in Audint—Unsound:Undead, Steve Goodman, Toby Heys & Eleni Ikoniadou, eds. (Falmouth: Urbanomic, 2019).

 Special Thanks 

NYU Shanghai is China’s first Sino-US research university and the third degree-granting campus of the NYU Global Network. We were founded in 2012 by New York University and East China Normal University with the support of the city of Shanghai and the district of Pudong.

NYU Shanghai seeks to cultivate globally-minded graduates through innovative teaching, world class research, and a commitment to public service. 

Our student body currently consists of 1,300 undergraduate and graduate students, half of whom are from China. Students from the United States and some 70 other countries represent the other half. Our faculty of renowned scholars, innovators, and educators are recruited from the world’s best research universities.

是什么使今天的计算机如此有趣，如此荒谬？

2019.10.30 – 2019.12.30

新时线媒体艺术中心 (CAC)

上海市普陀区莫干山路50号18号楼

Just What Is It That Makes Today’s Computers So Intriguing, So Nonsensical?

October 30 – December 30, 2019

Chronus Art Center (CAC)

BLDG.18, No.50 Moganshan RD., Shanghai

新时线媒体艺术中心（CAC）成立于2013年，系国内首家致力于媒体艺术之展示、研究/创作及学术交流的非营利性艺术机构。通过展览、驻留、奖学金、讲座、工作坊及相关文献的梳理与出版，CAC为媒体艺术在全球语境中的论述、生产及传播开拓了一个多样化且富有活力的平台。CAC以批判地介入不断改变进而重塑当代经验的媒体技术来推动艺术创新及文化认知。

Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences. 

www.chronusartcenter.org

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