| dc.description | Biography: Theorist of culture and sound artist. His research focuses on interactive art, tactical media, bio art, network society, surveillance studies and posthumanism. He has published a number of articles on aesthetics and history of new media art, history and theory of avant-garde film, video art and experimental music. He teaches at the Department of Electronic Media, University of Lodz, Poland.
Member of Art & Science Meeting Project at the Centre for Contemporary Art in Gdansk.
In 1995 he graduated from Cultural Studies at the University of Lodz, specialisation Film and Media Studies.
In 2002 he got doctoral degree on the basis of dissertation on American avant-garde and experimental film.
1999 – 2004 he was a lecturer and associate professor at Cultural Studies Department of The University of Humanities and Economics in Lodz.
Since 2004 an associate professor at the Institute of Contemporary Culture, School of Media and Audiovisual Culture, University of Lodz.
Since the early nineties he’s been involved in experimental music scene of Poland. The founder of many bands (Spear, Ben Zen, Aural Treat, Sub Spa, Quantum Vacuum Oscillator, Nonstate i.a.). He works in the field of live multimedia performance, interactive installations and video art. In his solo performances he critically explores the limial territory between physical activity of the body and invisible electromagnetic infrastructure of the hybrid space. He uses custom designed sound devices as well as digital and analogue electronics.
In May 2015 he released his first solo album "Electric Disobedience of Flesh" (Requiem Records).
In 2015 he began working with Mariusz Knysak (ozog/knysak). The first effect of this collaboration is the audio-visual performance “Ephemeral Interferences”, which premiered in May 2016.
Between 1998-2002 he ran a record label Ignis Project dedicated to electronic and electroacoustic music. Ignis released records by: Francisco Lopez, Ultra Milkmaids, Vance Orchestra, Indra Karmuka, Crawl Unit, Origami Arktika, Chaos As Shelter, EA and Spear.
Curator and co-curator of events such as: Perform_Tech2017 – festival of new media performance art, four editions of the exhibition "Die Kunst Ist Toth", concerts by Coil, Noise Makers Fifes, Column One, Troum, Xaviere Charles, Z’ev, Zbigniew Karkowski, Aube, Tetsuo Furudate, Asmus Tietchens, Marco Donnarumma, Ryan Jordan, Gil Kuno and many others. | |
| dc.description.abstract | This paper opens up for scrutiny the issue of transformation of strategies and practices of surveillance in the face of the widespread use of biometrics understood as bio-power technologies. Development of contemporary biometrics is based on and depends on the convergence of analogue technics of body analysis and identification with digital “intelligent” technologies of digging, storage and manipulation of data. As a result biometric surveillance becomes more and more automatic and algorithm driven. This fact has many consequences, the most important of which are pervasiveness of control connected with the specific "black-boxing" of technology. In this context, it is particularly important to look for ways to open a black box of technology. This is the first and fundamental step that can allow for developing of a critical reflection on the society of surveillance in the age of digital biometrics.
Searching for critical analysis of biometrics I refer to various artistic projects in which subversive use of biometric technologies leads to deconstruction of common beliefs, myths as well as political and ideological interpretations of these technologies. I focus on works by Sterling Crispin, Paolo Cirio and Alessandro Ludovico, Heather Dewey-Hagborg, Seiko Mikami, Marnix de Nijs, and Paul Vanouse, i.a. that critically address mechanisms of biometric surveillance in the post-human society of control. | |
