“CAU-CCMS Colloquium – Michael Richardson

🔍비인간 목격: 세계 종말 이후의 전쟁, 데이터, 생태학

이 강의는 기술과학 전쟁, 생태적 파국, 기술 포획의 시대에 대응하기 위해서는 전통적인 인간 중심적 목격 형태의 우위를 해체하는 것이 중요하다. 미디어와 매개는 이러한 교차하는 위기, 그리고 세계 종말 이후의 새로운 지식과 존재 방식을 구축할 수 있는 인간의 역량에 핵심적이다. 이 첫 번째 CAU-CCMS 강연은 생태학적, 기계적, 알고리듬적 형태의 목격이 어떻게 우리가 더 잘 이해하고 대응하는 데 도움이 될 수 있는지 보여준다. 목격에 대한 인간 통제의 속박에서 벗어남으로써 대안적이고 다원적인 커뮤니케이션 정치가 가능해진다. 이 강연에서는 이러한 잠재력을 설명하기 위해 호주 원주민 땅에서의 핵실험부터 자율 드론 전쟁, 알고리듬 조사 도구에 이르는 다양한 현장에서 비인간 목격의 매개, 정동, 커뮤니케이션 관계를 살펴본다.

일시: 2025년 3월 21일 금요일 오전 11:00
진행: 온라인 Zoom
참여신청: QR코드 스캔 및 프로필에 있는 링크트리에서 신청 폼 작성

🎤 마이클 리처드슨은 호주 뉴사우스웨일즈대 미디어 및 문화 부교수로 미디어 퓨처스 허브(Media Futures Hub)의 공동 디렉터다. 그의 연구는 전쟁과 생태 위기의 맥락에서 기술, 권력, 목격, 트라우마, 정동을 조사한다. 두 번째 저서로 Nonhuman Witnessing: War, Data, and Ecology after the End of the World (Duke University Press, 2024)를 출간했고 Drone Aesthetics: War, Culture, Ecology (Open Humanities Press, 2024)를 Beryl Pong과 공동 편집했다.

⎯

CAU-CCMS
서울특별시 동작구 흑석로 84 중앙문화예술관(301동), 109호
cauccms@gmail.com | www.cau-ccms.com“

June 24-27, 2025 – University of Paris 8, France

Deadline for application submission : March 14, 2025. (extended by 2 weeks)

6월말 프랑스 파리에서 열리는 포스트휴먼 관련 학술대회 소식입니다.

이번 주까지 참가 신청을 받고 있습니다.

학술대회와 관련된 자세한 사항은 http://beyondhumanism.org/ 를 참조하기 바랍니다.

포스트휴먼 연구회의 2025년 정기 총회 및 동계 콜로키움을 아래와 같이 개최합니다.

시일이 얼마 남지 않았지만, 많은 분들의 참여를 기다리겠습니다. 포스트휴먼 연구회와 발표 내용에 관심이 있는 분들은 누구나 자유롭게 참여하실 수 있습니다.

일시: 2025년 2월 22일(토) 15:00 ~ 18:00

장소: 숙명여자대학교 진리관 301호

15:00-15:10 개회

15:10 – 16:20 발표1

김남시(이화여대) : 마르쿠스 가브리엘 의미장 존재론

16:20 -16:40 휴식

16:40-17:50 발표2

김종갑(건국대) : 변신 설화의 몸과 근대의 신체관 – 언어철학을 중심으로

17:50 – 18:00 총회

15th Beyond Humanism Conference

June 24-27, 2025 – University of Paris 8, France

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Posthuman Art, Creativity, and Play in the Age of Artificial Intelligence 

Creativity and play are philosophical and cultural categories that go beyond mere activity. They are spaces for experimentation, relationality, and transformation. Art is a dynamic mode of engagement that embodies the tensions between freedom and constraint, spontaneity and system. It is rooted in structures of rules and improvisation. In the era of algorithms, the philosophy of play demands reconsideration, particularly in its intersection with post-, trans, and metahuman creativity. This interplay demands our reflection on the evolving relationships between human and non-human agencies, the aesthetics of co-creation, and the ethics of imaginative practice.

In the context of posthuman thought, play is a central part of an aesthetic in which human decentering, co-creation, and uncertainty are key values. This aesthetic embraces a relational logic in which playfulness is a fertile ground for experimentation, allowing us to reimagine forms of expression and collaboration. Play boldly critiques traditional anthropocentric structures and fosters the emergence of new modes of agentivity, where human and non-human actors co-construct a common space.

As formal structures, games of any kind are based on a set of rules, constraints, and a systemic logic reminiscent of algorithmic protocols, understood as a set of instructions for carrying out a task. Throughout history, however, games have also played a central role in practice-led methodologies and philosophies, such as Ludwig Wittgenstein’s theory of language games or Jacques Derrida’s understanding of concepts as free play with structures.

Artistic examples include the formal constraints imposed by members of the Oulipo and the practices of Fluxus, an artistic movement of the 1960s that proposed “scores” or performative instructions halfway between algorithmic protocol and the act of play.Play was then integrated into participatory performances in which the audience was invited to interact with the materials, blurring the boundaries between artist and audience. Jean-Marie Schaeffer’s notion of ludic fencing refers to a deliberate suspension of reality when immersed in a work of fiction.Digital technologies have reinvigorated algorithmic protocols in posthuman practices, where the human is no longer the sole agent of creation. Algorithms have evolved from simple tools to co-authors. Generative artificial intelligences like GPT or computational art systems like DeepDream, Dall-E, or Midjourney are part of this dynamic. These new tools make us reflect on the post-human future of creativity and creativity in general. The questions we must ask are whether our civilization will reach a state of singularity more quickly (Ray Kurzweil), or whether it will become more of an “entropocene” in Bernard Stiegler’s sense. In the latter case, the technologies we produce will become a source of decay, disintegration, and collapse, and absolute non-knowledge.

In the face of these challenges, activist practices that transcend the Capitalocene social rules and subvert algorithmic dominance will become increasingly important. However, engaging with such a system will require new definitions of creativity and a constant redefinition of the relationship between humans, machines, and the meanings produced by these interactions.

As for contemporary pop art, graphic arts, photography and video art, music, new media art and performing arts, in a video game setting, interaction with recursive neural networks and other emerging technologies complicates identities, practices, and play processes, allowing players to explore a different form of relationship to the world through human-machine interaction.By interacting with algorithms, players co-create a narrative, changing not only the course of the story, but also their perception of themselves as augmented and amputated agents, both real and virtual.The question then becomes: are the players playing, or are they being played? We must invent a new concept to account for this new modality of play, or how modern games navigate between the constraints of ludus and the more open spaces of paidia (Roger Caillois). The system adapts to the player according to a logic of cybernetic control, so what space is left for imagination and creation? In a creative context, to what extent does this decentralization represent a real resubjectification by the machine?

The papers should address the general theme of the conference. Possible topics may include, but are not limited to:

• Refining posthuman discourses: Critical, Cultural, Existential, European, Philosophical, Radical, and Speculative Posthumanism.
• Refining transhuman discourses: Classic, silicon-based, carbon-based Transhumanism, and Euro-Transhumanism.
•  Post-, trans-, and metahuman foundations of play.
•  Generative algorithms and post-, trans-, and metahuman methodologies.
•  Ethics and creative agency.
•  Critical Posthumanist and Transhumanist Ethics of Play and Experimentation.
•  Gaming Ethics and Posthuman Agency.
•  Politics of play: technology, autonomy, and control.
•  Redefining identity and agency through play.
•  Virtual and augmented realities: new dimensions of play and identity.
•  Games as Art and Activism.
•  Human and non-human creative collaboration.
•  Generative AI systems as artistic tools.
•  Technological singularity and creativity.
•  Performative arts and generative AI.
•  Non-human aesthetics.
•  Literary depictions of creative automata.
•  Existing and Developing Art Forms and Politics.
•  Emotions and algorithms in political and social contexts.

Abstracts will be reviewed upon receipt.

Deadline for submission : February 28, 2025.

Final notifications will be issued by March 31, 2025.

Deadline for early bird registration: April 30, 2025.

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Conference fees

early bird until the end of April
– 120 euros
– 80 euros (PhD students and independent researchers/artists)

regular fee
– 150 euros
– 100 euros (PhD students and independent researchers/artists)

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Submission guidelines

We invite paper proposals including a title, an abstract of 350 words, name and affiliation of the author, as well as a short bio with contact information. 

Applications together with a short bio-bibliographical note should be submitted in English and in PDF format before the 28th of February 2025.

Please click on the following link to upload your contribution in one single file (PDF format required): https://easychair.org/conferences?conf=bhc15

 
All those accepted will receive information on the venue(s), local attractions, accommodations, restaurants, and planned events for participants.

Presentations should be no longer than 20 minutes. Each presenter will be given 10 additional minutes for questions and discussions with the audience. 

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International Scientific Committee

Prof. Arnaud Regnauld, University of Paris 8, France

Prof. Evi Sampanikou, University of the Aegean, Greece

Prof. Sangkyu Shin, Ewha Womans University, South Korea

Prof. Stefan Lorenz Sorgner, John Cabot University, Rome, Italy

Jan Stasieńko., AGH University of Science and Technology in Krakow, Poland

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Local organization and scientific committee – University of Paris 8

Prof.	Research Unit
Arnaud Regnauld	TransCrit
Gwen Le Cor
Georges Gagnéré	AIAC-InReV
Cédric Plessiet
Rémi Sohier
Tania Ruiz	AIAC-Teamed
Alexandra Saemmer	CEMTI
Pierre Cassou-Noguès	LLCP
Anne Alombert
Everardo Reyes	Paragraphe