As a PhD student at the summer camp, you will engage with artistic research and practice, including curatorial and theoretical approaches additionally to practice-based art research. The key term of the camp is technogenesis, which is understood as based on K. Hayles’s conceptualization of the co-evolution of the human species and various tools and technologies. Hayles writes that subjectivity is always contaminated by technics. It is therefore possible to understand ‘cognition’ as being ‘distributed’: cognition involves more than the neocortex, it also involves the body and its extended material and technological environment. Technogenesis first and foremost generates questions about the hidden structures or matrices of cultural knowledge on bodily and technological levels. How do we approach these structures with (or without?) a contaminated subjectivity? During the camp we will investigate these and other aspects of technogenesis, its effect, horizons and thresholds, with a focus on processes of innovation and intersecting materialities. Participants will seek to establish what the horizon of technogenesis affords and means in the context of a curatorial practice or within an artistic/design practice with an emphasis on sound. In other words, the camp will have a general emphasis on sound practices and sound as a material. However, it is not expected that participants are sound experts or work primarily with sound. Participants are expected to work on experiments that question and counter conventional and commercial representations and reifications of art and on experiments that impose ethical and aesthetical challenges for the future. The aim is not to stay in one’s comfort zone only but to be challenged to develop results that are unexpected. For example, one can ask if it is possible to develop novel structures for curatorial / artistic practices? And what would it take for artists and curators to actually 'reclaim' the processes of value-production? The invited lectures will address curatorial and institutional perspectives, procedural design practice, sound, distribution & production in the digital realm, (possible) disparities between artistic and curatorial practices, and critical strategies for alternative ways of creating cultural value-production. Learning goals for the PhD course part of the campWhen you have completed the course, you will be able to: 

  • Understand how innovations and materialities impact and contextualise artistic production and perception - and how curatorial approaches reclaim value-production.
  • Develop artistic and curatorial practices and scenarios, which operate within alternative futures
  • Develop a group-project that combines and engages, in a clear and methodical way, your individual research into a practice-based production (disseminated as sketch, model, time-based production or other format) and theoretical reflections (artistic or curatorial statement, manifesto, poster, or combinations thereof).

Mandatory requirements for passing the PhD course part of the camp

  1. PhD students are required to write a paper in relation to the work done during the Camp. The paper will be considered for publication in the conference proceedings (ca 50 work hours). The strict deadline for the paper is 15th of September 2019. (Feedback will be provided for the paper)
  2. The results of the practice-based work (sketch, prototype, miniature, etc) are required to be well-documented and presented either within the written paper or as a separate document (ca 30 work hours).
  3. Provided literature is expected to be read prior to the course (ca 30 work hours).
 The course provides certificates for passing with 4 ECTS granted by Aalborg University. The academic responsible are: 
Morten Søndergaard - Associate Professor AAU
Laura Beloff - Associate Professor ITU

Teaching methodsThe PhD course will be conducted in a combination of lectures, group feedback sessions and workshop format where the students will be asked to operate in and around the thresholds of speculative theory, critical design and the concrete production. Throughout the course, you will receive supervision by professionals and the course leaders. The curatorial focus will be on conceptualizing ideas individually or in collaboration and turn them into curatorial practices based on a combination of critical design-sketching methods and theoretical analysis. For the artistic/design practice, the students will be developing ideas and construct experiments in collaboration that lead to sketches, prototypes or a proof-of-concept. Theoretical work will be introduced as a part of the experimental process. 

Recommended key literature

  1. Hayles, K. (2016). How We Think. Digital Media and Contemporary Technogenesis. Chicago: Chicago Press.
  2. Weibel, P. (2012). Sound Art. Sound as a Medium of Art. Sound Art. Sound as a Medium of Art. Exhibition Proceedings. Karlsruhe. Retrieved from
  3. Cluett, S. (2014). Ephemeral, Immersive, Invasive: Sound as Curatorial Theme, 1966–2013. In A. ed. Levent, Nina and Pascual-Leone (Ed.), The multisensory museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory and Space (Vol. XXXIII, pp. 109–118). Playmouth, UK & New York, USA: Rowman & Littlefield.
  4. Cox, C. (2011). From Music To Sound: Being As Time in the Sonic Arts (2006). In C. Kelly (Ed.), Sound: Documents Of Contemporary Art. London; Cambridge, Massachusets: Whitechapel Gal- lery. The MIT Press.
  5. Weibel, P. (2013). Globalization and Contemporary Art. In B. Hans, A. Buddensieg, & P. Weibel (Eds.), The Global Contemporary and Rise of New Art Worlds. Karlsruhe; Cambridge; London: ZKM/MIT Press.
  6. Additionally we will provide articles by all the lecturers.