Sophie-Carolin Wagner

The ubiquitary, psychological and social phenomenon of repetition represents an integral factor to analyze human behavior and social processes comprehensively. A strong desire to repeat and conserve appears to be part of the human and social nature, which is based on various factors. In the following paper the reasons for these conservational processes and their functions and dysfunctions are outlined. Further, the paper discusses why we occasionally have to destroy what we desire to preserve, as we will otherwise endanger what we aim to secure in the first place. Because change is inevitable and this inevitability requires subversion.

Sophie-Carolin Wagner Adopting classical methods of archaeology, the project outlined herein aimed to recover and analyse cultural data and remaining artifacts to study past activity of artist-run spaces. Also known as project spaces or off-spaces, these kind of spaces “are organized mainly by artists and art related professionals – such as curators and arthistorians – as non-profit, independent venues for many types of artist generated activity.” Despite that such initiatives have become aglobal and commonplace phenomenon in the contemporary art world, they experienced little sustained academic research interest.[2] Combining visual and historical modes of inquiry with the methodology of Foucault’s archaeology of knowledge, Art Space Archaeology desired toanalyse the conditions of knowledge production that evolved in these spaces and the discursive elements that endured their passing.

<strong>Digital or innovation "labs" in library or museum settings have been around for about ten years. The lab is usually a place for experimenting with digital collections in novel ways to reach new audiences or to explore new technologies. These, sometimes temporary, teams within a library, archives, or museum/gallery (GLAM) can support a range of internal and external digital services and programs.</strong> Not so long ago, participants of the "labbers" (lab-interested) community identified a need to articulate lab values, share relevant experience and case studies, and suggest some best practices for those starting up cultural heritage innovation labs. Through funding provided by the University College London, Qatar, Qatar University, the British Library and the Library of Congress, a coordinating group engaged Book Sprint, Ltd, a rapid book production and collaboration methodology, and published a call for participants to write a book about GLAM labs in five days. In late September 2019, a group of 16 librarians, developers, archivists, curators and academics from around the world landed in Doha, Qatar, to embark on a Book Sprint. Together, in five long days, they wrote a book called "Open a GLAM Lab" to galvanize and shape the emerging labs community. In this webinar on <strong>20 January at 14:00 CET</strong>, <em>Sophie-Carolin Wagner</em> of Austrian National Library, <em>Sarah Ames</em> of the National Library of Scotland and <em>Mahendra Mahey</em> of British Library Lab shares more details about the Book Sprint methodology and the contents of the book itself, which was released publicly during Open Access Week, October 21-27, 2019. This webinar is organized by LIBER's Digital Humanities and Cultural Heritage Working Group and hosted by <em>Caleb Derven</em>, Head of Technical and Digital Services at the University of Limerick.

Historical research practices are being gradually transformed by the digitization of historic sources on the one hand, and the usage of digital methods and semantic technologies on the other. We present two digital initiatives of the Austrian National Library, ANNO and ONB Labs, which, as a digital hub of cultural heritage, enhances accessibility to and knowledge discovery within historical datasets considerably. To do so, ÖNB provides resources such raw data, metadata, or Linked Open Datasets which can be accessed as data dump or via a SPARQL API, allowing for live querying of RDF datasets. ONB Labs, additionally, offers services, tools, and APIs to enrich this data such as IIIF, Open Annotations, SACHA, or Jupyter Notebooks which allow to create and share documents including live code, visualizations and narrative texts. In this demopaper, we explore the question how digital methods and semantic technologies can be used in the context of historical research and illustrate their ap...

Our individual existence, our bodies, our minds, are embedded within and artificially augmented by technology; we interact with similarly extended others. These interdependencies pose urgent ethical and cognitive questions. When looking into these complex relations and ethical urgencies, claiming that the individual, society and technology are separated from one another, may feel counterintuitive. Separation however, does not imply causal isolation , or complete independence but instead that one system does not directly control the other, however eligible they may be to influence one another. Social and individual existence is tied to digital technologies. Informed by patriarchal power structures, their design and investigation both extends and creates new forms of oppression and alienation. As such, they become feminist agendas. Rather than refraining from participation in the technological sphere, radical-ised exclusivity can be used as an operable device to increase inclusivity – a conclusion derived from the text " Xenofeminism: A Politics for Alienation " by the group Laboria Cuboniks. In the recognition of one's own alienation, one can find identity and liberation; and by actively increasing alienation there isn't simply reconciliation with the exclusionary status quo but the freedom to construct a different world. With this focus, this paper examines the importance of acknowledging the social and political implications of programming, and the limitations of this acknowledgment within theory and the discursive spaces it happens within.

When realising themselves as dispostifs, no matter whether they extend into a physical or nonphysical dimension, artistic works are motivated by urgency. The engagement of artists with and within institutions increased within the last century, yet they may well not only be applicants or founders of institutional formats, but utilise these formats and the processes establishing them as an artistic strategy, creating a dispostif to meet an urgency framed by a specific historical context. This paper discusses the properties of institutions, which are indeed exemplary for dispositifs and are permitting their appliance as artistic media.

The ubiquitary, psychological and social phenomenon of repetition represents an integral factor to analyze human behavior and social processes comprehensively. A strong desire to repeat and conserve appears to be part of the human and social nature, which is based on various factors. In the following paper the reasons for these conservational processes and their functions and dysfunctions are outlined. Further, the paper discusses why we occasionally have to destroy what we desire to preserve, as we will otherwise endanger what we aim to secure in the first place. Because change is inevitable and this inevitability requires subversion.

The historical failure of neutrality is perhaps the last worm in the empty corpse of Modernism. A first step in a curious archaeology of the white cube, Art Space Architecture considers the restriction of sensual experience in artist-run centres. Why do self-governing art collectives insist on replicating the sterility of the institution?

Communication is the only possibility to create actualities transcending our solitude. Yet individuals are unable to communicate. Wagner’s work explores the possibilities and impossibilities of connecting and the transformational agency of art as a medium in challenging the improbabilities of communication.