Politics of The Machines

About

The overall thematic of the POM-conference series is the question of how the machine and technology impact and contextualize artistic and cultural production and our perception of the world. Moreover, it is aiming at investigating the histories, theories and practices of machines and technologies in-between and beyond disciplines. It seeks to question the governing ideas in the sciences and the humanities through critical engagement with and empowerment of activities of creative production in the relational field of culture – technology – umwelt.

Micro POM

New format

MicroPOM is the sub-format of the international conference series POM – Politics of Machines, open for a general public, it focuses specifically on the growth layer of the field: the upcoming and emerging practitioners (artists, humanities students, programmers, engineers etc.) and scholars (below PhD level). It specifically aims at making visible local media art worlds and environments in a shareable and social hybrid Micro-format, typically max. 24 hours. Furthermore, it aims at critiquing existing politics of the field, suggesting new policies / manifestos.

Micro POM

First Edition

10-11 May, 2022
First Micro POM Edition.

POM Beirut 2019

In an area afflicted with multifaceted conflicts, art can become an agent for dialogue, an agent for resolution, or it can get itself involved in the clash. The goal of this edition of POM will be to tackle art practices and the relation of art to the machine. In parallel, it will also focus on understanding the influence and relation between art and conflict. POM will tend to explore the connection between the violence of conflict and violence as a process in art production; the role of conflict in the sociopolitical environment and how it relates to the field of art, science, and technology.

POM Copenhagen 2018

The question of how the machine impacts and contextualizes artistic production and perception is the overall topic of the conference. Recent research on the impact of machines and technology on art places the machine in the centre of ‘ecologies’ (Fuller), ‘archaeologies’ (Parikka) and ‘aesthetics of interaction’ (Kwastek) pointing towards a ‘techno-ontology’ (Broeckmann).