Interpolations is a workshop and a micro-symposium that aims at bringing together researchers and artists in order to identify their different approaches to and perspectives on the algorithmic, gathering positions and possibilities that may then be “interpolated” to obtain joins. Again, we do not try to generate a “complete” picture, but we are interested especially in the distances and gaps, seeing them as positive aspects of the algorithmic, as all the resistances that prevent the termination of thoughts and movements.


The workshop is the first part of the event, and it is solely comprised of the invited participants in order to provide a both focussed and informal atmosphere. It begins with an introduction to the exhibited works as possible points of departure. The focus is not on artistic “products”, but rather on the methods and contexts through which they were developed. The aim is to arrive at questions of artistic research and the interfaces with scientific research. The procedure is deliberately open and ready to adapt to the interests of the participants which may then become the centre of attention. In order to prepare this part well, we ask the participants to communicate to us coarsely in advance the topics and questions they would prefer to deepen. Possible topics can include, for example:

  • Experimentation with algorithms. How do we arrive at algorithms and algorithmic descriptions, how do they obtain their form, how do they change form. Experimental systems and their ability to build bridges between material practices and written or verbal descriptions.
  • “Agency” and performativity in instrument-based environments. Boundaries between human and machine, authorship and intention. Structure of decision-making processes. Extent, kind, origin and goals of mechanisms of control.
  • Relationship between algorithms and bodies. Are they in opposition, or is there even something that could be called an algorithmic body or algorithmic corporeality? If so, how is it constituted, and how is our notion of corporeality being altered by programmabilities?
  • Critical capacities of algorithms. Ways of re-appropriation, epistemological and aesthetic charge.
  • Temporal, spatial and performative properties afforded by algorithms.
  • Strategic overlaps between an algorithmically-informed, reflexive sound and media art practice, and artistic and scientific research.
  • Particularity and generalisability. Conditioning and preserving traces of algorithmic developments for future artistic and scientific practices. Questions of notation, translation, representation, re-actualisation.

The further course of the afternoon allows the formation of individual working groups as desired, and also for taking time to elaborate or technically prepare the “statements” scheduled for the second


The second part of the event is open to the general public. It is envisaged that it may diverge from the classical form of a symposium and integrate well with the artistic environment. In order to stimulate discussion between the participants and the audience, is it planned that the workshop participants initially provide short individual “statements”, whereby the term “statement” can be interpreted liberally. A statement can mean a train of thought that serves as the basis for discussion, it can mean a piece of work that fits with the theme or that includes performative aspects in its presentation, etc. The only constraint here is a compact form (duration 10–15 minutes).

Besides, there is also a dedicated slot at the end of the afternoon for a longer performative presentation, and the workshop participants are invited to exchange ideas in advance, if they wish to contribute to this part.


The preliminary schedule for Friday, 02.12.2016, is as follows:

“Internal” part / workshop, 12:00 h until approx. 15:30 h

  • 12:00 h – reception; food/drinks; exhibition
  • 12:30 h – presentation and expansion of the works shown at esc.
  • 13:30 h – informal discussion
  • 14:30 h – as needed, further work in groups, individual preparations

“Public” part / symposium, 16:30 h until approx. 19:00 h

  • 16:00 h – reception; food/drinks
  • 16:15 h – opening, exhibition statement
  • 16:30 h – “freestyle” statements, each 10–15 min, total 1 hour
  • 17:30 h – group discussion, moderation, questions from audience
  • 18:30 h – final presentation/performance
  • 19:00 h – end


{kind: program, group: interpolaiton}

On 27/11/16 09:25, Gerhard Eckel wrote:
Dear participants of the “Interpolations" workshop!

I am very much looking forward to meeting you on Friday. As announced by the organisers, my contribution consists in an interactive visual object called "Interpolation", which needs a bit of private attention to engage with. This is why I would like you to explore this online object before we meet.

"Interpolation" has been designed to afford an aesthetic experience, which is why I ask you to attend to it with an aesthetic attitude. Play with it. Explore its behaviour. Get a sense of its dynamic. How does it react to your actions? Which qualities capture your attention? A question I am posing with "Interpolation" is if an object may embody a claim. What could this very object’s claims be?

If we assume that art thinks and postulate a specificity of aesthetic thought, as Dieter Mersch does in his "Epistemologies of Aesthetics" (diaphanes 2015), then this poses the question of how we can think such non-propositional thought. Further assuming that both aesthetic and propositional thinking play an important role in artistic practice raises the question of how these two kinds of thought are or can be related. With "Interpolation" I also try to address these questions.

I am very curious to hear about your experiences with it. See you soon!

Best regards,



{origin: email, author: Gerhard Eckel, keywords: [_, aesthetic experience, claim, propositional]}

meta: true
event: interpolations
project: ImperfectReconstruction
place: ESC

keywords: [interpolations, workshop, algorithmic, algorithms, symposium, experimentation, agency, performativity, schedule]