The TECHNE Art + Research e-pamphlet series foregrounds the relationship between creative research methodologies and contemporary art and writing practice, critical making, and digital scholarship. The series features experimental publications composed by artists, creative writers, digital humanities scholars, remixologists, and critical theorists whose creative work investigates our contemporary moment. Our initial set of pamphlets will be published every two weeks starting April 2017.
TECHNE Lab founder Mark Amerika wrote the lab's first white paper in 2002. Fifteen years later, he has added an addendum that repositions the lab as an experimental space for interventionist practice-based research into emerging forms of digital art, writing and theory.
In 95 Theses, America's eminent poet Charles Bernstein uses terms from Erving Goffman's Frame Analysis to make a case for shifts in moods and style in scholarly writing. "I am retiring in 2019", Bernstein writes, "so take this as something of a swan song, or, anyway, duck soup."
Joel Katelnikoff's new series of experimental writing works blur the distinction between practice, theory and applied remixology. "What began as an exploration now threatens to become an institution" opens his latest remix. "We like to think we both theorized and produced the fabric of meaning. We are simply a convention."
Kisses, Kisses is a digital remix of the original "zine" that accompanied artist Yael Kanarek's 2016 solo exhibition at bitforms gallery in Manhattan. This unique artist ebook traces Kanarek's journey as a net artist and how she “transitioned from the analogue of art practice to the new frontier of the internet.” Essays, conversation, lists, love letters, puzzles, games, and paper sculpture “highlight the complex relationship between self, desire, and tool.”
In The Inhumanist Manifesto, Gary Hall writes that “[i]f the inhuman equals the human intertwined with the nonhuman, then the inhumanities are the humanities.” Articulating the latest version of his radical theories on posthumanism, piracy, Marxism, open access and the commons, this bold remix of Hall’s self-proclaimed pirate philosophy details his strategic repositioning of practice-based research as an alternative form of social critique.