The seemingly excessive simultaneity of Net cultures, the exorbitant and ever-increasing density of information, and the apparent ubiquitous availability of subject matter and knowledge all create the impression that everything is merely eclectic or consumeristic. If one puts one’s trust in the “ticklish subject” however, and in the new vectors s/he introduces, idiosyncrasy once again gains authority in the temporal mode of synchronicity. An unrestrained creative and ludic approach to ubiquity then becomes possible, for one is open to unexpected synergies. Such a Golden Age is then not a final condition, but a permanent process. One banks then on merry encouragement, on putting the singular inventories of diverse individuals on stage, in new public laboratories. This has implications for novel forms of knowledge, political action and artistic practice. But should one even address these fields in isolation from one another? What does an exhibition sound like today? In which spaces is infinite music played? How much gender awareness is necessary for a planet to really get into swing? How do things stand with this cheerful syncretism now at work here? And why on earth should anyone imagine that innovative, adventurous enterprise and fleet-footed insouciance are mutually exclusive?
Katrin Rönicke is a journalist, blogger and educationalist. Her research focuses on issues of gender democracy, digital participation in society and Internet feminism. In 2008, her blog Maedechenmannschaft.net won the Deutsche Welle’s "Best German Weblog Award". Rönicke publishes in numerous analog and digital media – she currently writes often for "The Leftist Elite" blog – and is a member of the not-for-profit Digital Society e.V.
Adam Harper is a music theorist, critic, and the author of the book Infinite Music. Imagining the Next Millennium of Human Music-Making (Zero Books, 2012), in which he speculates on how music may sound, and what forms it may take, in the future. A PhD student in musicology, Harper lectures and teaches at the University of Oxford, writes regularly for The Wire and Dummy, blogs on Rouge’s Foam, and gives interdisciplinary lectures and seminars at venues such as the Darmstadt Summer Courses in New Music and All Tomorrow’s Parties Festival, and on The Guardian’s ‘Music Weekly’ podcast series.
Daniel Tyradellis is a philosopher, cultural theorist and curator. He curated inter alia the exhibition "The New Man. Obsessions of the 20th Century" (Deutsches Hygiene Museum, Dresden, 1999), "10 +5 = God. The Power of Signs" (Jewish Museum, Berlin, 2004) and "Pain" (Hamburger Bahnhof/ Berlin Museum of Medical History, 2007). Publications inter alia: "Husserl’s lectern. At the user interface of thought", in Harun Maye/ Hans Rainer Sepp (eds.), Phenomenology and Violence, Würzburg 2005; "Encoding Violence in Changing Media" in: humboldt spektrum 2/2004.