Books by Kris Paulsen
MIT Press, Leonardo Book Series, 2017
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Catalogue for Sarah Rosalena: In All Directions at Columbus Museum of Art (9/23-2/24). Essays by ... more Catalogue for Sarah Rosalena: In All Directions at Columbus Museum of Art (9/23-2/24). Essays by Kris Paulsen, Elizabeth Povinelli, Sarah Rosalena and Kathryn Yusoff. Edited by Kris Paulsen.
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Edited Journals by Kris Paulsen
Media-N, 2023
https://iopn.library.illinois.edu/journals/median/issue/view/100
Guest edited by Brian Michael... more https://iopn.library.illinois.edu/journals/median/issue/view/100
Guest edited by Brian Michael Murphy (Bennington College) and Kris Paulsen (The Ohio State University), this special issue of Media-N features articles, artist projects, reviews, and an interview that address the ways that the material conditions of data and art are shifting, and how thinkers, artists, and scholars can offer crucial scaffolding for understanding how we arrived here. Our contributors present prehistories of data models we take for granted and provide historical contexts that clarify what is new and what is not, helping us to see where we now might be headed. NFTs, DNA data, the sensuous traces of e-waste, facial recognition software trained on marginalized subjects, and the institutionalized processes of dispossessing human subjects from their colonial contexts all present ways in which data comes to have an afterlife that haunts our present and potential futures.
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Media-N, May 2014
Edited by Kris Paulsen & Meredith Hoy.
Essays by Tung-Hui Hu, John Harwood, Nicole Starosielski,... more Edited by Kris Paulsen & Meredith Hoy.
Essays by Tung-Hui Hu, John Harwood, Nicole Starosielski, Brooke Belisle, Ashley Ferro-Murray, Brian Michael Murphy, among others."
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Essays by Kris Paulsen
Great Expectations: Prospects for the Future of Curatorial Education
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Media-N, 2020
This essay adapts the concept of "shitty automation," developed by Brian Merchant to name frustra... more This essay adapts the concept of "shitty automation," developed by Brian Merchant to name frustrating experiences with automated systems, to describe how human input-our labor, bodies, biases, prejudices, and desires-remains invisibly present in automated systems. Tracing a lineage of automation from Jacques de Vaucanson's Canard Digérateur (1739) and Wolfgang von Kempelen's mechanical Turk (1770) to contemporary artist Trevor Paglen, who uses Generative Adversarial Networks (GANs) to create artworks, this essay considers how humans "stay in the loop" in automation and what "shitty automation" reveals about human culture, our desires, and the evolution of AI.
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Representations, May 2013
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Leonardo Electronic Almanac, Apr 2013
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X-TRA Contemporary Art Quarterly, Jan 2012
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Open! Platform for Art, Culture & The Public Domain, 2020
This essay by art historian and media theorist Kris Paulsen is part of a series of essays and art... more This essay by art historian and media theorist Kris Paulsen is part of a series of essays and artist contributions that together form an interdisciplinary study into how we feel and touch in our technologically mediated, dematerialized digital cultures and how this is expressed in our social and artistic practices. Paulsen looks to the fantasy of bodiless space to see how our bodies were pulled into that place and to see how we might make visible our fleshy capture in immaterial space.
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Chapter from Early Video Art and Experimental Film Networks, edited by Francois Bovier (ECAL/Pres... more Chapter from Early Video Art and Experimental Film Networks, edited by Francois Bovier (ECAL/Presses du Reel, 2017), 174-197
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Wexarts.org, 2020
Essay on Gretchen Bender's work up at the Wexner Center for the Arts
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Signs and Society, 2018
The resolution of publicly available satellite photography is limited to 50 cm a pixel. Every pix... more The resolution of publicly available satellite photography is limited to 50 cm a pixel. Every pixel in a satellite image is a single, solid color. The reasons for the resolution limit are tactical as well as protective: according to forensic architect Eyal Weizman, it maintains the privacy of individuals on the ground as well as makes the consequences of state violence harder to investigate. A uniformly colored pixel can be evidence of a drone attack or proof that it never happened. The indexical evidence ambivalently sustains both interpretations. If camouflage has been traditionally thought of as a blending into the contiguous environment, often geared toward a camera's gaze, in this essay I look to the reorientation of camouflage away from the adjacent surroundings and toward the mediating structures of the interface and database. The objective of camouflage is now to merge into arrays of information and to slip below the threshold of detectability. This essay examines the work of artists and activists, such as Hito Steyerl, Zach Blas, and Adam Harvey, who strategize ways of becoming "rogue pixels" hiding in "the cracks of our standards of resolution," resisting the means by which our bodies are indexed on virtual interfaces and algorithmically parsed as data.
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Amodern, no. 2, Oct 2013
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Media-N, May 2014
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Catalogue Essays by Kris Paulsen
Zach Blas: Unknown Ideals, 2021
Catalog essay on Zach Blas's Icosahedron. Sternberg Press.
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Isca Greenfield-Sanders: Shade My Eyes , 2020
Catalogue essay for Isca Greenfield-Sanders at Miles McEnery Gallery
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Come As You Are: Art of the 1990s, 2014
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Reflections: The American Collection of the Columbus Museum of Art , 2019
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Books by Kris Paulsen
Edited Journals by Kris Paulsen
Guest edited by Brian Michael Murphy (Bennington College) and Kris Paulsen (The Ohio State University), this special issue of Media-N features articles, artist projects, reviews, and an interview that address the ways that the material conditions of data and art are shifting, and how thinkers, artists, and scholars can offer crucial scaffolding for understanding how we arrived here. Our contributors present prehistories of data models we take for granted and provide historical contexts that clarify what is new and what is not, helping us to see where we now might be headed. NFTs, DNA data, the sensuous traces of e-waste, facial recognition software trained on marginalized subjects, and the institutionalized processes of dispossessing human subjects from their colonial contexts all present ways in which data comes to have an afterlife that haunts our present and potential futures.
Essays by Tung-Hui Hu, John Harwood, Nicole Starosielski, Brooke Belisle, Ashley Ferro-Murray, Brian Michael Murphy, among others."
Essays by Kris Paulsen
Catalogue Essays by Kris Paulsen
Guest edited by Brian Michael Murphy (Bennington College) and Kris Paulsen (The Ohio State University), this special issue of Media-N features articles, artist projects, reviews, and an interview that address the ways that the material conditions of data and art are shifting, and how thinkers, artists, and scholars can offer crucial scaffolding for understanding how we arrived here. Our contributors present prehistories of data models we take for granted and provide historical contexts that clarify what is new and what is not, helping us to see where we now might be headed. NFTs, DNA data, the sensuous traces of e-waste, facial recognition software trained on marginalized subjects, and the institutionalized processes of dispossessing human subjects from their colonial contexts all present ways in which data comes to have an afterlife that haunts our present and potential futures.
Essays by Tung-Hui Hu, John Harwood, Nicole Starosielski, Brooke Belisle, Ashley Ferro-Murray, Brian Michael Murphy, among others."
https://www.columbusmuseum.org/art/the-sun-placed-in-the-abyss/
Zach Blas and Kris Paulsen discuss Blas’s newly commissioned work, Icosahedron (2019), as well as the artist’s broader practice. An artificially intelligent crystal ball that predicts the future of prediction, the commission is inspired by Silicon Valley’s obsession with certain thinkers of the future such as Ayn Rand, Stewart Brand, Ray Kurzweil, and Michio Kaku. Coined by Blas as a meta-work to The Body Electric, Icosahedron speaks to contemporary society’s preoccupation with the future, viewed through the intersection between technology, fantasy, and science fiction.
Artist and filmmaker Lynn Hershman Leeson discusses her multifaceted 50-year-career with Ohio State's Kris Paulsen in this Wex-only virtual talk.
Lynn Hershman Leeson is one of our most celebrated and influential media artists. Among her many awards and recognitions, she is the recipient of an ACM SIGGRAPH Lifetime Achievement Award, a John Simon Guggenheim Memorial Foundation Fellowship, and a USA Artist Fellowship.
Known for her work on time-based and computational media, Kris Paulsen is associate professor in Ohio State’s Department of History of Art and the author Here/There: Telepresence, Touch, and Art at the Interface (MIT Press, 2017).