Books by Eleni Ikoniadou
Postgraduate Lectures in the Department of Art at Goldsmiths College, thematic block on Rhythm
Forthcoming co-edited anthology, with Steve Goodman and Toby Heys, to be published by Urbanomic i... more Forthcoming co-edited anthology, with Steve Goodman and Toby Heys, to be published by Urbanomic in Summer 2018, consisting of 64 contributions. Each entry in the book broadens the bandwidth of vibrational intelligence pertaining to phenomena residing outside the waveformed fissure of human perception. Each text —parsing the systematic and ritualized deployment of frequencies—becomes an access key to this interzone between, and beyond, life and death.
Forthcoming edited collection on the future of media theory co-authored by Wolfgang Ernst, Matthe... more Forthcoming edited collection on the future of media theory co-authored by Wolfgang Ernst, Matthew Fuller, Olga Goriunova, Stefan Heidenreich, Eleni Ikoniadou, Martin McQuillan, Jussi Parikka, Bernhard Siegert, Samuel Weber, Mai Wegener, and Scott Wilson.
Eleni Ikoniadou's essay "Rhythm Ecology: The Topological Stretching of Nature," poses the questio... more Eleni Ikoniadou's essay "Rhythm Ecology: The Topological Stretching of Nature," poses the question: If communication (between perceiver and perceived) is conceived at the level of sensory perception, then how do we account for body and environment beyond the limits of our own experience? Can we rethink them together from the standpoint of 'rhythmic topology' within one system of potentiality?
Papers by Eleni Ikoniadou
Chapter in Black Hyperbox, eds Alina Popa and Florin Fueras, PUNCH ISBN: 9786069430002
Journal article for Parallax Special Issue Sounding/Thinking ed. James Lavender, Vol.23 Issue 3, ... more Journal article for Parallax Special Issue Sounding/Thinking ed. James Lavender, Vol.23 Issue 3, July 2017, Taylor & Francis (Print ISSN: 1353-4645)
Chapter in edited volume Navigating Noise, eds Nathanja van Dijk, Kerstin Ergenzinger, Christian ... more Chapter in edited volume Navigating Noise, eds Nathanja van Dijk, Kerstin Ergenzinger, Christian Kassung, Sebastian Schwesinger, Verlag der Buchhandlung Walther König, Berlin
Kunstwissenschaftliche Bibliothek, Volume No. 54, 2017
ISBN 978-3-96098-260-9
Chapter in forthcoming volume The Bloomsbury Handbook of Sound Art, edited by Sanne Krogh Groth &... more Chapter in forthcoming volume The Bloomsbury Handbook of Sound Art, edited by Sanne Krogh Groth & Holger Schulze.
Eleni Ikoniadou and Lendl Barcelos talk extreme frequencies, cryptic records and sonic warfare wi... more Eleni Ikoniadou and Lendl Barcelos talk extreme frequencies, cryptic records and sonic warfare with the audiovisual research group
Eleni Ikoniadou and Lendl Barcelos talk extreme frequencies, cryptic records and sonic warfare wi... more Eleni Ikoniadou and Lendl Barcelos talk extreme frequencies, cryptic records and sonic warfare with the audiovisual research group AUDINT.
What more can we say about a work of art, in so far as it is not merely a cultural moment of expe... more What more can we say about a work of art, in so far as it is not merely a cultural moment of experimentation by an artist-genius attempting to imitate or improve nature? Even if we accept that a degree of intention and control enters the relationship between artist, art project and a body’s experience of it, how can we account
The purpose of this article is to explore the concept of rhythm as enabling relations and thus as... more The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for the consideration of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic.
The Senses and Society, Nov 2012
For the past twenty years, different theoretical accounts in the humanities have either denigrate... more For the past twenty years, different theoretical accounts in the humanities have either denigrated the digital as precipitating the recession of reality, praised it for constructing new cultural identities, or understood it to empower sensory perception. Broadly speaking, whether positive or negative, most theorists of the digital have tended to focus on a somewhat traditional understanding of technology as separate from the human body, one that enables, extends, addresses or severs, but remains consistently external. This article explores the idea of a rhythmic virtual movement that lurks in the unknown and “unthought“ dimensions of experience, in particular it considers how digital art environments can act as an expression of rhythmic time.
CULTURE MACHINE, Jan 1, 2010
Rhythm—House is a fictional installation, an academic paper and an interactive fiction game. The ... more Rhythm—House is a fictional installation, an academic paper and an interactive fiction game. The intention of the project is to provide a dynamic account of the digital and its shifting relationship to media theory and creative practice. At the same time, it invites the consideration of a virtual dynamics of interactivity that departs from the logic of binary representational thought. It contends that the participation of noncomputable abstract functions is immanent to the emergence of actual digital events of material, aesthetic and scientific combination. The project attempts to engineer an experimental space that weaves together technoscientific and aesthetic, theoretical and practical, actual and virtual zones, proposing the transformations of perception in digital space.
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Books by Eleni Ikoniadou
Papers by Eleni Ikoniadou
Kunstwissenschaftliche Bibliothek, Volume No. 54, 2017
ISBN 978-3-96098-260-9
Kunstwissenschaftliche Bibliothek, Volume No. 54, 2017
ISBN 978-3-96098-260-9
AUDINT ultimately belong to an alternative sonic culture that includes the afrofuturist, militant and spectral politicism of the likes of Rammellzee, Sun Ra, Underground Resistance, and Drexciya. Like them, AUDINT operate from an aspiration to activate imagined realities lying tangent to the actualised course of history. This talk will explore the ways in which sonic fiction brings together snippets of events, habits, objects and processes at once pertaining to historicity and mythology. Sonic fiction is an unconventional research method, whose aim is to radicalise the speculative ghost in sound culture. Intertwined with the power of fictional spaces to unearth the secret life of things, sonic fiction tells the untold tales of theory. It invites a rupture to knowledge and a theoretical analysis of sound unsuitable for human consumption.
Paper for TUNING SPECULATION III: (in)audible (im)possibilities
20-22 November 2015, Toronto (Canada)
Organized by The Occulture (David Cecchetto, Marc Couroux, and Eldritch Priest)
To follow the Siren’s song is to disappear into the abyss. The abyss is at the same time silent and source of all sound; deathtrap and delight; real yet utterly unattainable. It points to the beyond of music and sound, to that which is inaudible and unknowable and which exists as the ‘hither side’ of the real. Blanchot knew the Siren song is “only a song still to come”. This inhuman sound serves as the overpass between the world of the dead and that of the living; it is the interval between sound and unsound, marking a new temporality outside the conditions of human experience.