PhDArts
PhDArts
PhDArts 2025–2026
DOCTORAL STUDY PROGRAM DECEMBER
networks + algorithms x institutions ÷ artistic research = serious play
PhDArts 2025–2026
DOCTORAL STUDY PROGRAM DECEMBER
networks + algorithms x institutions ÷ artistic research = serious play
Useful Links
📂 Download here the program in PDF
DOCTORAL STUDY PROGRAM DECEMBER
networks + algorithms x institutions ÷ artistic research = serious play
Institute of Network Cultures
🏫 Location: Benno Premselahuis, Rhijnspoorplein 1, Amsterdam
📍Room: Benno Premselazaal – 4th floor
10.15 Arrival
10.30 – 12.30 Welcome & Introduction to the Institute of Network Cultures (INC) by Geert Lovink & Sepp Eckenhaussen
10.45 – 13.00 Workshop Serious Play by Savva Dudin & Canan Bunk
13.00 Lunch
◽️Afternoon Program
📍Room 03B11ab – 3th floor
14.00 – 14.30 Presentation on Grieving & Internet Aesthetics by INC guest researcher Raquel Luaces
14.30 – 16.30 Participatory lecture workshop on Expanded Publishing
by INC & The Void: Tommaso Campagna, Giulia Timis, Geert Lovink, Sepp Eckenhaussen
16.30 Break
17.00 – 18.30 Lecture by Femke Herregraven
🏫 *Location: Rietveld Sandberg Research Frederik Roeskestraat 96-98, Amsterdam *
📍Room: “Theory Stairs” – Fedlev Building
10.00 Arrival
10.30 – 11.30 Presentation by Flavia Dzodan
11.30 – 12.30 Presentation by Dina Mohamed
12.30 – 13.00 Sonia Kazovsky’s The Crisis Game: An Institutional LARP
13.00 Lunch
14.00 – 15.00 Presentation The metabolic image: between material substrate and concrete experience by Zachary Formwalt
15.00 – 16.00 Presentation by Katrin Korfmann
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networks + algorithms x institutions ÷ artistic research = serious play
Hosted by Sven Luetticken, Savva Dudin, Canan Bunk, Katrin Korfmann, and Dina Mohamed.
The first colloquium day is held in collaboration with The Institute of Network Cultures (INC). The INC was founded by Geert Lovink at the Amsterdam University of Applied Sciences (HvA) in 2004. It analyzes and shapes the terrain of network cultures through events, publications, and online dialogue. Its projects evolve around digital publishing, alternative revenue models, online video and design, digital counterculture, and much more. Next year, following Lovink’s retirement, the INC will no longer be institutionally embedded at the HvA. A leitmotif of the program on December 3 will be de-institutionalization tactics, archiving and mourning, radical publishing tactics, and strategies for new beginnings. Canan Bunk and Savva Dudin will co-organize a workshop in this context.
Additional Information
Geert Lovink and David Garcia’s “The ABC of Tactical Media” (1997; the concept of tactical media has informed the INC’s activities over the years): https://www.nettime.org/Lists-Archives/nettime-l-9705/msg00096.html
Conversation between Raquel Luaces and Geert Lovink: https://networkcultures.org/geert/2025/10/08/interview-with-geert-lovink-by-raquel-luaces
The INC project Exploring Expanded Publishing: https://networkcultures.org/expub
The Void: https://networkcultures.org/void
Starting with Femke Herregraven’s lecture on the first day, and continuing at the Rietveld Academy on the second, we will collaborate with the Algorithmic Cultures research group. Algorithmic Cultures was founded by senior researcher Flavia Dzodan as part of Rietveld Sandberg Research – based on the contention that the topics of artificial intelligence, algorithms, and new technologies are too urgent to remain confined only to the realm of science and that art and artistic research cannot and should not avoid them. Members of the research group, Flavia Dzodan, Femke Herregraven, and Zachary Formwalt, will discuss their research in conjunction with presentations by Dina Mohamed and Katrin Korfmann. A presentation of Sonia Kazovsky’s Crisis Game links the programme back to Day 1.
Additional Information
https://research.rietveldsandberg.nl/en/research+groups/algorithmic+cultures
https://rietveldacademie.nl/en/page/33357/the-crisis-game-%E2%80%93-an-institutional-larp
Flavia Dzodan, “Defamiliarising AI and Stranger Machines”, Restless Grounds, 1, 2025. (see the PhDArts Dropbox)
Zachary Formwalt – The metabolic image: between material substrate and concrete experience
Whatever AI is, it is nearly impossible to separate it from the material substrates of contemporary images. How to describe the relation between these substrates and the way that they are concretely experienced? A “perceptual physics of capital,” as Beverley Best has put it, might help in grasping how images metabolize resources, labor, and attention into forms of perception.
1, 2025. (see the PhDArts Dropbox)
Katrin Korfmann – Imaginary Times: Temporal Dimensions in Virtual Photography in and Through Artistic Practice
In the age of virtual societies, machine learning, and AI, photographic technologies do not simply represent time, but produce and perform it—fabricating visual temporalities through algorithmic and composite image practices.
Through a participatory lecture, Katrin examines the connection between the temporality of creating, experiencing, and imagining photographic time.
Click here to access the collaborative pad
Workshop Serious Play by Savva Dudin & Canan Bunk
Notes here↓
Presentation on Grieving & Internet Aesthetics by INC guest researcher Raquel Luaces
Notes here↓
Participatory lecture workshop on Expanded Publishing by INC & The Void: Tommaso Campagna, Giulia Timis, Geert Lovink, Sepp Eckenhaussen
Notes here↓
why online dialogues and chats should be published in the book form? what kind of publics you want to reach? How much is it a book fetish?
Yes, this.
What about the research catalogue?
Maybe one way of finding new pathways to expanded publishing, is addressing the notions of discursivity and traceability that do not rely solely on linguistic articulation in our logos-centric academic publishing domains. I think here of Ranciére’s distribution of the sensible and of thinking of publishing as a form of disruption of the very hegemonic academic publishing platforms of today. Perhaps another way of thinking of this ins in terms of transmedia formats in which, instead of each “medium” replicating a singular “discourse”, the “discourse” is indeed happening across different modalities that are always and already partial and “distributed”. In this sense, publishing is an ongoing form of relation among each medium/fragment — that can be either a verbal text, a live stream, a video, a happening, a jam, a performance. Again: this involves letting go of a logo-centric approach that relates more to symbols (documentations, traces) then actual discursive practices that occur in realtime.
Vague thought but: How does publishing based on the notion of resonance look like? (published VS publishing, expanded in time, keep it open for people to contribute to over time, unfinished…)
What about process? how can/is process discussed/visualized in expanded publishing?
what about temporality within publishing? e.g. changes throughout different editions?
and situatedness of ones practice, access to ressources, that influences a practice? how are we discussing/visualizing those? also thinking of nostalgia when publishing ages and decays?
is there something like dust that slowly covers publications not interacted with anymore? is there sonething like “paper aging” within the digital?
is it a book fetish or is it sometimes a question of accessibility In the sense of ‘using the appropriate language’? This format is easy to access, everyone knows we’re writing on it at the moment. Without research and quotes and silent work place. We’re just thinking along with the knowledges we gained through living, encountering and probably reading. Writing gives me space to take my time. And writing provides soace .
I think this is a good point; these traditional modes of writing as a slow process. What sorts of slowness does expanded publishing afford?
I also picked up on this characterization of the print book as fetish. It can be, of course, but for me it above all has a unique use value (especially for reading long texts, but not limited to that). And surely the INC also believes it has use value? Books published as precious fetishes look different.
although attention spans and media change, sensory experience of materials (book) or materials of work become 2dimensional if not published physically/experiencable. How can we solve that gap?
Also I wonder if we should try to publish in the polished social media style just to run after this, or rather spend time with the content ( I do not think this is only nostaligia)?
question to Tommaso and Giulia
Being both an educator and designer, and considering the importance of inclusivity and accessibility while lecturing, I’m wondering about the format of your presentation. Since we are here to produce and share knowledge, the way research is presented and accessed plays an important role.
Could you share a bit more about your method of presenting today? Why did you choose to present through multiple websites — including waiting for pages to load, tiny images and unreadable credits — rather than using a more structured format like a Keynote presentation? I’m curious to understand the intention behind this choice.
Reiterating the question here, But also curious about the method of publication of a thing about methods of publication
I come from China, where arbitrary censorship influences how people express their thoughts in public and even in private circles. How is it possible to publish to decrypt poetic/experimental writings and make transparent the process of censorship that shaped the choices of wording?
You mean, like a translaation app for self censored text?
Lecture by Femke Herregraven
Notes here↓