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Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

Eszter Polonyis Vortrag behandelt frühe Systeme automatisierter Identitätserkennung. Einen Fokus bilden Experimente zur Stimmerkennung, wie sie in der Mitte des 20. Jahrhunderts von US-amerikanische Telekommunikationsunternehmen unternommen wurden. Sie geht dabei auch den Verbindungen zur Arbeit mit „noise“ von Medienkünstler*innen nach, darunter Tony Conrad, John Cage und Kurt Kren.

In the occasion of release of the book about manifestation Real Presence will be held between 3rd and 8th of October series of events, including talks, presentations, performances, workshops and exhibitions in which will take part international and Serbian artists. Friday, 4.10.2019 - 3 - 6 pm - in the Belgrade City Library, Knez Mihailova Street 56 - Present Academy symposium. Participants: Alberto Gianfreda, Associate Professor, Brera Academy, Milan Nemanja Nikolić, Assistant Professor, Faculty of Fine Arts, Belgrade, Saša Tkačenko, Assistant Professor, Faculty of Architecture, Novi Sad, Aleš Vaupotič, acting head of the Research Centre for Humanities / University of Nova Gorica Jacob Tonski, Associate Professor, School of the Art Institute of Chicago. The book: https://issuu.com/maximilianmauracher/docs/realpresence_2019_2 Alessandra Saviotti, PhD candidate - Liverpool John Moores University & Tutor - ArtEZ University of the Arts, Arnhem Milenko Prvački, Senior Fellow - Office of the President - LASALLE College of the Arts - Faculty of Fine Arts Narvika Bovcon, Associate Professor, Faculty of Computer and Information Science / University of Ljubljana Christian Sievers, Associate Professor, Academy of Media Arts Cologne

The presentation is showing the origin of the concept of the cultural corridor in Rijeka in the CLIC project as originated from the URBiNAT project

Art historian Ladislav Zikmund-Lender will discuss qriting and performing queer art history in Central European context, providing insight into how the history of queer lives and experiences is being documented and presented in the Czech Republic. His talk will compare and contrast the ways that the path to queer emancipation in Central Europe has been distinct from the United States.

In an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.