Christian Heck

education talks / teaching
organising / directing / curating shows / texts / projects
contact: « OpenPGP keyNot f'd — you won't find me on Facebook
_______________________________________________________________________________ glitch artist & code poet researcher @ ground zero doctoral candidate @ KHM Doctoral programme assistant professor for aesthetics & new technologies in experimental informatics @ Academy of Media Arts Cologne (KHM) _______________________________________________________________________________

Education 2018 – ... Academic PhD (Dr. phil.) in Art and Media Studies Academy of Media Arts Cologne 2013 – 2015 Postgraduate M.A. Course “Art in Context” University of the Arts, Berlin 2009 – 2012 Diploma in „Sculpture / Media Art“ Academy of Fine Arts, Munich 2006 – 2009 BA in „Mixed Media“, Hogeschool voor de Kunsten AKI, Enschede, NL 2002 – 2005 state certified technician in "renewable energy technologies", Berufskolleg Reckenberg, Rheda- Wiedenbrueck, Germany 1993 – 1997 Plant Mechanic for HVAC and Sanitary Engineering Staatliche Berufsschule Kitzingen, Germany _______________________________________________________________________________

Talks / Workshops / Seminars ... selection: Se SS-2021, »Biotext« - together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Se WS-2020/21, »Introduction to programming text generators« - together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Se WS-2020/21, »codichte_experiments-with-cognitive-systems« - together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Se WS-2019/20, »Future Minds – Kritik Künstlicher Intelligenzen« - together with Georg Trogemann, Academy of Media Arts Cologne Wo 2019, »DNA phenotyping« - together with Verena Friedrich, Jacqueline Hen & Karin Lingnau, Academy of Media Arts Cologne Se SS-2019-21, »Open Lab« @ exMediaLab - together with Verena Friedrich and Klaus Fritze, Academy of Media Arts Cologne Wo 2019, »macht kaputt was euch kaputt macht«, Academy of Media Arts Cologne Se WS-2018/19, »Einführung in die Programmierung künstlicher Intelligenzen« - together with Georg Trogemann, Academy of Media Arts Cologne Se SS-2018, »Material und Algorithmus« - together with Christian Faubel, Academy of Media Arts Cologne Ta/Wo 2017, »Artistic Freedom & Privacy on the Web«, Institut für Kunst im Kontext Berlin Ta 2016, »t͕i̞m̾e͡ hͯa̹c̚k̖s̡ «, interfiction XXIII/2016 ZEITMASCHINEN Kassel Ta 2016, »War on Error«, Informationsstelle Militarisierung e.V. Tübingen Ta 2016, »o͈̮p̢ęr̕a͠t̶̨i͟oǹ͓̜a̵l̷ glit̶̨ć̶̛he͝s« @ 15. Netzwerk-Terrorismusforschung- Workshop „Vom Cyberterrorismus zum digitalen Bilderkrieg“, ZKM Karlsruhe Ta 2015, »o͈̮p̢ęr̕a͠t̶̨i͟oǹ͓̜a̵l̷ glit̶̨ć̶̛he͝s« @ CCCamp 2015, Chaos Communication Camp Zehdenick Ta/Wo 2014, »Free Libre Open Source Software _ Glitch Art & code poetry«, arttransponder Berlin Ta/Wo 2012, Different Workshops in Cmd- Line / Programming with & for students, Akademie der bildenden Künste, München Wo 2011, "Puredyne", GNU/Linux-Live-Distro (operating system) for media-artists @ Salong, a selforganized projectspace in Munich _______________________________________________________________________________

organising / directing / curating ... selection: o / d / c 2016, Exhibition AUGE | MENSCH | MASCHINE @ Stadbücherei Aub press article: Mainpost o / d / c 2016, Exhibition Š̷᷂̼̜̍̾͗᷾̾̌͆͘͞ͅY̝͓̥̺̰͍̼ͦ͐͒̍̏̄͜͝N̞̻̘͔̔ͨ̄͗͋̉̆͑́̚͜T̹͖͎͈̬̖̂᷀̐͌ͪ͘̚͢͢A̵̭͍͇ͮ᷀ͥ̈́̂̔͗́̓ͥͅX̭̫̰̌́͒̉̅̿̾͂͏̪͊̑ E̵̸᷿̬̝̼᷉̇᷁͐᷈͌̑ͭ́R̷̵͍̻̹̓̀̒ͯ̌ͫ̌͘͜͜R̵̢̟̦̣͙͍̻͙ͫ͒ͮ̅̓͢O̸͉̙̩̺͍̙̬̪᷀̏̏̓͜͡R̴͇̥̼̭̟ͩ̾̎̈̊̐͠͠͠ @ Greenhouse Berlin (transmediale Vorspiel) press article: BERLINARTLINK o / d 2014 – 2016, Project- and Artistspace »Greenhouse Berlin« o / d 2011, Conference @ Salong in Munich, press article: Linux Magazin o / d / c 2006 – 2007, Projectspace / Squat »FO«, Enschede, NL _______________________________________________________________________________

shows / texts / projects ... selection: Natural Language Processing? Translations, Artificial Intelligence and the Question of Identity’ 2021
Disruptive News 2021/1
Kommentar zu: (Un)creative Artificial Intelligence. Zur Kritik ‘künstlicher Kunst’ 2020
Buchkritik: »Cyber Valley – Unfall des Wissens« 2020
Widerstand | Ästhetik & neue Technologien 2020
ADM - Anarchistic Decision Making 2019
How To Make Human Machine Readable 2016
Metropolis, 1927 | 2015
operational glitches 2015
PGPoem #1 2015
articel_5 2015
-ESC- Press [SPACE] to travel in Time 2014
Dieser Verein ist in deinem Land nicht verfügbar 2012
KUNST-WERK-ZEUG | This machine kills ASCIIS 2012
no_p 2011
part_2 2010
...ich weiß ja Lale, Fragmente gibt's eigentlich gar nicht 2010
samstories 2009
...und nur das schießen des Fotos, das ist leben... und das Foto, das ist tot 2008
12.03.08_am-pm 2008
Transforming the solar radiation into sound 2007
FO 2006-2007

______________ 2021, Berliner Gazette -Natural Language Processing? Translations, Artificial Intelligence and the Question of Identity- Who is suitable as a translator of the poem of a young Afro-American woman? How important is a shared horizon of experience in order to really understand what is meant? While a debate about these very questions has kept Twitter users up at night in recent months, another translation problem has almost been forgotten: GoogleTranslate, DeepL and other translation engines have a discrimination problem. Berliner Gazette author and technology researcher Christian Heck brings both debates together. read article (german):

______________ 2021, ground zero -Disruptive News 21/1- »Disruptive News« is the new Format of the KHM internal newsletter bots from the hood: new publications and links at irregular intervals on artificial intelligences in art and culture. read Newsletter (german): Disruptive News 21/1

______________ 2020, ground zero -Kommentar zu: (Un)creative Artificial Intelligence. Zur Kritik ‘künstlicher Kunst’ von Dieter Mersch- together with Georg Trogemann and Mattis Kuhn The article by Dieter Mersch criticizes recent art projects that are produced by AI algorithms, which are based on ‚deep learning‘ and generative processes. In his opinion, these ‚artificial artifacts‘ are based on a naive concept of art as well as a reduced understanding of human and machine creativity. One can agree with Dieter Mersch’s analysis in many points. Some of the things he criticizes have been controversially discussed within the AI or art for a long time, and not only since ‚deep learning‘ and ‚Big Data‘ reached the mass media. The essay has provoked a comment from us because the understanding of algorithms and art is too narrow, which in the end throws the baby out with the bath water. read comment (german): Kommentar.pdf

______________ 2020, Berliner Gazette -Wo beginnt der Krieg? Widerstände gegen militärisch-industrielle Forschungs-Black-Boxes- "Still pointless AI products are being thrown into our respective daily lives today, not because we need them. Nor because we would consider our everyday life meaningless without them, but in order to charge these new technologies with vagueness and ambiguity. To charge them with our respective life experience, with our experiences, in order to give them meaning in this way, their social meaning, while we use them." read article (german):

______________ 2020, Journal der Academy of Media Arts Cologne N°12 | Mut und Melancholie -Widerstand | Ästhetik & neue Technologien- "Protest is when I actively do not want reality to be taken for granted, when I inwardly refuse to accept the fixed reality. Resistance is when I start to write reality and in that way let others write it too." read essay (german): Widerstand | Ästhetik & neue Technologien

______________ 2019, Berliner Gazette -Anarchistic Decision Making: Eine Exkursion zum Protest-Camp in Deutschlands Cyber Valley- "We currently lack not only precise definitions, we lack words, we lack a common language to think through cultural, political, and social consequences of AI technologies and Algorithmic Decision Making (ADM)." read article (german):

______________ 2016, Stadtbücherei Aub, de AUGE | MENSCH | MASCHINE see:

______________ 2016, Greenhouse, Berlin, de (transmediale Vorspiel) -How To Make Human Machine Readable- [Installation] Before a machine is able to pre-interpret the technical image of man - for me - the respective man has to be made readable for it. Technical images are always produced through the operations of an apparatus: the respective machine. Therefore, I create a distance to the machine through glitches to create a higher awareness. I let the machine itself 'come back into view' through manipulations of it's respective pre-interpretation of man through the technical image itself. "Nobody cares how it works as long as it works." (Matrix Reloaded, 2003) see:

______________ 2015, DIENTE @ Greenhouse, Berlin, de Metropolis, 1927 | 2015, (cuts from the screening ...) [Installation] glitched Version of »Metropolis«, 1927 (Reconstruction from Found Material in Argentina in 2008)

______________ 2015, UdK, Berlin, de o͈̮p̢ęr̕a͠t̶̨i͟oǹ͓̜a̵l̷ glit̶̨ć̶̛he͝s [Installation] see Projectpage (German):

______________ 2015, DIENTE MORRKIS, Experimental poetry publication | Lesung: Autorenkreis Würzburg (2016)) PGPoem #1 [poem, encrypted] see also:

______________ 2015, liebig12, Berlin, de article_5 [Performance] Muscle Accelerator on forearm, Arduino Board, Pure Data ...trying to write in Realtime, while every character gives an electrical feedback to finger muscles Thanx to Pedro Lopes! Grundgesetz für die Bundesrepublik Deutschland (GG) vom 23. Mai 1949 (BGBl. I S. 1)

"(1) Jeder hat das Recht, seine Meinung in Wort, Schrift und Bild frei zu äußern und zu verbreiten und sich aus allgemein zugänglichen Quellen ungehindert zu unterrichten. Die Pressefreiheit und die Freiheit der Berichterstattung durch Rundfunk und Film werden gewährleistet. Eine Zensur findet nicht statt."

______________ 2014, okk/raum29, Berlin, de -ESC- Press [SPACE] to travel in Time [Installation/Game by Christian Heck & Agnė Matulevičiūtė] README ...We created this game questioning the role of identity in the digital world. if you can change your IP address using an anonymity-software and appear in a different country without moving your physical body, does that mean you are disappearing? You are leaving digital traces, but it is impossible to track you down in the “real“ world. This game repulses theory of relativity and absorbs time. It suggests you to create your own story.

______________ 2012, Online
-This institution is not available in your country- [Online-Exhibition] ...with this message, artists Stephan Dillemuth and Christian Heck announce that they are taking control of the website of Kunstverein Göttingen... the website was hijacked to for one month ...The intervention of Heck and Dillemuth is a breakdown in the virtual image of the Kunstverein, which will take place gradually over time—a productive disruption in a familiar structure, which is also conceived as an invitation to dialogue. A central feature of this ongoing virtual construction site is a so-called "etherpad-lite", which allows multiple visitors to the site to communicate simultaneously, correct one another, or delete each other’s statements. Participants are invited to engage with each other about the transformation of the public domain and the internet, the nature of the project itself, or the role of the public art institution...

______________ 2012, AdbK, Munich, de   -KUNST-WERK-ZEUG- [presentation of the software tmka & the newspaper kwz] /the/ creation of images regardless of which form changes/;/ /it/ changes our view of a world of our world />>SPACE>>/ whose image everyone is carrying himself/./ ... see some Works, made with the software tmka: tmka-examples

______________ 2011, Akademiegalerie, Munich, de -no_p- [Temporary Media Lab and Exhibition together with Lale Wilan ...And if the house could be the combination of an artificial language, so I extend a language. Not standing in the pages, still lost, not useless, easily broken by slapping tongues in the colors of the possibility of noise. And the moment the food of an artificial language. The life, the moment on the sides is the life, the tragedy. I need to listen, to communicate a language, and ugly is the medium, the perception of viewing...

______________ 2010, AdbK, Munich, de   -part_2- [Installation together with Wona Cho] the second Part of a Research, started in ~june 2009. Part_1: the Poem, -Ich weiß ja Lale, Fragmente gibt's eigentlich gar nicht- is written in german-language part_2 is written in Pure Data

______________ 2010, Online -ich weiß ja Lale, Fragmente gibt's eigentlich gar nicht- Poem by Sam Puat Download the Poem (91 pages): ... in the field of concrete poetry - the spelling is as a rabble in the face of my counterpart - everything else is aesthetic explanation - the substance of your work is a dialogue - I do not see any connection - it is too short and too abstract - Can we ever talk about experience? - like a grain of sand on the beach with millions of others - And what is a memory? - Read and pray - I like this cow - or a poem, or many poems - it does not follow any real idea ... ...about it

______________ 2009, Online
  -samstories- by Sam Puat not a sequential presentation. By sequential presentation, I mean Monday with all dreams and occurrences noted, then on to Tuesday and so forth. Here Thursday and Friday may be cut in with Monday, or the elaboration of a dream cut in with the dream itself in a grid of past present and future... W.S.Burroughs visual documentation, under:

______________ 2008, ITS, Enschede, nl
...und nur das schießen des Fotos, das ist leben und das Foto, das ist tot [447 S8-Shots, filmed by the Childrens self, digitalized, HD]

______________ 2008, Atelier '93, Hengelo, nl
-12.03.08_am-pm- [1 minute from 16min-2screen-Installation]

______________ 2007, Open-Space, Hengelo & Enschede, nl

                         Transforming the solar radiation into sound [Object placed in different Town Spaces] 

______________ 2006 - 2007, FO, Enschede, nl Squat as Projectroom & Offspace "FO", in Enschede,NL   different exhibitions... Pictures: works by Lale Wilan & Chika Takabayashi