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Christian Heck

Lecturer for aesthetics & new technologies/experimental informatics and doctoral researcher 
at the Academy of Media Arts Cologne, since 2017. His research and work focuses on 
social movement research, AI ethics, adversarial hacking strategies, code literature 
and natural language processing (NLP). 
He practices algorithm critique with a focus on Artificial Neural Networks/deep learning 
and aesthetic research in cultural- and peace work (focus: generative systems, 
ADM, IT security technologies, weaponized drones and autonomous weapon systems).
He is member of the Computer Scientists Forum for Peace and Social Responsibility (FifF), 
the Working Group Against Armed Drones (AK Drohnen) and the German Informatics Society (GI).

For more information about the PhD project, talks, publications, teaching, artistic 
as well as peace work, please visit the following URL: Adversarial Poetry

THE FOLLOWING CONTENT IS NOT UP TO DATE! Please visit the following URL: Adversarial Poetry

education talks / teaching
organising / directing / curating shows / texts / projects
Contact: « OpenPGP keyNot f'd — you won't find me on Facebook
_______________________________________________________________________________ code poet & grassroots activist researcher @ ground zero doctoral candidate @ KHM Doctoral programme title: »Adversarial Poetry – Subversive embeddings in artificial neural word space« 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 2021/22, »Human Machine Readable - Introduction into programming« - together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Ta 2021, »Adversarial Poetry Talk« @ Interdisciplinary online conference, Schaufler Kolleg, TU Dresden: Artificial intelligence as a humanities & social science concept Ta 2021, »_ell_ Worl_!«, 10º Encontro Internacional de Grupos de Pesquisa: convergências entre arte, ciência, tecnologias & realidades mistas, São Paulo Wo 2021, »National Novel Generation Month - Working Group«, Academy of Media Arts Cologne Se 2021/22, »The Policeman’s Beard is Half Constructed - Computer-generated literature« - together with Georg Trogemann, Academy of Media Arts Cologne Wo 2021, »this machine kills asciis - coding textruments in pd«, Academy of Media Arts Cologne Se 2021, »Biotext«, together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Se 2020/21, »Introduction to programming text generators« - together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Se 2020/21, »codichte_experiments-with-cognitive-systems« - together with Georg Trogemann & Mattis Kuhn, Academy of Media Arts Cologne Se 2019/20, »Future Minds – Kritik Künstlicher Intelligenzen« - together with Georg Trogemann, Academy of Media Arts Cologne Wo 2019, »DNA phenotyping« - together with Verena Friedrich and Klaus Fritze, Academy of Media Arts Cologne Se 2019-21, »Open Lab« @ exMediaLab - together with Verena Friedrich, Jacqueline Hen & Karin Lingnau, Academy of Media Arts Cologne Wo 2019, »macht kaputt was euch kaputt macht«, Academy of Media Arts Cologne Se 2018/19, »Einführung in die Programmierung künstlicher Intelligenzen« - together with Georg Trogemann, Academy of Media Arts Cologne Se 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: d / c 2022, Online Hearing War with Artificial Intelligence, together with Hans-Jörg Kreowski Organized by the Working Group Against Armed Drones (AK Drohnen) see Recordings here: vimeo 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 / publications / projects / articles ... selection: War on error 2021
After the West’s Afghanistan Intervention: Preventing Technopolitical Misjudgments 2021
The rule becomes the author! 2021
Disruptive News 2021/2
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, FIff-Kommunikation 4/2021 »Künstliche Intelligenz zieht in den Krieg« -War on error- "Like the French philosopher Grégoire Chamayou for his book "Ferngesteuerte Gewalt – Eine Theorie der Drohne", today we take as our guide a reflection by the anarchist philosopher Simone Weil in the 1930s: „It would be the most inadequate approach imaginable to approach war and the phenomena of violence from the ends that are pursued, rather than to examine the consequences necessarily implied by the nature of the means employed.“ So let’s look at weapons a little more closely. Their specific Characteristics. The ways and means that determine actions, through which one sees and through which one does, and that help one think. Weapons that ultimately also help determine the effective power of the actions in question. So the transmissions of action knowledge and action power into these technical objects and from there back into us. (…)" read article (german):

______________ 2021, Berliner Gazette -After the West’s Afghanistan Intervention: Preventing Technopolitical Misjudgments- "The outcome of the Afghanistan intervention is devastating: at the end of the most expensive military operation in its history, the West has to admit that practically none of the objectives has been achieved. Moreover, the West will have to take responsibility for the high number of casualties and the staggering scale of destruction. The numerous articles in critical media have already elaborated all this quite well. So far, however, the techno-political aspect has remained unconsidered. (…)" read article (german):

______________ 2021, ground zero -The rule becomes the author!- together with Julia Nakotte, Tiago Ive Rubini, Ting Chun Liu and Mattis Kuhn »The rule becomes the author!« is an executable artistic research paper about the collective Beatnik poem *»_ell_ Worl_!«*, published in July 2021 in the Anthology KURZE04, and about it’s Interpreter", written by Ting Chun Liu. read paper: The rule becomes the author!

______________ 2021, ground zero -Disruptive News 21/2 | War on Error- On this occasion, the newsletter »War on Error« draws a first disruptive-technological balance in the form of a dynamic dossier on the events in Afghanistan since the invasion of NATO and US troops on October 7, 2001, until their withdrawal on August 31, 2021, in the hope of supportively counteracting future political and military "misjudgements." read Dossier (german): War on Error

______________ 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 -Comment: (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