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Where you will work… Operating within the Marketing Automation product team on group level, you will have the opportunity to initiate and deliver exciting new services and products that help StepStone to deliver better results to both candidates and recruiters. Become a Marketing Automation subject ma The grid powerfully persists as organizational apparatus, or dispositive Foucault , Perhaps it is enough to begin by observing that city grids, for one, combine systemic and structural organizational forces and flows, at the same time that they open and are open to improvisation.

The grid operates interactively with a diversity of moving parts, materials, medias, and mechanics; complete with incumbent institutional and social structures, languages, logics, and algorithmic apparati. Perspective For most, the grid provides a gameplan: It stipulates science, social science, and art. Easy as tic-tac-toe, the grid typically presents an outwardly extending logic in the ordering of things, as well as an assignment of spatial coordinates.

At a glance, the grid is an apparatus to graph and make the measure of space, often to serialize it, without end. Closed grid schematics render fixity like the lock of a crossword puzzle.

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Behold the screen, man the scrum: Alberti understands perspective as a geometric instrument of visual representation. Della Pintura is a manual for producing the realistic perspectival illusions of the volumetric world, one that relies on veils, windows, mirrors, and other manner of grid mechanics, boundaries and thresholds of perception that let loose the mediations of this kinetic world.

In the Codex Leicester, written in mirror-image code from right to left between and in Milan, the Tuscan again details draftings of this material world: The revolt of the medievalists urges more pluralistic views Gersh and Roest The visual arts have long understood the grid as a key optic of modernity that produces perception about space; orders subjects objects and things in space; at the same time that it disorganizes and disrupts matter and movement within and beyond its matrices, never attaining the fugitive and occult real. As I noted earlier, tensions between abstraction and representation define modernist debates centering on the grid as a totalizing means of managing space through relationships of distance, on the one hand; and on the other, as the pathway to breaches in the system of modern administrations, whether in the context of pictures, or in the world.

This insight continues to inform digital media scholarship see Hu Rather than submit to any paradigm of loss Calabrese , xii , however, I see instability, polydimensionality and change as constitutive of grid logics and systems partners in crime , rather than outside of it. Following Deleuze, art historian Briony Fer reminds us that the enactment of repetition itself yields difference, whether in the context of design, the technological sublime, or performance: Threads of dissent, distraction and dissonance weave through every grid.

In the brief case studies that follow, I visit two different port cities which themselves curate and review the pasts and the futures of grid logics. I was thinking about beisbol in the Caribbean, and the riddle of labor and performance Nielsen, in-progress. Spanning high and low cultural genres, my scholarly attention to the grid is anchored in the performance arenas of sport: For me, sport and dance share this fugitive shimmer, this coil of regulated and outlaw movement in the ambiguities of grid spaces, as CLR James understands it in Beyond the Boundary The timing of the Negrismo conference was especially fortuitous because the first International Biennial of Contemporary Art of Cartagena de Indias was also in full swing 7 February—7 April Cartagena de Indias was an important trading port, a slave port and an administrative center.

Cities have a way of being many times and places at once; everything is in the interval. For the palimpsestically inclined like me, sites of exhibition matter. Declaring Cartagena a seat of the Inquisition in following those in Mexico City and Lima , and adding architecture to its arsenal, Cartagena was an operating center, a node in the Spanish colonial system: Tucked low and almost in the corner of a three-story courtyard wall that directs the gaze upwards and elsewhere, the piece weaves a mass of black thread and white pearl beads through the gridiron bars of a window.

At first, I thought it was hair, the needles and pins sharply tucking the absent body in. Using windows throughout the Palacio, the site-specific installation is indeed about absence: By presenting texture with no interior classic modern technique , del Rivero models the violences of inquisition, itself a machine that abstracts information. No surprise, it is also the site of gendered divisions of labor.

Promoted to the status of the fiber arts after WWII, weaving tests the propensities of material in time and space.

The metamorphosis of weaving harness and release the fluidities of matter; geometric patterns dissolve the grid at the same time that it reinstates it. In weaving, the field is sculptural and dynamic; its folds and drums sound out material culture. Traditionally, the business of craft and the material limits of matter are one thing; the fine arts of design medias, another. Something consisting of physical actions, rather than abstract ideas? Appropriately, perhaps, it also leads to a digression elsewhere valued as hyperlink: Motive is easy control, competition, sabotage , but what is the technique?

From solicitous museum guides, I gather that the living history says anonymous accusations consisted in tossing bundled and weighted paper up into one of the windows of the Palacio. Not deposition sworn out of court testimony used to gather information as part of the discovery process; in modern law, hearsay is not admissible at trial but accusation. Judgments were orally issued from another window, on the other side of the building; the outbox.

Each of these windows serves as a threshold in accounting and certification, a good reminder that for Spain the Reconquista at home, and in the New World colonization beyond, are feats of bureaucracy achieved through documents, records, licenses, petitions, certification and verification rituals that reformulated identificatory regimes of the modern age—and the arts of forgery Siegert , I am not a scholar of Asian languages or cultures: I went there for the reason many long distance travellers, and Asian talent, do: Although the tropical skies are thick and hazy, sometimes with smoke from neighboring Indonesia, it could be far worse: Overlooking the Padang the open playing fields in central Singapore, home to the Padang Cricket Ground , the Singapore National Gallery reinvents its identity as a global media city.

For some, architecture has always been about creating community.

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An abstract idea, and a potent one, but I am told architects usually work from the abstract to the real Holl Pausing on the upper link bridge, at the very top of the new construction, I am compelled to stop and write: This is ferociously anticolonial architecture. Visitors can see the rotundas of the Supreme Court right up close, sheltered from the tropical rains by a glass and metal weave above that looks and feels like a canopy. In the courthouse, rooms that once executed justice function instead as museum display, a place of memory and its futures now held in exhibition, stored in a treehouse; leave it to the pruning of curators.

This branchy power is big, beyond animal—making Singapore not so much a city of the lion anymore the Merlion, in Malay, Singa-Laut , as it is an instance and an utterance of two apparently irreconcilable yet here recombinatory forces, the apex of coopetition: With its disarmingly familiar arboreal governmentality, presented as a cluster of upward reaching natural branches, the new construction first brings to the imagination a kind of living genealogy. For Deleuze and Guattari, of course, the verticality of the tree specifically models centralized authoritarian power, a structure with hierarchical modes of communication and preestablished paths, which they view negatively.

At the Singapore National Gallery, this is not the contradiction it appears to be. In retrospect, if they knew what we know today about trees see Wollehben Deleuze and Guattari might not be so hard on trees.

As architecture, the piece offers a monumentalized still-life—a sculpture of a thing that is indeed structured and organized, and yet also dynamic—the way an MRI magnetic resonance imaging captures an outwardly visible moment of form, and some of its pulsing circuitries, but cannot fully detect or display the electrical impulses within a brain, or the full extent of its radiant connectivity.

Three dimensionally reaching not just vertically but horizontally as well, intimating if not achieving the form a sphere, the Singapore National Gallery materializes as both a decentralized and a distributed network, a resilient interlocking of forms articulating macropolitics as well as the micropolitics of assemblages At once an organization and a dispersal, the Singapore National Gallery proposes a neural landscape, or system: Visitors can touch the capitol that was once capital, as if it were, yes, museum artifact.

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Biotech is the new digital. The materials revolution enabled by digital technology now makes it possible to program materials to have sense, logic, and replication capacities. That said, the architectural design is not exactly unique. The Singapore National Gallery is quite obviously two blocks conjoined by a window, an imaginary trajectory that provides a threshold and a boundary, an enclosure and aperture, an inside and an outside.

As modernist fugue, the grid of windows, veils, and windows offers the space of fantasia, a projection back on the practice of perception. In the networked, smartly mediated global city, developing creativity and connectedness is orthodox management strategy. The belief that spaces without scripted functions harbor great possibilities is nothing new to the art world, or to the grid; the question is how that belief and those grid spaces can be put to use in particular historical times and places. The history of architecture and modernism rehearses industrial progress, as Kitnick explains: The grid proliferates, and accelerates.

But cities bear the scars of history, and data are a form of power Iliadis and Russo The programmability of the material world—of fluids and the entire flora and fauna of things—revives wild and far-reaching questions about the riotous presence of things. Conclusion A major illusion of the art system is that art resides in specific objects. Jack Burnham , 50 What does the grid mean for media ecologies today? For many critics, by the late s the question was no longer how words, subjects, objects, or bodies do things; it was abut how systems do things—and it was exciting.

Instead, Burnham argues for the recognition of systems as media—seeing information, structure, and seriality as technologies of repetition for the polymath to engage and change those very same processes and systems. In hacker culture, information may be immaterial, but systems never exists without material support Barbrook and Schultz ; Wark In my reading, Burnham is both right and wrong.

Right, because he recognizes the vitality of systems; and wrong to dismiss the vibrant matter of objects. While grid cities, installations, and architectures, for instance, can be regarded as a conglomerate of arts, for Burnham they potentially make for a rich laboratory for something else: Instead, it's about architecture, urban planning, engineering, and communications media. In short, what I gather from Burnham is that performance studies orthodoxy concerning speech acts, or how to do things with words Austin instead finds vivid intelligibility in the material cultures and medias of grids, code, algorithmic states, and the programmability of the material world.

Staging the violence of resistance by any means, the work specifically protests collusions between the state and anthropology.

While the kinks and flows of grid architectonics articulate capacious dynamics, the question of how to do things with the grid and vice versa: My approach to the grid seeks to open familiar dialogues, about variants of subjectivity and presence, to the materialities and devices of systems, structures, infrastructures, communications technologies, administrations, bureaucratic operations, and biotics. This is to expand and shift attention from the representation of meaning to the conditions of representation; in so doing, the grid offers ways to examine the rigs of repetition, material and otherwise.

Whereas closed grid regimes render fixity like the lock of a crossword puzzle, they also suggest the universe is both more capaciously diverse, and, in a state of flux. Until science claimed cartography, mapmaking and landscape painting were kindred activities, often performed by the same hand. The return to media archaeology suggests a handy pointer: Sometimes they tend towards an analysis of value that does not center on capital. Such are the elements of the apparatus. On garbage economies, see Nielsen This reading is uncontroversial: For Egginton, "The Baroque is theater, and the theater is baroque" , Cartagena was an important trading port, a slave port and an administrative center.

See Siegert ; Cohen and Glover ; Nielsen forthcoming. The Peranaken Museum collects arts and artifacts of hearth and home: Chinese Peranakens are the majority, but there are also Peranaken communities of other ethnicities in Southeast Asia, including Arab, Indian, and Eurasian. With many smart ideas, one smart nation, and plenty of trisectoral collaboration, electronic networks, sensors, and apps proliferate the digital service economy, amass the internet of things, build the industrial internet of things — and reconfigure civil society.

In the public, digital applications and platforms manage not just buses, trains, planes, automobiles, hospitals, and banks but systems of transportation, health, food, and financial services industries. See Claire Bishop , Critics similarly concerned with the role of anthropology in the coloniality of power increasingly reevaluate the regimes that usually inform curatorial authority.

Cartagena de las Indias, Colombia: Total Destruction of the Anthropology Museum. Reflections from Damaged Life. In On Painting, 39— Commodities and the Politics of Value. Commodities in Cultural Perspective, edited by Arjun Appadurai, 3— University of Chicago Press. How to Do Things with Words.

Barbrook, Richard, and Pit Schultz. A Political Ecology of Things. Anthropology, Collecting and Colonial Governmentalities. Scott Palmer and Nancy Margaret Paul. Infrastructures for Troubling Times. Society and Space 34 3: The Ambivalence of Colonial Discourse. Bishop, Claire, and Mark Sladen.

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