The Phenomenology of Diasporic Experiences - from the Corporeal and Digital to the Biotechnological
Director of the Riddoch Art Gallery, and Cultural Development Manager, City of Mount Gambier, South Australia.
Data transmissions and bio-technological developmentshave transformedthe experiences of spatiality and felt time. This newly createdglobal space-time phenomenon inverts standardnotions of periphery and center, thus dominating the diasporic experiences. The merging of information technologies and bio-technology have the capacity to change the essence of global relations with the proliferation of international policies on intellectual property, the rise of genomic databases, the integration of biology and informatics, stimulating debates in the ethical, economic, political and cultural spheres, explored through various bio-semiotic, phenomenological and post-structuralist perspectives.
Key words: bio-technology, digital, corporeal, diasporic experience
D-r Melentie Pandilovski is Director of the Riddoch Art Gallery, and Cultural Development Manager at the City of Mount Gambier, South Australia. He is an art theorist and historian, curator, and art critic. He was previously Director of Video Pool Media Arts Centre in Winnipeg, Canada (2011 – 2016); Director of the Visual Cultural Research Centre, Euro-Balkan Institute in Skopje, Macedonia (2009-11); Director of the Experimental Art Foundation in Adelaide, Australia (2003-2009), and the Soros Center for Contemporary Arts in Skopje, Macedonia (1998-2003). He has curated more than 150 exhibitions and organized numerous symposia, conferences, and workshops, in Europe, Australia, and Canada, such as: “Age of Catastrophe” in 2015; "Toxicity" in 2013-14, and “Marshall McLuhan &VilémFlusser Communication & Aesthetics Theories Revisited”, in Winnipeg, Canada in 2012; “Biotech Art – Revisited” in Adelaide, South Australia in 2009, “SEAFair” (Skopje Electronic Art Fair) in the period 1997 – 2011, in Skopje, Macedonia, etc.
His theoretical research deals with examination of the links between art, culture, technology, identity, and consciousness, and he has edited and published a range of works on those topics. He was Co-Editor of “Marshall McLuhan &Vilém Flusser Communication & Aesthetics Theories Revisited” (2015), Consultant editor of Artlink's "Bio Art: Life in the Anthropocene" (2014); Editor of “Energy, Biopolitics, Resistance Strategies and Cultural Subversion” (2012), “The Apparatus of Life and Death” (2012), “Art in the Biotech Era” (2008), “Understanding the Balkans” (2002). His publications include: “How biotechnology and society co-constitute each other”, Technoetic Arts Journal, Intellect Ltd. 2012; "On Modes of Consciousness(es) and Electronic Culture", In Glimpse, Phenomenology and Media, San Diego, California, 2000, "The Position of Culture in Southeast Europe" (2000), "Consciousness and Electronic Culture", In Consciousness Reframed (Catalogue of 4th International CAiiA-STAR Research Conference, Perth 2002), etc. Melentie has also worked on numerous projects with the international networks: SCCA/ICAN (1994 – 2003), Net-Time (from 1995), Syndicate in the period 1996 - 2001, Spectre (from 2002), BAN – Balkan Art Network (1999 – 2003), SEECAN (from 2000), CAOS (2003 – 2009), SPM– Society for Phenomenology and Media (2000 – 2016). His art projects include the Internet project “Welcome Back to the Empire” (1996-7, and 2011), the solo exhibition “TV Experiment” in Skopje, Macedonia, in 1987, and “Time Poetry”, a project with-in “Tik- Tak –Tok”, an international inter-disciplinary collaboration consisting of two exhibitions of artists’ clocks and time machines, in Dundee (Scotland) and Skopje (Republic of Macedonia) in 2000 and 2002.