going to the mat

It’s difficult to write these days. Internal monologues are focused on figuring out how to pack up life asap. It’s a bit strange to say that the past four-plus years is the longest I’ve lived in one place continuously since leaving my parents home at 17 y.o. And further, it’s one of the few periods of time that I have had *all* my belongings in one place and (mostly) out of boxes. The majority of my adult life, my stuff has been in a storage unit somewhere—New Jersey, Prescott, Golden, Boulder—or in someone’s garage or so. Uff. Packing the entire archive back up seems absurd as it was hardly accessed in the time it was out of boxes. A useless pile of detritus. Why, why, why subject myself to the ignominy and energy-waste of maintaining something that I’m the only one who has an interest in it?

Now Reading: Absorbing the epic six-volume autobiography, Min Kamp, from Norwegian, Karl Ove Knausgård. At Zander’s recommendation, and then, once I started and realized that I actually was in the same locations at the same times—Bergen, Trondheim, Stavanger, Kristiansand, Oslo—as Karl Ove back when I was spending a fair amount of time in Norway in the late 1990s and early 2000s. A compelling read.

Knausgård, Karl Ove. My Struggle: Book Two: A Man in Love. Translated by Don Bartlett. 1st Archipelago books edition. Vol. 2. 6 vols. Brooklyn, NY: Archipelago Books, 573.

I recently checked in with Julia, my former CGS intern. She’s a Mines (hydrogeology) graduate, who has, wonderfully, found a shared pathway to follow her bliss. She and her boyfriend, Torin, also a Mines alumni, have taken their connection with yoga to a higher level, gaining the necessary credentials for teaching and are planning to go international with that sooner than later. They have also started a YouTube channel—Wellbeing Cafe—already with a huge number of yoga routines and a variety of other material. Very cool to see this transition.

Somewhat disturbing to me, though, is that part of this personal evolution is almost forced to take place within the sphere of social media, especially YouTube, given the oligarchic control that it exerts on any and all users. That and the insertion of ads that cannot be cancelled or avoided—all of them utterly useless and annoying—until the channel receives a minimum number of subscribers (1,000). At that point the channel owners can at least select when the ad is played. Otherwise, one will show up in the middle of a yoga sequence or more often. I was stuck with one that played for ten minutes. Finding an independent pathway to socio-economic viability is challenging for their generation. They could have gone full-engineering and been working in a (potentially) stifling ‘regular’ job with deluxe cash flows. But they are cognizant of the lives of some of their cohort who are extremely unhappy (and unhealthy!), coasting along on that trajectory. Given the wider-scale complexity of what is ‘going on’ in late-stage Empire, best to work at basic life-skills like body-health, psycho-spiritual development, consumption habits, community-building, and look to develop trajectories that are beyond the reach of Empire (if that is possible in this new-ish multi-lateral oligarch-and-authoritarian-driven global power struggle).

Later, I juxtapose those assessments with the swirl of jagged thoughts and impressions that are filling my consciousness: monkey-brain on amphetamines, faugh. Complexity increasing, logarithmic, with age (of Self and Empire), while neuronal synapses are dulled, blank. Is this what life *is*, or what it becomes when attention is shredded by too much stuff? Packing boxes, why hold so tightly to this stuff when it will likely sit in those boxes for a long time. Possibly for the existing life-time! Having is a form of suffocation, burdened by excretions of other lives, but mostly my own. Giving is an exhalation, from the deep belly, giving inspiration to the cosmos.

Venus is high and brilliant in the evening, Saturn much less so in the sunset’s glare, Jupiter, Mars high with the waxing, near full Luna, invisible-but-present Uranus. I regularly take a late night stroll around the property before bed, no matter how cold. Waking the deer snoozing in the openness, their greenish-yellow headLight eyes blazing in my headlamp. First encounter, the eye pairs rise vertically, then, after staring, frozen, as the LED supernova waxes, they bolt to the tree line or across the street to a neighbor’s yard. Occasionally, a tinier pair of eyes, one of several feral cats that are encountered, or, rarely, a fox or skunk. So far no encounters with the large carnivores that do frequent the area: bears and mountain lions. Much of the walk is without the headlamp on, and aside from the always-on brightest-Light-within-several-miles that my neighbor installed a year ago, it’s dark with the brilliant streak of the Milky Way in all its offset-rotational glory.

A 30-minute call with George, I feel rusty, awkward and jumbled. He and I never developed an audio tele-presence connection, given the logistics and expense back when. Our connection was forged across some immersive instances of intense f-2-f interaction. After those formative encounters at Mines and in Santa Monica in the early 1980s, and aside from one more f-2-f in 1989, it’s always been text. Hand-written or typed letters through the post, then email, and these days, texting. I wonder if we will ever cross physical paths again in this incarnation. Doubtful, especially when I remove myself from this nation, and head for another, though there are no guarantees of anything anywhere anymore.

to Björn Bjarnason

12 August 1995

To the Honorable Björn Bjarnason, Minister of Education and Culture

As I have noted that you have put up some home pages asking for input regarding education in Iceland, I am transmitting this formal letter to you via email. (I apologize for not writing in Icelandic, but I am not very good at it even though I have lived in Iceland for five years…)

I am writing this letter to urge your continued support of the Icelandic Academy of Art.

Following I will present some personal opinions concerning the future of the Academy as well as some concrete suggestions and proposals. These considerations are based in my experience in teaching at MHÍ for the past five years as well as numerous guest-teaching positions at other Universities and Academies in Scandinavia and the US. Currently I am serving as Chair of the US-Iceland Fulbright Educational Commission (until September 1995) and as (Founding) Director of the Electronic Media and Photography program at MHÍ. My opinions are not necessarily those of either MHÍ or the Fulbright Board.

I believe Iceland is at a crossroads where the choices, opportunities, and outcomes will be largely determined by how the issue of a national educational policy is developed. As the post of Minister of Education and Culture determines this policy, I believe it to be the most critical cabinet posting in the entire government.

It is important to the future of Iceland that attention be directed to the building-up of a competitive and well-considered program of education in the arts. The recent confirmation of intent as expressed by the Althingi and the government in support of the official formation of the Icelandic Academy must be followed up by concrete action concerning the financial, physical, and ideological future of the institution.
more “to Björn Bjarnason”

books and dark magic

When our genes could not store all the information necessary for survival, we slowly invented them. But then the time came, perhaps ten thousand years ago, when we needed to know more than could conveniently be contained in brains. So we learned to stockpile enormous quantities of information outside our bodies. We are the only species on the planet, so far as we know, to have invented a communal memory stored neither in our genes nor in our brains. The warehouse of that memory is called the library. A book is made from a tree. One glance at it and you hear the voice of another person perhaps someone dead for thousands of years. Across the millennia, the author is speaking, clearly and silently, inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people, citizens of distant epochs who never knew one another. Books break the shackles of time, proof that humans can work magic.

Sagan, Carl. Cosmos. Random House, Inc., 2002 ed. New York, NY: Random House, 2002.

Somewhat innocent optimism on Sagan’s part, as the book is only one particular mechanism for the externalization of memory: there are costs across all means. ‘Social’ media as a prime example. The wholesale off-shoring of memory to external devices renders the embodied meat-space imprint of memory obsolete, while at the same time, allowing ubiquitous (and ultimately dangerous!) manipulation of what were once considered ‘my’ memories. Parsing of trillions of individual memories into commerce-driven meme-streams is a fundamental corruption of the internal and very-much embodied life of the individual.

Dark magic has arrived in this time: “Jesus wept.”

Earth Explorations vlog/podcasts

Dr. Christian Shorey—Teaching Professor of Environmental Science and Climatology in the Geology and Geological Engineering Department at Mines—jumped into a social media experiment with the Earth and Environmental Systems Podcast in 2008. After producing more that 60 audio episodes he segued to the Earth Explorations vlog on Youtube which includes more than one hundred video episodes!

Red Rocks Park on the west side of Denver, Colorado. The red strata of the Pennsylvanian/Permian Fountain formation rests on Precambrian metamorphic rocks. Photo credit: Vince Matthews.
Red Rocks Park on the west side of Denver, Colorado. The red strata of the Pennsylvanian/Permian Fountain formation rests on Precambrian metamorphic rocks. Photo credit: Vince Matthews.

Originally designed to accompany Dr. Shorey’s 2008 SYGN 101 Earth and Environmental Systems Science course, both the podcasts and vlogs provide fast-paced and informative explorations of a wide range of geologically- and environmentally-oriented topics. Among these: geohazards, climate change; geography; economics; anthropology; history; and biology. The vlog includes segments on mapping, mineralogy, age-dating, plate tectonics, as well as field-trip material to some of the prime geological features in the Golden, Colorado area: Red Rocks, North Table Mountain, and around the Mines campus. The vlog also demonstrates the effective use of drone photography in geological field education. Check it out!

áfram til Norðurlands

Started this entry in June 2022: First day of three-point-five weeks off work or so. I will not look at work emails until 05 July. Sick of the wood-headed, useless, and overtly entropic and toxic management at the office, specifically in the personage of the [now-and-forever-redundant-former] State Geologist. [Ah, to now be fully released from that toxicity!] This is the first bit of international travel since Covid—to attend Irma’s BSc graduation from the Reykjavík University Department of Computer Science. It will be good to see her, along with old friends and family, especially after the challenges of the past two years.

[She’s all graduated and currently in a dream job as Associate Software Engineer at CCP Games].

Picking it up now, two years later: Heading east, again. First, to Denver for a couple days, then straight on to Reykjavík, thanks to Simon, Bill, and Zander. Simon’s getting married in September, and arranged a trip to Iceland in celebration with his dad, Bill, his bro Zander, and a few friends. As Simon’s godfather (aka, gawdfadda) I was invited to join in on the expedition. I’ll arrive earlier and stay a bit longer to hang with Irma and Sara, Jón Teitur, and other family/friends. I’ll also hopefully be able to straighten out several official snafus with my digital access to my Icelandic pension, bank, and so on. The folks at Lífeyrissjóður starfsmanna ríkisins (LSR) have been incredibly helpful via email—so much more than the archaic and bureaucratic system fronted by Social Security in the US (fax anyone?).

And in other developments, there are some serendipitous opportunities that are popping up in Iceland related to digital media and the arts as well, will report on those later. They indirectly relate to my starting up the photo/digital media program at the National Arts Academy long onto 34 years ago. Super interesting!

Minna Tarkka 1960 – 2023

Saddened to receive news from Andrew that friend, colleague, artist, researcher, producer, and facilitator Minna Tarkka had passed, far too young, on 27 August after a very brief illness.

Researcher Minna Tarkka received the state award for media art in December 2017, Helsinki, Finland. Photo credit: Martti Kainulainen / Lehtikuva.
Researcher Minna Tarkka received the state award for media art in December 2017, Helsinki, Finland. Photo credit: Martti Kainulainen / Lehtikuva.

I arrived in Helsinki, Finland, gritty-eyed, after an early morning flight from Reykjavík, in late August, 1994, on the first of many visits, sojourns, gigs, workshops, and residencies. After dropping my luggage at my friend Visa’s print-making studio on Jääkärinkatu, I made my way to Arabianranta and the University of Art and Design Helsinki (Taideteollinen korkeakoulu, or TAIK, now the Aalto University School of Arts, Design and Architecture), located then in the old Arabia porcelain factory on Hämeentie. I was in Helsinki for the International Symposium on Electronic Art (ISEA) and, later, for an international performance event (Fax You) at the Akademie Bookstore on Helsinki’s Night of the Arts with the Finnish artist, Visa Norros and others. ISEA was being hosted that year by the Media Lab at TAIK and directed by Minna Tarkka, a person who did things, who showed up, and who inspired others to show up and do things.

I first met Minna later that morning at the TAIK Arabianranta building on the 3rd Floor at the Media Lab—actually we collided in the hallway—auspicious and a bit embarrassing! She was dashing from Point A to Point B as Director during the very hectic symposium registration. After both of us proffered sheepish apologies and introduced ourselves, she took me around, introducing me to some of the media arts luminaries attending the symposium and to staff at the Lab. This was the first of many examples of her unsparing generosity. It was during the symposium that I fully entered her energized sphere of influence there in Finland, where we had a number of memorable dialogues around the ethics and creative possibilities of the rapidly expanding field of electronic media in which she was a thought pioneer. As Associate Professor at the Lab, she later facilitated my return in the spring of 1995 to teach a four-week course. And a few years following that, she was totally supportive of the course netculture that I developed and taught at the Lab in 2000-2001. Her parallel trans-disciplinary course, “Cultural Usability,” critically examined new media design that was inclusive of sociological, cultural, and technological perspectives. Years earlier in 1987, she was the founding Director of MUU, the ‘alternative’ arts organization that has since been a major international player in new media arts. And two years later, she was a founding member of AV-arkki yet another power-house media arts resource and artists’ association there in Finland.

In those earlier days of our acquaintance (and of the WWW itself), her research and art work around spatial metaphors in virtuality, the aesthetics of immersion, and the dynamics of interaction and consumption were of special interest to me, as she explored the fundamentals of human relation as mediated by this ‘new’ technology. She made some highly original and deep dives into the aesthetic and ethical dimensions in the design of spaces for interaction. And all the while, she worked as a facilitator of human encounter, organizing, producing, and participating in many subsequent events, culminating with the formation of another cultural NGO, m-cult in 2000. Right up to the present, m-Cult has exerted a strong influence on the international critical engagement of culture with technology, leading with a profound sense of humane social activism. Yet another influential expression of her energies.

I never made a portrait of her and there seem to be only a handful of poor digital traces. She was a bit shy and soft-spoken. I have a vague memory of the epic RinneRadio concert at ISEA and a huge crowd dancing away, Minna included. She knew how to have an expansive time! That she is gone is yet another loss to many of us who are still pacing about this stage. Minna you will be fondly remembered and deeply missed.

[ED: I will add any reflections and comments from others to this posting as they surface. I’ve been reaching out to friends and former colleagues from those former life-changing times.]

the feral grin

smartphones: images, selfies, fazebuch, instaham: the profusion of masks that appear on social media screens illustrate how much humanity has been stripped from the reductive process of the portrait and the self-portrait.

Frozen grins: the perfectly engineered white teeth of middle class prosperity. Forced from the gullet of consumption. Masks all, covering the psycho-spiritual emptiness of those same middle class lives.

Je suis ma propre muse

or tu ne es pas ma muse

or je suis amusé par ma propre muse étant

or ma muse précédente ne me divertit

or muse amusante, disparue

or muse amusante, parti, je m’amuse

yes, that’s it. back to the steady-state of being, for a change. At least I’ll be able to get *some* work done!

A dolorous combination of caprice along with my own inability to temper reactions to horrific stories of past abuse — perhaps the subtext of an upcoming novella or multi-media work exploring how humans can say anything and how their words needn’t be connected to actions of consequence: hardly moving the neurons necessary to produce diaphragmatic contractions and subsequent guttural exhalations. Talk is cheap. Lived life is the ultimate test of … life and, consequently of heart.

well, a shift

Just signed the offer letter for the “Technical Media Specialist” position at the Colorado Geological Survey in Golden. The Survey recently was absorbed by the Colorado School of Mines, although its remit continues as defined under state law.

This is probably the biggest shift in life since leaving Big Oil some time ago. The most challenging issue, though, is getting the house finished ‘enough’ for sale, and getting life packed up and moved to Golden by 06 September. Stress-and-a-half! David is helping with ‘project managing’ the house work, although I need to do as much as possible, as my labor is free, and that of everyone else is expensive and paid in gold, jewels, cash, or Bitcoin.

No time to share the to-do list here, on with it!

the academic dance

In response to yet another call for papers at an academic conference on the fibreculture list (this, unsent as I thought it too in-your-face).

fibrecultists:

I’m making the contrary assumption that fibrecult is not merely an announcement list these days … I could be wrong, but …

3D printed goods, cryptocurrencies, digital sharing – just some of the disruptive online practices and technologies that are transforming and reshaping our economy. These innovative technologies have impacted the market, enabling new business models, evolving market conditions and transforming economic and social landscapes. However, the commodification and commercial adoption of these disruptive technologies has also raised concerns and questions in terms of access, control and sustainability. How can we develop these practices to not only support a digital commons, but also to support more equitable and sustainable worlds?

The three items at the beginning of the paragraph above could very well be replaced by practically any ‘communications/fill-in-the-blank-here’ technology of the last 150 years. A materialist approach to technology, one that is hypnotized by each new and glittering object, its form, even its ‘potential’, seems never to learn any principled lessons on what is going on through technological ‘innovation’ and how to deal with it across the techno-social system. It’s as though there is a constant expression of surprise on the face of critical academic thinkers, “Oh look at this new toy coming from the ‘clouds’ today.” I can’t count the number of conference announcements from the academic-cultural-industrial complex of the last 20 years that read the same as this one, with only the names of the currently in-vogue technologies changed.

If there are no readily available and powerful answers *already in place* and *operational as a lived practice* for the issues and questions suggested by the rest of the paragraph, then there is absolutely no hope that an academic discourse will have any effect on the processes being commented upon. The gathering becomes simply another career notch of sessions, papers, panel discussions, talks, after-parties, meals, meet-n-greets, and, literally, insider trading in the currencies of academic ‘success’ (or survival, in the contemporary world of add-junk-tified edutainment). I understand there is always the need to propagate good ideas, and there are younger people who have to hash these things out in the face of a lack of historical perspective in their education, but it begins to resemble a treadmill that in no way serves to solve the problems.

I have no issues with the actual empowered coming-together of people, regardless of the reason, but it seems there is an inexorable evolution of academia towards a point where it is simply bankrupt of ideas *and lived practices* to deal with the current world. Where are the TAZs supporting change?

The Geology of Media

But digital culture is completely dependent on Earth’s long duration. Despite the fallacy that media is increasingly immaterial, wireless, and smoothly clouded by data services, we are more dependent than ever on the geological earth. Geology does not appear in normal conversations about media and culture, but there would be no media without geology. This isn’t a simplistic joke, that without the Earth under our feet there would be no need for universities talking about the Earth or offices of social-media start-ups in Silicon Valley plotting away metaphorical business strategies like the “mining” and “dumping” of data. Rather, the resources and materials gathered from geological depths enable our media technologies to function.

Parikka, J., 2013. The Geology of Media. The Atlantic Online, (October 2013)

face-to-face communications

The variable most closely associated with a wide range of positive social feelings was the same variable consistently omitted in studies of media use: time spent in face-to-face communication. Higher levels of face-to-face communication were associated with greater social success, greater feelings of normalcy, more sleep, and fewer friends whom the children’s parents believed were a bad influence. Although we cannot determine causality using this one-wave survey, the results for the clear positive correlates of face-to-face communication and the negative correlates of media multitasking are highly suggestive.

Observations suggest that children and adults are increasingly more willing to use technologies when with other people, such as texting at the dinner table and web surfing while chatting with friends (e.g., Abelson, Ledeen, & Lewis, 2008). Indeed, every category of media use except reading was positively associated with using media while interacting face to face. However, unlike media multitasking, the amount of time spent in face-to-face communication was negatively related to face-to-face multitasking. People who frequently interact with people face to face seem to feel less need to use other media while doing so. This is suggestive evidence that these high face-to-face communicating girls do not want distraction. These results provide more evidence that face-to-face communication and multitasking may attract different profiles of children or may represent participation in different social environments.

Pea, R. et al., 2012. Media use, face-to-face communication, media multitasking, and social well-being among 8- to 12-year-old girls. Developmental Psychology, 48(2), pp.327–336.

Monday, 25 November, 1963

Laboratory closed for the funeral of the President.

Aubrey Stinnett called about 0830 to say he wanted to see me. I made an appointment to meet him at PSC at 3 PM. See other diary.

30˚F – Clear

At 0830 Aubrey Stinnett called to say he is back in Cambridge, so I arranged to meet him at PSC at 3 PM.

Watched the funeral services from 0930 until 2 PM when I left to go to PSC. On the way in it occurred to me that I didn’t have the two keys I need, one to Tom Erickson’s office, and the other to the Echo Organ loft. I went on in, finding Park Street blocked off by a public gathering at the State House, so went down & back to Washington Street in 20 minutes. Met Aubrey, and went back home after the keys but couldn’t find them! Aubrey told of his efforts to revitalize the church at Kwajalein — he apparently did it single-handed. We ret’d to PSC and AS helped me run the level again to check the floor elevations, it turned out at 7-5/16″.

The President’s funeral was astounding; TV coverage was complete. About a hundred heads of state & emissaries from foreign countries walked up to St. Michael’s Cathedral from the White House, behind Mrs. Kennedy.

Rules of Storytelling (yikes)

Maybe this is why mega-media animation is SO EFFING BORING! It’s prepared by recipe… Compositional rules of any sort are more than simply annoying, they are counter-creative. Formulaic executions are a great comfort to those expecting normative expressions. But they are the bane on innovation, adaptation, (r)evolution, and anything else pertaining to Life (versus stasis and death). Life does not come with rules, and it does not conclude as a neat package. The process of consuming mediated abstraction simply takes us away from the immediacy and indeterminacy of living.

Disturbances and Distortions

Wolf Vostell, Sun in Your Head 1963, video, black- and- white, silent, 7:10

Kohei Ando, Oh! My Mother! 1969, video, color, sound, 14:00

Nam June Paik, Early Color TV Manipulations 1965- 68, video, color, silent, 5:18

Steina and Woody Vasulka Excerpts from Vasulka Video 1978, video, black- and- white and color, sound.

Stan Van Der Beek, Vanishing Point Left 1977, video, color, sound, 9:30

Joanne Kyger, Descartes 1968, video, black- and- white, sound, 11:25

Wolfgang Stoerchle, Sue Turning 1973, video, black- and- white, sound, 12:00

Roy’s vision

Interconnectedness raises an important issue regarding the connectivity of new media art––simply put, between what fields might interconnectedness lie? How might the internal information system of networked photons interface with the external information network of our telematic planet? Art embraces the central concepts and features of the new biophysics: coherence, macroscopic quantum states, long-range interactions, non-linearity, self-organization and self-regulation, communication networks, field models, interconnectedness, non-locality and the inclusion of consciousness. Indeed, these attributes relate to the canon of interactive art, the five-fold path of connectivity, immersion, interaction, transformation and emergence. This path relates to the shamanic path to immersion in the spiritual domain, where interaction with psychic entities is the means, transformation of consciousness is the goal and the emergence of new knowledge the outcome.

Ascott, R., 2006. Technoetic Pathways toward the Spiritual in Art: A Transdisciplinary Perspective on Connectedness, Coherence and Consciousness. Leonardo, 39(1), pp.65–69.

He described the man …

He described the man who opened fire as quiet and unassuming.

“One almost didn’t see or notice him,” he said, according to Reuters.

Anything else need be noted? The necessity of being seen, of attention to maintain a balanced life is clear, and the consequences are extreme. But is attention from Reuters enough? It’s always too late.

The Energy of Archive

[Proposal to the Media Art Histories Conference 2013 in Riga, Latvia :: (section: Archiving, preserving and representing new media art) :: fast-forward, couldn’t make it to the conference in Riga, so had to wait to deliver the paper at Balance/UnBalance in 2015…]

Ordered systems require a more-or-less continuous influx of energy to maintain that order. This is the crucial issue embedded at the root of archive. Where does that energy come from and what is the cost?  My paper is a brief reflection on this fundamental thermodynamic condition that applies to any ordered system. The archive is one such system. As there are no violations of the Laws of Thermodynamics in the observed universe, is the fate of the archive the same as the heat-death of the cosmos? Invoking an interpretation of living (general) systems theory, it is possible to demarcate the trajectory of the archive (as externally configured (social) memory); to calculate in the widest sense the cost of information storage and reproduction; and to predict the path that individual and collective knowledge takes into the future. In a space of energy flows, it is a relatively simple matter to understand the requirements for the propagation of information. Examining several scalar examples, I will explore the problematic costs of preserving the energized configurations of the past.

John Hopkins holds a transdisciplinary creative practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder, and a BSc in Geophysical Engineering from the Colorado School of Mines. His work and writings explore the role of energy in techno-social systems and explore the effects of technology on energized human encounter. He has taught in more than 20 countries and 60 higher education situations. He is currently teaching on the “Meaning of Information Technology” in the Technology, Arts, and Media program at the University of Colorado Boulder. You may track his process at https://neoscenes.net/blog/. His current CV is located at https://www.neoscenes.net/info/cv/index.php.

stasis, spectacle and speed? unh-unh!

I just ran across this excerpt from Geert’s first internet-oriented book—way back in 2003—in the chapter on “tactical education” entitled “The Battle over New Media Art Education.” This is a section of that chapter titled Neoscenes Pedagogy:

The Digital Bauhaus concept may be a fata morgana amidst a never-ending institutional nightmare. The new-media subject appears at the end of a long global crisis in the education industry. Decades of constant restructuring, declining standards and budget cuts have led to an overall decline of the .edu sector. There are debates not only about fees, cutbacks in staff and privatization but also about the role of the teacher. For a long time the classic top-down knowledge delivery methods of the classroom situation have been under fire. In a response to the education crisis, the American-Scandinavian John Hopkins calls for a cultural shift towards alternative pedagogies. His pedagogy, close to that of Paolo Freire, is based on a combination of face-to-face and networked communication, keeping up a “flow of energies from node to node.” Hopkins, who calls himself an “autonomous teaching agent,” has roamed between Northern European universities and new-media initiatives and currently teaches in Boulder, Colorado. His spiritual-scientific worldview might not match mine, but he is certainly my favorite when it comes to a radical education approach. Hopkins prefers the person-to-person as a “tactical” expression of networking, avoiding “centralized media and PR-related activities wherever possible.” Hopkins’ “neoscenes” networks are “a vehicle for learning, creating and sharing that does not seek stasis, spectacle and speed.”

In a few instances, Hopkins’ “distributed Socratic teaching strategy” has culminated in 24-hour techno parties with a big online component to make room for remote participation and exchange. The challenge with the live remix streams was to find out collectively “how exactly to facilitate autonomy and spontaneity.” For Hopkins teaching is a “life practice,” an action that embodies “art as a way-of-doing.” He calls his style “verbose and densely grown (not necessarily meaningful either ;-). but I do try to say what I am thinking and practicing … ” Hopkins tries not to make a distinction between learning, teaching and being taught. “It is critical that I myself am transformed by the entire engaged experience.” As a visiting artist, and usually not a member of the “local academic politburo,” Hopkins can build up personal connections within a local structure, free to “catalyze a flexible response that is immediately relevant,” while maintaining a creative integrity that is based in praxis.

. . .

John Hopkins: “I start my workshops with a sketching of some absolute fundamentals of human presence and being in the phenomenal world. This beginning point immediately becomes a source of deep crisis for some students precisely because they are expecting the vocational top-down educational experience of learning a specific software platform and making traditional artifacts.” John finds people who focus on software platforms “incredibly boring. It’s like amateur photo-club members comparing the length of their telephoto lenses or having conversations about national sports. It’s a code system for communication that is often mindless and banal. While at some level, my students are forced to confront the digital device. I encourage them to be aware of how they are interacting with the machine, what is comfortable and what is not.”

. . .

John Hopkins compares Scandinavia and the USA, places he knows well. “Because of a well-funded cultural industry sector in Scandinavia, artists who are potential teachers are not forced into teaching as happens in the US. This has kept the stagnation of the tenure-track system, something that dogs US higher education, out of the way. In the US, artists who have any desire to live by working in some way in their medium are more often than not forced into academia because there is no other social context for them. They may or may not be teachers in any sense. There tend to be more permeable and productive interchanges between the ‘art world’ and ‘academia’ in Scandinavia and northern Europe, realized by cycling a larger number of idiosyncratic individual teacher/artists into contact with students.” Isolated campus life. slow and complicated bureaucracies, and the politically correct atmosphere at US universities are not ideal circumstances for a hybrid “trans-disciplinary” program to thrive. However, the campus setup does help to reduce distractions, once students know what they want and the resources are in place.

Lovink, G., 2003. My First Recession, Rotterdam, NL: V2-NAi Publishers.

past prime

I don’t usually pull main-stream media into this venue, but I thought the words of Andrew Marr of the BBC seem achingly spot:

This is a great country which is losing its economic dominance and has not found any kind of consensus about how it might be recovered. Politicians have loaded the country with debt, much of it now owned by China.

Tough choices have been avoided. As Sachs pointed out, a thicket of dense, semi-corrupt relationships between big money and politics has overgrown Washington.

Meanwhile, increasingly, Americans live in their own separate liberal and conservative worlds, listening to different media, barely conversing. Instead of steering the ship, the crew are throwing punches.

It would have required some kind of saviour to turn all that around.

Obama is a clever and likeable man. But he is not the Messiah.

nula 56232 distant land

Lloyd continues the remarkably moving nula filecast audio and video series with the latest:

56232 distant land

foreboding hung as the struggling train juddered and screed on the distorted rails, first this side of the mountain stream, then that, being forced at intervals to cross on worrisome bridges. a wan gibbous moon shone in the mist, evading the black graspless arms of trees. when they finally reached the city, night had fallen. [9 minutes]

nula is the source of a ser­ies of file­casts, each con­sist­ing of an as­semb­lage of sounds, im­ages, or words, made avail­ab­le for down­load, shar­ing, com­men­tary, and fur­ther man­i­pu­la­tion.

file­casts are gen­er­al­ly, tho not ex­clus­ive­ly, cre­ated from found ma­ter­ial. it would per­haps be coun­ter­pro­duc­tive to de­lim­it what this ma­ter­ial may con­sist of, or what trans­for­ma­tions it may un­der­go. the ten­den­cy here will simp­ly be to let the work speak for it­self as much as it can.

the nula pro­ject off­ers more or less de­tailed clues as to the sig­ni­fi­cance, con­text, or in­ter­pre­ta­tion of the works off­ered. it is up to you to put it to­ge­ther and make up your mind. be­sides, we make it up as we go a­long. there is an ini­ti­al grand de­sign, but it has no ir­on fist.

com­mu­ni­ca­tion is wel­come and en­cour­aged. send­ing an email to editor@nula.cc is a good place to start. other chan­nels of in­ter­ac­tion and sup­port are lis­ted in the “func­tions” menu.

Trans-disciplinary Dialogue and Holistic Knowledge Generation

At its core, trans-disciplinary collaboration is chiefly a test of how to find the words, and within the words, the cumulative meanings that might span what is often a wide gulf in understandings. In general, the use of language in a transdisciplinary space is a particular challenge that, to a significant degree, determines the successful outcome of the attempt to bridge, fuse, or simply transcend disciplinary spaces altogether. Of course, beyond the words, there is the imperative for energized and embodied collaborative action, Freire’s ‘praxis'(1): change is the presumptive goal of the trans-disciplinary encounter. However, what I call the ‘meta-conditions’ of the human encounter are as or even more important than strictly linguistic exchanges. Meta-conditions deeply impress the qualities and potentialities of the human encounter that are the core of learning and change. In this White Paper I will reflect on these meta-conditions necessary to facilitate trans-disciplinary communication and collaboration. I will do this as a former engineer, a practicing ‘media’ artist, and in the context of 25 years of experience(2) teaching across art, design, engineering, and technology. The instance of my own current planning and facilitating of a (pre-existing) course I was invited to teach in the Fall of 2012 will function as an armature for the reflections. A former student of mine, Director of the TAM (Technology, Arts, and Media (3)) Program, that is hosted within the ATLAS Institute (Alliance for Technology, Learning, and Society(4)), offered me one section of “The Meaning of Information Technology”(5) course at the University of Colorado – Boulder.(6) Among other threads, my reflections will touch on re-defining the term ‘technology’ in such a way that allows more powerful critical access to that often-self-obscured aspect of our social existence, regardless of disciplinary background. I will also make some critical observations about what I understand as the deep and problematic assumptions under-girding much of contemporary education.

—————–

1) Freire, P., 2000. Pedagogy of the Oppressed, New York: Continuum.
2) https://neoscenes.net/info/cv/
3) https://tam.colorado.edu/
4) https://atlas.colorado.edu/
5) https://tam.colorado.edu/teaching.php (general program requirements for the course)
6) https://colorado.edu

back to teaching:

brainstorming for the upcoming class:

THE MEANING OF INFORMATION TECHNOLOGY / ATLS2000

Course Description: This lecture-based course introduces a range of topics in information technology and new media. The goal of this course is to equip students with the tools to think critically about the implications of new information technologies. By the end of this course, students will have acquired an awareness of the rapid expansion of new technology and how it influences our everyday lives.

This course is programmatically unique in that it teaches the WHY of technology before the HOW. The fundamental goal of this course is to teach students how to think critically about the technologies that are shaping our world, and to begin to move them from passive users of technology, to active producers of technology.

Although projects are encouraged, this course requires no prior technical knowledge.

Most instructors give a series of exams (midterm and final) as well as a series of critical writing assignments.

Forty students: it’s the gateway class for the TAM certificate program. It’s also the largest class I’ve ever taught — in the last 26 years of teaching. That makes the critique of process more complicated, and the facilitation of relevant knowledge creation all the more difficult to attain. Yes, of course I’m spoiled, having been picky when and where I was teaching, and who my students were. And definitely how many students I would engage at a time. I’ve had workshops with two or three, 5, 8, 10, 15, sometimes 20, and of course, a sprinkling of public lectures with audiences into the low hundreds, but a class with 50 stretches my willingness to compromise in the service of corporate education.

weird phenomena: spectacle for the commoner

Deep in the age of media saturation comes this live feed… hundreds, thousands, millions of people, most with colored (or coloured) hair making videos and snappies of the spectacle with phones, digital cameras, and tablets — and this as a mere under-layer of the larger mediatory field created by the BBC. It is very different from the 1984 Olympics where the majority of people simply watched the process. See the photos below for a crowd-count on documenters — it’s maybe one for every 30-50 people. Watch the Torch Relay and the numbers are about one of every two people, or more…

Our next torchbearer should be a familiar face to those watching in Buxton. Bill Weston was made an MBE for his outstanding contribution to the community of Buxton in Derbyshire. For 15 years he was Buxton’s town crier and chairman of High Peak Mayoral Charities committee.

He also founded the Billerettes, a majorette troupe that has become internationally successful and performed in excess of 1000 events.

He’s enjoying his leg so far, mixing some high kicks with a twirl while holding both arms aloft as he soaks up the cheers.

The seamless sophistication of the web interface, with the militaristic precision of the process creates a powerful coalescing of social energy — concentrating and focusing mass human expression to support the execution of the spectacle itself, and thus concentrating energies within The State itself in what I call the ‘social energy bank’ that the State then directs and uses for its own purposes.

The accompanying image is from the running of the 1984 men’s Olympic marathon which passed by my apartment in Santa Monica. The connection between the execution of Spectacle and the ordering powers of the State are direct and manifest. The obvious is the flow control of the road, the street, as in a parade, where there is a clear and ordered demarcation between the watchers and the spectacle — in obvious contrast to the street riot which inverts the logic of the spectacle.

police, men's Olympic marathon, Santa Monica, California, August 1984

power is energy is power is order

Watching Adam Curtis’ fascinating series Pandora’s Box, subtitled A Fable from the Age of Science. It’s a six part 1992 BBC documentary television series which examines the consequences of political and technocratic rationalism. Felipe on bricolabs pointed it out a few weeks ago. It’s a doco of unique style and content (filled with brilliant fragments of BBC archival material). The general subject is the rise of the technocratic society globally — the systems men of the Cold War, colonial technocracies, and so on. The episodes deal, in order, with communism in the Soviet Union; systems analysis and game theory during the Cold War; economy in the United Kingdom during the 1970s; the insecticide DDT; Kwame Nkrumah’s leadership in Ghana during the 1950s and 1960s; and the history of nuclear power.

Curtis illustrates with great subtlety the connections between politics, economics, technology, and power, not to mention pointing out the obvious causes of much human misery: greed.

Part 5 “Black Power” explores the relationship between development in Ghana, colonial conceits, corporate and general human greed, as it suggests the deep connections between the distortions introduced by large-scale development and the fabric of a human system. Yet another example of the scalar independence of the distortions that organismic life imposes on its surrounds.

The retro feel from Curtis’ exclusive use of archive material always feels relevant rather than stylistic although the opening sequence is a bit annoying. Overall, though, an edifying and profound point of view on the contemporary developed world.

https://www.youtube.com/watch?v=GlJ6gNMvrfc

doh!

People treat modern communication media as if they were human, so established principles of interpersonal communication also predict human responses to computers and television. The media equation (media = real life) is an unconscious, automatic response that occurs because our slow-to-evolve brains don’t distinguish between mediated and real life experience. — E. M. Griffin

Nordic Nazi recollections

Hitler’s worldview included copious referencing of Nordic creation mythologies (thus his love of Wagner!). One consequence of this obsession was the emergence of strong pro-Nazi movements leading up to, through, and most disturbingly, after WWII in all the Nordic/Scandic countries (Nordic countries comprise all the Scandinavian countries (Iceland, Sweden, Norway, Denmark), plus Finland). Some Icelanders eagerly supported these Nazi ideologies — documented in black-and-white images of uniformed goose-stepping rubes on parade in downtown Reykjavík before the 1940 British occupation, and the refusal of Icelandic authorities to allow African-American soldiers into the country during the later US occupation. These warped sympathies have persisted right up to the present time: a fact that was brought to my attention by a sequence of articles published in Iceland’s main national newspaper, Morgunbladið, back in the early 1990’s when I had recently immigrated to Reykjavík to take up residence with my future ex-wife, an Icelandic psychologist who I had met in Germany a few years previous. The current events in Norway bring all this back to mind, again… more “Nordic Nazi recollections”

conversation

a long conversation with Anthony this evening. always stimulating coverage of the non-typical meta-structures of social and individual existence.

the thought comes up, in teaching — most recently the “Multi-platform Story-telling” course that I was involved with this past semester at La Trobe — how seldom the holistic social meta-structure of the grouping of students (and teachers!) is considered in the facilitation of a learning trajectory. this includes the cumulative totality of all relations (power and otherwise!) that occur within the grouping. I call this space the continuum-of-relation and define it as the total accumulated network of relations, expressed as activated exchanges of energy, as Dialogues, that have occurred, are occurring, and will occur between members of the species. Based on the assumption that we are in a holistic and continuous universe, it is possible to extend the definition to include the set of energy relations that humans have with the detailed and greater cosmos around them, and indeed, this is an important aspect to consider, but it is easier to limit the scope to a specific subset comprising relations between all humans. There are infinite sub-sets of relation that may be delineated, one set being those which arise in the process of learning facilitation. much attention is paid to syllabi, curricula, classroom technologies, and wide-scaled social ‘relevance’ of education systems while very little is paid to the immediate and long-term embodied needs for a recognition of presence of all the humans involved in the actual learning process. and especially the needs for deep human encounter and connection. is it such that this university, as with most others, is merely reflecting a wider scale of civil social decay when those crucial relations and their attendant qualities are simply ignored in the stead of assessment protocols, schedules, cash-for-services, and the general corporatization of education. more “conversation”

oh for the good ole’ days

It is the emergence of mass media which makes possible the use of propaganda techniques on a societal scale. The orchestration of press, radio and television to create a continuous, lasting and total environment renders the influence of propaganda virtually unnoticed precisely because it creates a constant environment. Mass media provides the essential link between the individual and the demands of the technological society. — (Ellul, 1967)

What would poor Jacques think about the ubiquitous constancy of FaceBook and Google and mobile telephony and locative media and RFID chips and biometrics?

pro-vocative

Serial Space, Ultimo, New South Wales, Australia, September 2010

over to Serial Space to meet Ian and see a screening of early works of his — tape-to-tape media collage works which work remarkably well, especially given their age. very interesting conversation ensues afterward with folks. a good sign of pro-vocative work.

technological affectation

If film can do this:

Film serves to train human beings in the practice of those apperceptions and reactions required by the frequentation of an apparatus whose role in their daily life ever increases. To make this whole enormous technological apparatus of our time into the object of human interiorization and appropriation [innervation] — that is the historic task in whose service film has its true meaning. — Walter Benjamin

Then is there any reason to doubt a connection between the declining power and influence of the (technocratic mediocracy of the) United States and the implementation of the Internet as-it-is today? Is there any connection between the tendencies of its population to spend their (limited) life-time in tele-communication (and tele-consumption!) and the demise of civil society? People seemingly now avoid confronting the (unknown) Other and rather cluster as mirrored-Selves, with a cumulative effect of breakdown of a (diverse) cultural fabric into a checker-board of self-interest groupings which spend time defending the borders of their squares from the surrounding Evil unknown.

this conclusion proposed in the sense that if film can have that profundity of affectation on human nervous systems (the primary interface with the world-as-mediated-by-body; or the primary EM antenna-structures), then what of all the wide press of technological development seeping into all parts and orifices of perception and reaction?

constancy of change

Responding to Michael Connor on the [NEW-MEDIA-CURATING] list:

In the gallery it presents a kind of ontological mirror reflecting back and stabilizing our own sense of self in its apparent stability and autonomy… By contrast time-based art, interactive art, and all art involving some form of interaction over time tend to do the opposite. Perhaps this may be a partial explanation of the continued resistance to such work in mainstream institutions.

sotto voce:

I’d say this dialectic is a cultural construct relating to the West’s inability to philosophically cope with the constancy of change in the universe. So many arbitrary scalar frameworks (and labels, names, abstracted linguistic tags) are put onto (material) stuff to give us a(n artificial) sense of stability. Art in institutional white boxes (whose very institutional-ness is critical to the fostering of that sense of stability); stone sculptures in public spaces; art market metrics. The very object-ness with which we frame the discussion here is embedded in the language of Newtonian fixity and precision of tracking the trajectories of Things. Along with the categorization process which allows a ‘safe’ social shorthand for circumscribing those Things (which, in other world views are merely phenomenal events or flows of potential energy), a circumscribing of which has as primary intent the rendering as safe that phenomenal event to a nervous bystander who wants to believe in the monumental fixity of his/her social system. And the personal fixity of being alive and existing.

DAM

head down to Denver to meet Jim and Dona for a trip to DAM. I also called Dave to come by as he’s a former employee of the museum where he worked as an installation manager. the art forms a backdrop for stories, reflections, and dialogue. after lunch we head over to the MCA for a walk-thru. I’d never been there and it turns out to be quite a nice space — the rooftop bar and garden has a nice vibe to it. then back to the house to check out some of Jim’s recent Director-based media installation projects. and more…

Trade ye no mere moneyed art — James Johnson

then on to an IMax theater to meet Sally and Montse for the new Star Trek movie which was not very good. ‘nuf said. busy day. sonic documentation to come some future day as with many more past days. never the time to do the processing of files. accumulating faster than processing, a common problem for an archivist. what about being more exclusive? to choke the acquisitions process down to a manageable level. or more aggressively carving out processing time each day? that would come at the expense of sleep, methinks.

Randy Olson

(00:56:52, stereo audio, 109.2 mb)

attend a screening last night of Randy Olson’s Flock of Dodos at the RagTag Cinema in Columbia. he was in attendance. and again this morning, he gave a presentation for science academics at the university as a part of their Darwin Days (where the Chair of the Life Sciences Department pointed out they were not allowed to say “celebration” but rather “commemoration”). the film’s premise was to map out the way both sides of the evolution/creationist divide are communicating and presenting their POV to the public. scientists are shown to be poor communicators, creationists shown to be poor communicators except for some who know the value of style and appearance (the Discovery Institute being the chief antagonists posing as a non-partisan think-tank). they are the ones leading the issues. in the same way Republicans have been successful in constructing the narratives guiding the story-following population to the conservative Nirvana. Olson, a former Harvard PhD biologist transitioned to Hollywood via a degree at USC’s film school. he now tells stories that bridge the divide between science and the general public. but the leap from stories to action — stories that form a context for action — well, there is generally a passivity that is a condition of listening/watching a story recitation. listening to stories has to stop at some point. so, the story has to have a transitional mechanism leading to action. how does that work? telling a story and have action arise out of the exchange of energies. the attentive focus of absorbing a story transforming into world-changing action. in the evening Nick and I catch the screening of Sizzle also by Olson. overheard today:

mass media is directed at the pelvic floor, but what about having Kegels for Consciousness…?

later a repaired drum appears, as does a Tibetan singing bowl, and a basket full of instruments. resonant sound-making ensues.

more stories

the festival ends with a long eye-vibrating day — War Against the Weak, Crude, and Burma VJ. I babysit the kids (and watch Lord of the Rings with them way too late for a school night, but don’t tell anyone!) while Nick and Deb go out to the closing party. documentary film is a bit foreign to my mind, after years of work in non-narrative experimental moving images. intriguing to be presented with stories, those basic forms of human communication versus the chaotic release of non-linear stimulation. perhaps there is a dialectic in this — juxtaposing a need to have (socially) structured and chronological sensory input versus flows that are not really predictable (though safe in the sense that they are only optical/aural inputs and not full sensory inputs). different people have different capacities for absorbing change and facing the unknown. is it merely that we have been conditioned as media consumers to the form of the filmic story? or is there some core stimulus that compels us to remain attached to the trajectory traced by the story-teller?

negative lands

Sarah invites me to go to a morning pre-screening in the Atlas Center of the movie Speaking in Code along with David and some of the other principles from the Boulder Media Festival. They are considering the flick for screening at the next festival. It’s … okay … funny how historical the scene got so quickly. Ancient times, techno seems.

Right after lunch, I meet Holly at the UMC and we take a wander around campus talking about her options upon graduation from high school this spring. We make a visit to David’s office to talk about the TAM program, etc. it’s cold out, and the art department is now a construction site. I decide to cycle downtown to meet Sarah and Kate later at the Laughing Goat. Then still later, we wander back up to campus to catch negativland who Jane brought to CU for a couple (free!) shows featuring their concentrated and comprehensive performance on the mediated social system of religion in It’s All In Your Head FM.

We believe that the healthy evolution of art and creativity has more value than simply counting how much money is lost or made. Art, science and technology have evolved because of how we all build upon the ideas and works of those who came before us. Copyright was always intended as a balancing act between giving ownership to creators so as to provide incentive to create new works, and allowing works to lapse into the public domain so that new ideas could develop. But our founding fathers could never have imagined the kind of world we live in today and the amazing new technologies that we are surrounded with – technologies that encourage and inspire us to interact with the world and create in unprecedented new ways. Protecting the author of a creative work is a good thing, but the benefits of copyright have been thrown off balance by the disproportionate influence of those with the most money. In fact, the more recent expansions of our nations copyright laws represents a break from our nations past and from the intentions of our own Constitution. — Mark Hosler

Long day, many ideas are danced around. It’s good to see former students so active with things, thoughts, and spirits.

medialogies

Month(s) end(s), hot Berlin. Pushing 90F/33C. Summer is here.

Annie points out that the incident team deploys monochrome, a project featuring a wide variety of electronic/network-based projects.

and then there is the blog/audio file from the RCA in London, a talk/discussion on Brazilian Medialogies – Systems of Learning with Carlos Villela, Felipe Fonseca, and Ricardo Ruiz.

fortune cookie:

All the passions make us commit faults — love makes us commit the most ridiculous ones. Lucky Numbers: 4, 6, 15, 19, 22, 46.

and on to meet Udo and head to a couple openings along with another session of dkfrf again to hear Ben, Michael and other’s perform. beforehand, on the way down, a slow cruise through Görlitzer Park, summer expression! afterward, sitting outside at a cafe talking until very late.

Sarah Chung

former student Sarah lets me reprint this article she wrote recently about her creative practice:

Sarah H. Chung :: https://www.myspace.com/sarahhdot

I am an experimental multimedia artist, a student, and a teacher based in Denver, Colorado, USA. My latest artistic pursuits are a combination of various mediums including still image, video, sound, sculpture, light, and performance. Most recently I have been collaborating with another female artist, Heidi Higginbottom, to choreograph audio/visual performances using found objects, homemade instruments, contact microphones, and film loops. We make homemade contact microphones out of easily attainable and affordable materials and use them to amplify the sound of the movement of objects. We have used objects ranging from dishware, tile, typewriters, music boxes, sewing machines, thumb pianos, toys, water, or any curious object we can get our hands on. Our intentions are not to make melodic pieces of “music,” but to isolate and arrange pure commonplace sounds that would normally be easily lost in the proceedings of everyday life. While these objects may be ordinary, they refer to a vast web of associations and marked memories. By arranging them, we create a new resonance in the relationships the objects and symbols have with one another. These relationships are meant to be memory cues that can be triggered by sensory experience. We are in the process of experimenting with different technologies and digital software to incorporating projections, audio delay, editing and looping.

As a studio art major I was largely focused on traditional forms of art such as painting, drawing, and photography. It was about six years ago that I began to pay more attention to the intricate and beguiling aspects of the digital art culture. I was introduced to it from digital art courses being taught by visiting professor, John Hopkins, who is a working artist and has taught and traveled internationally. Projects included collecting and arranging self-generated media and media filtered from outside sources. These included field recordings, videos, still images, and lines of text. I had not dealt with this kind of medium prior to this, so I approached it the same as I would painting and 35mm photography. While the navigation of new software in a limited time span was challenging, the results of the projects left me very intrigued and curious about digital culture. I believe that the success of these projects were due to the non-linear process of collecting media without a finished product as motivation. Filtering media (books, internet, video, music, sound clips, etc.) provides an intuitive process for choosing content. It becomes a dialogue that interacts with an individuals sensibilities and social views. Whether I am drawn to content or pure aesthetic, some aspect of the media strikes me, and I collect it.

With human interaction, technology can be used as a tool to express emotion and the individualized perspectives of human experience. Technology brings with it an efficiency that adds new time-lines within our culture. Ubiquitous media screens flash loaded images and sounds that are intended to influence feelings and opinions about products, services, and perspectives in government. These messages compete with each other and have conditioned us to receive information at an exponentially increasing rate. In a society saturated with advertising, I feel a responsibility to express and tap into more emotive, internalized feelings and memories, and to offer a situation for slowing down. This desire is what caused me to seek out the tools and skills that could connect me with the vast and accessible network I was experiencing.

I believe it is of utmost importance for individuals to be informed about technologies so that they may exercise basic democratic principles. I had been intimidated by technology before, but I felt that placing myself outside of the existence of it is like surrendering my own rights. Technology is propelled by human curiosity, but is often used as a system of control. History is constantly redefined based on documentation. Dominant historical theories are based on those with the power to document and expose others to their material. It is crucial to actively participate in the documentation process of our own history in process.

Links: (check them out!!)
https://www.neoscenes.net
https://home.earthlink.net/~erinys/contactmic.html
https://www.pierrebastien.com/
https://members.chello.nl/j.seegers1/
https://www.mutek.org/
https://www.haamu.com/launau
https://www.colleenplays.org/
https://www.skoltzkolgen.com/

continuation

Workshop continues at a rare intensity. Only a good scene. Fine mix of intellects and spirits. Something good will come from this. While the situation in Sydney apparently continues to unfold, but with what characteristics and forms and potentials I do not know. There is a degree of stress heading to the unknown place.

Two participants, coming respectively from Melbourne and Southern California, used couch surfing sites for housing — I may need to make that scene in Oz if housing alternatives run out.

But the number of sand I know, and the measure of drops in the ocean;
The dumb man I understand, and I hear the speech of the speechless:
And there hath come to my soul the smell of a strong-shelled tortoise
Boiling in caldron of bronze, and the flesh of a lamb mingled with it;
Under it bronze is laid, it hath bronze as a clothing upon it.
— Pythian prophetess

No doubt a pithy oracle. Herodotus quotes. From the histories. Run across that after skyping with Loki around the histories of the Greco-Persian Wars — he saw the movie 300. Is there a difference between understanding history derived from Herodotus in translation and Hollywood scripting? Are the histories essentially the same in that they are subjective accounts of an individual as translated through a series of other individuals? As Herodotus is the primary source for any information regarding the wars, Hollywood has some relation to this, but what is the texture of relation? And the idea of telling the relation visually (and sonically) and in two hours. Complete. No answer. Though reviews point to the obvious glorification of the defeat of the Persian by the infidel hyper-militaristic Americo-Spartans.