Paragraphs on Computer Art, Past and Present by Prof. (emer.) Dr. Frieder Nake

[Ed: My old friend Frieder’s meditations on computer art are foundational as per his inimitable style of thought and expression. I am honored to present this text here on the tech-no-mad blog, though the blog platform itself is suffering computability problems of its own, my apologies! See also Frieder’s precise and quite humorous presentation on the history of computer art at eyeo in 2014.]

Revised version (2011) of a paper of the same title that appeared in: Nick Lambert, Jeremy Gardiner, Francesca Franco (eds.): CAT 2010. Ideas before their time. Connecting the past and present in computer art. London: British Computer Society 2010. p. 55-63. Appears here by permission of the author.
Sol LeWitt published his “Paragraphs on Conceptual Art” in Artforum, June 1967. It became an influential theoretical text on art of the twentieth century. It played the role of a manifesto even though it appeared when its topic – concept over matter – had already existed for about a decade. Digital (or algorithmic) art had had its first exhibitions in 1965. It seems it never produced a manifesto, with the exception, perhaps, of Max Bense’s “Projects of generative aesthetics” (1965, in German). Since computer art is a brother of conceptual art, it is justified in this late manifesto to borrow the style of the old title.

1 There are no images now without traces of digital art. Digital Art exists as computer art, algorithmic art, net art, web art, software art, interactive art, computational art, generative art, and more. When it made its first appearances, in Stuttgart and New York, the name “computer art” was thrown against art history and into the faces of art critics. It was a proud name and a bad one. “Algorithmic art” would have been the correct term. The superficial “computer art” disguised the revolutionary fact: the algorithmic principle had entered the world of art.

2 The algorithmic principle is the principle of computability. Whatever exists in the domain of computability exists insofar as it is computable. Alan Turing, Alonzo Church, and others had in the 1930s saved mathematics as the only discipline of the human mind that can say clearly what it says. Those heroes had clarified the concept of computability. They had thus created a new basis for mathematics. Soon after, the computer appeared as the machine to turn science into engineering. There had, of course, before been devices for mechanical calculation, but no computing automaton. more “Paragraphs on Computer Art, Past and Present by Prof. (emer.) Dr. Frieder Nake”

… if you notice anything suspicious …

The maxim of the Surveillance State is emitted by what is not, unfortunately, a Braindead Megaphone. The Megaphone has a brain that consists of the neural networks of all who pay attention to it, along with the processing power of the Information Society that those folks are tapped into. However, expansive State intelligence is tempered by complexity. A system that is self-monitoring creates a more-or-less dense feedback system. Any feedback sub-system affects the energy flows necessary to support the wider system it services. Within human social systems there seems to be certain degree of inherent paranoia (fear-of-death) that eventually provokes an evolution of these feedback systems, some of them more comprehensive than others (the Stasi and PRK come to mind as extreme examples, but then again, so do Google and Facebook).

Through their energy consumption extreme feedback systems overtake all but the most primitive functions of reproduction optimization (think: the weapon of rape as an expression of power and control and of the re-creation of ‘ones own’; or, state-sanctioned eugenics). The wholesale re-direction of State attention to surveillance signals the eventual end of a sustainable social system.

The maxim of the Surveillance State is an overt expression of the brutality (brutishness) of the norm, it hints at the precise locus of control (that is, within the Self … or not!).

Any expression falling outside this collectively sanctioned norm becomes an excuse, a rationale, a reason for the State to control the source of the expression.

And, by the way, the State is no single government — this is far too naive an image, one promulgated by those ignorantly focused on fearing a ‘takeover’ by the gub’ment — the State is the cumulative structure (path of flows) formed in the process of social evolution, the totality of wide-scale networks that act as binders of the social system as a whole — it is the full fabric of the social system that swaddles us and that we acquiesce to. It includes all the tools that are available to any, to all, for some to use.

flip the switch and everybody will feel …

faugh. Where does this lead? Emotional manipulation by secretive corporo-mili-fiscalo-governmental(?) entities who are not responsive to any measures of civil society. Privacy is gone, now emotional authenticity is being eroded. I never quite understood how a majority of my students at CU got so defensive about their Facebook and other social media usage. Does this mean that the manipulation is so completely invisible that it qualifies for that water-to-a-fish state?

Abstract

Emotional states can be transferred to others via emotional contagion, leading people to experience the same emotions without their awareness. Emotional contagion is well established in laboratory experiments, with people transferring positive and negative emotions to others. Data from a large real-world social network, collected over a 20-y period suggests that longer-lasting moods (e.g., depression, happiness) can be transferred through networks [Fowler JH, Christakis NA (2008) BMJ 337:a2338], although the results are controversial. In an experiment with people who use Facebook, we test whether emotional contagion occurs outside of in-person interaction between individuals by reducing the amount of emotional content in the News Feed. When positive expressions were reduced, people produced fewer positive posts and more negative posts; when negative expressions were reduced, the opposite pattern occurred. These results indicate that emotions expressed by others on Facebook influence our own emotions, constituting experimental evidence for massive-scale contagion via social networks. This work also suggests that, in contrast to prevailing assumptions, in-person interaction and nonverbal cues are not strictly necessary for emotional contagion, and that the observation of others’ positive experiences constitutes a positive experience for people.

Who is paying the researcher’s wages? Why are they researching this *for Facebook*?? argh… No paranoia here, it’s more just how things work in a corrupt and morally (& fiscally!!) bankrupt regime.

give me your time

Give me your time, give me your space, your eyes, your ears: this is the mantra of the Self. I give you my time, I give you my space: this is the mantra of the Self, the self released from the bonds of egoism. I give you my self.

Watching tears well up and begin to fall. Where do they come from? And what will become of them? Feeling tears well up and fall. It’s a bit of a puzzle, the neurons that resonate between two (or more) bodies. There are the shared events of social adhesion: nationalistic synergies, mass tragedies, and the spectacles of sensual attraction. These are not the true resonances of the soul. Souls play together in the strangest of circumstances.

And networks proceed at the speed of life. Something I’ve been saying for years.

I don’t give a fuck!

I don’t think I’ve noted this in the blog as yet although it’s definitely a theme that deserves some expansion. When I was living in Berlin in 2008 I torrented all of Richard Pryor’s oeuvre for the record, as I wasn’t that familiar with his work aside from a few routines and his appearance in numerous Hollywood comedy productions. When shuffling through the mass of recordings, I stumbled on this inspired bit:

(00:05:16, stereo audio, 7.9 mb)

He is channeling his interior voice(s) in the same way as David Foster Wallace — drawing directly on the simultaneous apprehension/expression of life-streams sprinting through neural networks.

to the sea

on the s/y Selina, Kaivopuisto, Helsinki, Finland, May 2013

Jenni gets some rendering going and then we stroll over to the World Festival that is packed with sun-seekers, then on over to Kiasma where the heavy Eija-Liisa Ahtila show is droning along: angstlich. A poignant video introduces the work of Jouku Lehtola following him as he is dying of cancer.

A late email to Mauri yesterday precipitates a crossing-of-path on the s/y Selina at the marina south of Kaivopuisto later in the day. I had always recalled Mauri’s speaking of his boat(s), so it is a materialization of the historic imaginary — in full color — neural networks in gear! Catching up with he and Pia whilst daughter Eeva works on a sketch for a new logo for the stern of the boat. We take a short spin out into the Baltic to test a new sail. This is the inaugural sailing for the season and the weather all day is splendid. I walk all the way back to Tapio’s just to enjoy the city ambiance unfolding on such a nice spring day. Finns are out in force, fully awake from the long winter doldrums. Evening/morning ends with a long stroll around Töölönlahti with Jenni. It feels like home, or so, another home, especially walking around Linnunlaulu. Strange life it is. Who could have seen these instances, all of them, cumulate, in the long-ago future that is the now?

in the Archipelago

on the island, with Tapio, Alejo, and Jerneja. wind, water, birds, working, fishing, writing, editing, eating, drinking, sauna every night (where night is only a sliding attenuation into a dusk that never finds darkness). beautiful on all counts. network connection, and some photovoltaic energy. for two more days.

quick notes

The N-1 event is curious — I wasn’t aware it was a pedagogic exercise to be acted out in front of (!) students at Arcada. This makes it a bit awkward with some of the invited people, though I simply jump in to the scene, aiming that for the students it would not be a business-as-usual pedagogic activity. That was hard to overcome in the lecture hall (suitably exquisite quality as is any Finnish public construct). So we oscillate in and out of the building, the lobby, outside, and so on, enjoying the cool sunshine. The students somewhat perplexed, but seemingly engaged or at least present.

Most of us live much of our lives in the ether. We have a mobile phone with us at all times with the result that we are always on and never truly alone. We have maps and geo-positioning on our phones so that we are always traceable and never truly lost. We tweet and update our Facebook status so that we often say what comes into our minds when it comes into our minds, and we are rarely truly reflective.

In all of this we are telling each other stories about what we are doing, and from this we curate stories about who we are. From all the shards and slivers that we scatter across the digiverse we are piecing together new kinds of identities – and these identities propel us in some directions and constrain us from moving in others.
more “quick notes”

Monday, 06 May, 1963

John Strano & Carl Neilsen back from Ascension Island; there was cloud over the island during the last Rex re-entry; JLV was in the WV-2, seeing it optically. JS said the plotter showing the actual & predicted tracks showed almost the same track, so the TTR was placed on the nose cone successfully.

Requested by WZL to furnish him with a list showing the medium of record of each TRAP III instrument; phoned to RJ Adams @ Bendix who is at Lockheed / Ontario — Area code 714 YUkon 4-1234/297-495; he shifted me to 495/489 Jim Cherry who gave me enough info to make up a table. A copy is in the TRAP III file. Worked up a table by longhand and left it with Shirley.

High clouds
Rain in PM

Cool last night.

Took Ford to Elbery’s in Cambridge to have the steering block replaced, some body work — a spot, tailgate & rear fender seams — inspection, & front wheel alignment. Made arrangements with Mr. Kemp, Elbery Credit Manager to pay half of it now , the rest in 30 days.

Called Lake but he was out, so talked to Geo Costello: 1) the 1563A provided the best signal yet in the SS & Hawey Rooms; 2) the lavalier mike didn’t work out as we need a goose neck; 3) TV monitor burned output repair; 4) R-C networks on phase inverter grids — signal rectified to audio so went on there, we will have to put them on the grid of some tube in the front end.

He will pick up the TV unit tomorrow.

Fred Erikson found the R1 resistor burned up in the PSC Simpson volt-ohmmeter. No wonder we couldn’t get it to work. Wrote to Weston Elec. Instrument Company to see if the Model 301 meter we have can be used as a VU meter. From some of Fred’s Weston paperwork, it can be.

Rode home w/ Mike Bavaro.

Global Development profile

Prof. Ajume Wingo invited me to join in the Global Development Group that is being organized by Prof. Paul Chinowsky, Mortenson Professor of Sustainable Development, in the Mortenson Center in Engineering for Developing Communities Program. It looks to be an interesting program with about 40 senior faculty from across the university participating. Not sure how deeply I’ll be able to get involved given that I’m short-timing at CU at this point, but I noted that at one of the first meetings that brought a majority of the participants together, Paul ran with my suggestion to pair people off in such a way that the disciplinary boundaries are broken down. I used the dialogue assignment as an example — where time spent in face-to-face engagement goes a long way in the construction of a shared protocol that will bridge the oft-times exclusive disciplinary languages. It is my belief that these shared protocols are crucial to the success of a transdisciplinary collaboration and that the human networks they depend on are constructed only at the speed of life (as I have said elsewhere in this blog), not quicker.

John Hopkins (BSc, MFA, PhD) has worked for the last 25+ years as a nomadic media artist and autonomous learning facilitator across 25 countries and more than 60 cultural and academic learning institutions. His workshops explore issues of sustainable creative practices, ‘big-picture’ system views, tactical media, distributed and community-based DIY, Open Source, and DIWO (Do-It-With-Others or community-based DIY) processes, and the appropriation of global IT networks as the site for autonomous creative activity: Temporary Autonomous Zones. Resonating with both David Bohm’s and Martin Buber’s ideas around the power of human encounter and dialogue, he facilitates experiential learning around collaborative engagement. His own media-arts research is a practice-based exploration into the effects of technological development on human encounter and relationship. His views on global development are informed as a former member of the Imperialist Vanguard (Big Oil), he now draws on the rigors and knowledge-base of that experience while leaving behind the fixed and fear-drenched assumptions about the Other that drives the core of the military-industrial-academic complex. A CU alumni, he is currently teaching on the “Meaning of Information Technology” in the ATLAS/TAM program along with several digital arts courses in A&AH. He maintains an extensive web presence at https://neoscenes.net/blog/ and https://neoscenes.net/ that documents his practice.

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.

avoiding drones

1. It is possible to know the intention and the mission of the drone by using the Russian-made “sky grabber” device to infiltrate the drone’s waves and the frequencies. The device is available in the market for $2,595 and the one who operates it should have computer know-how.

2. Using devices that broadcast frequencies or pack of frequencies to disconnect the contacts and confuse the frequencies used to control the drone. The Mujahideen have had successful experiments using the Russian-made “Racal.”

3. Spreading the reflective pieces of glass on a car or on the roof of the building.
more “avoiding drones”

The BricoReader wants You and You :: I and I

The call goes out to the brico network for the reader that Jerneja and I put together a few days ago.

Dear Bricoleurs!

In preparation for the upcoming projects and the BricoReader that we are planning for Pixelache in Helsinki in May, we are asking that folks within the Bricolabs sphere of action generate some special conversations with each other. We believe the relevant knowledge-base available here among us is of great value to share (more) widely.

The conversations, dialogues, and/or interviews that you generate may include anything that you think is relevant: for example, what issues you think define the Pixelache theme Facing North/Facing South; what is (your) theoretical approach to open infrastructures and open communities; what is your practice to bring this theory to life; and so on. These textual conversations may not necessarily form an essay, but will provide us with an array of rich material to assemble the BricoReader from. These dialogues may also include material relating to what you find most interesting/powerful/engaging about the distributed bricolabs network, how it functions, and how it affects participants and the wider communities that it serves around the globe. We are also playing with a few sub-themes for the Brico-Pixelache presence: deep resonant networks; anti-disciplinary collaboration; subjective infrastructures – autonomy vs. connectivity; the reversal of polarities; and the smell of Bricolabs. These phrases might give you some things to think and talk about as well.

To participate in this process, we would like you to start by considering who you would like to start a conversation with. We would encourage every Bricoleur to participate and especially to perhaps reach out to an unfamiliar Brico on the mailing list — imagine the power of such a set of dialogues that will then be collected and bricolaged into the BricoReader! Once you’ve got a dialogue partner, please send us yours & their names so that we might begin planning and mapping out where we can go with the Reader. At this point, there are 182 (!!!) people on the mailing list: plenty of energizing possibilities. If you are not aware of all the people on the list, it is also possible to go to:

https://mailinglists.dyne.org/cgi-bin/mailman/listinfo/brico

and after logging in at the bottom of that page you can see see a full list of subscribers (by email address). If you need help on this let us know.

We will also list partners on this piratepad (you can add your name(s) yourself as well):

https://piratepad.net/briconversations

In addition, if any of you can think of other interesting individuals or groups to engage with but who are not on the mailing list please feel free to invite them into the conversation.

The conversations can be initiated immediately, and certainly may be conducted in any way you like — of course a text output suits us best. We see these as email or perhaps other text-chat transcripts, whatever.

To help the editing process (and the busy editors!) along we propose a formal deadline of 21 March 2013 to give us time to review and collate things. We are looking forward to your energized expressions!

kiitos/thanks/gracias/danke/takk fyrir/hvala/bedankt/obrigado/terima kasih!!

Jerneja & John

bricolabs @ pixelache

Helping Felipe, Jerneja, Bronac and other bricos get the following text out for our Pixelache Festival presence — still not sure that I can make it, logistically, between cost and timing: it will be a nice conclave of old and new friends, though, and a good landing back in Europe.

Bricolabs (https://bricolabs.net) is a fluid network created in 2006 to investigate — from a critical and creative perspective — the loop of free/libre/open content, software and hardware for community applications. Bricolabs promotes open debate and critical making on such themes, between people with diverse backgrounds, in areas of expertise from Latin America, Europe, Asia and North America. Special attention is given to affective networking as a shared value.

Responding in a collaborative fashion to the call to reflect on the theme “Facing North – Facing South,” Bricolabs is currently planning, organising and developing part of the Pixelache Helsinki 2013 programme. Bricolabs wants to bring a multilayer perspective to trans-local networking, engaging the participants of Pixelache 2013 in new ways of being as well as new ways of doing things together. Bricolabs proposes a critical perspective on the usual north/south dichotomy, interested and rooted in deep resonant networks where borders are seldom taken into account. This is as true for geographic boundaries as it is for disciplinary ones – recently Bricolabs members have turned their attention to anti-disciplinary collaboration as an escape from the common traps of western/northern paradigms of development.

The Bricolabs programme will include live remote sessions with a number of collaborative groups sharing their perspectives from different parts of the world, as well as an exhibition articulating models of open source culture, translocality, DIWO, and subjective infrastructures. Several practical workshops will be conducted along these same lines. The festival will give Bricolabs members a rare face-to-face opportunity to meet and organise working sessions for particular collaborative projects. Bricolabs will also be facilitating discussions and panels, portraying collective efforts that take place across diverse practices engaging the work of artists, developers, thinkers – thus redefining the geophysical and virtual ecologies of their practices, as well as methodologies in the context of open source models and the theme of the festival.

deep resonant networks & anti-disciplinary collaboration

A brico-conclave for exploring some ideas and plans for pixelache 2013 in May between Helsinki, Finland and Tallinn, Estonia.

resonance: bursting

Interest in resonance is spread widely as the phenomena shows up in many systems. In bio-systems resonant responses to [energy] burst communications (as an intrinsically generated stereotypical pattern of closely spaced action potentials) is a crucial means for the propagation of flows across neural networks: STOP SHOUTING AT ME, I get it!

Many electrical, mechanical and biological systems exhibit free vibrations or damped oscillations when stimulated by a brief strong pulse. The frequency of such oscillations is known as the natural frequency or ‘eigenfrequency’ of the system, and the period is known as the natural period. For example, the Hodgkin–Huxley model exhibits oscillatory potentials with natural period 12.5 ms when a single brief pulse of current is injected. If the injected current is sinusoidal, sweeping through many frequencies (a so-called ZAP current), then the elicited oscillations of membrane potential have largest amplitudes (possibly resulting in action potentials) when the frequency of the input is near the natural frequency of the system, which is 80 Hz (1/0.0125 s) in the Hodgkin–Huxley model. (This frequency might be slightly different when an oscillating synaptic conductance rather than a current is injected.)

Izhikevich, E.M. et al., 2003. Bursts as a unit of neural information: selective communication via resonance. Trends in Neurosciences, 26(3), pp.161–167.

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.

Archives in the Digital Era

Somaya passes this along, a year’s fruitful work. We had several long and interesting conversations over Chinese food in Ultimo/Sydney about the archive — a favorite topic of mine, as a media artist/archivist. The preservation of the digital is a fraught issue across the entire digitally-mediated techno-social system. Noting primarily the energy drain that an archive imposes on a system — the rubric: maintenance of information over time costs energy. period. The longer you hold onto information, the more of an energy drain it becomes. Or it emphasizes the break-even point where relevancy (energy advantage) of information is exceeded by the energy cost of maintaining it. (Connecting to Bertalanffy’s, Odum’s idea that negentropic life is information, or that “life is an informational phenomena.” [see next posting])

Hi Everyone,

You’re receiving this email as you contributed in some way to my research/writing of the Archives in the Digital Era scoping study report that I undertook for the Australia Council for the Arts from mid 2010 – mid 2011. This email is to say a massive thank you for all your contributions – large and small, direct and indirect. Without you or your organisation, this report would not have been possible.

After a considerable wait, last month the Australia Council made this report public. The full report, Australian case studies, glossary and links to international projects, licensed as a Creative Commons Australia Attribution 3.0 and all as downloadable PDFs, (as well as an online summary overview by Jackie Bailey) can be accessed via: https://www.australiacouncil.gov.au/digitalarchives

As part of the scoping study, I compiled a list of links that may be of use to this topic. I have continued to add to this list over the past year or so. These can be found at: https://www.delicious.com/criticalsenses/archivesdigitalera

Please distribute this report to your networks, colleagues and contacts where appropriate. I do hope that you find it useful in your work.

Many thanks,
Somaya Langley

MiT: privacy (and reflecting on presence)

Drop in on Diane’s MiT class this morning in the large ATLS100 lecture room — she’s covering privacy issues. Huge class — I think she’s got more than 100 students enrolled. Quite different than my section of 38.

Surveillance, privacy, monitoring, searching, tracing, 1984, algorithmic filtering and screening of dataspace (face recognition, etc), Mugshots; the students had an assignment to do a name-search on a partner to find out as much as possible. Sitting near the back of the room, a majority of students are paying almost no attention to Diane — instead doing the usual retinue of screen-based tasks — other homework, Facebooking, shopping, and so on. This is disappointing in that it highLights the contemporary situation where even a highly-rated (entertaining!) university teacher is not really engaging the students. In a class of one hundred, filled with mediating screens, what should one expect. Human engagement between teacher and student has been lost in the shuffle of money/power that has become US academia.

Presence is projected out from the Self in a variety of ways — mediated and unmediated, well, always mediated by something: body heat by air (as thermal energy arising from energized interactions, catalyses, and transformations within the body). Presence is more and more being pushed (expressed) into what may be called technological networks. Distributed into more and more finely atomized (digitized!) fragments, and more and more widely distributed in both space and time. Coded, derived, lost in the data-space. When presence is so diffused into that space, we lose what we have here, now. Gone. No chance for an energized encounter when Selves are all pointed away from each other and thoroughly atomized…

prosodic paralysis

lenticular eyelids hover over the Flatirons, nuclear red-orange.

I say “nice view” to the Salvation Army bell-ringer
standing outside a building full of food-stuffs.

Inside, I look for cheap things.

and leave without change in my pocket to give:

I take the other door out.

this after making a transfer across fiber-optic networks of value for calories.

a transfer of what? some numbers punched, and it is tending to make me sick.

sick in a way of driven feverishness to escape to elsewhere where values are true and not merely convertible currencies of social trust in … God.

sick in a way of realizing that the point-of-view taken, the approach is an illusion surfaced with centripetal impulse (impulse driven by rotating planetary system, and fed by the mesh of gravitational attraction to things). leave me go! release the mass of embodied … stuff and finally convert gravity to Lightness.

evolving spaces

An example of the sliding-scale metaphor I use often in teaching — that whatever dialectically opposed concepts (i.e., networks vs hierarchies) the actuality of the situation is that neither exist in a pure form, but instead exist always in hybrid collision of dynamic evolution — in this case, a net/archy. Another instance (see this):

Smooth space and striated space — nomad space and sedentary space — the space in which the war machine develops and the space instituted by the State apparatus — are not of the same nature. No sooner do we note a simple opposition between the two kinds of space than we must indicate a much more complex difference by virtue of which the successive terms of the oppositions fail to coincide entirely. And no sooner have we done that than we must remind ourselves that the two spaces in fact exist only in mixture: smooth space is constantly being translated, transversed into a striated space; striated space is constantly being reversed, returned to a smooth space. In the first case, one organizes even the desert; in the second, the desert gains and grows; and the two can happen simultaneously.

Deleuze, G., Guattari, F. & Massumi, B., 1988. A thousand plateaus : capitalism and schizophrenia, London: Athlone Press. p 475.

conversation with Howard

The topic of today’s student presentation is “Virtual Communities” so I arranged with Howard (Rheingold) that he pop in for a short Q&A with the students.

M of IT – Day 11 – 03 October

week 6:
03 october – day 11 – Attention and the Economics of the Net
link to collective notes

assignment: reading to be FINISHED for today:
Goldhaber, M.H., 1997. The Attention Economy and the Net. First Monday, 2(3).
assignment: on your blog platform, generate at least 3 questions for the reading.

asides (extra credit – 3-400 word blog entry on any of these):
Computer Networks – The Heralds Of Resource Sharing (Arpanet, 1972)
From World Brain to the World Wide Web
U.S. Government Requests For Google Users’ Private Data Jump 37% In One Year (6.17.2012)
Eben Moglen : Freedom in the Cloud (2011)
DARPA: Hybrid Insect Micro Electromechanical Systems (HI-MEMS); Cliqr Quest
stuxnet: anatomy of a computer virus (Australia ABC1)
Iran Cuts Off Google

M of IT – Day 8 – 24 September

week 5:

24 september – day 8 – Looking around: here, now, The Internet, networks & hierarchies
link to collective notes

Unofficial Release

The culture of self-released music and sound art is one of the most vital, yet most overlooked, phenomena resulting from the 20th century revolution in communications technology. In this volume, Thomas Bailey surveys a fascinating realm of creative activity and identifies the key individuals and developments responsible for its continued relevance in the present age. From the networked “mail art” of the 1970s, to the home-taping boom, to the establishment of music labels dealing solely in digital sound files, this culture provides valuable insight into the evolution of the “official” art market and the artists who bypass it. Along the way, we are introduced to a world where networks are artworks in themselves, where blank tapes and recordable CDs are fashioned into elaborate art objects, and where relative freedom from creative supervision leads to both colorful innovations and violent aesthetic extremes.

‘Unofficial Release’ features material on mail art, cassette culture, industrial music, handmade packaging, releasing addiction, anti-promotion, net-labels, digital file sharing, circumventing censorship, extremist metal, sound poetry, imaginary music, ‘outsider’ art, tape nostalgia…and much more!

Exclusive long-form interviews are also included with artists such as Frans de Waard, Vittore Baroni, Rod Summers, GX Jupitter-Larsen and others, along with new insights from theorists and artists as varied as ‘Gen’ Ken Montgomery, The Tapeworm, Alexei Monroe (author of Interrogation Machine and more), Oren Ambarchi, and David Tibet. Also includes front and back cover photography courtesy of Scott Konzelmann / Chop Shop.

Unofficial Release is the first title available on the newly revived Belsona Books Ltd. imprint, TBWB’s home for personal projects that, while of a high written standard, can’t wait to be approved by peer review or accepted by established publishers.

Meaning of Information Technology

David invites me to take over for him while he is away to Europe for a media festival in Kracow. He’s teaching a course in the Atlas / TAM (Technology, Art, and Media) program called “Meaning of Information Technology.”

The Meaning of Information Technology (MIT) is the introductory course for the Technology, Arts and Media (TAM) program at the ATLAS Institute. MIT provides an introduction to a range of topics in information technology, new media, and digital culture. The goal of this course is to enable you to think critically about the impact of technology on society, industry, and government. This course considers what it means to be active citizens in a networked digital age. It will consider historical case studies in past IT adoption, unintended consequences and futuristic predictions. It will examine the search for authentic information, whether in digital imagery, search engines, viral video, or sound formats; IT’s modification of our social behavior; and of our means of gathering, interacting with, displaying, and using information. We will consider who we are and who we become in social networks, online games, and in virtual worlds. Most fundamentally, the class explore the question of what it means to be human in a rapidly-changing world. This question will lead us to examining the writings of theorists, the observations of those on the “bleeding edge,” and view-points ranging from neo-Luddite to Utopian enthusiast. We will draw our own educated and thoughtful conclusions, based on a wide range of evidence, and each of you will emerge from the class with an understanding of and agency in your relationship with Information Technologies. By the end of the course, you will have acquired an awareness of the rapid expansion of new technology, and you will have begun to think critically about the implications and impacts of new technologies.

Short seminar sessions, large classes make it tough to stimulate discussion, but I think they did fine in rising to the occasion. I did put out a tremendous range of concepts in that brief time, but … Not knowing names or not knowing individuals feels like a handicap, but the ending vibe is good.

I started the second session with a single projector showing a blank BBEdit file and at the beginning of class I started typing in the file with my back to the class. I slowly generated the following text:

I thought I'd start this way, to explore the inherent separation and alienation caused by technological mediation induced or driven by techno-social systems. I have my back to you. You, as a group, are talking quietly amongst yourselves.

It's 11:01 by my clock. So, this *IS* the beginning. I have a sense of being nervous as to what our engagement will bring in the next hour, but as an open potential, we have many possibilities. The system that we exist within—at this moment in history—is such that the possibilities for face-to-face human encounter are decreasing, gradually being replaced by greater and greater levels of technological mediation. This process of mediation changes the qualities of human encounter deeply.

It's quiet now, it seems that you have focused your attention on my screen-mediated presence. I can hear the air-conditioning drone under the artificial lighting. Are you staring at me or my expression?

There are many pre-cursor 'tele-' technologies that have incrementally increased the 'distance' between humans—communications technologies are the obvious examples—but there are a wide variety of technologies which have precipitated both subtle and monumental changes in human contact: food production, reproductive and medical technologies, those involved in warfare and economics, and so on.

What ARE the effects of these changing levels of mediation? How do they affect the qualities of your lives? What technologies most affect your existence directly? Indirectly? Let's see what range of answers we can generate in the next 85 minutes and in the days following.

Silence gradually increased while I slowly composed each sentence, correcting spelling errors and such. When I was done, I turned around to kick-start what turned out to be a good discussion (although I talked far too much for my liking — as I tend to do in a time-limited situation). Last week, I had David ask them to pose five questions about the assigned text (which was the clunky Regime of Amplification text as the primary input for the week. Unfortunately the class wiki (deployed on the goingon.com platform) is not public, as I fielded and answered most of the proposed questions. They ran a stimulating and largely thoughtful gamut and did reveal some weaknesses in the text (the overall one being the density!).

interview with Niina: art & technology

Niina has been researching art and technology for some years now. We met when I was teaching my old netculture class at the Media Lab in the University of Art and Design Helsinki back in 2000. I participated in her research for her PhD then, and … now

Ei Niina — this is all I could manage, it’s impromptu, but honest, with a bit of humor mixed in… a little complicated, as there’s no time to write an essay about what world-view lies behind the answers. You might want to reference https://www.neoscenes.net/hyper-text/text/pixel.html an article I wrote for Pixelache in Helsinki in 2007 — the same year I did a workshop there too https://www.neoscenes.net/projects/pixel/index.php

you could also check out:

https://neoscenes.net/blog/ and search on
https://neoscenes.net/blog/?s=network
or so…
even
https://neoscenes.net/blog/date/2001/11

> 1.What changes have happened in your work and practices as an artist during the
> last ten years? Do you think your relationship with technology / or the way you
> use technology /has changed during this time?

My practice has widened intensively to take on a tough challenge of the entire techno-social system we are embedded within, are part of. Yes, this includes my relationship AND my understanding of the relationship between all flows that are the substance of technology. This also includes all aspects of life governed by techno-social protocol. When I use (a) technology I understand what I will both lose and gain when using that particular protocol. Using a technology is in fact, a changing of flows of energy that we are embedded in, part of. We are not separate in any way from everything else!

more “interview with Niina: art & technology”

Energy, Creative Action, and Sustainable Systems Workshop – Day 8 – eNZed

The official blurb for the workshop:

This workshop will draw on Hopkins’ international experience in facilitating creative encounters in the context of the Temporary Autonomous Zone. With an open structure for engaged and focused dialogue, the workshop will explore a powerful energy-based worldview that can open up new awareness of social, cultural, and natural systems. The dynamics of collaborative human relations confined within an attentive space is guaranteed** to generate provocative and inspiring outcomes. Creativity is, by definition, about the formative flow of energy between living organisms. We will move through a variety of environments (including on the river by waka) as we share life-time in the workshop. The workshop will augment the processes of any creative practitioner with a profound, situated, and practice-oriented conceptual toolbox that address the following areas and more:

(Keywords in no particular order): energy, creativity, thermodynamics, technology and techno-social systems, art, attention, entropy, learning, media, networks, participation, process, virtuality, creative action, human presence, Light, human encounter, mediation, concentration, optimization, pathways, meals, sustainability, simplicity, synchronicity, auspiciousness, and serendipity.

**on the condition that you bring along your entire Self, not merely your body, mind, and spirit

Distance versus Desire :: Clearing the ElectroSmog (Eric Kluitenberg)

The desire to transcend distance and separation has accompanied the history of media technology for many centuries. Various attempts to realize the demand for a presence from a distance have produced beautiful imaginaries such as those of tele-presence and ubiquity, the electronic cottage and the re-invigoration of the oikos, and certainly not least among them the reduction of physical mobility in favor of an ecologically more sustainable connected life style. As current systems of hyper-mobility are confronted with an unfolding energy crisis and collide with severe ecological limits – most prominently in the intense debate on global warming – citizens and organizations in advanced and emerging economies alike are forced to reconsider one of the most daring projects of the information age: that a radical reduction of physical mobility is possible through the use of advanced tele-presence technologies.

more “Distance versus Desire :: Clearing the ElectroSmog (Eric Kluitenberg)”

The End of the Road and The Onset of Dreaming

roadside memorial, near Bitter Springs, Arizona, USA, March 2010
ed: This short note is the epilogue for the Migrating:Art:Academies: book. Because of the heavy-duty editorial tasks, I otherwise didn’t have time to write something more comprehensive on the ideas surrounding movement and learning, maybe next time!

We suspect that even though travel in the modern world seems to have been taken over by the Commodity — even though the networks of convivial reciprocity seem to have vanished from the map — even though tourism seems to have triumphed — even so — we continue to suspect that other pathways still persist, other tracks, unofficial, not noted on the map, perhaps even secret pathways still linked to the possibility of an economy of the Gift, smugglers’ routes for free spirits, known only to the geomantic guerrillas of the art of travel. — Hakim Bey, Overcoming Tourism

This volume Migrating:Art:Academies: represents yet another step on the (linguistic) migration from nation to nation, academy to academy, culture to culture, friend to friend, order to order, life through life. As with the first volume, Migrating Realities, any impossible contortions of English are this editor’s responsibility, and given the time constraints for this latest MigAA tome, there are sure to be some short-comings. But then, of all the movements within the social, language migrates the most of all. It is never static. Nor should it be, especially as it accompanies the learning process — a process which is essentially about encountering and naming that which is not (yet) known. more “The End of the Road and The Onset of Dreaming”

musings before a roadtrip

Leaving aside the refined mapping of experience-once-removed. And instead, gathering experience first hand, in the moment, where circumspection is wistful, wasteful, or even dangerous.

Music on the road. Traveling minstrels, buskers, harmonica-playing hobos. playing for people on the road, or playing whilst on the road. Meeting at the roadhouse. Beyond the city limits. What goes down when humans engage beyond the control of the proper social order. What goes on outside the ordered flows of town. Interstitial in the sense that between towns lie the open roads. bandits, women and men of loose moral fortitude, and wild animals. The space of chaotic flow.

We suspect that even though travel in the modern world seems to have been taken over by the Commodity — even though the networks of convivial reciprocity seem to have vanished from the map — even though tourism seems to have triumphed — even so — we continue to suspect that other pathways still persist, other tracks, unofficial, not noted on the map, perhaps even “secret” — pathways still linked to the possibility of an economy of the Gift, smugglers’ routes for free spirits, known only to the geomantic guerrillas of the art of travel.

As a matter of fact, we don’t just “suspect” it. We know it. We know there exists an art of travel. — Hakim Bey, Overcoming Tourism

What is the nature of what is feared outside the purview of human controlled flows? Is it merely nature? It is the presence of (or the risk of) death — that singular element that lies completely beyond human control, for ever? It cannot be erased from the wild kernel of being. Some seek the thrill of facing it, some hide in states of paranoid control to keep it as far away as possible, backing away only to fall over a precipice unseen behind. Religion is the construct that irrationally rationalizes the presence of the unknown, of death, and of corrupt social order.

… back to the road …

The body of speed. (hunt and/or be hunted). Movement is the first escape from death. Running to safety, to the nearest tree. Running to fetch the weapon that you left at home. Running for the crowd so that the odds of getting eaten are marginally lowered. Running fast. Running to change places. Running to make a moving target. Running for help! Running to the Library!

The Book as fuel for keeping warm and The Book as weapon: dictionaries and encyclopedias work best for both purposes. Book as pillow. Book as door-stop. Book as object sensed orbiting centers of cultural gravity. Textual asteroids and debris. Escape that field.

The Book as tool for enhancing procreative potential and staving off death. Rather, Books on how to enhance procreative potential and how to stave off death. Reading about how to enhance procreative potential and how to stave off death. Reading-while-driving. Speed. And then it comes. uuuuuhhh.

20100206-2007-0862

nah. gotcha, I’m outta here, step on it, hit the gas, burn some rubber, spray some gravel in ‘is face…

Angel Place

Angel Place, one of those darkish urban voids produced by vertical development and poor planning, is host to the Forgotten Songs installation as part of the Hidden Networks program. Sounds of extinct and near-extinct species that once filled this very ground before colonization. The bird (sounds) are in cages. What brilliant human-applied alterations of flow does (temporarily) to natural systems: when’s a mass equilibrating event gonna happen?

code and money

Michael Bauwens on the iDC list:

I think the important insight that travels from free software to money is this. Power lies in the code and in the invisible structures that enable or dis-enable actions and relationships, what Alexander Galloway calls ‘protocolary power.’ The great insight of the current age is that money has a code as well. But just as we do not have the power to change the code of microsoft, we do not have (yet) the power to change to code of political money, so the alternative world-constructing route is to peer produce our own, differently coded money.

sotto voce: This brings up the thought that code and money are both likewise abstracted representations of Power that have to be actualized through two processes: 1) a participatory social grouping who choose to believe (have faith) in the power of the abstraction to cause material change in their lived existence and 2) a means for the abstracted instrument to interface with a real (material) regime of existence. Power, in the end has to be or has to have available a way to apply itself to life, to an individual life, to be delivered (as that change).

For example, code describes what a device can or should do in theory. It needs the device to make that actually happen. Code without the physical transmission of power (kilo-calories, joules, megawatts, whatever) is a complete abstraction and is of no consequence. The machine or interface that actualizes the code is embedded in a specific field of power flows — i.e., the electrical generation and delivery system, manufacturing systems that depend on transportation networks which depend on hydrocarbon fuel power, etc. This larger techno-social infrastructure that is essentially a field of directed energy flows depends on a whole host of humans believing that the code will ultimately improve their lives on earth. If there arises a doubt that the code will do this, the whole system starts to unravel. If it becomes clear that the code is failing to bring power to the user, they will stop putting their life-energy into propping up that techno-social protocol and the infrastructure it is embedded within.

The code of religious teaching, the code of social behavior, the code of the machine, and the code of economic instrument all have the characteristic that they are completely dependent on being actualized this way, else they have NO power. In the end, the code is merely a socially prescribed pathway along which real energy is forced to flow.

Faith in code(d abstraction) produces a shared or centralized capital of potential power, but there always needs to be a tangible means for translation from code to be-ing. The body is the primary means for code to become lived action or the source of applied and energetic change. That would be the minimum device necessary, all other devices are simply amplifications of the body-as-energy source.

With the demonstration of faith as an applied and directed energy flow through a code comes the often terrifying expression of directed social power. On the other hand, when the individual participant in a social system seeks and finds/makes expression not according to The Code, the dominant collective immediately loses a fraction of its ability to direct energy as it wills.

tools to thrive

spend the afternoon at a meeting with a group of about 15 enthusiastic Mizzou students who are interested in fundamental issues around sustainability and social activism. the meeting (Open Sustainability Network Mid-Missouri, under the title Tools to Thrive. hosted by Richard Schulte, one of the founders of the Mid-Missouri group (which is connected to the umbrella Open Sustainability Network). OSN-MM is also the initiator of the Columbia Missouri Exchange Circle. Lonny Grafman, the featured presenter, is a lecturer at Humboldt State University and is the founder of Appropedia Foundation, the self-proclaimed sustainability wiki which provides a public platform for information on sustainable community practices along with pertinent knowledge-sets for implementation. Lonny is also the Executive Editor of International Journal for Service Learning in Engineering (IJSLE). He introduced some of his work in the form of a presentation Democracy Unlimited Humboldt County Rainwater: A Case Study in Open Source Community Action for Sustainability which explored community activism in deployment of sustainable (in this case, domestic rainwater gathering) systems. words: creation of human networks … the search for a deliverable … starts with a sonic ambient exploration a rainstorm … examples of rainwater sequestering … Bechtel in Bolivia … anthropocentric impurities … a lesson in rainwater catchments: free … local infrastructures generate independence / autonomy. Too many details at first. without the principles of appropriate technology use — public perception, policy situation, know-how, resources, initiative, currency in Humboldt … hemp paper, soy inks … Temporary Autonomous Zone break-out groups: creation and organization of more and better public art; bike-powered something; CSPAN (Columbia Sustainability Policy Action Network); local economy (in general); moving from thought to action; facilitating dialogue; sustainable creative activism; expanding the sustainability community; empathy and interconnectedness; rooftop gardens where possible on campus; community networking club celebrations, gardening; organizing / participating in one implementation workshop for a physically appropriate technology setup; less plastic use, healthy local food, teaching sustainability to children … sorry no more detailed notes, I had to leave right after the break-out sessions to meet Nick and Deb to look at houses. I cycle across downtown from campus to the Walgreens where I lock the bike and go in to buy a snack. when I come out I wander across the parking lot looking for Deb’s car. a chubby white woman gets out of a sedan and asks me if I need a ride. she says she normally doesn’t do that, but I looked like I wasn’t a killer and that she’d be happy to help me out. I say no, no thanks, I’m just waiting for friends to pick me up. mid-western courtesy? I’m wearing a black leather biker’s jacket, black jeans, black half-gloves and a baseball cap from Germany, and dark brown sunglasses. who’s she kidding? she must have been one of those mild-mannered mid-western serial killers. just then Deb pulls up. saved! Nick stayed with the kids, so we drive into the countryside to some small towns looking at houses. the area is really depressed, many empty storefronts on Main Street. and this area is relatively affluent compared to much of the rest of the state. it would be very interesting to travel through these areas and document what is happening. sustainability? indeed. things are not sustained here. help is needed.

iDC dregs

iDC list gets annoying and rewarding at the same time. but what of life spent on the keyboard? the topic is teaching… and the transition of the teacher into the link jockey.

sotto voce: While the offerings of IP_based networks seem unlimited, and in rhetoric, the superlative of unlimited is often applied, I think it is important to keep firmly in mind that it is not a space of unlimited knowledge nor is it a space of neutral knowledge. And, also, in this time, it is not a space of embodied experience aside from eyes absorbing statically-framed EM radiation, ears hearing sounds disconnected from their source, and fingers twitching across a very limited place. Not to mention underlying ideologies which accompany each form of mediated connection (largely invisible but very much real) — among others, that of consumption (extractive resources, electricity, and thus, the globe-spanning world that we exert irresponsible dominion over). In this regard, the (limited)vastness of that knowledge-space seems a bit tainted and out-of-touch perhaps. Expensive and consumptive. Exclusive, reductive, and reified. A teacher is a catalyst, and is one who, simply by being an Other we encounter in life, presents us with the unknown. If we trust that Other, a world opens up that was previously unknown, and (if) we (trust enough to) apprehend and engage it, it changes us, we learn. This unknown world is sourced in the entire comprehensible universe, and is available through that Other. These encounters may take place anywhere, anytime, and can be had ‘for free.’ We need only ‘pay’ the Other with our attention, our life-time, and life-energy. It seems that in our formal techno-social educational systems, these potential encounters with the Other are (being) replaced by more and more socially-standardized systems-of-relation (protocols, curricula, government mandates, abstracted monetary instruments) which seem ever more intrusive to and even suppressive of potential open encounters. This limits the creative potential of the outcome. The cumulative effect of this social hyper-formalization-of-encounter — because learning occurs precisely at the edge of knowing, not within the known — is that we look elsewhere for the dynamic of coming-to-be (learning) that keeps us alive and growing. To me this is the ultimate source of the loss of vitality that affects the Education World, a vitality that ultimately does not rest on technological mediation but on human encounter. Yes, human encounter is always mediated by the vast range of social protocols and tools, and learning encounters may happen within highly mediated (‘virtual’) spaces, but when we allow those encounters to slide continuously into more and more mediated spaces, the life-time available for less mediated human encounter shrinks. I think that this represents a wide loss to learning, education, community, and creative potential as it moves to extremes and forgets what it is predicated upon — the originary encounter between the Self and the Other.

nokilling.org

oh, and this from John as well…

sheesh. waiting life away whilst attacking the TM09 issues — networks, people, and subjects.

Networked: a (networked_book) about (networked_art)

PROPOSAL :: Networked: a (networked_book) about (networked_art)

(a) Name, address, URL, email and one page CV of author.

John Hopkins

https://neoscenes.net/

John Hopkins is a networker, artist, and educator occupied across a wide swath of techno-social systems with an extensive global network presence. He is active in numerous global creative networks beginning with the Cassette Underground and the Mail Art networks in the 1980’s and merging seamlessly into the propagating telecommunications networks of the present. He has engaged in many individual and collective dialogues concerning the facilitation of collaborative creative situations, and has facilitated or participated in numerous distributed projects.

https://neoscenes.net/blog/cv-resume

(b) A 1000 word proposal that should be accompanied by an abstract of no more than 250 words and a list of keywords to indicate the subject area of the chapter. [Each of the commissioned chapters will contain text, images, videos, and/or audio.]

ABSTRACT more “Networked: a (networked_book) about (networked_art)”

thesis proposal :: Basics

Title

Sonic Presence Within The Networked Regime of Amplification

This research explores the relationship of (sonic)energy to social be-ing, technology, and the consequent possibilities for creative action.

Subject

Sound is energy, sound carries energy. Sonic energy is a product and a by-product of life. It forms one expression of organismic presence. It is one particular energized expression of our band-limited life that developed its particular characteristics through evolutionary processes. These processes are essentially structured around variations in the (spatial and temporal) concentrations and availabilities of energy. As one such expression, sound is employed as one means through which humans enhance their survivability. Amplification represents a particular model for what is essentially a life-process that operates on various energy flows, modulating their basic characteristics. How human collectives generate and interact with sonic energy governs a wide swath of their consequent techno-social interactions. This research is a distributed exploration of sound as a carrier of energy between the Self and the Other — as it is mediated through the globe-spanning network of techno-social amplification systems. Specifically, it will be a critical exploration of our contemporary techno-social terrain through the application of this model in a variety of creatively energized situations.

Outcomes

Formally, outcomes will include the dissertation, live/online performances, workshops, a blog, festival participation, and conference presentations. Through developing an energy-based model that amplification provides an armature for, it is my hope that this research will generate a powerful tool for analyzing and understanding the dynamic affects of technological systems on creative human engagement at all scales. This knowledge will be applied to facilitate actual situations for this engagement to be explored.

Keywords

amplification, sound, (sonic) energy, power, technology, techno-social systems, networks, continuum of relation, dialogue, collaboration, presence, sustainable creativity, social action, entropy, thermodynamics

thesis proposal :: Background

Background for Research

While individual human presence in this world has fundamental repercussions on be-ing, it is the ever-present and synergistic exchange between humans — forming what I call a “continuum of relation” — that governs much of life. This energetic field of human relation is sometimes fraught with difficulties and complications in spite of the rich and necessary dynamic it brings to life. Technology, as a ubiquitous factor in mediating human relation, often dominates while presented as providing the only opportunity for mediated connection and interaction between humans.

Presence, as apprehended by the Other, circumscribes a range of sensory inputs that require energy (from the Self) to stimulate and drive. The efficacy and sustainability of human connection builds on the very real and tangible transmissions and receptions of energy between the Self and the Other. An interconnected plurality of dialectic human relation may be described as a network. These networks, made up of a web of Self-Other connections form the base fabric of the continuum of relation. Technology appears in these networks as the mediating pathway that is the carrier of energy from node to node, person to person. Technological systems also appear to apply absolute restraints on and attenuation of the idiosyncratic flows inherent in that continuum of relation. The discrete objects that populate the (technological) landscape of the continuum of relation and that modulate the character of communications are literally artifacts of a materialist point of view. A primary assumption in my research is that a materialist or mechanistic view of the world no longer suffices to adequately circumscribe the phenomena occurring within the continuum of relation. more “thesis proposal :: Background”

thesis proposal :: Methodologies, Background, Timeline, Contexts

Concerning Particular Methodologies

Dialogues, Networks, and Collaboration — Much of my creative practice, research, and indeed, presence is built on the activation of robust and sustained dialogues with a wide range of Others both remote and local. These dialogues form a network. The most powerful situation I can imagine for creative research and production is an open human network. I am keen to engage on the ground with the Australian, Sydney-based, and UTS creative community. I am familiar with the milieu, having been in Sydney for six weeks in 2006 as a visiting artist at COFA, and I very much look forward to being there again. I have an extensive personal/professional network of Antipodal creatives which dates back to the early 1990s that I will be pleased to activate on a more face-to-face basis.

Distributed Performance — My own applied international research in distributed performance and tactical media over the last fifteen years is centered around synchronous live network-based social activities. Engaging a wide range of technical solutions, my work is a direct utilization of amplified digital networks as the locus for creative action. These areas of research experience include a variety of performance-based activities in theater, dance, sonic, and other expressive arts occurring in or augmented by collaborative networked situations. As a self-proclaimed networker, an area of core awareness in my research is the concept of presence — and how that human presence is directly and indirectly affected by any/all technologies that filter and attenuate that presence: how human expression across a network system is precisely formed and informed by the impression of the technologies used.
more “thesis proposal :: Methodologies, Background, Timeline, Contexts”

netart 2008 – Conch

I spaced-out posting the netarts 2008 selections last November. here’s my brief jury comments:

This year’s netart award was very difficult to close in on. The absolute volume and traffic of data on the network does not seem to be correlated to its ultimate creative vitality. Can it be that the net has reached the saturation point as a means to realize the creative potential of its creators: that the signal-to-noise ratio has reached an asymptotic limit? Or is it merely an approach to the saturation point of the haplessly consuming audience? Is the net only a flooded communications platform in service of global markets? There is perhaps no particular reason to be overly cynical, although for this tech-no-madic curator the life-changes that accompany each further implementation of technologically-mediated connection seem to lose their appeal more and more quickly. For a creative, though, the question remains — how to be evolutionary when taking on the next tool presented by the Venture Techno-capitalists. Where to find something that avoids the clichés of, for example, the ubiquitously pop Web 2.0? There are the occasionally surprising implementations of the 2.0 paradigm, but they are often revealed as the tired exercises in the viral marketing of venture capital dreams. What inspiring sources are out there in the net? Are there any? Perhaps, but only if we leave the material behind to search for the ghost in the machine.

Where is the immaterial, the trace or evidence of the metaphysical, where is it hidden in the technological network of things? Is it actually hidden at all? Or is it simply not there? Has technology, in the form of global networks, banished those inexplicable essences from itself? Technology does have its obvious formative materialized essence, as it is another thing that presents itself to us in our limited sensibilities. But in the dislocated network, far from our touch, what is the apprehended essence, that attractor that keeps us intently focused on the screen. An attractor so compelling and full of gravitas that we chose to limit any change in our point-of-view and remain instead in a motionless screen-bent gaze, in a stationary orbit?

What draws us with this gravity, what draws us into its field of action? We are fascinated by the Light, sure, but our attention is bound by the gravity. The attractor of the machine lies within itself, not within us. We orbit the gravitational center of our own creation, the dense hubris of code. Without code there is only the material gap into which falls our embodied being, levity left to airs and vapors, (hydro)carbon (a)(e)ffluence and other oxidation-reduction reactions.

The grand prize goes to a work that is elegantly inexplicable, conch by the Japanese designer Yoshiyuki Katayama. Four topical and simple interactive works explore code as a means to transform time and space into essential visual essences. We may easily orbit the code while watching its realization. And time passes. Such is life.

The runners-up all seem to find simple interactions between code and presentation, leaving some viewers to perhaps simply shrug and move on. Somehow I like to think that these projects represent a search for the network coding of the koan — the Buddhist meditative tool — where the code is an essential step on the path to enLightenment.

Cloud of Clouds by Miguel Leal and Luís Sarmento keeps the sky open for interpretation as it should be, while Ethan Ham’s work, Self Portrait, leaves the self open for interpretation. And, to disagree with the Internet, as does the Disagreeing Internet well, that leaves our orbit around the gravitas of code very much open for not only interpretation but for fundamental questioning and even outright rejection. No more passive agreement with those Venture Capitalists!

Perhaps, when the last flicker comes from the last flat screen, we will understand that code is a chant to exorcise the machine, leaving the ghost (and us!) free to move on to something else. We shall see.

John Hopkins, Prescott, Arizona, USA, 04.Nov.2008

green plodding

Berlin, Kiel, Berlin, New York. place frames time. more-or-less. and what of it? multiplicity of options and possibilities frames the next phase of movement. and it is only a matter of survival.

Miga makes a plate of pancakes. with jam from his parents garden in rural Lithuania. nice!

creative production slows to small fragments of text, some images, and some sounds. no mental space to work on the numerous proposals which hang over the head. not interested in the green consumer revolution which is leading the media art world around, tugging on gold-ringed nostrils to keep the plod in acceptable directions. as with so many times before the engagement of science by art is naive and un-productive even in the simple critical sense of raising real issues and stimulating real dialogues. disappointing.

but conversation with Udo last night around aporee maps and some ideas come up along with possible information/collaboration sources that I already have in place from older networks.

in Berlin for a day.

current Capra

Lesson #1
A living social system is a self-generating network of communications. The aliveness of an organization resides in its informal networks, or communities of practice. Bringing life into human organizations means empowering their communities of practice.

Lesson #2
You can never direct a social system; you can only disturb it. A living network chooses which disturbances to notice and how to respond. A message will get through to people in a community of practice when it is meaningful to them.

Lesson #3
The creativity and adaptability of life expresses itself through the spontaneous emergence of novelty at critical points of instability. Every human organization contains both designed and emergent structures. The challenge is to find the right balance between the creativity of emergence and the stability of design.

Lesson #4
In addition to holding a clear vision, leadership involves facilitating the emergence of novelty by building and nurturing networks of communications; creating a learning culture in which questioning is encouraged and innovation is rewarded; creating a climate of trust and mutual support; and recognizing viable novelty when it emerges, while allowing the freedom to make mistakes. — Fritjof Capra

empyre musings

John von Seggern (on empyre wireless sustainability):

I agree with you, however we shouldn’t confuse the Internet/digital networks in general with the larger techno-social system within which they exist. In point of fact, digital networks perform many tasks much more energy-efficiently than we could do without them (telecommuting vs. actual jet travel for example), so I would expect them to continue to thrive in an energy-constrained future even if many other facets of our society are radically reconfigured.

sotto voce: But in the end, that’s a little like saying how much money I will save by buying a pair of pants at 50% off the regular price. I don’t save anything, I spend money buying the pants.

The Internet as an infrastructure cannot (except theoretically) be excised from the techno-social system that it is embedded within. Energy consumption of that system rises, is rising. Web 2.0 sites brought online huge numbers of energy-consuming server farms which never existed when users did not store social networking data, for example. And the energy usage stats can’t be limited to nation-states, because it’s a global boat we are (apparently) floating in. It’s like saying the US uses far less energy making steel now than it did 50 years ago. What about how much it consumes? And where was the other steel made? The same argument was also used with digital creating “paperless” offices — track paper usage!

sotto voce: Of course, in the process of the engineered evolution of any particular device there will be optimization — that is the goal of engineering. If that wasn’t the case, our system would have never been marginally sustainable from the beginning. Extracting stats on theoretically isolated elements is not valid except for more back-slapping “we’ve done it, we’ve found a way to have and eat our cake” — and it represents no real solution. It is exactly this localized isolation of elements which allows this mentality to persist. Just as with many previous industrial advances where a resource was abundant, any negative affects of the use of that resource was able to be overlooked by the end user who was somehow isolated (usually geographically) from them. That geographic isolation is no longer possible when the effects are global. Think, on a globe there are no isolated corners to sit in anymore.

This is exactly the point that I am making — that unless people realize radical shifts in our relationship with the deep and broad techno-social infrastructure, we are not making real reductions in the overall footprint, and it is the size of the cumulative footprint that will spell the difference between sustainability or the alternative which is only dimly making itself known through the fog of naivety. (and believe me, I don’t place myself above the fray, but energy consumption and the reliance on the largely invisible functioning of that globe-spanning infrastructure is a seriously addictive way to go).

migrating reality

Miga asked if I would participate in these two projects, in the first as redactor, in the second as a presenter and as a performance artist. should be interesting. especially as it is occurring at the same time as the conference in Savannah. of necessity, I will appear in Savannah virtually, and in person here in Berlin. that’s the easiest option!

we meet down at the Galerie der Künste to scope out the situation.

Migrating is reality. Reality is migrating.

The “Migrating Reality Project” organized between 04-05 April 2008 at the Galerie der Künste in Berlin is a live platform to discuss the mixing and remixing of art forms and digital data flows within the context of the current worldwide reality of migration.

From 01 March in cooperation with the online ‘zine balsas.cc for media and technology we are initiating a focused look at the migration between reality, media, technologies, art, spaces, disciplines, politics, and networks. Migration interests us in cultural and technological aspects as well as in aspects of the movement of different objects and subjects. Balsas.cc has been publishing online in Lithuanian and English from Vilnius, Lithuania since 2005. Every fourth month it announces a new topic and as of now “Migrating Reality” is open for your interpretation.

We invite the submission of texts, sounds, and visuals (photo, video, etc) which will help us to delve deeper into the subject during the Berlin project. Balsas.cc is stimulating interest in the generation and publishing of ideas online — the most important of which will be published in the printed catalog at the end of 2008. We are looking for not only pure texts but also in migrating formats, interdisciplinary discussions, interviews, and the meetings of artists and theoreticians. Please submit texts in English, German, and Lithuanian to balsas@vilma.cc. The rolling submission and publication period is from 01 March to 01 June.

Editorial Board: Vytautas Michelkevicius, Mindaugas Gapsevicius, Zilvinas Lilas and John Hopkins

Migrating Reality

The conference and exhibition Migrating Reality is organised by >top – Verein zur Förderung kultureller Praxis e.V. in Berlin and KHM – Kunsthochschule für Medien in Köln. It is also generously supported by the Embassy of Lithuania in Germany within the framework of the German-Baltic Year 2008.

The event focuses on the Baltic nation of Lithuania. In the last fifteen years, more than ten percent of Lithuania’s population has emigrated, among them numerous individuals engaged in the cultural sector. Others, while still living in Lithuania, are deeply engaged with the subject of migration. Selected individuals from both these groups will present their work at the conference and exhibition.

Migrating Reality deals specifically with the realities of migration and migrating realities that are independent of global structural changes and economic or cultural processes and are opening unique opportunities for creative exchange.

Electronic and digital cultures generate completely new forms of migration. In the creative arts, new phenomena related to migration and the synergies of disparate systems are emerging. Artistic products evolve from traditional forms to hybrid digital forms. Analogue products are being digitized; data spaces are trans-located from one data storage system to another; existing sounds, images, and texts are re-mixed and fused into new data sets.

The emergent processes of migration generate temporary autonomous zones where socio-political actions occur without the interference of formal control mechanisms. These zones and enclaves appear in physical space as well as in virtual space. By integrating these into available structures and temporarily interconnecting them, new trajectories and ideas are created.

Migration is reality and reality is migrating. This dialectic, appearing as a banal topic in everyday politico-economic debate, includes inarticulate issues which, by their fragmented nature have to be dealt with through creative multidisciplinary means. Only occasionally do components of the migrating global situation surface in the mass media, within individual mediums of expression, or in exhibitions as documentation and artwork. This is likely because dealing with the realities of migration in an explicitly European context means accepting the potential for conflict.

This trans-cultural German-Lithuanian event will take on the risk in highlighting certain fragments of the discourse. Participants will be invited to piece together aspects of this inexorable global mobility on the one hand and of retrograde power relations on the other.

info growth

the creative use of digital networks needs to proceed with an understanding of the underlying principle of human relation as the situated potential for the real exchange of energy. I have stated this so many times, in so many variations that I’ve gotten tired of it. is it obvious? or useless?

the following from the introduction to a conference taking place in London at the London School of Economics in April. I’d like to go, but can’t afford it. no scholarships available.

Taken together, these developments establish a new socio-economic environment in which information-based operations, and information goods and services acquire crucial importance. This is clearly shown in the rapid ascent to economic dominance of internet-based companies that demonstrate superior data editing and information management strategies. New commercial possibilities steadily develop around the production, ordering and distribution of information, as data become interoperable across sources and older forms of information (e.g. image, text and sound) are brought to bear upon one another. But information growth has wider social implications as well. The involvement of information in every walk of life redefines the relationship between information and reality, and reshapes the social practices through which information is stored, retrieved, understood, disseminated and remembered. Increasingly, information mediates between humans and reality. In this context, the activities of ordering, making sense, evaluating, navigating and acting upon information step onto the centre-stage of contemporary life, impinging upon skill profiles and personal choices. They often do so under conditions in which the established boundaries between individuals and institutions are rendered shifting and negotiable. — Jannis Kallinikos and Jose-Carlos Mariategui

Michael Shanks

not sure where the link to Michael Shanks site comes up, but the syllabus for his course Ten Things is deLightful and incisive. he’s got some really interesting thoughts on the life of objects, the presence of humans, and the history of both.

If we look at processes as well as discrete objects, we can be led into a myriad of connections and trajectories. In the heterogeneous networking that is the engineering of a thing, there is no end to ramification. An artifact disperses through its scenarios, networks and genealogies of origination, manufacture, distribution, use and discard.

Interpretation, as re-articulation, can track certain affiliations or lines of connection, as I sketched with the aryballos. There is always more that remains unsaid, unacknowledged, unseen, because interpretation may not go down a particular track. This is so evident in archaeological fieldwork, or indeed in any scientific research, where there is always a choice to be made of what matters to the research interest. What is left behind, ignored or discarded is the background noise of history and experience. This is far from inconsequential. First, because something important may have been overlooked. Science constantly takes a second look at things and finds something that was missed. Second, because things stand out as significant against this background; without it there could be no story, no message, no understanding. Third, because this is the noise of the ambient everyday work that makes society what it is; it is the noise of the life of things constantly reweaving our social fabric. — Michael Shanks

I recently tracked down Andreas Voigt, a documentary film-maker who I met back in the early 1990’s at a film festival at Regnboginn in Reykjavík. He was present for the screening of his deeply moving black-and-white features made in and around Leipzig in the late 80’s and early 90’s during the early post-Cold Wars days (Letztes Jahr – Titanic and Leipzig im Herbst). He emails me that his most recent documentary, Mit Rentiernomaden über den Ural is on tonight. Christian and I watch while Steffi is out at choir practice. Very fine work.

seminar

back in a classroom. talking about data – information – knowledge – intelligence – wisdom. signal-to-noise ratios. adaptability, chain-of-command, defined functions, trend analysis, long tail, lexis-nexus, The WELL, protocols and standards, Machiavelli, Sun Tzu, social infrastructures, complexity, hierarchy, networks, order and disorder, economy of attention, business models, power, money, socially-defined exchange, globalization of culture, and so on. I am a teacher, I am only human.

netart 2007 – Feraltrade

I was a co-curator again this year for the annual netarts.org 2007 awards. it was a tough year for finding fresh takes under our call for works:

Embodied Praxis – Real Life 2.0

For those of us who use the net, watch TV or SMS friends, we find that we tend to spend a lot of our time peering into one screen or another during our waking hours. Changing images float in front of our eyes as the disruptive sounds and jingles of our prosthetic devices keep us under the spell of the network. Texts flow into focus for as long as we need to retain them, and just as effortlessly gush out again through our fingertips into the ether.

Embodied Praxis – Real Life 2.0 draws on these telematic interactions and examines how art and artists take up these strands and weave them into daily life. However, the projects showcased will not dwell on the ways in which these digital traces are drawn from our lived lives rather they will manifest how our real lives are constructed around these embedded threads; and how their telematic substance is injected into the praxis of daily life.

The projects selected (will) track those nomadic flows as they are propelled across borders and through different languages; producing scenarios – political, commercial and cultural – that net those fluctuating moments in new and distinct cultural spaces. Although we recognize that these specific moments – such as sending/receiving an SMS or a real time interaction in Second Life are primarily transitory in their essence and serve more to de-localize us in non-spaces than locate us in embodied space – we also acknowledge the ways in which these concrete threads actively constitute the social self and, by association, serve to construct the complex fabric of Real Life.

and I wasn’t consistently online to be able to focus as well as I should have, but even still there were some nice projects to be seen, and the honorable-mention list is very interesting.

Grand Prize: Feral Trade by Kate Rich https://www.feraltrade.org/

Again, a complex year for net art, looking at the divergent and still diverging fields of creative production within global networks. This year’s criteria of “Embodied Praxis” was complicated by the arrival of the much-hyped Second Life on the main-stream media stage. But material and very human networking trumped the attenuated virtuality of SL. Making a functional parody of globalized capitalism, Feral Trade seeks to stimulate a direct distribution network that follows the connections of existing social networks. It takes advantage of the un-mediated plurality of human networks and personal connections and constructs a direct affront to the anonymous standardization of global trade. It opens a small crack in the facade of globalization where autonomous collective be-ing can be activated. As a classic example of a TAZ (Temporary Autonomous Zone), I hope it takes hold to become a permanent presence that de-powers the dominant and monolithic capitalist structure. At the very least, it points out the deep lack in that structure, and this is a critical starting point for evolutionary changes in human relation.

An honorable mention went to Isabelle Jenniches for The Call:

This project emerges out of the long-term network practice of artist Isabelle Jenniches who has in the past worked in a wide variety of creative net-based activities. The particular piece, “The Call” is one of several process-oriented projects she has initiated that depend on the availability of generic user-controlled Internet web-cams. The works are constructed over a long period of time — time spent watching the selected scenario, remotely — life-time spent observing the world. Thousands of images are made during a methodological process of deep-looking through this mediated network eye. The extended seeing and repetitive digital stitching operations on the thousands of gathered images acts to frame a meditative daily routine. The cumulative practice approaches the classical Zen expression — “there is no web-cam, there is no PhotoShop, there is only the Void” — and it arises through the post-Cartesian possibilities of a commonly accessible network interface. Formally recalling David Hockney’s early Polaroid SX-70 time-space collage work, “The Call” is an intimate and intense personal vision of a scope rarely manifest in the click-through eye-candy world of the net.

University of Bremen, DE / Streaming Life: Presence in the Space of Networks :: Oct.07

Jumana Al Isawi, David Black, Martin Coors, Okwor Franklin, Martha Friederich, Johannes Huber, Gerrit Kaiser, Thanasis Kanakis, Katharina Kessler, Efi Kontogeorgou, Katja Langeland, Selin Özçelik, Jan Rosenbrock, Janos Schwellach, Arthur Sonsalla, Matthias Staniszewski, Philipp Steiner, Özlem Sulak, Paul Wichern, Kjen Wilkens, Alexander Kitov, Ivo Schüssler