Thanks Paul for the enlightening comments on digital vs analog degeneration. I wonder how the human element plays into memory loss. It seems to me that we are increasingly uninterested in what emanates from the feed once it descends into down the page. In other words, we become fixed in the now of what has just arrived in our inbox, our Twitter feeds, Facebook, etc., all else recedes into a distant zone of forgetful abandonment. Case in point, the new social media such as Snapchat in which messages disappear within 10 seconds. And this is intentional! Memory loss an an intentional act of staying in the now.
From: Paul Hertz <igno...@gmail.com> Reply-To: NetBehaviour for networked distributed creativity <netbehaviour@netbehaviour.org> Date: Saturday, March 21, 2015 at 12:31 AM To: NetBehaviour for networked distributed creativity <netbehaviour@netbehaviour.org> Subject: Re: [NetBehaviour] On 0p3nr3p0.net -- Cable Vision Generations Glitch as an expressive trope for memory loss, in my work, see http://paulhertz.net/works/glitchez.html: "glitch as a metaphor for the processes by which we record, forget, mythologize, discard, recast, contradict and reconstruct our collective experiences in order to make some kind of sense of the world." While it's true that digital media don't undergo the same generational loss that analog media do, the networked image and networked media in general undergo transformations within the systems themselves (i.e. with no direct human agency) in resolution, dimensions, and (critically) accessibility. Servers compress media, resize it, archive it, go offline. New technologies no longer support old content. The loss of web page content is notorious for anyone looking for early net.art, for example. When we couple the issues of archiving and obsolescence with the continual repurposing of media in social networks, the potential for "generational" loss returns in full force. Edmond Couchot's concept of "immedia" (cf. http://www.olats.org/livresetudes/etudes/couchot1984.php, http://www.multimedialab.be/doc/citations/edmond_couchot_medias.pdf, in French) reimagines Claude Shannon's model for information theory as bidirectional, with the message assuming a degree of agency both as an element of an autonomous system (the network) and as a result of the sheer speed with which it is exchanged and modded (the social network). The networked immedia image becomes inherently unstable. Its instability promulgates a different species of time from that of analog media. Where analog media lost quality through linear temporal processes, digital media lose quality all-at-once, uchronically (to cite Couchot again), in multiple spaces and nodes. Sequential-access tape is emblematic of analog temporal processes, as random-access storage is of (networked) digital processes. -- Paul On Tue, Mar 17, 2015 at 6:45 PM, Randall Packer <rpac...@zakros.com> wrote: > @Gregory: Stunning piece. I wonder how analog degradation and generational > loss provides context for current glitch processes and ³breakages² that are > digital engineered. Whereas the latter do not involve generational loss, only > ways to undermine and rupture the code (which could be done sequentially), the > early analog pieces really do melt into obscurity and forgetfulness as you > poetically describe. Whereas glitch has grown out of these kinds of analog > manipulations, digital mechanisms involve an entirely different approach, > sensibility, strategy, and I am very interested if any of the "glitch artists" > on the list might be able to elaborate. Nick? Joseph? Paul? > > Randall. > > > > On 0p3nr3p0.net <http://0p3nr3p0.net> -- Cable Vision Generations > by Gregory Gutenko > > In 1974 J. J. Murphy created the minimalist/structuralist film-work Print > Generation. Cable Vision Generations applies a similar structural process to > the medium of analog videotape. The original version of Cable Vision > Generations is composed of 100 generational steps (dubs) and runs for 67 > minutes. This edited version has 24 steps which are representative of the > original's structure. The first step (of cable channel 'surfings') is a 95th > generation dub. In the middle of the program is the first generation of the > channel sequence. The last step/sequence is a 100th generation dub. Every > dubbed sequence was copied through a time base corrector, otherwise the video > signal would simply have lost sync and been unrecordable. The cable channels > were selected at random and looped to make one sequence that is copied and > recopied a generation at a time. Cable Vision Generations begins highly > degraded, loops towards its original generation, and then continues on towards > re-degeneration. As with Murphy's Print Generation, the viewer gets to > experience the loss of memory of the original generation's images and sounds, > even though they have been witnessed repeatedly. The ultimate victor is noise. > Video noise. Audio noise. The noise of forgetting. > > http://0p3nr3p0.net/piece/6c02cd45bf8ae235950b234137058b7f > _______________________________________________ NetBehaviour mailing list > NetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netb > ehaviour > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| --- http://paulhertz.net/ _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
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