Thank you all who have been contributing for this really rich and amazing thread of emails, many of which so enlightening regarding the intersection between human and technology.
I'm also looking forward to hear and follow the symposium online next week. In terms of this all networked pratice I would like to share some of the works that I've been working over the past few years that somehow try to address its potential but also reflect on the need to highlight the human factor behind it. MEDIATED REFLECTIONS <https://vimeo.com/85709282> (2014) *The digital self, or the possibility of several/multiple selves that exist on a digital sphere. Inspired by Bill Viola’s ‘The Reflecting Pool’, this work explores our own perception in this digital era of connectedness by the reflection of our own agency in the world. Directly captured on the computer desktop and edited after ‘Mediated Reflections’ is about our continuous process of mediation within and outside of the network*. LAND PROJECT <http://daniel-pinheiro.tumblr.com/LAND> (2013...) *The project focuses on exploring notions of time, space, performance and the body within the context of online communication. We investigate ideas surrounding physical versus virtual space and how the digital disembodiment can be translated into artifacts that behold an overall idea of participatory distance. The intersection of time and space is such that space seems irrelevant of time during the experience of online encounters, leading us to question, how the perception of the “other” changes, and to further exploit the experience through alternative uses of telecommunication technologies for creating a clearer sense of proximity— How can communication be altered for sensing one another? As a result of our series of encounters thus far, we have developed a practice that involves a real-time interface that uses a multiple online screen spaces where bodies connected through the internet can use a script as a direct feed for actions and interactions that include text, sound and objects. Our aim is to continue the research and propose a study to experiment with alternative uses with real time telecommunication platforms to develop online methods for creating body-based performative work. Specifically, looking at how to explore the idea of live transformation where by editing visual and audio content in real-time so that to make it visible to others through mediated spaces, and thus becoming part of the performance.* On another note: https://www.academia.edu/10029183/Electronic_Communion *Quantifiable Vs. Qualifiable.Internet has over quantified the self, transforming existence into data, increasing the multiplicity of individualities contained in each recipient of human-living-device that continuously connects and disconnects of the collective without realizing or perceiving the difference. While craving for a more direct integration and participation of the user it's not a matter of quantifying the self by the amount of data produced on the cloud, feeding the medium, but about in which quality it stands in the middle of the action. It is in that quality that the participation relies on the, already established, format that social media, and communication devices have shaped the process of relation between humans.To place the user at the center, instead of the peripheries of any performative event, is to develop an emergent venue, an emergent space for creation where artists define the situation / experiment, giving permission to the user to access it at different levels of mediation where the flow of energy and humanity overflow the medium itself and spread, triggering multiple senses in every participant. Every presence is, in its essence, mediated. Telematic performative events qualify the participants as agents in a new space for creation, where creation and development take place through the use, and for, the medium itself, combining electric and human energy into an extended audio, visual and sometimes motion based experiences monitored by pre-defined parameters of action established by the artist(s) and where the process is in fact the performance where the product is completed in the end. The output or product, the agency we can have upon it, is defined by the medium itself and. The only decision left ranges from fiction to nonfiction. Like in a site-specific production of theater, dance or performance work, the site-specific here is the medium and everyone can be invited to take part, and all are qualified as fundamental pieces along with the timeless and extended medium/site; that is contiguous across combined architectures and multiple 1's. Where 0 (zero) stands for inactive / offline / null.Qualifying every participant (technological, present in location, remote or extended) as a fundamental piece in the experiencing the extended space, beyond any physical or time barrier.* Lastly, the work of two organisations discussing and promoting the experience in the realm of networked collaboration. CultureHub (http://www.culturehub.org/) INTACT PROJECT (http://www.intact01.net/) Best! Daniel Pinheiro Daniel Pinheiro http://daniel-pinheiro.tumblr.com .:+351918814598 Skype: dapinheiro1 On Tue, Mar 24, 2015 at 12:44 PM, Randall Packer <[email protected]> wrote: > 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 <[email protected]> > Reply-To: NetBehaviour for networked distributed creativity < > [email protected]> > Date: Saturday, March 21, 2015 at 12:31 AM > To: NetBehaviour for networked distributed creativity < > [email protected]> > 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 <[email protected]> > wrote: > >> @Gregory: Stunning piece. I wonder how analog degradation and >> generational loss provides context for current glitch processes and >> “breakages” 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 -- 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 >> [email protected] >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> _______________________________________________ >> NetBehaviour mailing list >> [email protected] >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > > > > -- > ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| --- > http://paulhertz.net/ > _______________________________________________ NetBehaviour mailing list > [email protected] > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > _______________________________________________ > NetBehaviour mailing list > [email protected] > http://www.netbehaviour.org/mailman/listinfo/netbehaviour >
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