Re: [NetBehaviour] I have been posting stuff like the below (2000 character limit!) to the Washington Post comments page as "LycidLies"
I think people get it Max. Haven’t you noticed the global consternation - even panic? Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 19 Nov 2016, at 05:42, Max Herman wrote: > > > People don't seem to get it yet: Trump wins by wrecking stuff to his > advantage. He's never built value, just hype, then schemed assiduously how > to benefit when things crash. So expect his entire administration to fall > into this wheelhouse. > > Sessions will be easily able to implode race relations by draconian legal > actions of neglect and provocation. Simple list: ban videotaping of cops, > use clubs and/or live ammo on the next protests of police brutality, declare > body and dash cams unconstitutional, jail BLM folks. Stop trying to put out > fires and start a few here and there. > > The basic strategic decision humanity faces is this: 2 degrees of warming > under global cooperation, or 4 degrees under racial-nationalist populism. > For the latter, we ally with Russia to control the supply of food and > weapons. Seems like the basic Flynn plan to me. > > The few remaining democracies are choosing populism, due to the anti-artistic > persuasions of Farage, LePen, Bannon, Jones, Limbaugh, and Coulter. > > Ask yourself, is there a quick-release antidote to Jones' agitating tone of > voice and facial expressions? If you agree there is not, you should view > your duty in the faith that Right makes Might to ask how you can help create > one. > > The basic answer is "Intellect Today," which helps people embody the mind of > their peaceful rational cortexes, rather than "Russia Today," which activates > people as bots run by the racial-nationalist propaganda driving their > amygdalas. (Viewed under the time pressures of Super AI and climate > collapse, biblical apocalypse is the only reasonable artistic reference > point.) > > The other possibility is that Trump is just trying to threaten 4 degrees to > get the upper hand in negotiations, then impose rules to achieve 2 degrees on > a less cooperative basis. Moves suggesting that could also be cover for the > real plan to go to 4 degrees. Likely he is keeping both options open. > > Key mission: peaceful protest art and satire. Intellect Today! :) > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Turbulence to end
I saw a tweet from Turbulence mentioning something about Cornell. Could be that they will archive it with the Rose Goldsen Archive at the Cornell University library. Would make sense - they already have extensive media arts holdings. best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 8 May 2016, at 12:25, John Hopkins wrote: > > On 07/May/16 18:23, giselle beiguelman wrote: >> one more chapter of net art 1.0 blowing in the wind. >> things like that convince me that is urgent to write the history of net art >> before the 2.0 hype. > > Nah, don't reify that which cannot be re-presented. Leave the net to its > vaporous, unstable, transient, and vital be-ing... Best to have the traces of > human networks left only in the body... and this too shall pass away... > > jh > > otoh: I wonder if they will archive the web site somewhere? have to contact > Helen about that... > > -- > ++ > Dr. John Hopkins, BSc, MFA, PhD > grounded on a granite batholith > twitter: @neoscenes > http://tech-no-mad.net/blog/ > ++ > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Turbulence to end
This is a pity. They supported a lot of really interesting artists - indeed, helped identify a community of practitioners and establish the field. best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 8 May 2016, at 04:34, Pall Thayer wrote: > > Just received notice that http://turbulence.org <http://turbulence.org/> is > shutting down at the end of this year. They've been huge supporters of netart > over the years. Sad to see them go. > > Pall > -- > P Thayer, Artist > http://pallthayer.dyndns.org > <http://pallthayer.dyndns.org/>___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] email about "prevent"
Hi Michael You have my support. I don’t agree with bull fighting. I think it a sport that victimises animals that have no say in their involvement. However, I’ve always found the bull fighter’s tactics educational. You study your foe and seek to understand what it is they are going to target. You then provide that target, in a manner where they unknowingly put themselves in your control. Such tactics mean you don’t confront your foe directly but do so with smoke and mirrors (to mix my metaphors). Such a tactical approach leaves your foe vulnerable and if something goes wrong (from your point of view) confused as to where the attack came from and where to turn to next. It is both an offensive and defensive manoeuvre. Lawyers are expert at this kind of thing (my brother is a lawyer). best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 1 May 2016, at 16:58, Michael Szpakowski wrote: > > Simon -this is a very useful summary of the prevent shenanigans and of the > Australian situation too. > The only thing that I would take issue with is your final paragraph. I'm 59 . > I've been an activist all my life. My experience is that the more publicly > and noisily you stand up for yourself and for what is right the less likely > you are to be victimised. > I'm completely conscious of the risks I run and accept them willingly. I have > been in touch with the UCU to request representation but when it comes down > to it the question for me is can I live with myself if I accept what is going > on and the answer, for me, is no. > Therefore if I go I intend to go kicking and screaming and making as much > noise as possible. > On the other hand if they back down it is a victory for defiance and for the > campaign against racism and in particular against the vile "Prevent" strategy. > Again I would ask anyone reading this to please circulate as widely as > possible -e mail, word of mouth, Twitter, FB my original letter: > https://www.flickr.com/photos/szpako/26601297832/in/dateposted/ > <https://www.flickr.com/photos/szpako/26601297832/in/dateposted/> > > and the info that I face possible ( possible, it's possible HR and senior > management would just like some quality time and a cup of tea with me) action > over it. > Simon - you might have reservations about my tactics and I respect that but > you clearly have a firm grasp of the issues and I ask for your support. > best wishes > michael > > > > > From: Simon Biggs > To: NetBehaviour for networked distributed creativity > > Sent: Sunday, May 1, 2016 2:26 AM > Subject: Re: [NetBehaviour] email about "prevent" > > I worked at Edinburgh University until 2014. All staff were required to > report, under the Prevent program, any signs of radicalisation. Of course > nobody ever did. However, there was a well publicised case at Nottingham > University a few years ago when a PhD student borrowed a book on Al Qaeda > training and recruitment as part of his research. He was reported and > arrested, along with his supervisor. He was held under terror laws for 6 days > before the charges were dismissed. > https://www.timeshighereducation.com/news/nottingham-scholar-held-for-6-days-under-anti-terror-law/402188.article > > <https://www.timeshighereducation.com/news/nottingham-scholar-held-for-6-days-under-anti-terror-law/402188.article> > > At Edinburgh, as everywhere else in the UK, all staff are required to report > if their non-EU students have not be sighted for a period of time. In some > institutions this is as little as two hours. At Edinburgh half a day was > given as guidance. This requirement is part of the UKs visa laws for non-EU > visitors on certain visas, including students. Students who are reported as > missing (after even two hours) will be reprimanded by both the institution > and the UK border police. If the student repeats the behaviour they can be > deported or arrested and charged under the provisions of the law. Any staff > member who fails to report a missing student can also be arrested and charged > under the provisions of the law. > > I’m now working in Australia where no such laws exist. Australia has more > insidious laws, such as those affecting asylum seekers who do not arrive > through official routes (eg: governmental programs). Such refugees are > arrested as illegal migrants and subsequently incarcerated indefinitely > without trial in off-shore holding (prison) camps in places like Manus (a > small island near New Guinea) and Nauru (a small Pa
Re: [NetBehaviour] email about "prevent"
I worked at Edinburgh University until 2014. All staff were required to report, under the Prevent program, any signs of radicalisation. Of course nobody ever did. However, there was a well publicised case at Nottingham University a few years ago when a PhD student borrowed a book on Al Qaeda training and recruitment as part of his research. He was reported and arrested, along with his supervisor. He was held under terror laws for 6 days before the charges were dismissed. https://www.timeshighereducation.com/news/nottingham-scholar-held-for-6-days-under-anti-terror-law/402188.article <https://www.timeshighereducation.com/news/nottingham-scholar-held-for-6-days-under-anti-terror-law/402188.article> At Edinburgh, as everywhere else in the UK, all staff are required to report if their non-EU students have not be sighted for a period of time. In some institutions this is as little as two hours. At Edinburgh half a day was given as guidance. This requirement is part of the UKs visa laws for non-EU visitors on certain visas, including students. Students who are reported as missing (after even two hours) will be reprimanded by both the institution and the UK border police. If the student repeats the behaviour they can be deported or arrested and charged under the provisions of the law. Any staff member who fails to report a missing student can also be arrested and charged under the provisions of the law. I’m now working in Australia where no such laws exist. Australia has more insidious laws, such as those affecting asylum seekers who do not arrive through official routes (eg: governmental programs). Such refugees are arrested as illegal migrants and subsequently incarcerated indefinitely without trial in off-shore holding (prison) camps in places like Manus (a small island near New Guinea) and Nauru (a small Pacific island nation of dubious governance). Recently the PNG High Court declared Manus illegal under the PNG constitution and the government has ordered it closed. This leaves the Australian government in a quandary as to what to do with the incarcerated. It’s good to watch them squirm - but they will simply legislate the problem away. On TV here there are also advertisements telling people to watch out for suspicious behaviour and to report it to police. The ads show a person at a bus stop seeing a man with a bag with loose money in it and another of a middle-eastern looking man looking at a terror related web-page on his laptop in a cafe. No racial profiling there then… Michael needs to be careful. His college will probably, like most, have a clause in his employment contract stating that if he brings the institution into disrepute he can be disciplined and fired. Bringing this issue into the public would fit under such a clause. There is no legal framework in the UK for free speech, nor for academics. If I was Michael I would already have hired a lawyer, partly to defend myself but mainly for advice. He’s on thin ice... best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 1 May 2016, at 05:02, Johannes Birringer > wrote: > > dear all > never heard of it. when doing some fact checking, 'prevent' seems to have > been a government counter terrorist initiative, > for the past ten years, not entirely successful I read. But in the arts and > educational arenas where I work, it's not a factor nor has anyone > ever approached me to do any such reporting on any 'signs of radicalization' > ; our duties as tutors are educational and pastoral in the sense of caring > for the > well being and creative and intellectual growth of our students (and an > anti-muslim policy, that you discern, Michael, > would be completely unsupportable and unsupported at my school). > respectfully, Johannes > > > From: Alan Sondheim > To: NetBehaviour for networked distributed creativity > > Sent: Saturday, April 30, 2016 5:03 PM > Subject: Re: [NetBehaviour] email about "prevent" > > from what I gather, I agree; can you say more, for the non-British on the > list, exactly what Prevent is? racial profiling in schools? > > thanks, Alan > > On Sat, 30 Apr 2016, ruth catlow wrote: > >> Hi Michael, >> I appreciate your response to this process, and for highlighting so clearly >> what is at stake. I no longer hold a permanent post in a Higher Education >> institution but have been shocked to read in the press, and to hear from >> those of my peers who do, about increasing pressure to monitor and report >> (and so impinge on the freedom of expression of) learners. This is part of a >> wider th
Re: [NetBehaviour] Accelerationism
In response to Erik’s posting - this actually sounds as if Accelerationism is a moralist project, at least here: "a weird utopia of everyone [snip] being in the conversation and allowing that broader counterpoint to qualify and correct expert views”. This is why advisory committees are often composed of not only experts but others, like priests or lay people, who are expected to be the moral conscience in the process of deliberation. This is SOP. Where's the novelty in the argument? best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 30 Apr 2016, at 10:07, erik zepka wrote: > > I want to reply to this and Gretta's message that preceded it in a manner > that mediates the two perspectives. In this way, perhaps we could talk about > something like a dilettante accelerationism, but I will look a little outside > this to what I might term a genealogy of the accelerationist, that flavours > particular types of epistemology, to arrive at a kind of dilettante scientist. > > What is a genealogy of accelerationism? Foucault might have it that in > knowing the preconditions of a given episteme, we could talk about its > discourses (like this one) and how, instead of being a question of what you > know about a given topic it concerns why this topic tends to envelop > sociological possibility - not epistemology but a set of discourses that > prenecessitate a given epistemology.Knowing technology, technology and > knowing, technocapitalism and the saturation of objects to the point of a > sociological inability to not be concerned with it. I'm often struck with > how an author like Ben Noys - a card-carrying anti-accelerationist - for me > touches on so many of the same issues that I find timely about > accelerationism. It's possible that a proper genealogy is done when an > opinion and its disagreement yield the same contextual description - that is, > oppose it or agree with it, you are admitting the same preconditions (or in a > scientific or logical format, axioms and assumptions). > > Rob made the point that critics of accelerationism often call for > accelerationism - from a perspective interested in genealogical axioms, we > might say they are arguing from the same point (and are sociologically > predisposed to the same circumstances etc). Not only does this say that the > perspectives are generic, but it says that they are conditioned forms of > knowledge. That is, to highlight the knowledge-forms that are > accelerationist ones, vs ones that might relatively escape that episteme. To > contrast this with what Williams > (http://www.e-flux.com/journal/escape-velocities/ > <http://www.e-flux.com/journal/escape-velocities/>) terms Negarestani's and > Brassier's "epistemic accelerationism", there the idea is in "maximizing > rational capacity", or advocating a type of knowledge based on > accelerationist precepts, whereas here there is an epistemic foregrounding of > any accelerationist-oriented rationalism or knowledge-system whatever (which > no doubt will overlap in its instances). What they have in common is the > exploration of an epistemic mirroring of acceleration (vs say an economic > one) which makes my basic point here similarly. > > So then what is epistemic acceleration in the context of genealogy? It is > arguably precisely the dilettantism that constitutes generic perspectives. > If genealogy argues from a common grounding out of which particular > perspectives may arise, then dilettantism speaks to that genericness in > contrast to the expertise that would form particular branches of knowledge. > In this way the preconditions of acceleration, an ungrounding of its > territory, leads us to the amateur's world of non-expertise, and that > compatibility might suggest a fruitful coalition between the perspectives. > And in a particular point, I think what a dilettantist epistemologist might > say to the increased danger of their knowing of another's field like biology, > is that perhaps their general transdisciplinary perspective is a better > categorical context from which to understand the subject - that is, I agree > that no one fully understands a given area of say environmental chemistry and > that people need to work to do so, the question is what kind of work, from > what perspective and by whom. > > While the institutional chemist may have greater particular knowledge but > lose ideas outside the delimited precision of a research scope, the amateur > may have a broad, spotty and supe
Re: [NetBehaviour] Asteroid Mining For UBI
Why should we assume that asteroids are ours to exploit (or the oil in Alaska, for that matter)? best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 27 Apr 2016, at 14:09, Rob Myers wrote: > > I'm not back just yet but - > > https://theconversation.com/all-of-humanity-should-share-in-the-space-mining-boom-57740 > > "One solitary asteroid might be worth trillions of dollars in platinum > and other metals. Exploiting these resources could lead to a global boom > in wealth, which could raise living standards worldwide and potentially > benefit all of humanity." > > Accelerate! > > "However, behind the utopian rhetoric and dazzling dreams of riches lie > some very real problems." > > Screech! > > "There is a balanced, pragmatic approach that will promote commercial > and profit driven activities, while also producing tangible benefits to > all of humanity. > > Importantly, this pragmatic approach has a well established precedent > that has existed for nearly 40 years. And this comes not from a social > democracy or left-wing ideology, but was the brainchild of a > libertarian, Republican governor of Alaska, Jay Hammond. > > That model is the Alaska Permanent Fund Corporation (APFC) created in > 1976, and its unique “citizen’s dividend”. The APF is a resource wealth > fund, which derives its revenue primarily from leases on oil fields." > > Vrooom! > > Universal Basic Income, so named because it's based on income from the > universe? ;-) > > - Rob. > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Accelerationism
I elaborated in a previous post. Manifesto’s are rarely discursive and I don’t really see why they require such a response. best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 25 Apr 2016, at 12:02, BishopZ wrote: > > "The soul of wit, is the very body of untruth." -Aldous Huxley > > So sharp? So definitive? Is there not room for debate? > at least can you e-lab-or-ate? > Bz > > On Sun, Apr 24, 2016 at 6:15 PM, Simon Biggs <mailto:si...@littlepig.org.uk>> wrote: > Nope - don’t buy it. Quackery… > > best > > Simon > > > Simon Biggs > si...@littlepig.org.uk <mailto:si...@littlepig.org.uk> > http://www.littlepig.org.uk <http://www.littlepig.org.uk/> > http://amazon.com/author/simonbiggs <http://amazon.com/author/simonbiggs> > http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs > <http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs> > http://www.eca.ed.ac.uk/school-of-art/simon-biggs > <http://www.eca.ed.ac.uk/school-of-art/simon-biggs> > > > >> On 25 Apr 2016, at 03:36, Pall Thayer > <mailto:pallt...@gmail.com>> wrote: >> >> From Manifesto for an Accelerationist Politics >> (http://criticallegalthinking.com/2013/05/14/accelerate-manifesto-for-an-accelerationist-politics/ >> >> <http://criticallegalthinking.com/2013/05/14/accelerate-manifesto-for-an-accelerationist-politics/>): >> >> "21. We declare that only a Promethean politics of maximal mastery over >> society and its environment is capable of either dealing with global >> problems or achieving victory over capital. This mastery must be >> distinguished from that beloved of thinkers of the original Enlightenment. >> The clockwork universe of Laplace, so easily mastered given sufficient >> information, is long gone from the agenda of serious scientific >> understanding. But this is not to align ourselves with the tired residue of >> postmodernity, decrying mastery as proto-fascistic or authority as innately >> illegitimate. Instead we propose that the problems besetting our planet and >> our species oblige us to refurbish mastery in a newly complex guise; whilst >> we cannot predict the precise result of our actions, we can determine >> probabilistically likely ranges of outcomes. What must be coupled to such >> complex systems analysis is a new form of action: improvisatory and capable >> of executing a design through a practice which works with the contingencies >> it discovers only in the course of its acting, in a politics of geosocial >> artistry and cunning rationality. A form of abductive experimentation that >> seeks the best means to act in a complex world." >> >> On Sun, Apr 24, 2016 at 1:22 PM Alan Sondheim > <mailto:sondh...@panix.com>> wrote: >> >> >> Can you say more? >> >> On Sun, 24 Apr 2016, Pall Thayer wrote: >> >> > Alan: But isn't that the whole idea behind left-acceleration? >> > >> > On Sun, Apr 24, 2016 at 9:46 AM Alan Sondheim > > <mailto:sondh...@panix.com>> wrote: >> > >> > I agree and the problem precisely is acceleration; the biosphere >> > doesn't >> > adapt well to accelerated change, as the plights of sealions, >> > walrus, >> > migrant birds, ocean lives, indicate. If anything, a form of >> > holding-back, >> > learning to listen, listening, is necessary. The fundamental >> > problem I >> > think is that we're blind when it comes to ecosystems, energy, >> > micro- >> > biomes, and so forth. The fundamentals of mycology are being >> > rewritten as >> > we discuss, and what's emerging are whole universes of >> > ignorance. >> > Meanwhile we plow ahead, destroying the planet. It seems to me >> > that >> > accelerationism is so fundamentally human-based (perhaps >> > man-based for all >> > that), that it really overlooks collateral damage. And what do >> > we do, for >> > example, with the increasingly violent drought in the Mid-East >> > which is >> > exacerbating warfares and genocides? This needs slow, dirty work >> > to deal >> > with it, culture theory which listen
Re: [NetBehaviour] Accelerationism
Nope - don’t buy it. Quackery… best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 25 Apr 2016, at 03:36, Pall Thayer wrote: > > From Manifesto for an Accelerationist Politics > (http://criticallegalthinking.com/2013/05/14/accelerate-manifesto-for-an-accelerationist-politics/ > > <http://criticallegalthinking.com/2013/05/14/accelerate-manifesto-for-an-accelerationist-politics/>): > > "21. We declare that only a Promethean politics of maximal mastery over > society and its environment is capable of either dealing with global problems > or achieving victory over capital. This mastery must be distinguished from > that beloved of thinkers of the original Enlightenment. The clockwork > universe of Laplace, so easily mastered given sufficient information, is long > gone from the agenda of serious scientific understanding. But this is not to > align ourselves with the tired residue of postmodernity, decrying mastery as > proto-fascistic or authority as innately illegitimate. Instead we propose > that the problems besetting our planet and our species oblige us to refurbish > mastery in a newly complex guise; whilst we cannot predict the precise result > of our actions, we can determine probabilistically likely ranges of outcomes. > What must be coupled to such complex systems analysis is a new form of > action: improvisatory and capable of executing a design through a practice > which works with the contingencies it discovers only in the course of its > acting, in a politics of geosocial artistry and cunning rationality. A form > of abductive experimentation that seeks the best means to act in a complex > world." > > On Sun, Apr 24, 2016 at 1:22 PM Alan Sondheim <mailto:sondh...@panix.com>> wrote: > > > Can you say more? > > On Sun, 24 Apr 2016, Pall Thayer wrote: > > > Alan: But isn't that the whole idea behind left-acceleration? > > > > On Sun, Apr 24, 2016 at 9:46 AM Alan Sondheim > <mailto:sondh...@panix.com>> wrote: > > > > I agree and the problem precisely is acceleration; the biosphere > > doesn't > > adapt well to accelerated change, as the plights of sealions, > > walrus, > > migrant birds, ocean lives, indicate. If anything, a form of > > holding-back, > > learning to listen, listening, is necessary. The fundamental > > problem I > > think is that we're blind when it comes to ecosystems, energy, > > micro- > > biomes, and so forth. The fundamentals of mycology are being > > rewritten as > > we discuss, and what's emerging are whole universes of > > ignorance. > > Meanwhile we plow ahead, destroying the planet. It seems to me > > that > > accelerationism is so fundamentally human-based (perhaps > > man-based for all > > that), that it really overlooks collateral damage. And what do > > we do, for > > example, with the increasingly violent drought in the Mid-East > > which is > > exacerbating warfares and genocides? This needs slow, dirty work > > to deal > > with it, culture theory which listens, not only to humans, but > > to life and > > lives everywhere - > > > > Alan > > > > > > On Sun, 24 Apr 2016, ruth catlow wrote: > > > > > Yes Michael, and this is profoundly poetic. > > > > > > All human traditions, values and communities are dissolved in > > an acid bath > > > of everlasting agitation and uncertainty. > > > > > > What this passage does not describe though is a situation > > where the wider > > > ecologies of non-human planetary life, upon which we depend, > > are also > > > fatally eroded. > > > We need to sense and engage not just the real relations with > > "our kind" > > > (expanded to engage people and perspectives of all kinds (YES > > Gretta!)), but > > > beyond, with other species, and materials. > > > > > > This must include a correction to systems of dominance - to > > which Simon > > > points with his example of improper use of neuro-science to > > validate the > > > 'use' of humans. > > > >
Re: [NetBehaviour] Accelerationism
I agree with Alan. The human species has evolved to the point where it is no longer adapted to its environment. Humans now seek to adapt the environment to the species. That is not working. If the human species was to become extinct today that would be the best thing that could happen to the planet (putting aside the power-plant melt-downs, dam breaches and chemical disasters that would be the consequence of lack of infrastructural maintenance). But it will take us longer to go extinct than that… biology is not as slow as geology, but it is slow compared to human history. We will devolve. The current migration crisis is a phenomena of devolution, as the species panics in the face of the ecological destruction it has wrought. best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 25 Apr 2016, at 02:51, Alan Sondheim wrote: > > > You know well that the diff. between this and the Perm. for example is this > is the result of a particular species running amuck. And with 40-50 % of > ocean life scheduled to disappear, etc. as a result of climate, > microspherules, etc., the situation is a mess. Yes, there will be something > afterwords. But we're slaughterers trashing the planet, and for me that's > unacceptable. > > - Alan > > On Sun, 24 Apr 2016, John Hopkins wrote: > >>> learning to listen, listening, is necessary. The fundamental problem I >>>> think is that we're blind when it comes to ecosystems, energy, micro- >>>> biomes, and so forth. The fundamentals of mycology are being rewritten as >>>> we discuss, and what's emerging are whole universes of ignorance. >>>> Meanwhile we plow ahead, destroying the planet. It seems to me that >>>> accelerationism is so fundamentally human-based (perhaps man-based for all >>>> that), that it really overlooks collateral damage. And what do we do, for >> >> Acceleration, in mechanical physics, is the result of the application of >> directed (vector) energy to a body. It is a quantity -- >> meters-per-second-per-second (how fast am I going faster!) -- that results >> in ever-increasing velocity -- meters-per-second (how fast am I going?). >> Acceleration cannot occur without an ever-increasing energy input to the >> system. Velocity can be maintained with a steady-state energy input. Stasis, >> death, requires no energy input. >> >> In a system with finite energy, acceleration has a limit, as does velocity. >> >> We are not destroying the planet, we are temporarily altering the local >> energy balance. We are merely another expression of Life on the planet. >> Doing its thing. Pulsing, expanding temporarily. >> >> Acceleration occurs in the presence of locally excessive eneergy. This is >> demonstrated at many scales in living systems where there is an energy >> excess. When that energy is entropically dispersed through a combination of >> expansion/growth, it slows down... >> >> Pulsing (temporal, spatial) is a regular feature in bio-systems. >> >> When we fixate on particular material manifestations of Life (as in a >> particular species), we miss the fact that Life is a continuous feature of >> the planet, and will continue long after we are gone *no matter what we do*. >> In my mind, the fixation on the material is what brings us to the hubris of >> the Anthropocene. Which, okay, plutonium makes a fine geo-marker. But what >> about the traces of Life from the Late Carboniferous? Talk about geo-marker, >> and Life leaving traces! The huge Applachian coal beds are the remains of >> Life at that time -- accelerated based on temperate climates (Appalachia was >> at the Equator), and abundant energy sources. And it altered the chemistry >> of the planet... >> >> So it goes. >> >> jh >> >> PS -- as for all the preparatory conceptualizing on the word >> 'accelerationism' -- it seems mostly to be a symbolic discussion that has >> little to do with the real world except as simply another 'ism' to be >> discussed ad infinitum. if it cannot be connected to the real world, what's >> the point? Maybe we need to calculate how much carbon is emitted from 'The >> Cloud' each time we email the word. >> >> PPS -- I heartily support the concept of listening in any and all contexts. >> It has the effect of healing many problems! >> -- >>
Re: [NetBehaviour] Accelerationism
This quote from Marx and Engels certainly describes current management practices. I have experience of management workshops where the socially and psychologically disruptive methods outlined in the quote below are promoted and explicitly employed. The aim is to keep workers on their toes - constantly off balance, not certain where next they will be required to jump. It’s quite nasty and all done in the name of economic efficiency. The workers are considered as a raw resource, that can be made redundant if they don’t do what is required of them, whether they are an administrator, researcher or Professor. It is pure McKinsey poison and they predicate it on pseudo-science - which makes it even worse because the theory is so flakey. The latest wheeze is to employ neuro-science to validate their practices. Foucault would role in his grave - but I imagine he would also role in his grave if he read the Accelerationist Manifesto. I’ve not read it, but the quote Ruth gave from Gottlieb’s review makes it sound like the other side of the same coin as McKinsey. It is also promoting normative values, just with a different character. I’m pretty sure I’m not an Accelerationist (or that I consciously subscribe to any other ism). best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 24 Apr 2016, at 01:08, Michael Szpakowski wrote: > > Marx & Engels on accelerationism in 1848: > "The bourgeoisie cannot exist without constantly revolutionising the > instruments of production, and thereby the relations of production, and with > them the whole relations of society. Conservation of the old modes of > production in unaltered form, was, on the contrary, the first condition of > existence for all earlier industrial classes. Constant revolutionising of > production, uninterrupted disturbance of all social conditions, everlasting > uncertainty and agitation distinguish the bourgeois epoch from all earlier > ones. All fixed, fast-frozen relations, with their train of ancient and > venerable prejudices and opinions, are swept away, all new-formed ones become > antiquated before they can ossify. All that is solid melts into air, all that > is holy is profaned, and man is at last compelled to face with sober senses > his real conditions of life, and his relations with his kind." <> >This does the *descriptive* job as well as anything written since and it > still stands perfectly well... > Sent from my iPhone > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] My name is [Your Name Here] and I am an Accelerationist
There is evidence of prior glacial activity in the region but the landscape around our property has been too eroded since the last ice age for it to show that much. The landscape is extremely folded - so in that sense there is a D&G quality. best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 22 Apr 2016, at 11:27, Pall Thayer wrote: > > Doesn't seem to be a lot of Dolce and Gabb... I mean Deleuze and Guattari > striation going on there. > > On Thu, Apr 21, 2016 at 8:27 PM Simon Biggs <mailto:si...@littlepig.org.uk>> wrote: > The Adelaide Hills aren’t much like Iceland… > > https://en.wikipedia.org/wiki/Cherryville,_South_Australia > <https://en.wikipedia.org/wiki/Cherryville,_South_Australia> > > best > > Simon > > > Simon Biggs > si...@littlepig.org.uk <mailto:si...@littlepig.org.uk> > http://www.littlepig.org.uk <http://www.littlepig.org.uk/> > http://amazon.com/author/simonbiggs <http://amazon.com/author/simonbiggs> > http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs > <http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs> > http://www.eca.ed.ac.uk/school-of-art/simon-biggs > <http://www.eca.ed.ac.uk/school-of-art/simon-biggs> > > > > > > > >> On 22 Apr 2016, at 08:46, Pall Thayer > <mailto:pallt...@gmail.com>> wrote: >> >> In Iceland, we have plants that we call "peningablóm" (moneyflowers). Maybe >> that would work... >> https://www.google.com/search?q=peningabl%C3%B3m&client=ms-android-google&prmd=mivn&tbm=isch&tbo=u&source=univ&fir=BoLzPM6yCZYzmM%253A%252CO4-EINlQmWn-lM%252C_%253B169047Z1P1krYM%253A%252CDfvXgtm3vtm8FM%252C_%253BetsLnp62ayiF2M%253A%252CtCJ-x7uP2jqqUM%252C_%253BmN8OivGCgz7l6M%253A%252CixtNDhiNIm_99M%252C_%253B41MjeO36AoMuUM%253A%252CT_6pGGsog_UPOM%252C_%253BbNLJykJh5aUD3M%253A%252Ce55hMwGN7a73jM%252C_%253BGMihfDfR8yV8QM%253A%252CNBKZCuCfFWNZ5M%252C_%253Bg_y37WtJA09dFM%253A%252CN1oS9lNgY1YUmM%252C_%253Bk2cKRFYb1pEYqM%253A%252Cc8cJ8f5R9M1xqM%252C_%253BUm7bQ1XFeIylZM%253A%252CN1oS9lNgY1YUmM%252C_&usg=__XDkhUg9a_CokXUFIwMhadO_96Q0%3D&sa=X&ved=0ahUKEwiY25_97aDMAhUMIcAKHcpgCscQsAQIHg&biw=592&bih=280 >> >> <https://www.google.com/search?q=peningabl%C3%B3m&client=ms-android-google&prmd=mivn&tbm=isch&tbo=u&source=univ&fir=BoLzPM6yCZYzmM%253A%252CO4-EINlQmWn-lM%252C_%253B169047Z1P1krYM%253A%252CDfvXgtm3vtm8FM%252C_%253BetsLnp62ayiF2M%253A%252CtCJ-x7uP2jqqUM%252C_%253BmN8OivGCgz7l6M%253A%252CixtNDhiNIm_99M%252C_%253B41MjeO36AoMuUM%253A%252CT_6pGGsog_UPOM%252C_%253BbNLJykJh5aUD3M%253A%252Ce55hMwGN7a73jM%252C_%253BGMihfDfR8yV8QM%253A%252CNBKZCuCfFWNZ5M%252C_%253Bg_y37WtJA09dFM%253A%252CN1oS9lNgY1YUmM%252C_%253Bk2cKRFYb1pEYqM%253A%252Cc8cJ8f5R9M1xqM%252C_%253BUm7bQ1XFeIylZM%253A%252CN1oS9lNgY1YUmM%252C_&usg=__XDkhUg9a_CokXUFIwMhadO_96Q0%3D&sa=X&ved=0ahUKEwiY25_97aDMAhUMIcAKHcpgCscQsAQIHg&biw=592&bih=280> >> On Thu, Apr 21, 2016, 19:13 Simon Biggs > <mailto:si...@littlepig.org.uk>> wrote: >> We’re revegetating it with local flora. There’s a lot of ornithological >> commerce... >> >> best >> >> Simon >> >> >> Simon Biggs >> si...@littlepig.org.uk <mailto:si...@littlepig.org.uk> >> http://www.littlepig.org.uk <http://www.littlepig.org.uk/> >> http://amazon.com/author/simonbiggs <http://amazon.com/author/simonbiggs> >> http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs >> <http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs> >> http://www.eca.ed.ac.uk/school-of-art/simon-biggs >> <http://www.eca.ed.ac.uk/school-of-art/simon-biggs> >> >> >> >> >> >> >> >>> On 22 Apr 2016, at 08:16, Pall Thayer >> <mailto:pallt...@gmail.com>> wrote: >>> >>> ...Unless you decide to turn your parcel of land into a bustling center of >>> commerce. >>> >>> >>> On Thu, Apr 21, 2016, 18:41 Simon Biggs >> <mailto:si...@littlepig.org.uk>> wrote: >>> We (my family and I) did grab what we can and head for the hills. >>> Literally. We now live high up in the hills in an obscure and hard to find >>> place a reasonably safe distance from where other people live about as far >>> from the cradle of Western civilisation one can be (Australia). We are >>> surrounded by a parcel of land that is ours and functi
Re: [NetBehaviour] My name is [Your Name Here] and I am an Accelerationist
The Adelaide Hills aren’t much like Iceland… https://en.wikipedia.org/wiki/Cherryville,_South_Australia best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 22 Apr 2016, at 08:46, Pall Thayer wrote: > > In Iceland, we have plants that we call "peningablóm" (moneyflowers). Maybe > that would work... > https://www.google.com/search?q=peningabl%C3%B3m&client=ms-android-google&prmd=mivn&tbm=isch&tbo=u&source=univ&fir=BoLzPM6yCZYzmM%253A%252CO4-EINlQmWn-lM%252C_%253B169047Z1P1krYM%253A%252CDfvXgtm3vtm8FM%252C_%253BetsLnp62ayiF2M%253A%252CtCJ-x7uP2jqqUM%252C_%253BmN8OivGCgz7l6M%253A%252CixtNDhiNIm_99M%252C_%253B41MjeO36AoMuUM%253A%252CT_6pGGsog_UPOM%252C_%253BbNLJykJh5aUD3M%253A%252Ce55hMwGN7a73jM%252C_%253BGMihfDfR8yV8QM%253A%252CNBKZCuCfFWNZ5M%252C_%253Bg_y37WtJA09dFM%253A%252CN1oS9lNgY1YUmM%252C_%253Bk2cKRFYb1pEYqM%253A%252Cc8cJ8f5R9M1xqM%252C_%253BUm7bQ1XFeIylZM%253A%252CN1oS9lNgY1YUmM%252C_&usg=__XDkhUg9a_CokXUFIwMhadO_96Q0%3D&sa=X&ved=0ahUKEwiY25_97aDMAhUMIcAKHcpgCscQsAQIHg&biw=592&bih=280 > > <https://www.google.com/search?q=peningabl%C3%B3m&client=ms-android-google&prmd=mivn&tbm=isch&tbo=u&source=univ&fir=BoLzPM6yCZYzmM%253A%252CO4-EINlQmWn-lM%252C_%253B169047Z1P1krYM%253A%252CDfvXgtm3vtm8FM%252C_%253BetsLnp62ayiF2M%253A%252CtCJ-x7uP2jqqUM%252C_%253BmN8OivGCgz7l6M%253A%252CixtNDhiNIm_99M%252C_%253B41MjeO36AoMuUM%253A%252CT_6pGGsog_UPOM%252C_%253BbNLJykJh5aUD3M%253A%252Ce55hMwGN7a73jM%252C_%253BGMihfDfR8yV8QM%253A%252CNBKZCuCfFWNZ5M%252C_%253Bg_y37WtJA09dFM%253A%252CN1oS9lNgY1YUmM%252C_%253Bk2cKRFYb1pEYqM%253A%252Cc8cJ8f5R9M1xqM%252C_%253BUm7bQ1XFeIylZM%253A%252CN1oS9lNgY1YUmM%252C_&usg=__XDkhUg9a_CokXUFIwMhadO_96Q0%3D&sa=X&ved=0ahUKEwiY25_97aDMAhUMIcAKHcpgCscQsAQIHg&biw=592&bih=280> > On Thu, Apr 21, 2016, 19:13 Simon Biggs <mailto:si...@littlepig.org.uk>> wrote: > We’re revegetating it with local flora. There’s a lot of ornithological > commerce... > > best > > Simon > > > Simon Biggs > si...@littlepig.org.uk <mailto:si...@littlepig.org.uk> > http://www.littlepig.org.uk <http://www.littlepig.org.uk/> > http://amazon.com/author/simonbiggs <http://amazon.com/author/simonbiggs> > http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs > <http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs> > http://www.eca.ed.ac.uk/school-of-art/simon-biggs > <http://www.eca.ed.ac.uk/school-of-art/simon-biggs> > > > > > > > >> On 22 Apr 2016, at 08:16, Pall Thayer > <mailto:pallt...@gmail.com>> wrote: >> >> ...Unless you decide to turn your parcel of land into a bustling center of >> commerce. >> >> >> On Thu, Apr 21, 2016, 18:41 Simon Biggs > <mailto:si...@littlepig.org.uk>> wrote: >> We (my family and I) did grab what we can and head for the hills. Literally. >> We now live high up in the hills in an obscure and hard to find place a >> reasonably safe distance from where other people live about as far from the >> cradle of Western civilisation one can be (Australia). We are surrounded by >> a parcel of land that is ours and functions something like a fortress. I >> guess that means I can’t be an accelerationist - even if I wanted to be… >> >> best >> >> Simon >> >> >> Simon Biggs >> si...@littlepig.org.uk <mailto:si...@littlepig.org.uk> >> http://www.littlepig.org.uk <http://www.littlepig.org.uk/> >> http://amazon.com/author/simonbiggs <http://amazon.com/author/simonbiggs> >> http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs >> <http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs> >> http://www.eca.ed.ac.uk/school-of-art/simon-biggs >> <http://www.eca.ed.ac.uk/school-of-art/simon-biggs> >> >> >> >> >> >> >> >>> On 22 Apr 2016, at 02:57, ruth catlow >> <mailto:ruth.cat...@furtherfield.org>> wrote: >>> >>> Dear Annie, Dave, Alan and Paul, >>> >>> Annie you asked >>> "I want to slow down, to be attentive, to touch - can that be part of >>> Accelerationisme?" >>> >>> Yes. I think so. >>> This is less about speed (as distinct from Futurism) than it is about rates >>> of change. >>> >>> The technologies that we use are bound up with with advanced capitalism. We >>> watch our political a
Re: [NetBehaviour] My name is [Your Name Here] and I am an Accelerationist
We’re revegetating it with local flora. There’s a lot of ornithological commerce... best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 22 Apr 2016, at 08:16, Pall Thayer wrote: > > ...Unless you decide to turn your parcel of land into a bustling center of > commerce. > > > On Thu, Apr 21, 2016, 18:41 Simon Biggs <mailto:si...@littlepig.org.uk>> wrote: > We (my family and I) did grab what we can and head for the hills. Literally. > We now live high up in the hills in an obscure and hard to find place a > reasonably safe distance from where other people live about as far from the > cradle of Western civilisation one can be (Australia). We are surrounded by a > parcel of land that is ours and functions something like a fortress. I guess > that means I can’t be an accelerationist - even if I wanted to be… > > best > > Simon > > > Simon Biggs > si...@littlepig.org.uk <mailto:si...@littlepig.org.uk> > http://www.littlepig.org.uk <http://www.littlepig.org.uk/> > http://amazon.com/author/simonbiggs <http://amazon.com/author/simonbiggs> > http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs > <http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs> > http://www.eca.ed.ac.uk/school-of-art/simon-biggs > <http://www.eca.ed.ac.uk/school-of-art/simon-biggs> > > > > > > > >> On 22 Apr 2016, at 02:57, ruth catlow > <mailto:ruth.cat...@furtherfield.org>> wrote: >> >> Dear Annie, Dave, Alan and Paul, >> >> Annie you asked >> "I want to slow down, to be attentive, to touch - can that be part of >> Accelerationisme?" >> >> Yes. I think so. >> This is less about speed (as distinct from Futurism) than it is about rates >> of change. >> >> The technologies that we use are bound up with with advanced capitalism. We >> watch our political and social infrastructures unable to evolve fast enough >> to solve the wicked problems - for environment, democracy, justice and a >> good life- than they create. >> >> I think we can take two attitudes >> >> 1) Save ourselves! Take what we can carry, run for the hills and build the >> best fortresses we can with people whose values we share. >> >> or >> >> 2) coordinate and collaborate in the higher interests of all living beings - >> constantly working out who and what these are- and using all means at our >> disposal. >> >> I like the idea of living in the hills. >> But not under siege, and not in earshot of future generations of bemused, >> brutalised, alienated people. >> >> The dominant model of global coexistence is that of endless economic growth >> and Neoliberalism (the (increasingly automated) marketization of >> everything). This tends to centralize power and resources and renders less >> effective the usual ways of blocking and resisting; of work-based and >> traditional-identity based solidarity. >> >> Instead Contemporary Accelerationism suggests (I think) that we use in new >> combinations all the tools, tactics, and knowledges in an attempt to perform >> a series of judo moves (using the force rather than resisting the force), or >> to sling-shot our way through the mess we are in. >> >> As always, there needs to be a way to accommodate the visions and madcap >> schemes of all sorts- many islands rather than one land mass as Paul said. >> That's why this discussion here and now. >> >> Respect! >> Ruth >> >> On 21/04/16 12:01, Annie Abrahams wrote: >>> My name is Annie Abrahams and I don't know if I am an Accelerationist. >>> I don't like the word and I know that words are not innocent. >>> I do like Ruth and I know she never is completely wrong. >>> >>> Why in the first place I should think about it? Modernism, the Postmodern, >>> the New Aesthetics, Post Internet Art - just names, almost forgotten names >>> - containers that served to categorize discussions, postures ... analyses? >>> perspectives? >>> >>> Is Accelerationisme the most recent one in this row? >>> What should we discuss ... ? >>> Accelerate? What is knowledge in this frame, how is it constructed? Is it >>> a-historical? Is it prospective? >>> >>> I want to slow down, to be attentive, to touch - can that be part of &g
Re: [NetBehaviour] My name is [Your Name Here] and I am an Accelerationist
We (my family and I) did grab what we can and head for the hills. Literally. We now live high up in the hills in an obscure and hard to find place a reasonably safe distance from where other people live about as far from the cradle of Western civilisation one can be (Australia). We are surrounded by a parcel of land that is ours and functions something like a fortress. I guess that means I can’t be an accelerationist - even if I wanted to be… best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 22 Apr 2016, at 02:57, ruth catlow wrote: > > Dear Annie, Dave, Alan and Paul, > > Annie you asked > "I want to slow down, to be attentive, to touch - can that be part of > Accelerationisme?" > > Yes. I think so. > This is less about speed (as distinct from Futurism) than it is about rates > of change. > > The technologies that we use are bound up with with advanced capitalism. We > watch our political and social infrastructures unable to evolve fast enough > to solve the wicked problems - for environment, democracy, justice and a good > life- than they create. > > I think we can take two attitudes > > 1) Save ourselves! Take what we can carry, run for the hills and build the > best fortresses we can with people whose values we share. > > or > > 2) coordinate and collaborate in the higher interests of all living beings - > constantly working out who and what these are- and using all means at our > disposal. > > I like the idea of living in the hills. > But not under siege, and not in earshot of future generations of bemused, > brutalised, alienated people. > > The dominant model of global coexistence is that of endless economic growth > and Neoliberalism (the (increasingly automated) marketization of everything). > This tends to centralize power and resources and renders less effective the > usual ways of blocking and resisting; of work-based and traditional-identity > based solidarity. > > Instead Contemporary Accelerationism suggests (I think) that we use in new > combinations all the tools, tactics, and knowledges in an attempt to perform > a series of judo moves (using the force rather than resisting the force), or > to sling-shot our way through the mess we are in. > > As always, there needs to be a way to accommodate the visions and madcap > schemes of all sorts- many islands rather than one land mass as Paul said. > That's why this discussion here and now. > > Respect! > Ruth > > On 21/04/16 12:01, Annie Abrahams wrote: >> My name is Annie Abrahams and I don't know if I am an Accelerationist. >> I don't like the word and I know that words are not innocent. >> I do like Ruth and I know she never is completely wrong. >> >> Why in the first place I should think about it? Modernism, the Postmodern, >> the New Aesthetics, Post Internet Art - just names, almost forgotten names - >> containers that served to categorize discussions, postures ... analyses? >> perspectives? >> >> Is Accelerationisme the most recent one in this row? >> What should we discuss ... ? >> Accelerate? What is knowledge in this frame, how is it constructed? Is it >> a-historical? Is it prospective? >> >> I want to slow down, to be attentive, to touch - can that be part of >> Accelerationisme? >> >> (to be continued) >> >> On Thu, Apr 21, 2016 at 11:37 AM, ruth catlow > <mailto:ruth.cat...@furtherfield.org>> wrote: >> Hello, >> My name is Ruth Catlow, >> and I am an Accelerationist. >> >> Back in 1996 >> (to be continued) >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> >> >> >> >> -- >> Gretta Louw reviews my book >> <http://www.furtherfield.org/features/reviews/personal-politics-language-digital-colonialism-annie-abrahams%E2%80%99-estranger> >> from "estranger to e-stranger: Living in between languages", and finds that >> not only does it demonstrate a brilliant history in performance art, but, it >> is also a sharp and poetic critique about language and everyday culture. >> >> New project with Daniel Pinheiro and Lisa Parra : Distant Feeling(s) >> <http://bram.org/distantF/>
Re: [NetBehaviour] My name is [Your Name Here] and I am an Accelerationist
I’ve always been sceptical of manifestos, isms and movements. They typically corrupt themselves and end up in a car crash. The same goes for ideology. I have two questions: In what sense is accelerationism distinct from prior isms? Distinct or not, do I want to be associated with it - or don’t I have a choice (perhaps Marc can answer that one…)? best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk http://amazon.com/author/simonbiggs http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs http://www.eca.ed.ac.uk/school-of-art/simon-biggs > On 21 Apr 2016, at 22:55, dave miller wrote: > > I don't understand what accelerationism is yet, as I need to read a lot more > - and a few times - and let it sink in. I find it hard to understand, to be > honest. > > I'm interested though in the connection with Donna Haraway's Cyborg Manifesto > > And I'd like to know more about the accelerationist aesthetic, what it is, > and why. > > I'd like to know the general view from people on this list - as we are all > new media/ net art/ media techy types , who have been experimenting with art, > networked technology and politics for ages, is this something we should > a) take very seriously > b) embrace > c) be sceptical of? > d) be scared of? > e) wish that we'd thought of > > cheers dave > > > On 21 April 2016 at 14:06, Alan Sondheim <mailto:sondh...@panix.com>> wrote: > > > Hi - I have a naive question - does accelerationism deal with issues of > pollution, extinction, and so forth? Can one wait for accelerationism? Has > one already waited? > Thanks, Alan > > > On Thu, 21 Apr 2016, ruth catlow wrote: > > Hello, > My name is Ruth Catlow, > and I am an Accelerationist. > > Back in 1996 > (to be continued) > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> > > > > == > email archive http://sondheim.rupamsunyata.org/ > <http://sondheim.rupamsunyata.org/> > web http://www.alansondheim.org <http://www.alansondheim.org/> / cell > 718-813-3285 > music: http://www.espdisk.com/alansondheim/ > <http://www.espdisk.com/alansondheim/> > current text http://www.alansondheim.org/tx.txt > <http://www.alansondheim.org/tx.txt> > == > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] The strange tale of Rhizome and its Arts Council funding
I don't think you can describe Rhizome as large. It's two and a half people, basically - and survives in main part from donations, as US state arts funding is so poor. I think it gets some money from the Warhol Foundation charity too. The Barbican is large but mainly funded from the City of London, not the Arts Council. I assume the Arts Council funded this project as a one off UK based project. The sum in question, £15k, is modest. It's a question of principle. For the first 20 years I lived in the UK I did so on an Australian passport. During that time I received a number of Arts Council grants. I once asked one of their people whether it bothered them I was Australian. They replied that they never looked at the colour of people's passports. It's good to work in an inclusive environment so I'm not bothered about Rhizome being funded, so long as it is transparent. The more important question is about quality. Was this the best use of limited public funding to assure the best artistic outcomes? I'm in no position to make that judgement. I'm not sure who is. best Simon On 30 Oct 2013, at 17:56, Rob Myers wrote: > On 30/10/13 08:40 AM, marc garrett wrote: >> >> Also, the money was from a UK budget & there are lots of smaller groups >> in the UK need of support who are not as big as the Barbican & Rhizome. > > Quite. > > Internationalism and avoiding splits are not considerations when a large > American organization is taking money from local organizations to pursue > cold war style cultural imperialism. > > The "informal UK arm" should be ashamed of himself. > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] From Total Recall to Digital Dementia - Ars Electronica 2013.
A piece worth reading... best Simon On 9 Sep 2013, at 17:27, netbehaviour wrote: > From Total Recall to Digital Dementia - Ars Electronica 2013. > > By Armin Medosch. > > Year by year Ars Electronica gets larger, greater and more successful. > One visible sign of this success are the blinking lights of the ACE at > night, like an upgraded spaceship out of 'Close Encounter of the Third > Kind'. > > 1The festival now also has a venue, the former tobacco factory 'Die > Tabakfabrik', that can cope with the rising numbers of visitors each > year. Ars Electronica is a success story, no doubt about that. At the > same time the Festival has developed a dynamics of its own, whereby the > size of the program gives the impression that quantity comes before > quality. The festival has defined as its primary objective to ignite a > debate around art, technology and society,. But this debate often seems > to be held in a quite one-sided way. > > http://www.thenextlayer.org/node/1472 > > -- > ---> > > A living - breathing - thriving networked neighbourhood - > proud of free culture - claiming it with others ;) > > Other reviews,articles,interviews > http://www.furtherfield.org/reviews.php > > Furtherfield – online arts community, platforms for creating, viewing, > discussing and learning about experimental practices at the > intersections of art, technology and social change. > http://www.furtherfield.org > > Furtherfield Gallery – Finsbury Park (London). > http://www.furtherfield.org/gallery > > Netbehaviour - Networked Artists List Community. > http://www.netbehaviour.org > > http://identi.ca/furtherfield > http://twitter.com/furtherfield > > _______ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] a dialogue with Steven Ball
The Australian band Alan refers to was usually referred to as tsk tsk tsk, a noise made with your tongue between your teeth. They were put together by Phillip Brophy, from Melbourne, and he's still active doing stuff. They were sort of an artier version of Talking Heads, doing PoMo pop quite early on. They were mainly active in the late 70's. I saw them live a couple of times, usually at exhibition openings and performance art events. A number of other Australian artists and musicians were involved, like Maria Kozic (better known as a visual artist) and David Chesworth. Although they probably enjoyed their greatest commercial success in the early 1980's, particularly overseas, the scene they were part of (and the group) had lost its vitality by then. They were really an early post-punk phenomena and should be considered alongside groups such as Severed Heads (who are sort of reforming for ISEA next month, with Tom Ellard and Steve Jones back together - something to look forward to). best Simon On 6 May 2013, at 22:11, Simon Mclennan wrote: > I tend to agree with this. > > Simon > On 6 May 2013, at 16:54, Alan Sondheim wrote: > >> >> >> I hadn't heard of these either, seem more an extension of the pith >> and omniscience of Baudrillard and Zizek as well as the surface >> fetishiza- tion of hiphop videos but what do I know. There was a >> group 'tch tch tch' (the real name was written by arrows) in >> Australia in the 80s with similar music and surfaces. On the >> political, does any of it matter - capital will continue to enclave >> and increase, everything compresses as a result. The videos tend to >> focus on the 1%, not the slaughter and extinctions of humans plants >> and animals that come in their wake. Part of the real violence >> against us is produced by our insistence at the burial of the cost >> of these surfaces, an insistence that's comfortable and deeply >> passive. It's "hard" to look at something dying, although there was >> a flurry of fetishization of beheading videos on Facebook recently. >> How cool. The only non-saving grace of all of this, is that it will >> rust like everything else, as climate change increases its >> exponential onslaught. Good luck to our always already dying progeny. >> >> There has to be a better way. >> >> - Alan >> >> >>> From: Annie Abrahams >>> Dear Michael, >>> I like these two videos very much. They are aesthetic, dreamlike, >>> mesmerizing. Great. >>> BlablaWave serving BeautifulVaporVOID >>> Love >>> Annie >>> On Sun, May 5, 2013 at 9:01 PM, Michael Szpakowski >>> wrote: >>> >>> I had an interesting conversation with Steven on Friday about >>> vaporwave, which I'd not previously heard of. >>> >>> Steven then sent me this: >>> >>> http://www.dummymag.com/features/2012/07/12/adam-harper- >>> vaporwave/ >>> >>> I made this: >>> >>> https://vimeo.com/65457637 >>> >>> and Steven made this >>> >>> https://vimeo.com/65477887 >>> >>> might be more; or you might care to join us >>> >>> cheers >>> michael >>> -- >>> >>> http://www.bram.org >>> http://aaabrahams.wordpres.com >>> http://metalogues.tumblr.com/ >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> -- >>> = >>> directory http://www.alansondheim.org tel 347-383-8552music/sound >>> http://espdisk.com/alansondheim/ >>> email sondheim ut panix.com, sondheim ut gmail.com >>> = >>> -- >>> = >>> directory http://www.alansondheim.org tel 347-383-8552 music/sound >>> http://espdisk.com/alansondheim/ >>> email sondheim ut panix.com, sondheim ut gmail.com >>> = >>> >> >> == >> email archive http://sondheim.rupamsunyata.org/ >> web http://www.alansondheim.org / cell 347-383-8552 >> music: http://www.espdisk.com/alansondheim/ >> current text http://www.alansondheim.org/rz.txt >> ==___ >&g
Re: [NetBehaviour] Drones
When is a drone a drone? Does it need to fly? Does it need to be part of a weapon or surveillance system? How autonomous does it need to be? If it is fully autonomous then it isn't a drone as that is currently understood. When is a drone a robot or a remotely operated technical system of another kind? best Simon On 10 Apr 2013, at 10:44, Sarah Cook wrote: > Hi Marc > Joseph Delappe is (in the US) and the lovely and smart Dr. Isabella Streffen, > who has joined CRUMB on a short term post-doc research associateship this > spring, is also. I've asked her to join the netbehaviour list as I'm not sure > she's on it. > Also, I'd love to hear about the exhibition which is opening (tonight?) in > Brussels -- Honor Harger is speaking at an event with James Brindle about it > next Tuesday. > http://thedigitalnow.be/ > > Shall we co-curate something together at FF? ;-) > Sarah > > > > > On 8 Apr 2013, at 14:30, marc garrett wrote: > >> Hi all, >> >> I'm interested to see who is making art work about Drones on this list? >> >> wishing you well. >> >> marc >> >> -- >> ---> >> >> A living - breathing - thriving networked neighbourhood - >> proud of free culture - claiming it with others ;) >> >> Other reviews,articles,interviews >> http://www.furtherfield.org/reviews.php >> >> Furtherfield – online arts community, platforms for creating, viewing, >> discussing and learning about experimental practices at the >> intersections of art, technology and social change. >> http://www.furtherfield.org >> >> Furtherfield Gallery – Finsbury Park (London). >> http://www.furtherfield.org/gallery >> >> Netbehaviour - Networked Artists List Community. >> http://www.netbehaviour.org >> >> http://identi.ca/furtherfield >> http://twitter.com/furtherfield >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > Dr. Sarah Cook > Reader > MA Curating Module Leader > > Faculty of Arts, Design and Media > University of Sunderland > > David Putnam Media Centre > St. Peter's Campus > Sunderland, SR7 0DD > ex 2134 > > Curator for the Festival of Electronic Arts and Video, Transitio_MX05 > "Biomediations", September 19-29, 2013 in Mexico City > > Co-editor and co-founder, The Curatorial Resource for Upstart Media Bliss, > www.crumbweb.org > > Read our books: > > Euphoria & Dystopia: The Banff New Media Institute Dialogues. > e-edition now available for $19.99 CAD! > https://itunes.apple.com/ca/book/euphoria-dystopia/id597963828?mt=11&uo=4 > > Rethinking Curating: Art After New Media. > http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071 > > A Brief History of Curating New Media Art, and A Brief History of Working > with New Media Art. > http://www.thegreenbox.net > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] work experience for I D S
ditto On 2 Apr 2013, at 20:26, mez breeze wrote: > me 2. > > > On Wed, Apr 3, 2013 at 2:47 AM, marc garrett > wrote: > Hi Simon, > > I've signed it ;-) > > marc > > > https://www.change.org/en-GB/petitions/iain-duncan-smith-iain-duncan- > > smith-to-live-on-53-a-week > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > -- > ---> > > A living - breathing - thriving networked neighbourhood - > proud of free culture - claiming it with others ;) > > Other reviews,articles,interviews > http://www.furtherfield.org/reviews.php > > Furtherfield – online arts community, platforms for creating, viewing, > discussing and learning about experimental practices at the > intersections of art, technology and social change. > http://www.furtherfield.org > > Furtherfield Gallery – Finsbury Park (London). > http://www.furtherfield.org/gallery > > Netbehaviour - Networked Artists List Community. > http://www.netbehaviour.org > > http://identi.ca/furtherfield > http://twitter.com/furtherfield > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > | http://mezbreeze.com/ > | http://en.wikipedia.org/wiki/Mez_Breeze > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
I see - another net-meme. best Simon On 14 Feb 2013, at 23:07, mez breeze wrote: > Check the links from: > http://geekgirl.com.au/blog/2013/02/15/harlem-shake-videos-jump-shark-geekgirl/. > There's enough linked context there to kill a small horse:) > > On Fri, Feb 15, 2013 at 9:59 AM, Simon Biggs wrote: > Hi Mez > > You've just made me feel totally out of touch. What is the Harlem Shake? > (rhetorical question - I can google it). > > > > Sent from a mobile device, thus the brevity. > > Simon Biggs > si...@littlepig.org.uk > s.bi...@ed.ac.uk > http://www.littlepig.org.uk > > On 14 Feb 2013, at 22:55, mez breeze wrote: > > On Fri, Feb 15, 2013 at 8:09 AM, Simon Biggs wrote: > ...how do you value novelty? Is it valuable for its own sake or only as an > adjunct property of something else? Can novelty even exist? > > ...excuse my intrusion into such serious discourse, but regarding novelty, > I've just written an uber-short summation of the problem with viral > "novelties" like the "Harlem Shake" + thought it might be laterally relevant > here: > > "Granted, the Harlem Shake contagion is massive considering the original > video was posted online just a mere 12 days ago, but when major brands > started swarming to make their own takes with rampant product placements and > corporate logos featuring prominently in the background, it was the end." > > . > > -Mez > > -- > | http://mezbreeze.com/ > | http://en.wikipedia.org/wiki/Mez_Breeze > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > | http://mezbreeze.com/ > | http://en.wikipedia.org/wiki/Mez_Breeze > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
stralian's, for want > of a better name, were wiped out by subsequent waves of migration tens of > thousands of years before the first European stepped on to its shores). The > problematic here is potentially of many layers and unresolvable. Who has the > right to name something? Perhaps Shakespeare was right and a rose is a rose > is a rose - the name really doesn't matter? Saussure argued that the words > themselves are meaningless, as indeed the things they refer to are also > meaningless without words, and that it is only in the relation between all > the things and their words that meaning emerges (as a human construct - > nothing is a priori). I think his argument is more or less self evident. > > As for free - well, I think I responded to that before. Nothing is free. We > pay a price for every breath we take, every morsel we eat, every step we take > (sorry, sounds like a bad pop song). That might be a price paid in dollars or > pesos, or it might be paid in our own longevity as an organism. There's > always a process of exchange (the third law of thermodynamics appears to be > inescapable) and that is, in a very profound way, an economic reality. This > is why I said before there is no 'us' and 'them' - just an inescapable 'us'. > > best > > Simon > > > Sent from a mobile device, thus the brevity. > > Simon Biggs > si...@littlepig.org.uk > s.bi...@ed.ac.uk > http://www.littlepig.org.uk > > On 14 Feb 2013, at 18:02, Eduardo Valle wrote: > > Simon, > What i am discussing are those points: > 1) How can a University use New , and Digital Culture as terms of a unit in > the 21st century second decade 2) How can a University use the term Latin > América for South And central América ? > 3) How can a University use a term like Free ??? Software ? > > Maybe they are Looking for some kind of students ... I hope they Had learn > something with MIT and Schwartz ... > > Open Source is Still a term to be discussed , but let us accept as it is > having in mind that technologies are NOT neutral át. All and that software is > just part of a system. > > Art, Technology and OPEN DATA. > > From: si...@littlepig.org.uk > Date: Thu, 14 Feb 2013 12:26:48 + > To: netbehaviour@netbehaviour.org > Subject: Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths > > Eduardo > > Open Source is based on a notion of give and take. It's a participatory > paradigm. Being able to programme is an important means by which one can > participate. However, as James points out, there are other ways. In this > respect Open Source is profoundly different to other more traditional IP > based models of production and consumption, where the roles of producers and > consumers are clearly delineated and ownership of IP fiercely defended. Open > Source is, in its best forms, co-creation of the most radical sort. Given > that culture is something we create (not something received - although some > would like us to believe this) it is possible to argue that Open Source is > itself a cultural paradigm based on shared creativity. > > As for this issue of culture - again, I think we mean different things by > this word. The origins of the word are in the domain of agriculture and > simply means to improve something through cultivating it. In the 18th and > 19th centuries it tended to refer to what we now conceive of as high culture. > Since at least the 1940's it has generally be taken to mean any shared set of > values, systems or methods associated with a particular group of people who > recognise themselves as a member of the group. So, we have sub-cultures. > Digital culture was, once upon a time, a sub-culture. Now it is a mainstream > culture. With a billion members Facebook alone hosts numerous subcultures > within the larger digital paradigm it swims in. > > A primary component of culture, perhaps the very stuff of highly socialised > homosapien culture, is language. Many theorists (Turing, MacLuhan, Winograd, > Dennett, Hayles, et al) have suggested that computation is a form of language > - not a medium for language but language itself. I find these arguments, to > differing degrees, quite compelling. Thus it is possible to regard the > relationship of the computer to the processes of culturalisation and > socialisation in a similar manner to the role of language. Language could be > considered as an open source form of culture (more so in some cultures and > language groups than in others - in English there is no governance of the > language so it is very open to change through use). Language is socially > generative (as a process of reflexive iteration)
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
Hi Mez You've just made me feel totally out of touch. What is the Harlem Shake? (rhetorical question - I can google it). Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littlepig.org.uk On 14 Feb 2013, at 22:55, mez breeze wrote: On Fri, Feb 15, 2013 at 8:09 AM, Simon Biggs wrote: ...how do you value novelty? Is it valuable for its own sake or only as an adjunct property of something else? Can novelty even exist? ...excuse my intrusion into such serious discourse, but regarding novelty, I've just written an uber-short summation of the problem with viral "novelties" like the "Harlem Shake" + thought it might be laterally relevant here: "Granted, the Harlem Shake contagion is massive considering the original video was posted online just a mere 12 days ago, but when major brands started swarming to make their own takes with rampant product placements and corporate logos featuring prominently in the background, it was the end." . -Mez -- | http://mezbreeze.com/ | http://en.wikipedia.org/wiki/Mez_Breeze ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
Eduardo, I think I understand your three questions. Correct me if I'm wrong. The first concerns how we define what is new and value it. The second is about historical tropes regarding how the world is defined and named (colonial power structures). The third is about the politics of access. These are all difficult questions and how you respond to them is a political matter. For example, how do you value novelty? Is it valuable for its own sake or only as an adjunct property of something else? Can novelty even exist? That's an open question, but my own take on it is that the value of novelty is over-rated and (especially) a Western trope. Some cultures value tradition over change. As artists and technologists whose roles are about creativity, as many of the people on this list probably consider themselves, we should be suspect about the siren song of the new but equally critical of the status quo. That does not mean there is a comfortable middle way. I doubt that there is... As for names of places - the name America is problematic (whether South, Central or Latin). I'm from Australia, where the indigenous peoples never used Latin and therefore would never have come up with such a name for the country. Indeed, these people would not even consider the country to be something they could possess by naming it. They did (do) not comprehend place as something they could possess but as something they are amongst. I can imagine the indigenous peoples of what we call South America had similar apprehensions of the places they inhabit. So, to call a place Latin America or South America or whatever is always going to be problematic. It's also possible the current indigenous peoples previously displaced other peoples who had their own conventions about this (the original Australian's, for want of a better name, were wiped out by subsequent waves of migration tens of thousands of years before the first European stepped on to its shores). The problematic here is potentially of many layers and unresolvable. Who has the right to name something? Perhaps Shakespeare was right and a rose is a rose is a rose - the name really doesn't matter? Saussure argued that the words themselves are meaningless, as indeed the things they refer to are also meaningless without words, and that it is only in the relation between all the things and their words that meaning emerges (as a human construct - nothing is a priori). I think his argument is more or less self evident. As for free - well, I think I responded to that before. Nothing is free. We pay a price for every breath we take, every morsel we eat, every step we take (sorry, sounds like a bad pop song). That might be a price paid in dollars or pesos, or it might be paid in our own longevity as an organism. There's always a process of exchange (the third law of thermodynamics appears to be inescapable) and that is, in a very profound way, an economic reality. This is why I said before there is no 'us' and 'them' - just an inescapable 'us'. best Simon Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littlepig.org.uk On 14 Feb 2013, at 18:02, Eduardo Valle wrote: Simon, What i am discussing are those points: 1) How can a University use New , and Digital Culture as terms of a unit in the 21st century second decade 2) How can a University use the term Latin América for South And central América ? 3) How can a University use a term like Free ??? Software ? Maybe they are Looking for some kind of students ... I hope they Had learn something with MIT and Schwartz ... Open Source is Still a term to be discussed , but let us accept as it is having in mind that technologies are NOT neutral át. All and that software is just part of a system. Art, Technology and OPEN DATA. From: si...@littlepig.org.uk Date: Thu, 14 Feb 2013 12:26:48 + To: netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths Eduardo Open Source is based on a notion of give and take. It's a participatory paradigm. Being able to programme is an important means by which one can participate. However, as James points out, there are other ways. In this respect Open Source is profoundly different to other more traditional IP based models of production and consumption, where the roles of producers and consumers are clearly delineated and ownership of IP fiercely defended. Open Source is, in its best forms, co-creation of the most radical sort. Given that culture is something we create (not something received - although some would like us to believe this) it is possible to argue that Open Source is itself a cultural paradigm based on shared creativity. As for this issue of culture - again, I think we mean different things by this word. The origins of the word are in the domain of agriculture and
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
Eduardo Open Source is based on a notion of give and take. It's a participatory paradigm. Being able to programme is an important means by which one can participate. However, as James points out, there are other ways. In this respect Open Source is profoundly different to other more traditional IP based models of production and consumption, where the roles of producers and consumers are clearly delineated and ownership of IP fiercely defended. Open Source is, in its best forms, co-creation of the most radical sort. Given that culture is something we create (not something received - although some would like us to believe this) it is possible to argue that Open Source is itself a cultural paradigm based on shared creativity. As for this issue of culture - again, I think we mean different things by this word. The origins of the word are in the domain of agriculture and simply means to improve something through cultivating it. In the 18th and 19th centuries it tended to refer to what we now conceive of as high culture. Since at least the 1940's it has generally be taken to mean any shared set of values, systems or methods associated with a particular group of people who recognise themselves as a member of the group. So, we have sub-cultures. Digital culture was, once upon a time, a sub-culture. Now it is a mainstream culture. With a billion members Facebook alone hosts numerous subcultures within the larger digital paradigm it swims in. A primary component of culture, perhaps the very stuff of highly socialised homosapien culture, is language. Many theorists (Turing, MacLuhan, Winograd, Dennett, Hayles, et al) have suggested that computation is a form of language - not a medium for language but language itself. I find these arguments, to differing degrees, quite compelling. Thus it is possible to regard the relationship of the computer to the processes of culturalisation and socialisation in a similar manner to the role of language. Language could be considered as an open source form of culture (more so in some cultures and language groups than in others - in English there is no governance of the language so it is very open to change through use). Language is socially generative (as a process of reflexive iteration). So is computing. In this sense we can speak of a digital culture. Given all this the programme at Goldsmiths (which is not unique, there are numerous such programmes running internationally) seems to be founded on solid foundations and to be engaging something that is definitely a valid subject and, given the experience of the last decade, particularly timely. I don't see what your problem with it is - unless you wish to critique specific aspects of the programme - such as its scope or focus. But that's of another ilk. best Simon On 14 Feb 2013, at 02:06, Eduardo Valle wrote: > James, no it is not, by the fact that If you want to modify not just ask > questions on the GUI You must learn programming and even If want to do that > You must do in 2 or 3 languages that work on it. So it is Open but not for > all át. All. Systems, users and moderators ... > > > Date: Thu, 14 Feb 2013 00:28:35 + > > From: ja...@jwm-art.net > > To: netbehaviour@netbehaviour.org > > Subject: Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths > > > > On 14/02/13 Eduardo Valle wrote: > > > > >Open for Who ? Only for the ones that wants to learn programming, and > > >that is ok but it is not for all át. All. > > > > what about people who work on the documentation? or those who work on > > translations? or those who work on design? or those who spend their > > time in the community helping new users (ie forums/mailing > > lists/irc/etc)? it is open to all of those people isn't it, or am i > > missing something? > > > > > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Stop pretending cyberspace exists. By Michael Lind.
I get the feeling the author of this piece thinks they know something most people don't - eg: they think they know what's real... best Simon On 14 Feb 2013, at 11:32, Annie Abrahams wrote: > I thought we agreed on not opposing the virtual and the reel already a long > time ago. Isn't this the same discussion? > > Annie > > On Thu, Feb 14, 2013 at 12:17 PM, marc garrett > wrote: > Hi all, > > I'd be interested to know what others think of this article… > > marc > > > Stop pretending cyberspace exists. > > Treating the Internet as a mythical country makes us dumber. By Michael > Lind. > > Some ideas make you dumber the moment you learn of them. One of those > ideas is the concept of “cyberspace.” The term was coined by William > Gibson in his novel “Neuromancer” and defined as “a graphic > representation of data abstracted from the banks of every computer in > the human system …” As a metaphor that borrows imagery from geography, > cyberspace is no different in kind from, say, John F. Kennedy’s New > Frontier. But while nobody thinks that governments are invading > Kennedy’s New Frontier, or commercializing Kennedy’s New Frontier, > techno-anarchists on the right or left are constantly complaining that > “cyberspace” is being “colonized” by government, business or both. > > That’s what makes it necessary to state what ought to be obvious: There > is no such place as cyberspace. It is not a parallel universe, > coexisting with our world but in a different dimension. It is just a bad > metaphor that has outlived its usefulness. Using the imagery of a > fictitious country makes it harder to have rational arguments about > government regulation or commercial exploitation of modern information > and communications technologies. > > rest of article here > http://www.salon.com/2013/02/12/the_end_of_cyberspace/ > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > _______ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] NOT FREE
Good point Manik. On 13 Feb 2013, at 19:12, manik wrote: > > > ... NOT FREE COMPARISON ... MANIK ... 2013 ... > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
I'm not an 'us' and 'them' kind of person - just an 'us' type. We're all complicit in our mess. If the internet isn't free it isn't just because of ICANN or Intel - they are just part of a bigger picture, of which we are all part. You can try and paint yourself out of it - but it's a false image you are producing and it will fool nobody except those that also think in socially dualistic terms. As for freedom - nobody has ever been free, in any sense, and nothing is ever free (not even lunch). Regarding the digital culture vs digital media debate ... we will probably never agree and this list isn't the place for a considered discussion of the topic. But perhaps, as a final example, I agree with you that the digital isn't new. It's been around since the 1950's, when the first digital computers generally replaced earlier analog systems. It's possibly been around longer, if you employ a very broad definition of the digital. However, digital culture is new. It is less than ten years old and has developed as a large part of the population has migrated their social, professional and private lives into the digital domain, mainly in the form of the internet and, specifically, the web. If that's not a culture then I think we mean profoundly different things by this term. best Simon On 13 Feb 2013, at 16:26, Eduardo Valle wrote: > Stallman is using the same marketing bullshit , of all americans enterprises > that says and sells the idéia that internet is free and it is not. You cannot > think only about the software, You have Telecoms, ICANN DICTATORSHIP , Intel > DICTATORSHIP and many others. He is thinking people are stupid ? I totally > agree with the term Open source , but Open for Who ? And worst , the people > that are for Open source sometimes dont praticse OPEN DATA. > About the term Digital Culture it is widespread in World by An english spoken > Author and people accept as they accept FREE Software. There is a > process of digitalization of various cultures If it is good or bad we can > discuss about it , but there is NO Digital Culture. There is digital Media , > that is no longer NEW, where artists can work with and make Art with in > various forms. > Globalization did not affects the geopolitical power, i was showing that in > Liverpool as Aaron Schwartz did with Elsevier. > > CC: netbehaviour@netbehaviour.org > From: si...@littlepig.org.uk > Date: Wed, 13 Feb 2013 14:44:15 + > To: netbehaviour@netbehaviour.org > Subject: Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths > > Not sure if all examples of a shift to the digital, across cultures, is > something that we have to suffer. I can think of plenty of positive aspects > the digital brings us, across cultures. But that's another argument. > > I was just seeking to clarify that there are cultures (many) that can be > characterised as digital sufficiently to be termed digital cultures. So long > as we realise this is a plural situation I am relaxed with that. I will be > attending a conference in Brazil next month on this topic (one of several > I've attended in South America) so clearly there are Brazillians who think > this is a relevant term. I've attended similar events in probably 50 > different countries, many in Asia and elsewhere. > > My impression is that this is a global phenomenon - globalisation is closely > associated with digital issues. I know many have an automatic reflex to > reject globalisation and it is true it is deeply problematic - but the > process of globalisation can also be seen as part of a post-colonial dynamic > where power is more globally distributed. Whilst that doesn't mean power is > evenly distributed (far from it - if it was evenly distributed it wouldn't be > power in the sense we understand it) it is better than power being located in > a handful of European and north American capital cities. > > best > > Simon > > > Sent from a mobile device, thus the brevity. > > Simon Biggs > si...@littlepig.org.uk > s.bi...@ed.ac.uk > http://www.littlepig.org.uk > > On 13 Feb 2013, at 13:15, Eduardo Valle wrote: > > I am not saying that there no field relates to the digital media, like > software art, net art etc and etc. What i am saying is that a lot of diferent > cultures are suffering a process of digitalization and that is totally > diferent from a totalitárian single and not plural term that is digital > culture, worst than that only people that defende a term like f(r)EE. > Software , are they Really FREE ? What is to be FREE ? But as i say > institutions and acadêmics that Still think that South América is Latin > América ... > >
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
Not sure if all examples of a shift to the digital, across cultures, is something that we have to suffer. I can think of plenty of positive aspects the digital brings us, across cultures. But that's another argument. I was just seeking to clarify that there are cultures (many) that can be characterised as digital sufficiently to be termed digital cultures. So long as we realise this is a plural situation I am relaxed with that. I will be attending a conference in Brazil next month on this topic (one of several I've attended in South America) so clearly there are Brazillians who think this is a relevant term. I've attended similar events in probably 50 different countries, many in Asia and elsewhere. My impression is that this is a global phenomenon - globalisation is closely associated with digital issues. I know many have an automatic reflex to reject globalisation and it is true it is deeply problematic - but the process of globalisation can also be seen as part of a post-colonial dynamic where power is more globally distributed. Whilst that doesn't mean power is evenly distributed (far from it - if it was evenly distributed it wouldn't be power in the sense we understand it) it is better than power being located in a handful of European and north American capital cities. best Simon Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littlepig.org.uk On 13 Feb 2013, at 13:15, Eduardo Valle wrote: I am not saying that there no field relates to the digital media, like software art, net art etc and etc. What i am saying is that a lot of diferent cultures are suffering a process of digitalization and that is totally diferent from a totalitárian single and not plural term that is digital culture, worst than that only people that defende a term like f(r)EE. Software , are they Really FREE ? What is to be FREE ? But as i say institutions and acadêmics that Still think that South América is Latin América ... From: si...@littlepig.org.uk Date: Wed, 13 Feb 2013 12:49:09 + To: netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths I'd argue that there is a thing called digital culture - this is what defines the boundaries of the digital places, spaces and media we increasingly inhabit in the various aspects of our lives. However, this culture is not singular but plural, with multiple dimensions deriving from different places and demographies. So, computer gaming culture in Korea, hacker culture in the USA, smart phone culture in Tanzania, for example, are all distinct. A really useful writer to read, although working in a very different context, is Olivia Garcia, with her work on pluriliteracy. She articulates how different forms of cultural engagement demand distinct kinds of literacy and capability - often at the same time. best Simon On 13 Feb 2013, at 12:33, Eduardo Valle wrote: Digital Culture ? Digital is a media not a culture, we are living in a World of various cultures that are suffering a process of digitalization, but having someone in the program that Thinks that South America is Latin América ... > Date: Wed, 13 Feb 2013 12:20:36 + > From: marc.garr...@furtherfield.org > To: netbehaviour@netbehaviour.org > Subject: Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths > > Hi all, > > I would like to agree with Tom, > > I must say, we've been working with some of the students from Goldsmiths > which includes the "MA Interactive Media, critical theory and practice" > crew. And, the passion and interest in the projects at Furtherfield, and > their added zest/openness to explore related ideas and contexts, has > been impressive. As well as, their critically engaged approaches towards > networks and social engagement, in art generally. > > I'm not a fan of the 'fine art' section of Goldsmiths, and especially > have not forgiven 'Michael Graig Martin' and 'Yucky Hirst bag', for > imposing their Saatchi and Saatchi 'conservative' driven, market > branded, Brit Art on the world. > > But, these other people at Goldsmiths, have soul... > > chat soon. > > marc > > > Hi All, > > A quick forward which might be of interest... > > I can highly recommend "MA Interactive Media, critical theory and > > practice" which I completed last year. > > Tom > > > > > > -- Forwarded message -- > > From: Harwood > > Date: Wed, Feb 13, 2013 at 12:03 PM > > > > It would be great if you could pass this on to any of your networks. > > > > > > Digital Culture is a place of fundamental change. Understanding, > > shaping and leading that change are graduates from two Maste
Re: [NetBehaviour] New Digital Culture Unit @ Goldsmiths
ation" group. > > > To unsubscribe from this group and stop receiving emails from it, send > > > an email to opensystemsassociation+unsubscr...@googlegroups.com. > > > To post to this group, send an email to > > > opensystemsassociat...@googlegroups.com. > > > Visit this group at > > > http://groups.google.com/group/opensystemsassociation?hl=en-GB. > > > For more options, visit https://groups.google.com/groups/opt_out. > > > > > > > > > > > > > > > > > > -- > > ---> > > > > A living - breathing - thriving networked neighbourhood - > > proud of free culture - claiming it with others ;) > > > > Other reviews,articles,interviews > > http://www.furtherfield.org/reviews.php > > > > Furtherfield – online arts community, platforms for creating, viewing, > > discussing and learning about experimental practices at the > > intersections of art, technology and social change. > > http://www.furtherfield.org > > > > Furtherfield Gallery – Finsbury Park (London). > > http://www.furtherfield.org/gallery > > > > Netbehaviour - Networked Artists List Community. > > http://www.netbehaviour.org > > > > http://identi.ca/furtherfield > > http://twitter.com/furtherfield > > > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Citizen Robot: A Vindication of the Rights of Machines
Wha? On 12 Feb 2013, at 15:49, marc garrett wrote: > Just to let you know, > > I was not calling Rob or Simon, prog-rock fans. It was meant for the ooo'ers > who miss the goo's... > > marc >> Thanks Simon, >> >> Nothing worse than allowing the 'prog-rock' contingency to term things or >> anything for that matter, they always miss out the 'goo'... >> >> marc >> >> >>> Had an interesting conversation with Talan Memmott in Amsterdam this >>> weekend about OOO and agreed that the focus on things overlooks the >>> importance of process and the consequent mutability of things. This is >>> where OOO's reductivist nature and flaws become most apparent. So, you are >>> neither a thing nor an object but a process within immanence (that's a word >>> will drive OOO people mad). >>> >>> best >>> >>> Simon >>> >>> >>> On 12 Feb 2013, at 15:15, marc garrett wrote: >>> >>>> are you calling me a thing or an object? >>>> >>>> m >>>>> On Tue, 12 Feb 2013 04:58:44 -0800 (PST), Michael Szpakowski wrote: >>>>>> What bothers me about the attempt to attribute rights to non-sentient >>>>>> things, however playfully and career advancing a move it might be, >>>>>> is that it stands to devalue the notion of rights where they really >>>>>> matter: sentient creatures and especially humans. >>>>> Oh but everything is just an object. >>>>> >>>>> See Object Oriented Ontology ad nauseam. >>>>> >>>>> - Rob. >>>>> >>>>> ___ >>>>> NetBehaviour mailing list >>>>> NetBehaviour@netbehaviour.org >>>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>>> >>>> >>>> >>>> -- >>>> ---> >>>> >>>> A living - breathing - thriving networked neighbourhood - >>>> proud of free culture - claiming it with others ;) >>>> >>>> Other reviews,articles,interviews >>>> http://www.furtherfield.org/reviews.php >>>> >>>> Furtherfield – online arts community, platforms for creating, viewing, >>>> discussing and learning about experimental practices at the >>>> intersections of art, technology and social change. >>>> http://www.furtherfield.org >>>> >>>> Furtherfield Gallery – Finsbury Park (London). >>>> http://www.furtherfield.org/gallery >>>> >>>> Netbehaviour - Networked Artists List Community. >>>> http://www.netbehaviour.org >>>> >>>> http://identi.ca/furtherfield >>>> http://twitter.com/furtherfield >>>> >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> >>> >>> >>> Simon Biggs >>> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: >>> simonbiggsuk >>> >>> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >>> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php >>> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html >>> >>> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >>> http://www.movingtargets.org.uk/ http://designinaction.com/ >>> MSc by Research in Interdisciplinary Creative Practices >>> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php >>> >>> >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> -- >> ---> >> >> A living - breathing - thriving networked neighbourhood - >> proud of free culture - claiming it with others ;) >> >> Other reviews,articles,interviews >> http://www.furtherfield.org/reviews.php >> >> Furtherfield – online arts community, platforms for creating, viewing, >> discussing and learning about experimental practices at
Re: [NetBehaviour] Citizen Robot: A Vindication of the Rights of Machines
Had an interesting conversation with Talan Memmott in Amsterdam this weekend about OOO and agreed that the focus on things overlooks the importance of process and the consequent mutability of things. This is where OOO's reductivist nature and flaws become most apparent. So, you are neither a thing nor an object but a process within immanence (that's a word will drive OOO people mad). best Simon On 12 Feb 2013, at 15:15, marc garrett wrote: > are you calling me a thing or an object? > > m >> On Tue, 12 Feb 2013 04:58:44 -0800 (PST), Michael Szpakowski wrote: >>> What bothers me about the attempt to attribute rights to non-sentient >>> things, however playfully and career advancing a move it might be, >>> is that it stands to devalue the notion of rights where they really >>> matter: sentient creatures and especially humans. >> Oh but everything is just an object. >> >> See Object Oriented Ontology ad nauseam. >> >> - Rob. >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > > > -- > ---> > > A living - breathing - thriving networked neighbourhood - > proud of free culture - claiming it with others ;) > > Other reviews,articles,interviews > http://www.furtherfield.org/reviews.php > > Furtherfield – online arts community, platforms for creating, viewing, > discussing and learning about experimental practices at the > intersections of art, technology and social change. > http://www.furtherfield.org > > Furtherfield Gallery – Finsbury Park (London). > http://www.furtherfield.org/gallery > > Netbehaviour - Networked Artists List Community. > http://www.netbehaviour.org > > http://identi.ca/furtherfield > http://twitter.com/furtherfield > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Happy Birthday Alan
I agree with Helen, I think your work will be remembered far better than a lot of more "timely" stuff. best Simon On 3 Feb 2013, at 19:37, helen varley jamieson wrote: > forget about "the larger shows" & all that boring stuff, alan, the > audience you already have is much more interesting! happy birthday :) > > h : ) > > On 3/02/13 5:48 PM, Alan Sondheim wrote: >> >> >> Thank you so much, the video and still are lovely. I do doubt my work >> will be remembered, it never makes it into the larger shows etc.; it's >> always been peripheral. My new book will silently disappear! But I'm >> really glad you appreciate the work - that means a lot. And thank you >> again, >> >> love Alan >> >> On Sun, 3 Feb 2013, Michael Szpakowski wrote: >> >>> >>> >>> http://www.flickr.com/photos/szpako/8439699692/in/photostream >>> >>> Happy Birthday Alan! You've been an inspiration since I first >>> encountered your extrordinary work, much of which I love. Even when >>> I'm untouched or don't care for something of yours I'm constantly >>> moved and impressed by your integrity. I've stolen individual ideas >>> from you, of course, but more importantly the body of work and the >>> way you make it has taught me a great deal about what it means to be >>> an artist. >>> >>> I would put good money on the proposition that much of your work will >>> be remembered >>> >>> and valued when many of today's art celebs are long forgotten. >>> >>> I wish you happiness today and many more years of making art. >>> >>> michael >>> >>> >>> > > -- > > > helen varley jamieson: creative catalyst > he...@creative-catalyst.com > http://www.creative-catalyst.com > http://www.make-shift.net > http://www.upstage.org.nz > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Response to Sandler
rms of the traditional ‘art world’, I > feel it has turned the genre on its head, with younger critics like Hrag > Vartanian and Paddy Johnson using their blogrolls with equal power to > established organs such as the Brooklyn Rail and New York Times. A critic is > now someone who can build an audience as much as someone who is legitimated > by an institution. The Internet is bringing into question the conversion of > elite practices to folk. > > 9. How do you deal with the proliferating mediums in the art world today? > I stay with the artists and genres I find satisfying, and keep an eye out for > everything else. > > 10. How has globalization of art and the art world changed art criticism? > Much of this has been answered in my response regarding the role of the > Internet. Much in that globalization has created a market for initially > inexpensive speculation on Chinese Contemporary art, globalism has exerted > the same pressures of capital upon criticism that it has upon everything else > in the age of web 2.0 It wishes to have content as cheap or free as it can > get so that it can then create derivative revenue or status from it. It is > the axiom that if you love what you do, you might be willing to do it > inexpensively, or for free while having a day job. Globalization has set the > concept of value on its ear, whether in art or in criticism. > > 11. How has the enormous growth of the art world changed art criticism? > It has created problems in terms of complicity with capital. I would like to > challenge the idea of ‘art world’ as stated as only making visible the > capital ecosystem of galleries, fairs, museums, and collectors. This is only > a small, influential part of the overall art environment proper. > > 12. How do art magazine policies affect art criticism? > Within the ‘art world’ proper, they have a great deal of influence among > collectors and fairs, but that sphere of influence is become smaller, more > rarefied and concentrated. Look to the blogs. > > 13. Are gender-based and political issues still viable in art criticism today? > Of course, but the question is whether they are addressed at high profiles, > or whether they are dealt with in terms of ‘dark’ culture? > > 14. Is it a function of art criticism to analyze art world institutions? > It is ‘a’ function, but far from the only function. > > > > > > > Patrick Lichty > Assistant Professor, Interactive Arts & Media > Columbia College Chicago > 916/1000 S. Wabash Ave #104 > Chicago, IL USA 60605 > "Some distractions demand constant practice." > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] spicy sausage pasta
http://www.rochester.edu/in_visible_culture/Issue_14/intro.html On 25 Oct 2012, at 21:24, Perry Bard wrote: > close to sausage > The Kitchen Tapes http://vimeo.com/19039546 > spices > Secure Dining http://vimeo.com/26765797 > > On Thu, Oct 25, 2012 at 4:15 PM, Simon Biggs wrote: > Slovenia is a great place for roast pumpkin oil. They make it up on the > mountains along with sav blanc that gives Marlborough a run for its money... > The co-director of Kibla's uncle makes mean versions of both! > > > Sent from a mobile device, thus the brevity. > > Simon Biggs > si...@littlepig.org.uk > s.bi...@ed.ac.uk > http://www.littlepig.org.uk > > On 25 Oct 2012, at 18:31, helen varley jamieson > wrote: > > pumpkinseed oil (kurbiskernöl) is the most amazing oil for drizzling > onto salads & just about anything else that you want to add a good nutty > flavour to - including ice cream! & if you are in austria you can buy > kurbiskernöl potato chips (crisps) & these are really some kind of taste > heaven ... :) > > On 25/10/12 4:08 PM, Aymeric Mansoux wrote: > > pro tip: cook with rice oil and invest in very good oil(s) (olive, > > argan, pumpkin seed, sesame, etc) to flavour food once cooked with just > > a few drops. > > > > Simon Biggs said : > >> Depends on the olive oil. There's oil for cooking and oil for drizzling. > >> > >> best > >> > >> Simon > >> > >> > >> On 25 Oct 2012, at 13:13, dave miller wrote: > >> > >>> I think you shouldnt really cook with olive oil, add it once the food is > >>> cooked > >>> dave > >>> > >>> On 25 October 2012 13:07, Simon Biggs wrote: > >>>> I'd question the use of mushrooms and the lid. Also, avoid adding cold > >>>> olive > >>>> oil to cooking food - it makes it greasy. Add raw ingredients to hot oil > >>>> and, preferably, heat the bare pan before adding the oil. > >>>> > >>>> best > >>>> > >>>> Simon > >>>> > >>>> > >>>> On 25 Oct 2012, at 12:57, James Morris wrote: > >>>> > >>>> spicy sausage pasta > >>>> > >>>> ingrediethod > >>>> > >>>> 3 x chilli sausages fry in pan with olive oil > >>>> lemon drop chilli choped thrown in pan > >>>> more olive oil because everything burn/stick > >>>> garlic chopped throw in pan > >>>> jalepno chilli chopped throw in pan > >>>> more olive oil because everything burn/stick > >>>> cillegia chilli chopped throw in pan > >>>> white onion chopped throw in pan > >>>> several mushrooms chopped throw in pan > >>>> remove sausages when partly cooked and chop them back into pan > >>>> small tin of chopped tomatos in juice in pan > >>>> several cherry tomatos chopped in pan > >>>> sprinkling of salt in pan > >>>> sprinkling of ground pepper in pan > >>>> chop herbs from garden and put in pan > >>>> lid on > >>>> put new pan filled with water on top heat > >>>> wait for boilling > >>>> write recipe on facebook > >>>> decide not to put on facebook after all but email to inappropriate > >>>> mailing > >>>> list instead > >>>> put pasta in boiling water > >>>> wait for cooked > >>>> eat > >>>> go to work > >>>> > >>>> > > -- > > > helen varley jamieson: creative catalyst > he...@creative-catalyst.com > http://www.creative-catalyst.com > http://www.make-shift.net > http://www.upstage.org.nz > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > www.perrybard.net > http://dziga.perrybard.net > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] spicy sausage pasta
Slovenia is a great place for roast pumpkin oil. They make it up on the mountains along with sav blanc that gives Marlborough a run for its money... The co-director of Kibla's uncle makes mean versions of both! Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littlepig.org.uk On 25 Oct 2012, at 18:31, helen varley jamieson wrote: pumpkinseed oil (kurbiskernöl) is the most amazing oil for drizzling onto salads & just about anything else that you want to add a good nutty flavour to - including ice cream! & if you are in austria you can buy kurbiskernöl potato chips (crisps) & these are really some kind of taste heaven ... :) On 25/10/12 4:08 PM, Aymeric Mansoux wrote: > pro tip: cook with rice oil and invest in very good oil(s) (olive, > argan, pumpkin seed, sesame, etc) to flavour food once cooked with just > a few drops. > > Simon Biggs said : >> Depends on the olive oil. There's oil for cooking and oil for drizzling. >> >> best >> >> Simon >> >> >> On 25 Oct 2012, at 13:13, dave miller wrote: >> >>> I think you shouldnt really cook with olive oil, add it once the food is >>> cooked >>> dave >>> >>> On 25 October 2012 13:07, Simon Biggs wrote: >>>> I'd question the use of mushrooms and the lid. Also, avoid adding cold >>>> olive >>>> oil to cooking food - it makes it greasy. Add raw ingredients to hot oil >>>> and, preferably, heat the bare pan before adding the oil. >>>> >>>> best >>>> >>>> Simon >>>> >>>> >>>> On 25 Oct 2012, at 12:57, James Morris wrote: >>>> >>>> spicy sausage pasta >>>> >>>> ingrediethod >>>> >>>> 3 x chilli sausages fry in pan with olive oil >>>> lemon drop chilli choped thrown in pan >>>> more olive oil because everything burn/stick >>>> garlic chopped throw in pan >>>> jalepno chilli chopped throw in pan >>>> more olive oil because everything burn/stick >>>> cillegia chilli chopped throw in pan >>>> white onion chopped throw in pan >>>> several mushrooms chopped throw in pan >>>> remove sausages when partly cooked and chop them back into pan >>>> small tin of chopped tomatos in juice in pan >>>> several cherry tomatos chopped in pan >>>> sprinkling of salt in pan >>>> sprinkling of ground pepper in pan >>>> chop herbs from garden and put in pan >>>> lid on >>>> put new pan filled with water on top heat >>>> wait for boilling >>>> write recipe on facebook >>>> decide not to put on facebook after all but email to inappropriate mailing >>>> list instead >>>> put pasta in boiling water >>>> wait for cooked >>>> eat >>>> go to work >>>> >>>> -- helen varley jamieson: creative catalyst he...@creative-catalyst.com http://www.creative-catalyst.com http://www.make-shift.net http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] spicy sausage pasta
I suspect Marc now wants to be known as Saint Marc. Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littlepig.org.uk On 25 Oct 2012, at 16:30, marc wrote: well, I made myself a simple lunch today, toasted pitta bread filled with garlic, yellow pepper, cucumber, sesame seeds, and feta cheese, lightly dashed with a touch of olive oil. It was saintly ;-) marc > pro tip: cook with rice oil and invest in very good oil(s) (olive, > argan, pumpkin seed, sesame, etc) to flavour food once cooked with just > a few drops. > > Simon Biggs said : >> Depends on the olive oil. There's oil for cooking and oil for drizzling. >> >> best >> >> Simon >> >> >> On 25 Oct 2012, at 13:13, dave miller wrote: >> >>> I think you shouldnt really cook with olive oil, add it once the food is >>> cooked >>> dave >>> >>> On 25 October 2012 13:07, Simon Biggs wrote: >>>> I'd question the use of mushrooms and the lid. Also, avoid adding cold >>>> olive >>>> oil to cooking food - it makes it greasy. Add raw ingredients to hot oil >>>> and, preferably, heat the bare pan before adding the oil. >>>> >>>> best >>>> >>>> Simon >>>> >>>> >>>> On 25 Oct 2012, at 12:57, James Morris wrote: >>>> >>>> spicy sausage pasta >>>> >>>> ingrediethod >>>> >>>> 3 x chilli sausages fry in pan with olive oil >>>> lemon drop chilli choped thrown in pan >>>> more olive oil because everything burn/stick >>>> garlic chopped throw in pan >>>> jalepno chilli chopped throw in pan >>>> more olive oil because everything burn/stick >>>> cillegia chilli chopped throw in pan >>>> white onion chopped throw in pan >>>> several mushrooms chopped throw in pan >>>> remove sausages when partly cooked and chop them back into pan >>>> small tin of chopped tomatos in juice in pan >>>> several cherry tomatos chopped in pan >>>> sprinkling of salt in pan >>>> sprinkling of ground pepper in pan >>>> chop herbs from garden and put in pan >>>> lid on >>>> put new pan filled with water on top heat >>>> wait for boilling >>>> write recipe on facebook >>>> decide not to put on facebook after all but email to inappropriate mailing >>>> list instead >>>> put pasta in boiling water >>>> wait for cooked >>>> eat >>>> go to work >>>> >>>> >>>> -- >>>> http://jwm-art.net/ >>>> image/audio/text/code/ >>>> >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> >>>> >>>> >>>> Simon Biggs >>>> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: >>>> simonbiggsuk >>>> >>>> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >>>> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >>>> http://www.movingtargets.org.uk/ >>>> MSc by Research in Interdisciplinary Creative Practices >>>> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php >>>> >>>> >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >> >> Simon Biggs >> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: >> simonbiggsuk >> >> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >> http://www.movingtargets.org.uk/ >> MSc by Research in Interdisciplinary Creative Practices >> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > a. > -- > http://su.kuri.mu > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- -- Other Info: Furtherfield - A living, breathing, thriving network http://www.furtherfield.org - for art, technology and social change since 1997 Also - Furtherfield Gallery& Social Space: http://www.furtherfield.org/gallery About Furtherfield: http://www.furtherfield.org/content/about Netbehaviour - Networked Artists List Community. http://www.netbehaviour.org http://identi.ca/furtherfield http://twitter.com/furtherfield ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] spicy sausage pasta
Depends on the olive oil. There's oil for cooking and oil for drizzling. best Simon On 25 Oct 2012, at 13:13, dave miller wrote: > I think you shouldnt really cook with olive oil, add it once the food is > cooked > dave > > On 25 October 2012 13:07, Simon Biggs wrote: >> I'd question the use of mushrooms and the lid. Also, avoid adding cold olive >> oil to cooking food - it makes it greasy. Add raw ingredients to hot oil >> and, preferably, heat the bare pan before adding the oil. >> >> best >> >> Simon >> >> >> On 25 Oct 2012, at 12:57, James Morris wrote: >> >> spicy sausage pasta >> >> ingrediethod >> >> 3 x chilli sausages fry in pan with olive oil >> lemon drop chilli choped thrown in pan >> more olive oil because everything burn/stick >> garlic chopped throw in pan >> jalepno chilli chopped throw in pan >> more olive oil because everything burn/stick >> cillegia chilli chopped throw in pan >> white onion chopped throw in pan >> several mushrooms chopped throw in pan >> remove sausages when partly cooked and chop them back into pan >> small tin of chopped tomatos in juice in pan >> several cherry tomatos chopped in pan >> sprinkling of salt in pan >> sprinkling of ground pepper in pan >> chop herbs from garden and put in pan >> lid on >> put new pan filled with water on top heat >> wait for boilling >> write recipe on facebook >> decide not to put on facebook after all but email to inappropriate mailing >> list instead >> put pasta in boiling water >> wait for cooked >> eat >> go to work >> >> >> -- >> http://jwm-art.net/ >> image/audio/text/code/ >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> >> Simon Biggs >> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: >> simonbiggsuk >> >> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >> http://www.movingtargets.org.uk/ >> MSc by Research in Interdisciplinary Creative Practices >> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] spicy sausage pasta
I'd question the use of mushrooms and the lid. Also, avoid adding cold olive oil to cooking food - it makes it greasy. Add raw ingredients to hot oil and, preferably, heat the bare pan before adding the oil. best Simon On 25 Oct 2012, at 12:57, James Morris wrote: > spicy sausage pasta > > ingrediethod > > 3 x chilli sausages fry in pan with olive oil > lemon drop chilli choped thrown in pan > more olive oil because everything burn/stick > garlic chopped throw in pan > jalepno chilli chopped throw in pan > more olive oil because everything burn/stick > cillegia chilli chopped throw in pan > white onion chopped throw in pan > several mushrooms chopped throw in pan > remove sausages when partly cooked and chop them back into pan > small tin of chopped tomatos in juice in pan > several cherry tomatos chopped in pan > sprinkling of salt in pan > sprinkling of ground pepper in pan > chop herbs from garden and put in pan > lid on > put new pan filled with water on top heat > wait for boilling > write recipe on facebook > decide not to put on facebook after all but email to inappropriate mailing > list instead > put pasta in boiling water > wait for cooked > eat > go to work > > > -- > http://jwm-art.net/ > image/audio/text/code/ > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] "the military calling the shots in American education?"
The same bunch of people developed the internet in the first place so isn't this just more of the same? best Simon On 7 Oct 2012, at 12:52, Marco Donnarumma wrote: > "the military calling the shots in American education?" > DARPA throw money at Hackerspaces in US High Schools. > > Debate is open, and the potential of the intention is scary. > > http://www.nytimes.com/2012/10/06/us/worries-over-defense-dept-money-for-hackerspaces.html?_r=0 > > comments? > > -- > Marco Donnarumma > New Media + Sonic Arts Practitioner, Performer, Teacher, Director. > Embodied Audio-Visual Interaction Research Team. > Department of Computing, Goldsmiths University of London > ~ > Portfolio: http://marcodonnarumma.com > Research: http://res.marcodonnarumma.com > Director: http://www.liveperformersmeeting.net > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Second call ArtsIT 2013
ique, Marseille, > France > Oscar Garcia, Media Technologies Department, La Salle -Ramon Llull > University, Barcelona, Catalonia, Spain > Philippe Palanque, ICS-IRIT, Université Paul Sabatier - Toulouse III, France > Pirkko Raudaskoski, Department of Communication and Psychology, Aalborg > University, Denmark > Richard Kronland-Martinet, CNRS - Laboratoire de Mécanique et d'Acoustique, > Marseille, France > Rubén San Segundo Hernández, Grupo de Tecnología del Habla, Universidad > Politécnica de Madrid, Spain > Ryohei Nakatsu, Interactive & Digital Media Institute / National University > of Singapore, Singapore > Seungyon-Seny Lee, Department of Music Technology, Graduate School of Art and > Design, SangMyung University, Seoul, Korea > Sofia Tsekeridou, Multimedia, Knowledge and Web Technologies Research Area, > Athens Information Technology - AIT, Athens, Greece > Sølvi Ystad, LMA-CNRS, Marseill, France > Søren R. Frimodt-Møller, Aalborg University Esbjerg, Denmark > Wendy Keay-Bright, Centre for Applied Research in Inclusive Arts and Design, > Cardiff Metropolitan University, Wales > > ABOUT EAI > The European Alliance for Innovation is a dynamic eco-system for fostering > ICT enabled innovation to improve European competitiveness and to benefit > society. EAI uses open e-platforms to inspire grassroots collaboration among > all relevant actors, from organizations to individuals, to stimulate > community driven innovation to its institutional and individual members > worldwide. Through EAI, organizations find ideas and talent, and individual > innovators find organizations for their ingenuity and craft. > Join the innovation community at www.eai.eu > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] colour to sound
There's a whole argument that can be had here as to how you might convert colour to sound, or vice a versa. As phenomena they are not linked by physic, their bandwidth and structure are of different ilk's (they have no spectral relationship). Any conversion system you come up with is therefore subjective and arbitrary. You could use amplitude to map to brightness but how do you account for harmonics? There are no harmonics in colour. If you can't deal with harmonics then the conversion of pitch cannot be resolved except for sine waves. It's a can of worms. You have to get your worms straight before you start to consider your mapping system and then the sort of software you need. It's not a simple question of 1:1. best Simon On 17 Sep 2012, at 16:12, dave miller wrote: > hi simon > I could think of a way of doing it using php, but depends what > technology you're using > dave > > On 17 September 2012 14:52, Simon Mclennan wrote: >> Yo netbehavours, >> Does anybody know any dinky software programmes that convert colour >> to pitch - open source, shareware or otherwise. >> I could figure out a way to do it analogue (I'm not a programmer), >> using a ruler, some leaves and a tuning fork. >> For the Festival of Brown in Brighton this week. >> >> By the way let's not forget THEZONE experimental film nights - coming >> up during CINECITY in November. Programme to follow. >> >> Best wishes, >> >> Simon >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > Portfolio: http://davemiller.org > Blog: http://davemiller.org/art_blog/ > Research: http://augmentedwonder.blogspot.co.uk/ > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Remediating the Social
Remediating the Social, November 1-3, 2012 Edinburgh College of Art and Inspace, The University of Edinburgh Conference: November 1-3, Edinburgh College of Art, Lauriston Place, Edinburgh, EH3 9DF Exhibition: November 1-25, Inspace, 1 Crichton Street, Edinburgh, EH8 9AB Registration is open at http://www.elmcip.net/conference/registration The Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) research project invites scholars, artists, researchers and performers to the conference, Remediating the Social, held in Edinburgh, November 1-3, 2012. Remediating the Social is hosted by Edinburgh College of Art in collaboration with New Media Scotland and University College Falmouth within the framework of the ELMCIP research project. The event is held at Inspace, a purpose-built research and exhibition facility at the University of Edinburgh, fully instrumented to facilitate engagement with developments in new technologies, scientific research and creative practice. The exhibition will continue after the conference for three weeks. The conference programme consists of expert presentations, across a range of disciplines and modes of inquiry, addressing examples of creative communities that have formed around various practices, media and discourses. Case studies, papers and panels, discussing examples arising from the ELMCIP project and other contexts will be presented. The conference will be e-cast, allowing for remote attendees to freely monitor events and put questions to conference via Twitter. Conference proceedings, with a full colour catalogue of commissioned art works, will be published prior to the event. Conference: 1-3 November 2012, Edinburgh College of Art, Edinburgh, UK Exhibition opening: 1 November, 2012, Inspace, University of Edinburgh, UK http://www.elmcip.net/conference ELMCIP is supported by the HERA Joint Research Programme (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Commission FP7 2007-2013, under the Socio-economic Sciences and Humanities programme. Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Close to the Machine: Code and the Mesmerism of Building a World from Scratch
Perhaps they mean 1967? But that remains much later than any dawn, into the second generation of electronic computing. Realistically you would have to say the dawn was closer to 1947 - but that depends on how you define a computer. It could be considered to have dawned far earlier. This author could benefit from some texts by Zielinski, Parrikki or Huhtamo, on media archeology, in their Christmas stocking this year? best Simon On 29 Jul 2012, at 11:55, Tom Keene wrote: > Perhaps I'm missing something, but "dawn of computer revolution in 1997" made > me double take. The beginning of the computer evolution in 1997! Come on, the > conditions which gave rise to a computer revolution go way way back - its not > possible to use specific dates that mark the beginning, the world doesn't > work like that, there are many strands and trajectories of technological and > human histories, the formative years of the telegraph to name but one, that > made it inevitable that the current conditions of this technological age > would take place. But then I haven't read the book;) > Tom > > > > On Thu, Jul 26, 2012 at 10:35 PM, marc wrote: > Close to the Machine: Code and the Mesmerism of Building a World from > Scratch > > by Maria Popova > > The sociocultural relationship between humanity and technology has been > the subject of equal parts dystopianism, utopianism, and layered > reflection. But what of the actual, intimate, one-on-one relationship > between human and machine, creator and created? That’s exactly what > software engineer Ellen Ullman explores in Close to the Machine: > Technophilia and Its Discontents (public library) — a fascinating look > at the riveting dawn of computer revolution in 1997, those formative > years of learning to translate the inexorable messiness of being human > into elegant and organized code, examined through Ullman’s singular lens > of being a rare woman on this largely male-driven forefront. > > http://www.brainpickings.org/index.php/2012/07/26/close-to-the-machine-ellen-ullman/ > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > TOM KEENE | THE ANTHILL SOCIAL > ><> Artist. Interactive Designer. Programmer. > ><> 07930 573 944 > ><> 47 Hardel walk, Tulse Hill, SW2 2QG > ><> t...@theanthillsocial.co.uk > ><> www.theanthillsocial.co.uk > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] CfP
http://www.crmcs.sunderland.ac.uk/convergence/augmented-and-mixed-reality/ Call for Papers (February 2014) Convergence: The International Journal of Research into New Media Technologies Special Issue - 20(1) February 2014 Call for Papers: Cultural Expression in Augmented & Mixed Reality Guest Editors: Maria Engberg and Jay Bolter We seek contributions of papers concerned with applications and implications of augmented reality (AR), mixed reality (MR), and ubiquitous computing (UC). We are interested in papers that offer new insights into aesthetic, artistic, cultural and sociopolitical uses of these technologies. Possible topics for paper proposal include (but are not restricted to): AR/MR/UC in the context of art history and theory or media studies critical theoretical perspectives on AR/MR/UC social media and participatory culture locative literary and artistic forms cultural heritage and cultural institutions tactical media and other political interventions in and with these technologies The special issue is associated with the Nordic network The Culture of Ubiquitous Information. Submissions: Initial proposals should be extended abstracts in English, between 500-800 words. The abstract should include the following information: Name of author(s), with email address(es) and affiliation(s), if applicable Title of the paper Body of the abstract Bibliography (not included in word count) The papers will be selected through a blind peer review process. Authors of selected papers will receive submission guidelines. Final papers should be 5000-8000 words in length. Abstracts are due: 15 August 2012 Notification of selected papers: 1 August 2012 Complete papers are due: February 2013 Editors' comments are sent out in: April 2013 Final papers are due: 1 June 2013 Publication: February 2014 Please forward your abstract as a PDF attachment in an email addressed to: maria.engb...@bth.se ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] PhD opportunities, art design and new media
There are the two PhD opportunities here at the University of Edinburgh that might be of interest to your students or colleagues. http://www.ed.ac.uk/schools-departments/edinburgh-college-art/graduate-school/funding/design-action/overview Innovative PhD opportunities working at the interface of industry and design Edinburgh College of Art is part of Design in Action (DiA), an innovative Knowledge Exchange Hub funded by the AHRC. This Scotland wide partnership also includes the University of Dundee, Duncan of Jordanstone College of Art and Design, Universities of St Andrews, Abertay Dundee, The Robert Gordon (Gray's School of Art) and The Glasgow School of Art. DiA is a national network of organisations (academia and industry) committed to working in effective collaborations, through the ethos of knowledge exchange. The aim is to research, develop and evaluate new products, processes and services through the strategic application of design principles. DiA will drive innovation through the operation of a radical 'sandpit' methodology. Each institution will host two PhD candidates, working with a post-doctoral researcher and a senior Co-Investigator. Each team will work as part of the collective whole to deliver the methodology and study its application and outcomes. The PhDs will produce papers for conference presentations, nationally and internationally and will also do the following: Participate in sandpit events where the individual PhD's identified sector is participating. Follow successful sandpit initiatives through the process of development of the prototyping stage to commercialisation Identify and evaluate the elements that led to the successful outcome of the sandpit as a process for innovation Gain insight into how the process of design, used as a strategy for innovation, is understood within the participating partnerships and specific sector. The PhDs will be part of a peer group of ten research students focused on the collective task of understanding design at a strategic level. best Simon Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] R.I.P Andy Cameron.
Oh fuck. Not good. And Heiko Daxl also passed away yesterday, another key figure in media art, in the German scene - and all young (relatively speaking). Simon On 29 May 2012, at 14:07, marc garrett wrote: > R.I.P Andy Cameron. > > Andy Cameron, digital pioneer, co-founder of the Antirom collective, > artist, teacher and, latterly, creative director at Fabrica and Wieden + > Kennedy, has died unexpectedly. > > Cameron was a hugely influential and inspirational figure in the > development of digital media, both through his own work (which > encompassed commercial projects as well as art installations for shows > in the Barbican, MoMA in New York, the V&A and the Pompidou Centre) and > as a teacher and mentor at first the University of Westminster and > latterly at Fabrica, Benetton's research centre. He believed > fundamentally in the potential of digital media to re-invent the way we > communicate with one another. A great many of those leading the field of > digital design and interactive media today were influenced, inspired and > guided by him. > > Cameron first became interested in digital media in the early 1990s > after becoming disillusioned with photography. "I realised I was just > deeply bored with photography and was really, really excited by the > opportunities that interactive representations offered," he told CR in a > July 2010 interview. "I just thought it was really, really cool that you > could interrogate an image and that it would respond to your actions in > different ways depending on what you did. I actually still haven't got > over that, I still think it's really cool." > > http://www.creativereview.co.uk/cr-blog/2012/may/andy-cameron > > -- > Other Info: > > Furtherfield - A living, breathing, thriving network > http://www.furtherfield.org - for art, technology and social change since 1997 > > Also - Furtherfield Gallery& Social Space: > http://www.furtherfield.org/gallery > > About Furtherfield: > http://www.furtherfield.org/content/about > > Netbehaviour - Networked Artists List Community. > http://www.netbehaviour.org > > http://identi.ca/furtherfield > http://twitter.com/furtherfield > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Academia as Monstrous Puppet
Remediation of the dead Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littlepig.org.uk On 22 May 2012, at 17:46, Paul Hertz wrote: Interesting. I see in the dim luster of academia a whole spectrum of monsters, from the srsly dead text-no-one-reads to the zombie meme-that-will-not-die to the reanimated idea-whose-time-has-come-again to the Frankenstein folksonomy, continually dropping and reassembling its bones. Is no one safe? -- Paul On Tue, May 22, 2012 at 9:46 AM, info wrote: Academia as Monstrous Puppet By Charlotte Frost. Within the busy The Nonhuman Turn conference Twitter stream (which was marked by the #c21nonhuman hashtag) there loomed a rather apt entity: a distinctively nonhuman interlocutor by the name of Richard Gruesome. This zombie-esque character, apparently inspired by C21 director Richard Grusin (they both wear the same hat), offered regular tweets that riffed off the conference theme and Grusin’s work. Indeed, Gruesome’s Twitter profile states that before this so-called nonhuman turn he ‘[m]ay have been Richard Grusin, but [is] now just the ramblings of his half-eaten bot-brain’. Building on this nonhuman motif, he appears to follow a collection of objects, animals, dead or fictitious characters and even their dead – as in inactive – Twitter accounts. His blog (linked to from the Twitter profile) contains the fuller content of some of his tweets, as well as a chat function so you can talk to him, and a curious button suggesting you might also clone him. During the conference some people cautiously ‘retweeted’ a few of Gruesome’s tweets, a handful of well-known attendees followed his Twitter account, and many wondered who had created this nonhuman automated ‘twitter bot’. Well, the creator – it might be more precise to say co-creator – of Richard Gruesome was me. more... http://c21uwm.com/2012/05/15/academia-as-monstrous-puppet/ ___ 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___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] MSc ICP
We are recruiting to our Masters of Science by Research in Interdisciplinary Creative Practices for 2012-13. Details can be found at the link below: http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
12. > > BMW Tate Live is curated by Catherine Wood, Curator, Contemporary Art and > Performance, Tate, and Kathy Noble, Curator of Interdisciplinary Projects, > Tate, assisted by Capucine Perrot, Assistant Curator, Tate and Julia Crabtree. > > > BMW Tate Live Performance Room > Forthcoming performances at 20.00 hrs BST > 26 April, BMW Tate Live Performance Room: Pablo Bronstein, Constantinople > Kaleidoscope > 31 May, BMW Tate Live Performance Room: Emily Roysdon > 28 June, BMW Tate Live Performance Room: Harrell Fletcher > Summer date tbc, BMW Tate Live Performance Room: Joan Jonas > > > > > > > 311 East Broadway > New York, NY 10002, USA Contact > Unsubscribe Follow us > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > * > Pall Thayer > artist > http://pallthayer.dyndns.org > ***** > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > --- > Art is Open Source > http://www.artisopensource.net > > --- > FakePress > http://www.fakepress.it > > via G. Ghislieri 14 > 00152 Rome > Italy > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] opportunities for post-docs and PhD candidates
Research opportunities at Edinburgh College of Art, the University of Edinburgh The University of Edinburgh (Edinburgh College of Art) is part of an Arts and Humanities Research Council funded Knowledge Exchange Hub titled Design in Action, led by The University of Dundee (Duncan of Jordanstone College of Art and Design) working in partnership with the Universities of St Andrews, Abertay Dundee, The Robert Gordon (Gray’s School of Art) and The Glasgow School of Art. Design in Action's vision is to build economic capability through design-led innovation to ensure that Scotland can maximise its capacity to operate effectively and meet the imperatives of building new economies for future world markets. The project will run from June 2012 until May 2016. Design In Action is a national network of organisations (academia and industry) committed to working in effective collaborations, through the ethos of knowledge exchange. Post-doctoral research opportunity at Edinburgh College of Art, the University of Edinburgh This key role will involve working with the Co-I at Edinburgh, Professor Simon Biggs, on the planning and development of project activities. This will include coordinating and directing a number of the industry engagement sandpits and co-developing and overseeing prototyping activities involving novel ICT technologies, with a particular focus on affective networked systems, their potential impact in rural economies and how they can facilitate creative engagement amongst participants. For more information and to apply: http://www.jobs.ed.ac.uk/vacancies/index.cfm?fuseaction=vacancies.furtherdetails&vacancy_ref=3015446 Ten PhD opportunities 10 PhD’s will form a significant part of the research portfolio and will form a peer group with a collective task of understanding design at a strategic level. Candidates should hold a first degree at undergraduate level or have a proven track record of working continuously within industry for at minimum of three years. Two PhD’s will be based in each of the partner institutions: The University of Dundee, Duncan of Jordanstone College of Art The University of Edinburgh, Edinburgh College of Art The University of Abertay Dundee The Robert Gordon University, Grays School of Art The Glasgow School of Art For more information and to apply: http://www.dundee.ac.uk/djcad/news/2012/03/ahrcstudentships/ Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Read this about Gilbert & George in the Evening Standard yesterday
n the Evening > Standard yesterday > > Michael, > > Are you suggesting that there's no connection between ethics and aesthetics > in the work artists produce? > > Bob > > From: Michael Szpakowski > To: NetBehaviour for networked distributed creativity > > Sent: Saturday, 10 March 2012, 13:57 > Subject: Re: [NetBehaviour] Read this about Gilbert & George in the Evening > Standard yesterday > > There's no equation, unfortunately, between good (by which I mean left) > politics and good art. > There are some artists with rotten politics who repay repeated, even > lifelong, attention as artists. > Morandi, fascist sympathiser, is one of them. > There are some artists you'd trust with your life, politically, who are > deadly dull as artists. > I saw the huge Gilbert and George retrospective at the Tate a couple of years > back and it was one of the most excruciatingly dull experiences of my life, > though "excruciatingly" makes it sound several degrees more attention > grabbing than it actually was. > My beef with G & G is they make very dull art on an industrial scale. > It hasn't always been the case - I love their early moving image stuff... > > For me there's something about good art, whatever the personality or views of > the originator, that is inherently liberating, but that's another and longer > discussion... > > cheers > michael > > > From: dave miller > To: NetBehaviour for networked distributed creativity > > Sent: Saturday, March 10, 2012 11:00 AM > Subject: Re: [NetBehaviour] Read this about Gilbert & George in the Evening > Standard yesterday > > Hi Rob > > This makes sense to me - Gilbert and George have become the Terry > Thomases of the art world. > > dabe > > On 6 March 2012 19:31, Rob Myers wrote: > > On 06/03/12 17:03, marc garrett wrote: > >> > >> I think it's obvious that G&G are elitists, and would not wish to lose > >> any income from their bourgeois client base. > > > > Their original artistic gesture was to conflate aesthetic and social > > form. This was interesting but over time it has led to their public > > pronouncements increasingly being bad form, in the Terry-Thomas sense. > > > >> Who gives a shit whether they work from 5. am or not - many work just as > >> hard for much less, and are losing their jobs, communities, and much > >> more - they are not relevant. > > > > Yes hard work is not sufficient to explain personal wealth, whatever the > > psychological needs of the rich or indeed the simply not impoverished. > > > > - Rob. > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > _______ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Découvrez Form@ts
That does not compute. On 16 Mar 2012, at 18:32, Annie Abrahams wrote: > no ladies in the show at all > can't they format? > > > > On Fri, Mar 16, 2012 at 7:02 PM, Rob Myers wrote: > My Balloon Dog (commissioned by Furtherfield) is in a show at the Jeu de > Paum's virtual space along with work by Vuk Ćosić, Slub, FAT Lab, and > others: > > http://espacevirtuel.jeudepaume.org/formts-2-1388/ > > "Balloon Dog est une modélisation en trois dimensions, téléchargeable > gratuitement sous la licence Creative Commons, modifiable et imprimable > sur une imprimante 3D..." > > :-) > > - Rob. > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > 29 12 2011 Annie Abrahams on Greek television > http://www.youtube.com/watch?v=0eE36dwhLgg 4'26'' > > http://www.bram.org > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Read this about Gilbert & George in the Evening Standard yesterday
G&G have been part of the corporate art world since at least the late 70's, even if they didn't know it (I think they did). As that world has become more obscenely commercial those associated with it have acquire the same patina (of shit). Some artists bailed out of that horror as they saw what was happening. Other's chose to remain in the system. The former might have kept some of their dignity whilst some of the latter made a lot of money. What is one's dignity worth? best Simon On 14 Mar 2012, at 23:12, manik wrote: > ...it's not insignificant to tell that 40 years ago G&G weren't part of some > 'corporate art'...world was different and beside CIA art/see M.Andre > memories and interviews/most of artist were naive enough to believe that art > could change The World...but power of spin doctors was faster than huge > and,in hierarchy,conservative 'world of art'...corporatation 'see' faster > and better because they bought best people in that branch...G&G became > symbol of sexual hipper-freedom/in compare with hippie sex. > revolution/...same as Hearst take death and pills,body of death and > 'medicine body'/beside 'body of low-you must identify you self in quart of > low,body of termination/with numbers and lists/...and so on...'corporative > art' make mental simulation of danger,body of animal/ Oleg Kulik- > man-dog/...no matter is he state or corporate artist he have specific rule > in system of power distribution...Ai Wei.. make fake ancient jar with cola > sign on it and with this work he melt West and Chinese art in something > new...beside-that new is more 'Neo-Modern' in 'look' than post-modern...all > those things belong to 'power of corporation/of course you should considered > some state as *corporation*,why not/...idealistic projection about artist in > cave who reach nirvana/art by meditation is really story for kids...like > mine who picking from soil some new and exclusive issue will find reflexion > in some art form...maybe last two genial painters/people who make miracle > with colors and brashes-L.Freud and Basquiat are dead/...theres so many > interesting artists who are very good with what they do/Chinese who have > people who laugh,with same expression on face,Yoyoi, Koons...and many > other...world today is full of good artists and good art...but not more than > that...but that *more* was from Gioto,or Rublev something we looking for in > art...MANIK...MARCH...2012... > - Original Message - > From: "Rob Myers" > To: > Sent: Wednesday, March 14, 2012 9:02 PM > Subject: Re: [NetBehaviour] Read this about Gilbert & George in the Evening > Standard yesterday > > > On 14/03/12 12:03, dave miller wrote: >> Here's an article arguing that G&G are not fascists: >> http://www.newmediastudies.com/art/gilbert.htm >> >> and an interview "We are searching for the truth" >> http://www.jca-online.com/gilbertandgeorge.html > > I really, really, really do believe that they are acting, and that they > decided to do so four decades ago. I admire their constancy. And I think > that they are aesthetically interesting because of their social > aesthetics. This is perilously close to them being interesting because > of their politics, but I plead irony in their defence. > > I also believe that this is not in any way above criticism given how the > world has changed in the last four decades. > > - Rob. > _______ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Sex Work and Consent at @transmediale
anellists >>>>>>> for their support of sex workers. One question stuck with me, I > didn't >>>>>>> expand upon it at the discussion, but I'd like to here. >>>>>>> >>>>>>> Several of the panelists referred to the issue of consent as a >>>>>>> justification for sex work and a way of arguing against legal >>>>>>> repressions of sex work, and against the opposition against sex work >>>>>>> that some feminists and other have, as well as a way to >>> distinguish sex >>>>>>> work from rape. Sex work is distinguished from rape because it is >>>>>>> consensual, and neither legislator nor moral campaigner has any > place >>>>>>> interfering with what consenting adults do. Yet, this argument is >>>>>>> unsatisfying. >>>>>>> >>>>>>> Within the capitalist system, where workers and their families face >>>>>>> destitution and homelessness unless they work, no work can be truly >>>>>>> described as consensual. What's more the pretense of consent, is > often >>>>>>> used as justification for exploitation and to excuse the exploitive >>>>>>> behaviour of employers. After all, the worker chose to accept > the job. >>>>>>> Yet, as the cliche goes, in context this choice is not much > different >>>>>>> than the one that a mugger gives you. "Your money or your life" is >>> also >>>>>>> a choice. >>>>>>> >>>>>>> Like all professions, there can be no doubt that many sex > workers feel >>>>>>> empowered by their work, and take great pleasure in it. However, > there >>>>>>> can also be no doubt, that many sex workers are directly or > indirectly >>>>>>> coerced into doing this kind of work, and face emotional and social >>>>>>> trauma as a result. >>>>>>> >>>>>>> "Consent" seems to justify not only the sex-work itself, since > the sex >>>>>>> worker consents to perform sexual services for a client, but the >>>>>>> conditions of the sex-workers labour as well, since the sex-workers, >>>>>>> like other workers, has consented to the terms of employment. Thus >>> while >>>>>>> consent may help us differentiate sex work from rape, it > justifies the >>>>>>> economic exploitation of the sex worker at the same time, since >>> both the >>>>>>> workers relationship with the client and the employer are ultimately >>>>>>> consensual. >>>>>>> >>>>>>> I would prefer to see a stronger line of argument that says that sex >>>>>>> work is a valid form of work not merely because it is > consensual, but >>>>>>> because it is valuable. Rather then a week liberal argument based >>> on the >>>>>>> sanctity of what consulting adults to, a strong social argument that >>>>>>> argues that sex workers do necessary and beneficial work and > should be >>>>>>> protected and supported. >>>>>>> >>>>>>> Like the consent argument, the value argument also differentiates >>>>>>> between sex work and rape, as rape clearly is not socially >>> valuable, but >>>>>>> unlike the consent argument it doesn't excuse the economic >>> exploitation >>>>>>> of sex workers, since such exploitation is not socially valuable. >>>>>>> >>>>>>> If we accept that sex work is valuable work that has a place in >>> society, >>>>>>> then we can focus on the health and well being of the sex workers >>>>>>> directly, and acknowledge that many of them are not empowered >>> consenting >>>>>>> workers, but rather victims of coercion, trafficking and > exploitation, >>>>>>> often forced, unwillingly, into their work. Pretending that they > have >>>>>>> consented to their own exploitation is both delusional and >>> disrespectful >>>>>>> when it's quite likely that the empowered sex worker who takes >>> pleasure >>>>>>> in their work is the minority within
Re: [NetBehaviour] Sex Work and Consent at @transmediale
t;>>> destitution and homelessness unless they work, no work can be truly >>>>> described as consensual. What's more the pretense of consent, is often >>>>> used as justification for exploitation and to excuse the exploitive >>>>> behaviour of employers. After all, the worker chose to accept the job. >>>>> Yet, as the cliche goes, in context this choice is not much different >>>>> than the one that a mugger gives you. "Your money or your life" is > also >>>>> a choice. >>>>> >>>>> Like all professions, there can be no doubt that many sex workers feel >>>>> empowered by their work, and take great pleasure in it. However, there >>>>> can also be no doubt, that many sex workers are directly or indirectly >>>>> coerced into doing this kind of work, and face emotional and social >>>>> trauma as a result. >>>>> >>>>> "Consent" seems to justify not only the sex-work itself, since the sex >>>>> worker consents to perform sexual services for a client, but the >>>>> conditions of the sex-workers labour as well, since the sex-workers, >>>>> like other workers, has consented to the terms of employment. Thus > while >>>>> consent may help us differentiate sex work from rape, it justifies the >>>>> economic exploitation of the sex worker at the same time, since > both the >>>>> workers relationship with the client and the employer are ultimately >>>>> consensual. >>>>> >>>>> I would prefer to see a stronger line of argument that says that sex >>>>> work is a valid form of work not merely because it is consensual, but >>>>> because it is valuable. Rather then a week liberal argument based > on the >>>>> sanctity of what consulting adults to, a strong social argument that >>>>> argues that sex workers do necessary and beneficial work and should be >>>>> protected and supported. >>>>> >>>>> Like the consent argument, the value argument also differentiates >>>>> between sex work and rape, as rape clearly is not socially > valuable, but >>>>> unlike the consent argument it doesn't excuse the economic > exploitation >>>>> of sex workers, since such exploitation is not socially valuable. >>>>> >>>>> If we accept that sex work is valuable work that has a place in > society, >>>>> then we can focus on the health and well being of the sex workers >>>>> directly, and acknowledge that many of them are not empowered > consenting >>>>> workers, but rather victims of coercion, trafficking and exploitation, >>>>> often forced, unwillingly, into their work. Pretending that they have >>>>> consented to their own exploitation is both delusional and > disrespectful >>>>> when it's quite likely that the empowered sex worker who takes > pleasure >>>>> in their work is the minority within an industry that recruits most of >>>>> its workers by way of terror and desperation. >>>>> >>>>> The value argument also confronts the moral issues more directly, > since >>>>> the consent argument doesn't necessarily dispute the immorality of the >>>>> work, it only argues that nobody that is not directly involved has any >>>>> business with it. The value argument makes a much stronger social >>>>> statement: that sex work is not just a private business between >>>>> consenting adults, but a form of work that benefits society and, far >>>>> from being immoral, is a vital part of human civilization and > always has >>>>> been, despite persecutions and prohibitions. And that such persecution >>>>> and prohibition should stop, not simply because it interferes with >>>>> liberal rights, but because it is wrong and harmfull. >>>>> >>>>> First we must reject capitalist ideological notions of consent, > these do >>>>> not help sex workers, only make them responsible for their own >>>>> exploitation, and exploitation aint sexy. Once we see sex work as an >>>>> essential form of work, we can fight for the conditions of these > workers >>>>> along with those of all other workers. >>>>> >>>>> I'll be at Cafe Buchhandlung for Stam
Re: [NetBehaviour] Sex Work and Consent at @transmediale
thin an industry that recruits most of >>> its workers by way of terror and desperation. >>> >>> The value argument also confronts the moral issues more directly, since >>> the consent argument doesn't necessarily dispute the immorality of the >>> work, it only argues that nobody that is not directly involved has any >>> business with it. The value argument makes a much stronger social >>> statement: that sex work is not just a private business between >>> consenting adults, but a form of work that benefits society and, far >>> from being immoral, is a vital part of human civilization and always has >>> been, despite persecutions and prohibitions. And that such persecution >>> and prohibition should stop, not simply because it interferes with >>> liberal rights, but because it is wrong and harmfull. >>> >>> First we must reject capitalist ideological notions of consent, these do >>> not help sex workers, only make them responsible for their own >>> exploitation, and exploitation aint sexy. Once we see sex work as an >>> essential form of work, we can fight for the conditions of these workers >>> along with those of all other workers. >>> >>> I'll be at Cafe Buchhandlung for Stammtisch tonight at 8pm or so, I hope >>> some transmediale folk who are still in town will join for a drink in >>> celebration of a great event. >>> >>> Stammtisch is here: http://bit.ly/buchhandlung >>> >>> >>> -- >>> Dmyri Kleiner >>> Venture Communist >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >> >> Simon Biggs >> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: >> simonbiggsuk >> >> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >> http://www.movingtargets.co.uk/ >> >> >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > > > -- > Other Info: > > Furtherfield - A living, breathing, thriving network > http://www.furtherfield.org - for art, technology and social change since 1997 > > Also - Furtherfield Gallery& Social Space: > http://www.furtherfield.org/gallery > > About Furtherfield: > http://www.furtherfield.org/content/about > > Netbehaviour - Networked Artists List Community. > http://www.netbehaviour.org > > http://identi.ca/furtherfield > http://twitter.com/furtherfield > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Sex Work and Consent at @transmediale
trong social argument that > argues that sex workers do necessary and beneficial work and should be > protected and supported. > > Like the consent argument, the value argument also differentiates > between sex work and rape, as rape clearly is not socially valuable, but > unlike the consent argument it doesn't excuse the economic exploitation > of sex workers, since such exploitation is not socially valuable. > > If we accept that sex work is valuable work that has a place in society, > then we can focus on the health and well being of the sex workers > directly, and acknowledge that many of them are not empowered consenting > workers, but rather victims of coercion, trafficking and exploitation, > often forced, unwillingly, into their work. Pretending that they have > consented to their own exploitation is both delusional and disrespectful > when it's quite likely that the empowered sex worker who takes pleasure > in their work is the minority within an industry that recruits most of > its workers by way of terror and desperation. > > The value argument also confronts the moral issues more directly, since > the consent argument doesn't necessarily dispute the immorality of the > work, it only argues that nobody that is not directly involved has any > business with it. The value argument makes a much stronger social > statement: that sex work is not just a private business between > consenting adults, but a form of work that benefits society and, far > from being immoral, is a vital part of human civilization and always has > been, despite persecutions and prohibitions. And that such persecution > and prohibition should stop, not simply because it interferes with > liberal rights, but because it is wrong and harmfull. > > First we must reject capitalist ideological notions of consent, these do > not help sex workers, only make them responsible for their own > exploitation, and exploitation aint sexy. Once we see sex work as an > essential form of work, we can fight for the conditions of these workers > along with those of all other workers. > > I'll be at Cafe Buchhandlung for Stammtisch tonight at 8pm or so, I hope > some transmediale folk who are still in town will join for a drink in > celebration of a great event. > > Stammtisch is here: http://bit.ly/buchhandlung > > > -- > Dmyri Kleiner > Venture Communist > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] worries about blacklists
Art has always had a difficult relationship with power. Its potential for corruption is nothing new (whether in religion or ideologies of various kinds - including capitalism). However, it is has become much harder to avoid the crap. There was a time (in the 70's and 80's) when artist run centres and experimental creative practices could be undertaken beneath the radar of the art world mainstream (and out of sight of most of society). What has happened since then is the mainstreaming of this activity, especially in the UK where such artists have become household names and celebrities appearing on TV talk shows and such-like. The present generation of younger artists have taken this as a model for how the contemporary artist should engage the public and now aspire to being more like pop musicians. This is a pervasive pornification of art, as with the rest of our society, and its inescapability is that is especially depressing. best Simon On 7 Feb 2012, at 16:08, isabel brison wrote: > I agree with your portrait of the artworld, but hasn't it always been a bit > dodgy, ever since the days when art was almost exclusively religious > propaganda? > Not sure if the best way to deal with this is to drop the term "art" > completely, or to just carry on doing it and perhaps ignore the artworld. > After all, it's just an oversized commercial circuit. > > > On 7 February 2012 15:18, Simon Biggs wrote: > I can understand why some people don't want to call themselves artists, even > when they are. Mike Kelly, a very successful artist, was quoted as saying > that if he'd known art was going to become as corporatised as it has he would > never have chosen to be an artist (this quote has been viral on Twitter since > his recent death). I wonder what he would have chosen to be - or would he > have made up something new? This is what we need... > > People consider what I do as art and assume I'm an artist. However, like > Kelly and James, I became disillusioned with art and the art world a long > time ago - not because I've been given a hard time (quite the contrary) but > because I am disgusted at what seems to motivate many artists and the people > who engage (and run) art professionally. It's become a laundry for dodgy > money. Many artists, curators and cultural commentators are happy to join the > circus. It is sad. > > Due to this I now think of what I do as the "practice once known as art". A > programme I run, which is nominally in an art college (although for > administrative reasons it is located in an architecture department) > intentionally does not have the word art in its title (MSc by Research in > Interdisciplinary Creative Practices). This allows us to work in ways that a > course in our art department, with the expectation of producing artists to > work in the art world, would struggle to consider, bound by a pre-determined > framework of creative practice and engagement that is "art" as we now know > it. Again, it's sad (hope my colleagues in art aren't reading this) to see > students being primed as potential cannon-fodder for the art world. > > best > > Simon > > > On 7 Feb 2012, at 14:29, isabel brison wrote: > >> Hello, >> >> Just wondering why you choose not to call yourself an artist. Because the >> random stuff you post looks suspiciously like art to me... >> >> Isabel >> >> >> On 6 February 2012 15:04, James Morris wrote: >> >> Hi, >> >> I recently noticed that facebook warns people about links to my website >> being malicious and surbl.org blacklists my domain name as associated >> with spam. >> >> From what I can tell, some email clients allow filtering of messages >> based upon these blacklists such as multi.surbl.org or ws.surbl.org and >> it is within these lists where my domain is listed in. Spam filters >> which use these lists scan the message _body_ and if a reference to a >> blacklisted domain is found then the message is regarded as spam. >> >> I'm rather disappointed about this and it's lead me to wonder if maybe >> something I've posted here is to blame. I know I've been argumentative >> at times and been reactionary to things I dislike but I hope that the >> actual work I've posted (not so much recent work) over the years has >> made up for it. >> >> The artist career thing for me never took off and academically the >> degree was as far as I got. Programming has become my focus and due to >> that I find little time for anything else. >> >> With that in mind I'm left making posts on the o
Re: [NetBehaviour] worries about blacklists
I can understand why some people don't want to call themselves artists, even when they are. Mike Kelly, a very successful artist, was quoted as saying that if he'd known art was going to become as corporatised as it has he would never have chosen to be an artist (this quote has been viral on Twitter since his recent death). I wonder what he would have chosen to be - or would he have made up something new? This is what we need... People consider what I do as art and assume I'm an artist. However, like Kelly and James, I became disillusioned with art and the art world a long time ago - not because I've been given a hard time (quite the contrary) but because I am disgusted at what seems to motivate many artists and the people who engage (and run) art professionally. It's become a laundry for dodgy money. Many artists, curators and cultural commentators are happy to join the circus. It is sad. Due to this I now think of what I do as the "practice once known as art". A programme I run, which is nominally in an art college (although for administrative reasons it is located in an architecture department) intentionally does not have the word art in its title (MSc by Research in Interdisciplinary Creative Practices). This allows us to work in ways that a course in our art department, with the expectation of producing artists to work in the art world, would struggle to consider, bound by a pre-determined framework of creative practice and engagement that is "art" as we now know it. Again, it's sad (hope my colleagues in art aren't reading this) to see students being primed as potential cannon-fodder for the art world. best Simon On 7 Feb 2012, at 14:29, isabel brison wrote: > Hello, > > Just wondering why you choose not to call yourself an artist. Because the > random stuff you post looks suspiciously like art to me... > > Isabel > > > On 6 February 2012 15:04, James Morris wrote: > > Hi, > > I recently noticed that facebook warns people about links to my website > being malicious and surbl.org blacklists my domain name as associated > with spam. > > From what I can tell, some email clients allow filtering of messages > based upon these blacklists such as multi.surbl.org or ws.surbl.org and > it is within these lists where my domain is listed in. Spam filters > which use these lists scan the message _body_ and if a reference to a > blacklisted domain is found then the message is regarded as spam. > > I'm rather disappointed about this and it's lead me to wonder if maybe > something I've posted here is to blame. I know I've been argumentative > at times and been reactionary to things I dislike but I hope that the > actual work I've posted (not so much recent work) over the years has > made up for it. > > The artist career thing for me never took off and academically the > degree was as far as I got. Programming has become my focus and due to > that I find little time for anything else. > > With that in mind I'm left making posts on the occasional inspired > impulse. Hence the mobile-shot audio-clips and photographs from while > I'm at (factory)work. Or screenshots of software I'm trying to develop. > > Seems like I'm producing less and less art. But does it have to be art > to post here? I tend to focus on the "creativity" in the title to help > me justify my posts here. I have a memory (real or imagined) of when I > first subscribed of asked Marc if it was ok and he said 'for now'. > > The thing is I don't want to unsubscribe just because I'm not an artist > any more, but the impulses to post *random*stuff* are likely to be > around for a while... Unless people speak up to disuade me and give > good reasons for why and etc > > James. > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > http://isabelbrison.blogspot.com/ > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] I recommend
A bit like println() me.
best
Simon
On 26 Jan 2012, at 01:34, Pall Thayer wrote:
> I recommend that programming languages introduce the "why()" function. I.e.:
>
> if(whatever){
> why();
> }
>
> or:
>
> if(whatever){
> do whatever;
> }else{
> why();
> }
>
> It should report exactly why the previous condition was or was not true.
>
> Pall
>
> --
> *
> Pall Thayer
> artist
> http://pallthayer.dyndns.org
> *
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
Simon Biggs
si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype:
simonbiggsuk
s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh
http://www.eca.ac.uk/circle/ http://www.elmcip.net/
http://www.movingtargets.co.uk/
___
NetBehaviour mailing list
NetBehaviour@netbehaviour.org
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Re: [NetBehaviour] Learn To Draw
Manik I agree, the level of commitment to something you describe is what is sometimes required to get where you want to go - and that art often gets interesting when it is dangerous, especially for the person or persons doing it. I don't think the condition of being an artists needs to be equated with being ill but I do agree that the art academy (and the art world, of which it is part) is somewhere between a prison and an asylum. Mind you, asylums have their role. They can be regarded as safe places where people can experiment in ways that would not be possible outside the asylum. But you are right, mostly it is their Foucauldian function that dominates (literally). best Simon On 16 Jan 2012, at 19:57, manik wrote: > ...there's no such thing like 'learn to draw'...my learn to draw was long > treatment because I was ill because of drawing...I invented my own treatment > and I succeed to became man who draw...only way to draw is to be sick because > of drawing...to fell sick when you even think on drawing...you are in > panic...pencil is your drug and needle...you became dependent and same time > you wish to be free...same as faith...you are in faith or you are out...it's > good to know about God,Buddha or Allah...but difference between one who > believe and one who not is essential and there's no such thing like:''I must > go on training course for believers and I'll be believer same as you are now > after I finished.''...but man is creature disposed to illusion and short cut > and he want to believe that he's believer because one who believe have no way > to ask his essence about how truth,deep and frankness is his believe...Avram > was believer...he was so deep in faith,he was ready to cut his soon Isac > throat...Gauguin left his family because he was sick of drawing...those are > significant examples how's that with faith,love and art...there's no link for > those stuff...for me art academy was something between prison and mental > hospital...who think other way about drawing/art-techne/he is ready to join > to ''Occupy Wall St...''or something politic correct which support > system.../as we could see not so bad system for 99% as it was on > pleasantness of sumer temperature.../drawing's too old...man make drawings > and loose tail,fin,surplus of bone...drawing is old and mysterious process of > getting ill and joy to be free/at same time/... to fly trough emptiness of > paper like swallow double tail...one is line,the other is your > life...MANIK...JANUARY...2012... > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Learn to draw
It's the obsession with measuring things, especially unstable and subjective
things like art, that I am arguing against.
best
Simon
On 16 Jan 2012, at 19:22, Edward Picot wrote:
> A very interesting discussion this has been! But I have to say, with
> regard to Simon Biggs' comments, that I find it difficult to embrace any
> philosophy of art which won't let me measure one thing against another -
> "Wallace Stevens is a better poet than Patience Strong", for example; or
> "The Mighty Boosh is a better comedy programme than Bread". Such
> value-judgements may be open to challenge, in fact they must be open to
> challenge, but it's important to be able to make them. I used to belong
> to a poetry-society where every poem that was produced by anybody was
> greeted, not just with a chorus of approval, but with remarks like
> "That's a great poem, that is". Supportive, encouraging, but ultimately
> not very helpful. A lot of really dire amateur poetry gets produced
> under such circumstances. As an artist you have to be able to make
> distinctions about your own work - "This line is weak if I write it like
> this, but if I write it like that then it's much stronger" - "This bit's
> dragging", "I could do with some more jokes in here", or whatever -
> otherwise you can't develop, and these distinctions extend outwards to
> the work of other people - "The way he does this is really effective: I
> could borrow that technique", or "I don't want to produce something like
> that - it's really trite". ("A Hard Day's Night" is better than "Summer
> Holiday", by the way.)
>
> Where it gets dangerous is if the value-judgements are supposed to be
> beyond question: as in the F R Leavis sort of idea that there's
> something called "culture" consisting of things like Shakespeare's plays
> which are unquestionably "great", and this "culture" has to be defended
> by academics and critics from erosion by mass media and the degradation
> of modern society. As soon as we write our judgements in stone it's
> dangerous; but it's also dangerous not to make any judgements at all.
>
> If that makes me bourgeois, then sign me up to the WI.
>
> - Edward
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
Simon Biggs
si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype:
simonbiggsuk
s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh
http://www.eca.ac.uk/circle/ http://www.elmcip.net/
http://www.movingtargets.co.uk/
___
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NetBehaviour@netbehaviour.org
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Re: [NetBehaviour] Learn To Draw
My point, exactly. Read Autopoeisis: novelty, meaning and value, by myself and James Leach. It examines the role of the novel and rare in the arts and sciences within an expanded transcultural framework. Best. Simon Sent from a mobile device, thus the brevity. Simon Biggs si...@littlepig.org.uk s.bi...@ed.ac.uk http://www.littelpig.org.uk On 16 Jan 2012, at 19:59, Simon Mclennan wrote: > Simon, > People value rarity- > Bartok, Beethoven and Atsushi Takenouchi - all rare - but All people can do > Butoh and can be like pole flexing in wind or crackling dry leaf on ground - > fox stretching in sun silver shadow of leaf blades in forest glade- > > to argue about value is pointless - however > we live in societies where people lack connection with earth and wind - real > life - they value mediated experience above smell of bush and light on water > - fire flickering > > the structures and systems of mediation are a con to get money off mass of > people > > So I agree with you > > warm wishes > > Simon > > On 16 Jan 2012, at 18:57, Simon Biggs wrote: > >> Ummm, yes - but I am not arguing that everyone is the same (which isn't the >> same as equal). We are all different. I am arguing that the problem is with >> our perception of value. >> >> best >> >> Simon >> >> >> On 16 Jan 2012, at 18:41, Simon Mclennan wrote: >> >>> I like a lot of this stuff you say Simon, >>> However, have you ever read the short story by Kurt Vonnegut entitled >>> "Harrison Bergeron", from his collection - Welcome To The Monkey House. >>> I recommend it hugely. A dystopian satyrical story that made me laugh when >>> I first read it, and still does. It also made me think a bit. >>> >>> http://www.tnellen.com/cybereng/harrison.html >>> >>> Simon >>> >>> >>> On 16 Jan 2012, at 17:08, Simon Biggs wrote: >>> >>>> Joel >>>> >>>> My partner discusses this a lot. She is what you would call a "gifted" >>>> dancer, by any definition, having danced with the Royal Ballet, Merce >>>> Cunningham, Rambert and many famous companies and choreographers. If she >>>> wished she could present herself as a prima ballerina, but she hates the >>>> way dancers are expected to be athletic and able to jump twice as high as >>>> other people, whilst also appearing waif-like (although she can do that >>>> and is size 0). She argues that dance is dance and we should not be >>>> addicted to this idea of the highly trained dancer. Her own choreography >>>> post-modern, denying the athletic and highly aesthetic, making works where >>>> repetition of every day activities (like standing up and sitting down or >>>> opening a door) make up a lot of the material. The point of such work is >>>> to critique traditional dance values and propose that anything can be >>>> dance (and by extension, anybody can be a dancer) and that such practices >>>> are just as valuable as any other. In this outlook, which I agree with >>>> 100%, the notion of "gifted" simply doesn't exist. Indeed, the idea of >>>> "gifted" is critiqued as part of a process of fetishisation and Fordist >>>> professionalisation of creative activities that are currently the preserve >>>> of an elite but should be in the daily life of everyone. >>>> >>>> So, in short, my response to your statement about "gifted" artists is that >>>> you are allowing your bourgeois attitudes to show (no insult intended). >>>> >>>> Read Tim Ingold on creativity as a shared social activity. He totally >>>> destroys the dominant logic of the art world and its hierarchical >>>> structures without needing to invoke political diatribe. Ingold simply >>>> writes about people and their activities after having watched them, as an >>>> anthropologist, for the last 50 years. He studies societies where >>>> professional artists or sports people do not exist and he is thus able to >>>> evidence what art and sport can be about when they haven't been corrupted, >>>> as they have in our competitive and cruel society. >>>> >>>> best >>>> >>>> Simon >>>> >>>> >>>> On 16 Jan 2012, at 15:35, Joel Weishaus wrote: >>>> >>>>> Simon; >>>>> >>>>> I agree that ev
Re: [NetBehaviour] Learn To Draw
Ummm, yes - but I am not arguing that everyone is the same (which isn't the same as equal). We are all different. I am arguing that the problem is with our perception of value. best Simon On 16 Jan 2012, at 18:41, Simon Mclennan wrote: > I like a lot of this stuff you say Simon, > However, have you ever read the short story by Kurt Vonnegut entitled > "Harrison Bergeron", from his collection - Welcome To The Monkey House. > I recommend it hugely. A dystopian satyrical story that made me laugh when I > first read it, and still does. It also made me think a bit. > > http://www.tnellen.com/cybereng/harrison.html > > Simon > > > On 16 Jan 2012, at 17:08, Simon Biggs wrote: > >> Joel >> >> My partner discusses this a lot. She is what you would call a "gifted" >> dancer, by any definition, having danced with the Royal Ballet, Merce >> Cunningham, Rambert and many famous companies and choreographers. If she >> wished she could present herself as a prima ballerina, but she hates the way >> dancers are expected to be athletic and able to jump twice as high as other >> people, whilst also appearing waif-like (although she can do that and is >> size 0). She argues that dance is dance and we should not be addicted to >> this idea of the highly trained dancer. Her own choreography post-modern, >> denying the athletic and highly aesthetic, making works where repetition of >> every day activities (like standing up and sitting down or opening a door) >> make up a lot of the material. The point of such work is to critique >> traditional dance values and propose that anything can be dance (and by >> extension, anybody can be a dancer) and that such practices are just as >> valuable as any other. In this outlook, which I agree with 100%, the notion >> of "gifted" simply doesn't exist. Indeed, the idea of "gifted" is critiqued >> as part of a process of fetishisation and Fordist professionalisation of >> creative activities that are currently the preserve of an elite but should >> be in the daily life of everyone. >> >> So, in short, my response to your statement about "gifted" artists is that >> you are allowing your bourgeois attitudes to show (no insult intended). >> >> Read Tim Ingold on creativity as a shared social activity. He totally >> destroys the dominant logic of the art world and its hierarchical structures >> without needing to invoke political diatribe. Ingold simply writes about >> people and their activities after having watched them, as an anthropologist, >> for the last 50 years. He studies societies where professional artists or >> sports people do not exist and he is thus able to evidence what art and >> sport can be about when they haven't been corrupted, as they have in our >> competitive and cruel society. >> >> best >> >> Simon >> >> >> On 16 Jan 2012, at 15:35, Joel Weishaus wrote: >> >>> Simon; >>> >>> I agree that everyone can do something--I think that's what Beuys meant---, >>> but I am talking about the "gifted" artist. >>> Just like everyone with a "normal" body can run, but very few can reach the >>> Olympics, no matter how hard they train. >>> -Joel >>> - Original Message - >>> From: Simon Biggs >>> To: Joel Weishaus ; NetBehaviour for networked distributed creativity >>> Sent: Monday, January 16, 2012 1:03 AM >>> Subject: Re: [NetBehaviour] Learn To Draw >>> >>> I don't agree with the "natural talent" argument. I'm a nurture, not >>> nature, person. Having taught art for almost as long as I've professionally >>> made it (over 30 years) I've observed the variations in ability of >>> students. I've also observed how much that ability is measured against >>> fixed definitions of what is good or bad art. Most of the time it has been >>> those definitions that caused the issues for the student, not their >>> ability. Everybody has what it takes to be an artist (Beuys was right on >>> that) because it is a simple twist of the human condition to become one - >>> and we are all human. The question is whether you are willing to make that >>> twist and for others to be generous enough to recognise what you have done. >>> That doesn't make you a good artist - but the good vs bad argument is a >>> separate matter. >>> >>> best >>> >>> Simon >>>
Re: [NetBehaviour] sw tool for creating remixed text
What language? Or do you want it as an application? best Simon On 16 Jan 2012, at 15:49, Elin Ahlberg wrote: > Hi there > > I am looking for a digital tool which can help me make one text out of 59, by > randomly assembling sentences or paragraphs from the source texts. > > Any ideas..? > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Learn To Draw
Joel My partner discusses this a lot. She is what you would call a "gifted" dancer, by any definition, having danced with the Royal Ballet, Merce Cunningham, Rambert and many famous companies and choreographers. If she wished she could present herself as a prima ballerina, but she hates the way dancers are expected to be athletic and able to jump twice as high as other people, whilst also appearing waif-like (although she can do that and is size 0). She argues that dance is dance and we should not be addicted to this idea of the highly trained dancer. Her own choreography post-modern, denying the athletic and highly aesthetic, making works where repetition of every day activities (like standing up and sitting down or opening a door) make up a lot of the material. The point of such work is to critique traditional dance values and propose that anything can be dance (and by extension, anybody can be a dancer) and that such practices are just as valuable as any other. In this outlook, which I agree with 100%, the notion of "gifted" simply doesn't exist. Indeed, the idea of "gifted" is critiqued as part of a process of fetishisation and Fordist professionalisation of creative activities that are currently the preserve of an elite but should be in the daily life of everyone. So, in short, my response to your statement about "gifted" artists is that you are allowing your bourgeois attitudes to show (no insult intended). Read Tim Ingold on creativity as a shared social activity. He totally destroys the dominant logic of the art world and its hierarchical structures without needing to invoke political diatribe. Ingold simply writes about people and their activities after having watched them, as an anthropologist, for the last 50 years. He studies societies where professional artists or sports people do not exist and he is thus able to evidence what art and sport can be about when they haven't been corrupted, as they have in our competitive and cruel society. best Simon On 16 Jan 2012, at 15:35, Joel Weishaus wrote: > Simon; > > I agree that everyone can do something--I think that's what Beuys meant---, > but I am talking about the "gifted" artist. > Just like everyone with a "normal" body can run, but very few can reach the > Olympics, no matter how hard they train. > -Joel > - Original Message - > From: Simon Biggs > To: Joel Weishaus ; NetBehaviour for networked distributed creativity > Sent: Monday, January 16, 2012 1:03 AM > Subject: Re: [NetBehaviour] Learn To Draw > > I don't agree with the "natural talent" argument. I'm a nurture, not nature, > person. Having taught art for almost as long as I've professionally made it > (over 30 years) I've observed the variations in ability of students. I've > also observed how much that ability is measured against fixed definitions of > what is good or bad art. Most of the time it has been those definitions that > caused the issues for the student, not their ability. Everybody has what it > takes to be an artist (Beuys was right on that) because it is a simple twist > of the human condition to become one - and we are all human. The question is > whether you are willing to make that twist and for others to be generous > enough to recognise what you have done. That doesn't make you a good artist - > but the good vs bad argument is a separate matter. > > best > > Simon > > > On 16 Jan 2012, at 00:31, Joel Weishaus wrote: > >> Hi Simon; >> >> I agree with you, up to a point. And that is, in every art, there is always >> the mystery of talent. Some have it; others, no matter how hard they work, >> never will be "gifted." >> >> -Joel >> - Original Message - >> From: Simon Biggs >> To: NetBehaviour for networked distributed creativity >> Sent: Sunday, January 15, 2012 10:17 AM >> Subject: Re: [NetBehaviour] Learn To Draw >> >> LOL. >> >> Learning to draw is not a technical skill, although some people want you to >> believe it is. Learning to draw, in the first instance, requires learning >> how to look at things very intensely and carefully, understanding line, >> shade, volume, atmospherics, etc. You can't learn that from a book. You have >> to immerse yourself in looking at things - flowers, bodies, trees, hills, >> clouds, etc. Go and look at hundreds, even thousands, of artists pictures, >> preferably for real (books rarely do them justice and the web is n extremely >> poor simulation). Get a sense of the relationship between what the artist >> was seeing, in their mind's eye, and their method of execution. Place
Re: [NetBehaviour] Learn To Draw
I don't agree with the "natural talent" argument. I'm a nurture, not nature, person. Having taught art for almost as long as I've professionally made it (over 30 years) I've observed the variations in ability of students. I've also observed how much that ability is measured against fixed definitions of what is good or bad art. Most of the time it has been those definitions that caused the issues for the student, not their ability. Everybody has what it takes to be an artist (Beuys was right on that) because it is a simple twist of the human condition to become one - and we are all human. The question is whether you are willing to make that twist and for others to be generous enough to recognise what you have done. That doesn't make you a good artist - but the good vs bad argument is a separate matter. best Simon On 16 Jan 2012, at 00:31, Joel Weishaus wrote: > Hi Simon; > > I agree with you, up to a point. And that is, in every art, there is always > the mystery of talent. Some have it; others, no matter how hard they work, > never will be "gifted." > > -Joel > - Original Message - > From: Simon Biggs > To: NetBehaviour for networked distributed creativity > Sent: Sunday, January 15, 2012 10:17 AM > Subject: Re: [NetBehaviour] Learn To Draw > > LOL. > > Learning to draw is not a technical skill, although some people want you to > believe it is. Learning to draw, in the first instance, requires learning how > to look at things very intensely and carefully, understanding line, shade, > volume, atmospherics, etc. You can't learn that from a book. You have to > immerse yourself in looking at things - flowers, bodies, trees, hills, > clouds, etc. Go and look at hundreds, even thousands, of artists pictures, > preferably for real (books rarely do them justice and the web is n extremely > poor simulation). Get a sense of the relationship between what the artist was > seeing, in their mind's eye, and their method of execution. Place the work in > its historical and cultural context. Seek to understand drawing as a > discursive activity, between the artist and the context they are working in. > This is also very important to understanding why a drawing is what it is - > why a Japanese line drawing is so different to a Medieval illustration or a > Pollock. Then hang out with your peers who are also developing these > capabilities, sharing ideas, methods, philosophies, etc. Practicing as an > artist, as this list proves, is about being with others, engaged in > discourse. Drawing is just another form of that - often enmeshed with other > media and forms of communication, from arguing to books, to playing music > together. It is rarely something you can do alone or in isolation. Expect the > learning process to be long and slow. Many people never learn, I think mainly > because they lack the patience to look at things long and hard enough to > break the inertia of our normal ways of seeing things. > > BTW, here's a drawing my son did when he was about 8. It is qualitatively > different to anything he had done till then. We were on holiday staying in a > remote cottage. It rained very heavily all day so we couldn't go out. I asked > him to look at the flowers for a few hours before starting the drawing and to > then take his time with it when he did. I gave him no other advice or aid. It > took him the whole day but evidences how he looked at something and > translated that to paper. The main thing was that it looked like nothing he > had done before. By looking long and hard he transcended himself. That's what > drawing is about and why you can't learn it from a manual. > > best > > Simon > > > On 15 Jan 2012, at 17:30, Rob Myers wrote: > > > Are there any sites or projects for learning to draw like the learning > > to code resources we were discussing recently? > > > > - Rob. > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > Simon Biggs > si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: > simonbiggsuk > > s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh > http://www.eca.ac.uk/circle/ http://www.elmcip.net/ > http://www.movingtargets.co.uk/ > > > > > > > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > Ne
Re: [NetBehaviour] Learn To Code
Processing is a great introduction to programming and allows you to build complex projects as both stand alone applications and browser based apps. From there it is no great leap to start working with C++ in an environment like Cinder. That said, Python is great. Best. Simon Sent from mobile Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk s.bi...@ed.ac.uk On 7 Jan 2012, at 17:29, Pall Thayer wrote: > I will also be happy to answer any coding questions that these new > recruits may post to the list. > > I agree with Rob that learning some coding will help people gain more > control over their use of technology. That being said, JavaScript > isn't really going to get people far with this goal in mind. It is > however a good introduction to coding principles. I would recommend > Perl, Python or Ruby to those that want to make their existing > computers "do more their way". PHP can also be used for local scripts. > These languages all have their ups and downs. > > Ps. There are systems available that will let you create phone apps as > HTML5+JavaScript. For instance appMobi (http://www.appmobi.com/). > > On Sat, Jan 7, 2012 at 10:54 AM, Rob Myers wrote: >> On 07/01/12 15:18, Andreas Maria Jacobs wrote: >>> >>> Where and how are software skills degraded from a professional craft >>> to a hobby 'free' time occupation? >> >> There are two reasons why I suggest people on Netbehaviour learn to >> program using these resources. Neither is so they can get jobs as code >> monkeys. >> >> The first is so that they can get a feel for how code works. So they can >> gain an insight into how the software they use every day, and that >> affects their entire lives, works. This is important for thinking >> critically and realistically about software. >> >> The second is so that they can use code as a tool to achieve their own >> ends using software, less constrained by the fixed affordances of >> applications and web sites. Data visualisation, digital humanities >> techniques and web scripting are all useful ways of doing things with >> software. >> >>> What are the benefits from it when being outsourced and jobless? >> >> Software should not be an economic end in itself. It is a tool for >> achieving other ends. This is its benefit to artists and activists and >> academics, not that they might be able to make a living by writing code >> for multinationals. >> >>> The naivity - also expressed in this list - surrounding software >>> practices is astonishing >> >> We don't leave culture to the culture industry or sex to the sex >> industry. We shouldn't leave software to the software industry. >> >> - Rob. >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > * > Pall Thayer > artist > http://pallthayer.dyndns.org > * > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] OOQ – Object-Oriented-Questions.
The programming dimension seems to be at the heart of the argument. Hansen is extending the OOP programming paradigm to notions of agency and relationality, even ontology. best Simon On 30 Dec 2011, at 13:16, James Morris wrote: > On Fri, 30 Dec 2011 12:31:10 + > Simon Biggs wrote: > >> People are not black-boxes. We are not simple (or even complex) >> instances of a class of some kind. OOP's is a very powerful means for >> creating meaning and action in machines and artificial systems but as >> a metaphor for human beingness it seems too neat to account for the >> complexity and multi-valent connectivity that exists between us. We >> are messy creatures without clear boundaries to individuate us. Our >> definition is probably less about things (or objects) than dynamic >> relations as flux. >> >> best >> >> Simon > > Are you sure we should be thinking in terms of object orientated > programming when reading the article? > > I was too distracted by the confusion as to whether we should > or not to read it fully (predicition: my ability to read it will > miraculously return as soon as I click send). > > James. > > > > > >> >> >> On 30 Dec 2011, at 12:12, Richard Wright wrote: >> >>> "Things, not Objects" - Bruno Latour >>> >>> >>> >>>> >>>> From: marc garrett >>>> Date: 29 December 2011 12:08:56 GMT >>>> To: NetBehaviour for networked distributed creativity >>>> Subject: [NetBehaviour] OOQ – >>>> Object-Oriented-Questions. Reply-To: NetBehaviour for networked >>>> distributed creativity >>>> >>>> >>>> OOQ – Object-Oriented-Questions. >>>> >>>> Jussi Parikka >>>> >>>> I can’t claim that I know too much about object oriented >>>> philosophy. It’s often more about my friends or colleagues talking >>>> about it, enthusiastically for or against. Indeed, I have been one >>>> of those who has at best followed some of the arguments but not >>>> really dipped too deeply into the debates – which from early on, >>>> formed around specific persons, specific arguments, and a specific >>>> way of interacting. >>>> >>>> Hence, let me just be naïve for a second, and think aloud a couple >>>> of questions: >>>> >>>> - I wonder if there is a problem with the notion of object in the >>>> sense that it still implies paradoxically quite a correlationist, >>>> or lets say, human-centred view to the world; is not the talk of >>>> “object” something that summons an image of perceptible, clearly >>>> lined, even stable entity – something that to human eyes could be >>>> thought of as the normal mode of perception. We see objects in the >>>> world. Humans, benches, buses, cats, trashcans, gloves, computers, >>>> images, and so forth. But what would a cat, bench, bus, trashcan, >>>> or a computer “see”, or sense? >>>> >>>> more... >>>> http://jussiparikka.net/2011/12/21/ooq-object-oriented-questions/ >>>> >>>> >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> Simon Biggs >> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK >> skype: simonbiggsuk >> >> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >> http://www.movingtargets.co.uk/ >> >> >> >> > > > > -- > http://jwm-art.net/ > image/audio/text/code/ > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] OOQ – Object-Oriented-Questions.
People are not black-boxes. We are not simple (or even complex) instances of a class of some kind. OOP's is a very powerful means for creating meaning and action in machines and artificial systems but as a metaphor for human beingness it seems too neat to account for the complexity and multi-valent connectivity that exists between us. We are messy creatures without clear boundaries to individuate us. Our definition is probably less about things (or objects) than dynamic relations as flux. best Simon On 30 Dec 2011, at 12:12, Richard Wright wrote: > "Things, not Objects" - Bruno Latour > > > >> >> From: marc garrett >> Date: 29 December 2011 12:08:56 GMT >> To: NetBehaviour for networked distributed creativity >> >> Subject: [NetBehaviour] OOQ – Object-Oriented-Questions. >> Reply-To: NetBehaviour for networked distributed creativity >> >> >> >> OOQ – Object-Oriented-Questions. >> >> Jussi Parikka >> >> I can’t claim that I know too much about object oriented philosophy. It’s >> often more about my friends or colleagues talking about it, enthusiastically >> for or against. Indeed, I have been one of those who has at best followed >> some of the arguments but not really dipped too deeply into the debates – >> which from early on, formed around specific persons, specific arguments, and >> a specific way of interacting. >> >> Hence, let me just be naïve for a second, and think aloud a couple of >> questions: >> >> - I wonder if there is a problem with the notion of object in the sense >> that it still implies paradoxically quite a correlationist, or lets say, >> human-centred view to the world; is not the talk of “object” something that >> summons an image of perceptible, clearly lined, even stable entity – >> something that to human eyes could be thought of as the normal mode of >> perception. We see objects in the world. Humans, benches, buses, cats, >> trashcans, gloves, computers, images, and so forth. But what would a cat, >> bench, bus, trashcan, or a computer “see”, or sense? >> >> more... >> http://jussiparikka.net/2011/12/21/ooq-object-oriented-questions/ >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] whatever
That's one (rather romantic) model for making art. The use of the word "we" here is problematic. Many do not make art for these kinds of reasons (to express themselves and/or be novel). I agree with you about "timelessness" though. Everything is in "time", just as it is of "stuff". best Simon On 17 Dec 2011, at 08:42, Pall Thayer wrote: > When we create “art”, we strive to do something new. We put all our > energy into compiling our emotions, our feelings, our experiences into > a comprehensive whole. However, that comprehension is always personal. > We can not separate our creative expression from our creative > compulsions or energies. The outcome is what it is. It is a personal > reflection of our personal interpretation of our time. > The notion of “timeless art” is a myth, perpetuated by who knows what > (or who)... how can a work of art be timeless? It is always a product > of its time. To perceive it otherwise would be absurd. If Les > Demoiselles d'Avignon had never previously been produced, would we > accept it today as a remarkable work of art? I don't think so. Its > production was very much tied to its time. Its importance is equally > tied to its time of production. It represents a break from its own > contemporary tradition - but not even a drastic break. It falls within > its own contemporary explorations into african art (which had already > been pursued by Ingres, in his own manner and had also influenced the > likes of Manet but we could go on forever). Picasso was not the > only one exploring these avenues. But that is beyond my point. We live > in a time. Yes, the period is supposed to be there. We live in a time. > It is our time. As Lilly Allen stated, “No, you can't have my number > 'cause I lost my phone.” Lost my phone? When I was her age, my phone > never left my home! But times change. We live in an age where you may > “lose your phone”. And what goes with losing your phone? You lose > your identity! No... you don't. Your identity is as secure as you made > it... what?... your username was the same as your password? You > idio you dear, dear child. > I reviewed the work of an “internet artist” recently. Oh... here we > go... someone addressing his time, his culture! He uses the fact that > contemporary culture has provided us a plethora of personal imagery. > This is good. His website contains compelling images of his own > manipulations of images. His own manipulations of images his own > man... Excuse me, what are you doing to these images? How are you > choosing these images. Yes, your end results are compelling but what > is your process? That would be far more compelling. Please don't tell > me that you lost your phone. The only thing that truly speakes to your > time, is your method. And you choose to veil that behind the eye-candy > of your output? Um... ok. > As I drunkenly leave my seat to explore the opportunities provided me > by a destructive cannon of highly inflammabale tobacco, I deplore you > to consider the issues; what exactly defines our time? Our culture? I > think Lily Allen hit the nail on the head for her target group. As you > consider where we might be, I'll be out on the stoop, smoking a > cigarette. I expect a coherent answer when I get back. > -- > * > Pall Thayer > artist > http://pallthayer.dyndns.org > * > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] The BBC Microcomputer and me, 30 years down the line.
I think it's great to see the material played back on a monitor of correct vintage. That the documentarty video was produced using a mobile phone adds piquancy to proceedings. best Simon On 2 Dec 2011, at 13:48, IR3ABF wrote: > hi > > I found three pieces produced with a VIC20 in my personal archive: > > 1: "4 = ANGST - La Vie Russe", 1987 an animation about the then new epidemic > AIDS > > http://burgerwaanzin.nl/vic20/4=angst.mp4 > > 2: "OOSTENRIJK", 1987 an animation about the troubled historical past of > Austria > > http://burgerwaanzin.nl/vic20/oostenrijk.mp4 > > 3: "SCHIZOFRAMES", 1987 balancing the border between sane and insane, an > animation for a VIC20 computer and a cathode ray-tube television set > > http://burgerwaanzin.nl/vic20/schizo.mp4 > > Animated lettering system written in ASM 6502 injected directly into > memoryspace, recorded and played back with cassette tape, video recordings > from old weared and teared Betamax recordings, my medium of choice from that > days. > > NB Lack of affordable equipment gave rise to film these excerpts with a > handheld samsung smartphone > > best > > Andreas > > > Sent from my eXtended BodY > > On 2 dec. 2011, at 13:20, Simon Biggs wrote: > >> The examples of "practice formerly known as art", linked to below, were not >> produced using a BBC as these machines were not readily available in >> Australia. They predate the release of the BBC and Commodore 64 by a couple >> of years. However, the machine used (a homebuilt S-100 based system with Z80 >> CPU) was a similar specification. These are stills from realtime animations, >> initially written in hexadecimal, then machine code and latterly C. I have >> QT versions and should upload them sometime. They are very crude but have a >> certain charm indicative of their time and my naivety. >> >> http://www.littlepig.org.uk/videos/pieces79/pieces79.htm >> http://www.littlepig.org.uk/videos/pieces81/pieces81.htm >> http://www.littlepig.org.uk/videos/pieces82/pieces82.htm >> >> Anyway, although I wasn't a BBC user I would see myself as belonging to that >> generation of practitioners who began engaging computers at the end of the >> 1970's and which would include the Altair, BBC, Commodore and other early PC >> users. Thus, the 30 year anniversary for the BBC Micro has some resonance >> for me. >> >> best >> >> Simon >> >> >> On 2 Dec 2011, at 11:38, IR3ABF wrote: >> >>> >>> hi Marc and list >>> >>> UK had its BBC Micro, while at the same time in continental Europe, >>> Commodore introduced the famous VIC20, the *Volkscomputer* with about the >>> same specs apart from its slower microprocessor, both equiped with the >>> famous 6502 >>> >>> the acronym i.e. ARM is somewhat misleading as it suggest an A(dvanced) >>> R(educed instruction set) M(icroprocessor) which was certaintly not the >>> case with the 6502, which had a huge set of ASM 6502 machine instructions >>> as was the first commercially succesfull Apple IIe >>> >>> I wonder how first generation programmers (like I did with the VIC 20) used >>> the Acorn in The UK to create, well pieces of the practice formerly called >>> art? I remember there was and there still is a lively demoscene using asm >>> 6502 or derivates as language of choice >>> >>> Would be nice to somehow showcase these early examples at -for instance- >>> Furtherfield? >>> >>> And to juxtapoint contentinental versus UK approaches and trying to point >>> to a certain distinction between the two, as for instance: subject matter, >>> technical point of view, art historical context, the role of BBC compared >>> to educational programs from ZDF, NOS nl (which happened to broadcast 6502 >>> code hidden in television transmission signal in the 1980ties), the role of >>> influential technical publishers like Data Becker, Germany and finally the >>> impact of the commercial take-over around 1989 by AOL et al US which gave >>> rise to the mainstream popularity of Home Computers (PC's) >>> >>> Just wondering >>> >>> Best >>> >>> Andreas >>> >>> >>> Sent from my eXtended BodY >>> >>> On 2 dec. 2011, at 11:55, marc garrett >>> wrote: >>> >>>> The BBC Microcomputer and me, 30 years down the line. >>>> >
Re: [NetBehaviour] The BBC Microcomputer and me, 30 years down the line.
The examples of "practice formerly known as art", linked to below, were not produced using a BBC as these machines were not readily available in Australia. They predate the release of the BBC and Commodore 64 by a couple of years. However, the machine used (a homebuilt S-100 based system with Z80 CPU) was a similar specification. These are stills from realtime animations, initially written in hexadecimal, then machine code and latterly C. I have QT versions and should upload them sometime. They are very crude but have a certain charm indicative of their time and my naivety. http://www.littlepig.org.uk/videos/pieces79/pieces79.htm http://www.littlepig.org.uk/videos/pieces81/pieces81.htm http://www.littlepig.org.uk/videos/pieces82/pieces82.htm Anyway, although I wasn't a BBC user I would see myself as belonging to that generation of practitioners who began engaging computers at the end of the 1970's and which would include the Altair, BBC, Commodore and other early PC users. Thus, the 30 year anniversary for the BBC Micro has some resonance for me. best Simon On 2 Dec 2011, at 11:38, IR3ABF wrote: > > hi Marc and list > > UK had its BBC Micro, while at the same time in continental Europe, Commodore > introduced the famous VIC20, the *Volkscomputer* with about the same specs > apart from its slower microprocessor, both equiped with the famous 6502 > > the acronym i.e. ARM is somewhat misleading as it suggest an A(dvanced) > R(educed instruction set) M(icroprocessor) which was certaintly not the case > with the 6502, which had a huge set of ASM 6502 machine instructions as was > the first commercially succesfull Apple IIe > > I wonder how first generation programmers (like I did with the VIC 20) used > the Acorn in The UK to create, well pieces of the practice formerly called > art? I remember there was and there still is a lively demoscene using asm > 6502 or derivates as language of choice > > Would be nice to somehow showcase these early examples at -for instance- > Furtherfield? > > And to juxtapoint contentinental versus UK approaches and trying to point to > a certain distinction between the two, as for instance: subject matter, > technical point of view, art historical context, the role of BBC compared to > educational programs from ZDF, NOS nl (which happened to broadcast 6502 code > hidden in television transmission signal in the 1980ties), the role of > influential technical publishers like Data Becker, Germany and finally the > impact of the commercial take-over around 1989 by AOL et al US which gave > rise to the mainstream popularity of Home Computers (PC's) > > Just wondering > > Best > > Andreas > > > Sent from my eXtended BodY > > On 2 dec. 2011, at 11:55, marc garrett wrote: > >> The BBC Microcomputer and me, 30 years down the line. >> >> "The BBC has an article on the BBC Microcomputer, designed and >> manufactured by Acorn Computers for the BBC's Computer Literacy project. >> It is now 30 years since the first BBC Micro came out — a machine with a >> 2 MHz 6502 — remarkably fast for its day; the Commodore machines at the >> time only ran at 1MHz. While most U.S. readers will never have heard of >> the BBC Micro, the BBC's Computer Literacy project has had a huge impact >> worldwide since the ARM (originally meaning 'Acorn Risc Machine') was >> designed for the follow-on version of the BBC Micro, the Archimedes, >> also sold under the BBC Microcomputer label by Acorn. The original ARM >> CPU was specified in just over 800 lines of BBC BASIC. The ARM CPU now >> outsells all other CPU architectures put together. The BBC Micro has >> arguably been the most influential 8 bit computer the world had thanks >> to its success creating the seed for the ARM, even if the 'Beeb' was not >> well known outside of the UK." >> >> http://www.bbc.co.uk/news/technology-15969065 >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Remediating the Social: 3rd and FINAL CALL FOR PAPERS
Remediating the Social 3rd and FINAL CALL FOR PAPERS The Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) research project invites paper and presentation proposals for its conference, Remediating the Social. Selected papers will be presented at the conference in Edinburgh, November 1-3, 2012. ELMCIP welcomes abstracts of up to 500 words for papers, presentations and group panel sessions that address network and digitally mediated creative practices that effect and reflect upon the role of creativity in social and community formation. Remediating the Social apprehends people and media as interacting generative agents, remediating one another as a vital part of contemporary social space. Papers that reflect upon "born digital" literary and artistic practice within the context of cultural formation are especially welcome. Papers might present theoretical positions, case studies or artist's presentations, as well as other forms. We welcome proposals for panel discussions on specific topics that engage the conference theme. Remediating the Social will be hosted at Edinburgh College of Art (eca) of the University of Edinburgh, in collaboration with New Media Scotland and University College Falmouth. The conference will be held at eca. An associated exhibition will be held at Inspace, a purpose-built research and exhibition facility in the University of Edinburgh's School of Informatics, fully instrumented to facilitate engagement with developments in new technologies, scientific research and creative practice. The exhibition will continue after the conference for three weeks. The conference programme will consist of paper presentations, across a range of disciplines and modes of inquiry, addressing examples of creative communities that have formed around various practices, media and discourses. Case studies, papers and panels, including examples arising from the ELMCIP project and other contexts, will be presented. The conference will be web-cast, allowing for remote attendees to monitor events and put questions to conference via a live public feed, employing mediating technologies within the event. Conference proceedings will be peer reviewed and published, with ISBN. About ELMCIP Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a three year collaborative research project running from 2010-2013, funded by the Humanities in the European Research Area Joint Research Programme for Creativity and Innovation. ELMCIP involves seven European academic research partners and one non-academic partner who are investigating how creative communities of practitioners form within transnational and transcultural contexts in globalized and distributed communications environments. Focusing on the electronic literature community in Europe, as a model of networked creativity and innovation in practice, ELMCIP studies the formation and interactions of that community and seeks to further electronic literature research and practice in Europe. The project partners are The University of Bergen, Edinburgh College of Art, Blekinge Institute of Technology, The University of Amsterdam, The University of Ljubljana, The University of Jyväskylä,, University College Falmouth and New Media Scotland. Abstracts of papers should be of no more than 500 words and/or two pages of A4 in PDF format (11 point). A biographical statement of no more than 250 words (one page A4, 11 point) should be included (additional to the abstract word count). Abstracts must be sent as a single PDF file and not exceed 4 megabytes in size. They should include clear indication of technical and resource requirements as well as duration and space requirements (if applicable). Submissions will only be accepted electronically and to the email address below. Abstracts submission Deadline: December 30, 2011 Notification of selection February 29, 2012 Full papers deadline May 31, 2012 Conference dates: 01-03 November 2012, Edinburgh College of Art, Edinburgh, UK Submissions to: artwo...@elmcip.net http://www.elmcip.net/conference Co-Chairs: Simon Biggs and Jerome Fletcher. ELMCIP Project Leader: Scott Rettberg Peer review committee: Jan Baetens, University of Leuven Giselle Beiguelman, Sao Paulo Catholic University Simon Biggs, Edinburgh College of Art Serge Bouchardon, University of Technology of Compiegne Friedrich Block, Stiftung Brückner-Kühner, Kassel Laura Borràs Castanyer, University of Barcelona Mark Daniels, New Media Scotland Yra Van Dijk, University of Amsterdam Maria Engberg, Blekinge Institute of Technology Jerome Fletcher, University College Falmouth Raine Koskimaa, University of Jyväskylä James Leach, University of Aberdeen Talan Memmott, Blekinge Institute of Technology Scott Rettberg, University of Bergen Margriet Schavemaker, Stedelijk Museum Amsterdam Janez Strehovec, University of Ljubljana Joseph Tabbi, Unive
Re: [NetBehaviour] UCDavis events
More or less in line with yours. Katehi has been demonised, perhaps slightly unfairly. Nevertheless, she is responsible and should do the appropriate thing. Resignation is one of the options. I can think of others - making a stand to the state Governor and University President for a change in the UC system fee structure could also help. Making a change in that area would be the single most effective thing she could do, given her position. best Simon On 22 Nov 2011, at 15:26, Paul Hertz wrote: > I take it by "not always reported accurately" you are referring to Katehi > being portrayed as the villain? From what I've read, and balancing out the > angry response, I'd say that her role has been at least ambiguous when it > should have been clear cut. As the person ultimately responsible for campus > life at UC Davis, the call for her resignation strikes me as entirely > appropriate. > > I'm sure that every situation like this has many inaccuracies, but perhaps > you could explain your thoughts a little more. > > -- Paul > > > On Tue, Nov 22, 2011 at 9:11 AM, Simon Biggs wrote: > The story below indicates things move fast, are not always reported > accurately and that people sometimes find themselves in impossible positions. > Nevertheless, they should take responsibility. Perhaps something good will > come out of this horrible mess, if the UC system ends up changing its > regulations on campus policing? > > > UC Davis students put up new encampment > By JUDY LIN, Associated Press – 4 hours ago > DAVIS, Calif. (AP) — Students have again put up tents near the site where > University of California, Davis police used pepper spray on seated protesters > in a conflict that has sparked outrage and calls for the school chancellor's > resignation. > The encampment was again erected Monday, hours after the campus police chief > was put on administrative leave and the chancellor was shouted down at a > demonstration while trying to apologize for the incident that happened at a > protest held Friday in support of the Occupy Wall Street movement. Two > officers also were placed on administrative leave after the students were > sprayed. > University spokeswoman Claudia Morain said the school was monitoring the > protest and did not say whether the students would be allowed to camp > overnight. She said the school will take action "step by step" to balance > campus security with people's right to protest. > Chancellor Linda Katehi made a brief appearance, facing students, faculty and > community members chanting slogans and pressing for her to step down. > "I'm here to apologize. I feel horrible for what happened Friday," Katehi > told the crowd. "If you think you don't want to be students of the university > we had on Friday, I'm just telling you, I don't want to be the chancellor of > the university we had on Friday." > She asked the assembly to work with her as she strives to earn the trust of > the campus. Then, as the demonstrators yelled at her to step down, staff > members escorted Katehi away to a car. > University officials and campus police have been the target of angry > reprisals since widely circulated videos showed riot police dousing pepper > spray on a row of students while they were sitting passively on the ground > with their arms linked. > Meanwhile, demonstrators at the University of California, Berkeley, pledged > to sleep overnight at Sproul Plaza, though they did not plan to set up tents. > A heat lamp was set up in the plaza, and student protesters called the > demonstration a "pajama party" rather than an encampment. > University of California President Mark G. Yudof called the chancellors of > all 10 campuses and reminded them of the right to protest peacefully. > "We cannot let this happen again," he said, according to a statement from the > president's office. > On Sunday, Katehi called on the Yolo County district attorney's office to > investigate the police department's use of force. > With no uniformed officers in attendance, students who were pepper-sprayed > opened Monday's protest, saying they now feel unsafe on campus. > Mechanical engineering student David Buscho, 22, of San Rafael, described > being paralyzed with fear as he felt the spray sting "like hot glass." > "I had my arms around my girlfriend. I just kissed her on the forehead and > then he sprayed us," he said. "Immediately we were blinded. ... He just > sprayed us again and again and we were completely powerless to do anything." > Nine students hit by pepper spray were treated at the scene, two were taken > to hos
[NetBehaviour] UCDavis events
The story below indicates things move fast, are not always reported accurately and that people sometimes find themselves in impossible positions. Nevertheless, they should take responsibility. Perhaps something good will come out of this horrible mess, if the UC system ends up changing its regulations on campus policing? UC Davis students put up new encampment By JUDY LIN, Associated Press – 4 hours ago DAVIS, Calif. (AP) — Students have again put up tents near the site where University of California, Davis police used pepper spray on seated protesters in a conflict that has sparked outrage and calls for the school chancellor's resignation. The encampment was again erected Monday, hours after the campus police chief was put on administrative leave and the chancellor was shouted down at a demonstration while trying to apologize for the incident that happened at a protest held Friday in support of the Occupy Wall Street movement. Two officers also were placed on administrative leave after the students were sprayed. University spokeswoman Claudia Morain said the school was monitoring the protest and did not say whether the students would be allowed to camp overnight. She said the school will take action "step by step" to balance campus security with people's right to protest. Chancellor Linda Katehi made a brief appearance, facing students, faculty and community members chanting slogans and pressing for her to step down. "I'm here to apologize. I feel horrible for what happened Friday," Katehi told the crowd. "If you think you don't want to be students of the university we had on Friday, I'm just telling you, I don't want to be the chancellor of the university we had on Friday." She asked the assembly to work with her as she strives to earn the trust of the campus. Then, as the demonstrators yelled at her to step down, staff members escorted Katehi away to a car. University officials and campus police have been the target of angry reprisals since widely circulated videos showed riot police dousing pepper spray on a row of students while they were sitting passively on the ground with their arms linked. Meanwhile, demonstrators at the University of California, Berkeley, pledged to sleep overnight at Sproul Plaza, though they did not plan to set up tents. A heat lamp was set up in the plaza, and student protesters called the demonstration a "pajama party" rather than an encampment. University of California President Mark G. Yudof called the chancellors of all 10 campuses and reminded them of the right to protest peacefully. "We cannot let this happen again," he said, according to a statement from the president's office. On Sunday, Katehi called on the Yolo County district attorney's office to investigate the police department's use of force. With no uniformed officers in attendance, students who were pepper-sprayed opened Monday's protest, saying they now feel unsafe on campus. Mechanical engineering student David Buscho, 22, of San Rafael, described being paralyzed with fear as he felt the spray sting "like hot glass." "I had my arms around my girlfriend. I just kissed her on the forehead and then he sprayed us," he said. "Immediately we were blinded. ... He just sprayed us again and again and we were completely powerless to do anything." Nine students hit by pepper spray were treated at the scene, two were taken to hospitals and later released, university officials said. Ten people were arrested. Meanwhile, UC Davis police Chief Annette Spicuzza and two officers have been placed on administrative leave. Before the assembly broke up, the crowd voted to hold a campus-wide strike Nov. 28 to coincide with a meeting of the University of California governing board. The UC Davis faculty association has called for Katehi's resignation, saying there had been a "gross failure of leadership." Yudof said Sunday that he was "appalled" by images of protesters being doused with pepper spray and plans an assessment of law enforcement procedures on all 10 campuses. Katehi, speaking Monday morning on KQED Radio, said she had not authorized officers to use pepper spray and called it a "horrific incident." She said she takes full responsibility but will not step down. "They were not supposed to use force; it was never called for," she said. "They were not supposed to limit the students from having the rally, from congregating to express their anger and frustration." She has said she plans to appoint a task force of students, staff and faculty to investigate the incident and report back to her within 30 days. Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.e
Re: [NetBehaviour] Why I'm not visiting UC Davis in April. By Alex Galloway.
are and safety of her own students. >>> Likewise a subsequent letter from President Yudof, tried to spin the >>> events further, but offered nothing by way of concrete action. >>> >>> I regret therefore that I must withdraw my participation in the April >>> conference -- until Chancellor Katehi takes responsibility for her >>> actions by resigning, and until UC Davis removes its paramilitary police >>> from campus. >>> >>> While my admiration and respect for the great public universities of the >>> UC system remain strong, I cannot in good conscience visit the UC Davis >>> campus in April. I cannot support Chancellor Katehi. I cannot support >>> police brutality. And, quite simply, I fear for my own safety were I to >>> visit your campus. >>> >>> Sincerely, >>> >>> Alexander R. Galloway, PhD >>> >>> Associate Professor >>> >>> Department of Media, Culture, and Communication >>> >>> New York University >>> >>> http://cultureandcommunication.org/galloway/Why%20I%27m%20not%20visiting%20UC%20Davis%20in%20April.html >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >> >> Simon Biggs >> si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: >> simonbiggsuk >> >> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh >> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ >> http://www.movingtargets.co.uk/ >> >> >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Why I'm not visiting UC Davis in April. By Alex Galloway.
I'm also expected at that event at UCDavis. I've spoken with the convenor about it. My intention is to still attend but I've suggested the event collectively drafts a response to what has happened at UCDavis, indicating their dismay and discontent with the university's actions and solidarity with the protesters and their aims and objectives. I wonder if Alex's choice of action will be counter-productive or not? Surely you want to go there and support the protesters? But this is a complex issue. best Simon On 22 Nov 2011, at 10:12, marc garrett wrote: > Why I'm not visiting UC Davis in April. Alex Galloway. > > Thought some of you may be interested in this letter by Alex Galloway... > > Here is an image of the police doing their very special thing, that only > they are 'legally' allowed to do > http://davisenterprise.s3-website-us-east-1.amazonaws.com/wp-content/uploads/2011/11/OccupyUCD3.jpg > > > Shameful Act: Police pepper spraying and arresting students at UC Davis > http://www.youtube.com/watch?v=WmJmmnMkuEM > > > Letter > > - > > > November 21, 2011 > > To > > Mark Yudof, University of California President, > > Linda P.B. Katehi, UC Davis Chancellor, > > and Linda Bisson, Chair of the UC Davis Academic Senate: > > Dear President Yudof, Chancellor Katehi, and Professor Bisson, > > I am an associate professor at New York University. I teach and write > about digital media and contemporary culture. I was born in California, > raised in Oregon and Washington, and have many times visited colleges > and universities across your great state. > > Several months ago I accepted an invitation to speak at UC Davis on > April 12-14, 2012, as part of an academic conference on new technologies. > > This last weekend the world awoke to videos depicting cruel and > despicable acts, performed by paramilitary police casually spraying > chemical agents on your peaceful students. Such actions are > reprehensible and absolutely contrary to the moral duties of educators > everywhere. These students, like many thousands around the country and > around the world, were peacefully protesting the recent outrageous > tuition hikes at the public University of California, the ballooning > student debt burden, and a political system that puts profits over people. > > I was dismayed to read Chancellor Katehi's statement following the > police attack, a statement that showed no remorse for the violence and > no sympathy whatsoever for the welfare and safety of her own students. > Likewise a subsequent letter from President Yudof, tried to spin the > events further, but offered nothing by way of concrete action. > > I regret therefore that I must withdraw my participation in the April > conference -- until Chancellor Katehi takes responsibility for her > actions by resigning, and until UC Davis removes its paramilitary police > from campus. > > While my admiration and respect for the great public universities of the > UC system remain strong, I cannot in good conscience visit the UC Davis > campus in April. I cannot support Chancellor Katehi. I cannot support > police brutality. And, quite simply, I fear for my own safety were I to > visit your campus. > > Sincerely, > > Alexander R. Galloway, PhD > > Associate Professor > > Department of Media, Culture, and Communication > > New York University > > http://cultureandcommunication.org/galloway/Why%20I%27m%20not%20visiting%20UC%20Davis%20in%20April.html > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] NetBehaviour Digest, Vol 1100, Issue 1
The peer review "it's a bit like this and a little like that" model that Richard describes is being replicated by some research councils, especially the EPSRC. They run events called sandpits, where potential researchers come together for an intensive workshop, usually over a period of a couple of days. Ideas are tossed around and relationships forged. At the end of it the researchers team up into collaborative teams and pitch for the money, dragon den style, to a peer review panel. One or two projects might be selected to be funded, often with serious money (eg: a million plus). I know of several very interesting projects funded under this model, including one at Edinburgh that was presented at the last Future Everything, involving locative media. The AHRC are also starting to use this approach. The Research Councils like it as it is a cheap way to distribute money, cutting overheads and timelines. It's fast and a bit dirty - but, amazingly, large amounts of money are disbursed by such means. best Simon On 8 Nov 2011, at 15:30, Richard Wright wrote: > I have known people who offered grant writing services, though only as a > sideline... > > I think a big issue is that many arts projects are by their nature not easily > fundable. Some do not fall easily into the funding priorities of public > bodies. Currently the Arts Council wants to fund participatory projects. In > the past this policy was different. In the future it will be different again. > Other projects are difficult to describe as sexy one-liners that people can > instantly latch onto. In the past when I have served as a panel member the > most successful applicants were those who had either very "writerly" projects > or who were already established so funders knew what they were getting. > > The Arts Council's long-gone Film and Video Broadcast dept once had a method > of peer reviewing you could opt for by which they looked at your work and you > gave them a notion of the sort of film you wanted to make - "it's a bit like > this and a little like that" (I am writing purely from memory here). I do not > know any body that now operates this way. > > Sometimes one feels one is only working on projects for the sake of the > funding. A healthier response is to decide what one feels is really > worthwhile and then argue the case to the funding bodies to the utmost extent > regardless of their "priorities". > > Richard > >> >> From: Simon Biggs >> Date: 7 November 2011 16:49:17 GMT >> To: NetBehaviour for networked distributed creativity >> >> Subject: Re: [NetBehaviour] Arts funding: why so many artists don't apply >> for the money. >> Reply-To: NetBehaviour for networked distributed creativity >> >> >> >> The fact there is nobody out there offering their services to write grants >> applications to the ACE suggests that there would be little profit in doing >> so. >> >> best >> >> Simon >> >> >> On 7 Nov 2011, at 16:17, dave miller wrote: >> >>> Or is there an opportunity here for "no Arts Council funding no fee" >>> services - following the idea of those insurance experts who advertise >>> on afternoon TV and specialise in victim compensation? I'm being >>> cynical I suppose ... >>> >>> dave >>> >>> >>> >>> On 7 November 2011 14:55, Simon Biggs wrote: >>>> Most times I've been successful in acquiring Arts Council funds it has been >>>> through indirect means - somebody applying on my behalf, usually through a >>>> commissioning body (gallery, producer, festival, etc). The people who hold >>>> responsible positions in such organisations are expert grant writers and >>>> have a much better hit-rate than 2.5%. If that is the likely success rate >>>> then I'd tend to feel it is not worthwhile applying. You need a better >>>> likelihood than that. Even 10% is marginal. 20% is about when it starts to >>>> get worthwhile, in terms of the odds. >>>> One of the main reasons I shifted from being a freelance artist to working >>>> in academia was due to issues around funding. During the 80's and 90's I'd >>>> been lucky with ACE, British Council and other funders. But in the late >>>> 90's >>>> the new government changed the focus of arts funding, which resulted in >>>> many >>>> of the key funding avenues being closed down (like the new film fund - >>>> which >>>> happily funded new medi
Re: [NetBehaviour] Arts funding: why so many artists don't apply for the money.
The fact there is nobody out there offering their services to write grants applications to the ACE suggests that there would be little profit in doing so. best Simon On 7 Nov 2011, at 16:17, dave miller wrote: > Or is there an opportunity here for "no Arts Council funding no fee" > services - following the idea of those insurance experts who advertise > on afternoon TV and specialise in victim compensation? I'm being > cynical I suppose ... > > dave > > > > On 7 November 2011 14:55, Simon Biggs wrote: >> Most times I've been successful in acquiring Arts Council funds it has been >> through indirect means - somebody applying on my behalf, usually through a >> commissioning body (gallery, producer, festival, etc). The people who hold >> responsible positions in such organisations are expert grant writers and >> have a much better hit-rate than 2.5%. If that is the likely success rate >> then I'd tend to feel it is not worthwhile applying. You need a better >> likelihood than that. Even 10% is marginal. 20% is about when it starts to >> get worthwhile, in terms of the odds. >> One of the main reasons I shifted from being a freelance artist to working >> in academia was due to issues around funding. During the 80's and 90's I'd >> been lucky with ACE, British Council and other funders. But in the late 90's >> the new government changed the focus of arts funding, which resulted in many >> of the key funding avenues being closed down (like the new film fund - which >> happily funded new media projects with reasonably serious amounts of money). >> The writing was on the wall and the research councils started to look like a >> better bet, with relatively generous fellowships available, as well as >> medium to large project funds being available to creative practice based >> projects, especially if technology was involved (eg: six or seven figures). >> Things are more competitive now, with less money available and more >> applicants than ever, but the hit-rate is still better than 10% and, for >> some funds, much better than that. Follow-on funding, for those who have >> already held research council funds, is better than 50/50. >> State funding of the arts is in a dire situation now and it is little >> surprise that many feel it is pointless to apply - but if you look at it >> another way, somebody has to apply and you can't win it if you aren't in >> it. I'd recommend you develop a relationship with one or more sponsoring >> organisations that can work with you on developing a relationship with the >> funders. They need to know you a bit, understand what you are doing and why >> and to develop a trust based relationship. In hard times they are even more >> risk averse than normal. >> best >> Simon >> >> On 7 Nov 2011, at 12:09, dave miller wrote: >> >> I'm guilty of this - have never applied for funding. I always assume I'd >> never get any and with the scale of the cuts going on, I've more or less >> forgotten that funding even exists! >> dave >> >> >> On 7 November 2011 11:45, marc garrett >> wrote: >>> >>> Arts funding: why so many artists don't apply for the money. >>> >>> Dany Louise introduces a report she wrote on arts funding that reveals >>> some surprising statistics. >>> >>> "The key finding is that surprisingly few individual artists apply for >>> money in their own right and even fewer are successful. In England, less >>> than 5% of artists apply in their own name every year and of those, less >>> than 2.5% are successful. This means that there is little direct funding >>> being given to artists to pursue and develop their own projects, under >>> their own control: under 20% of available funding for the visual arts in >>> England, 14% for Northern Ireland and around 18% for Scotland and Wales >>> in 2009-2010." >>> >>> >>> http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2011/nov/04/arts-funding-artists-dont-apply >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> Simon Biggs >> si...@littlepig.org.uk www.littlepig.org.uk
Re: [NetBehaviour] Arts funding: why so many artists don't apply for the money.
If you do a little maths on this you can work out that artists have a slightly better than one in a thousand chance of being directly funded in any single year. If one assumes a career duration of 30 years that means a slightly better than 3% chance of being funded by ACE at some point in your life. Variations on the "how many artists does it take to change a light-bulb" joke come to mind. best Simon On 7 Nov 2011, at 11:45, marc garrett wrote: > Arts funding: why so many artists don't apply for the money. > > Dany Louise introduces a report she wrote on arts funding that reveals > some surprising statistics. > > "The key finding is that surprisingly few individual artists apply for > money in their own right and even fewer are successful. In England, less > than 5% of artists apply in their own name every year and of those, less > than 2.5% are successful. This means that there is little direct funding > being given to artists to pursue and develop their own projects, under > their own control: under 20% of available funding for the visual arts in > England, 14% for Northern Ireland and around 18% for Scotland and Wales > in 2009-2010." > > http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2011/nov/04/arts-funding-artists-dont-apply > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Arts funding: why so many artists don't apply for the money.
I'd say that James's indexed rational for why artists apply for Arts Council money is about 80% accurate. Artists have to be optimists to feel it is worth getting out of bed in the morning so are naturally gamblers; grants are definitely a seal of approval, as important on a CV as exhibitions or prizes; symbolic capital is just money in another currency; the canny artists do have other people writing their grants for them (it is group activity, really). The last point I'd debate. That's 80%. best Simon On 7 Nov 2011, at 12:22, James Wallbank wrote: > Hello Marc, > > Another way to interpret this statistic is this: > > If you're an averagely competent grant-writer, with a 2.5% success rate > each artist will have to apply 40 times for each success. > > How long does it take to prepare each grant application? (I'd suggest at > least 3 days to get together a credible, worked out plan - even for a > small grant.) 3 x 40 = 120 days of grant preparation work. > > How much money does each grant application pay out to the artist - as > distinct from for the direct costs associated with the proposition? (I'd > guess hundreds, not thousands of pounds.) Let's say £1000 for good measure. > > £1000 for 120 days of work? > > Ahhh! But the Arts Council does not count the cost of the time invested > by artists who they do NOT fund. This is called "Externalising Costs". > It defines that time as outside their frame of reference, and outside > their responsibility. It is, of course, a clever mechanism, but deeply > intellectually and morally flawed. > > So why do ANY individual artists bother, when temping as a cleaner (or > other minimum wage job) is a better economic proposition for raising > cash for their next arts project? > > * Perhaps artists are deluded gamblers, who all feel that they're > luckier or more skillful than average. > > * Perhaps artists feel that getting the seal of Arts Council approval > will increase their chances of drawing down other funding, or will > increase the perceived symbolic significance of their art. > > * Perhaps artists imagine that they're building up a stock of "symbolic > capital" - becoming more and more famous, and that at some future point > they'll be able to cash in their hard-won celebrity for actual cash. > > * Perhaps individual artists are only investing minutes in these > applications - which are REALLY generated by galleries or other > institutions, and they are just called upon for a signature. > > * Perhaps artists are, in general, just not very bright, with only > marginal understanding of "numbers, money and bread-head stuff". > > Are there other explanations? > > I direct you, and others, to the refreshingly frankly titled book "Why > are Artists Poor?" by Hans Abbing. Abbing is a professor of economics > (part time) and an artist (part time) and he wonders why it is that he > continues to do art even when it does not pay, while he wouldn't > consider commuting to Amsterdam University daily and teaching students > should that institution cease to provide him with a paycheck. > > Best Regards, > > James > = > > On 07/11/11 11:45, marc garrett wrote: >> Arts funding: why so many artists don't apply for the money. >> >> Dany Louise introduces a report she wrote on arts funding that reveals >> some surprising statistics. >> >> "The key finding is that surprisingly few individual artists apply for >> money in their own right and even fewer are successful. In England, less >> than 5% of artists apply in their own name every year and of those, less >> than 2.5% are successful. This means that there is little direct funding >> being given to artists to pursue and develop their own projects, under >> their own control: under 20% of available funding for the visual arts in >> England, 14% for Northern Ireland and around 18% for Scotland and Wales >> in 2009-2010." >> >> http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2011/nov/04/arts-funding-artists-dont-apply >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Arts funding: why so many artists don't apply for the money.
Most times I've been successful in acquiring Arts Council funds it has been through indirect means - somebody applying on my behalf, usually through a commissioning body (gallery, producer, festival, etc). The people who hold responsible positions in such organisations are expert grant writers and have a much better hit-rate than 2.5%. If that is the likely success rate then I'd tend to feel it is not worthwhile applying. You need a better likelihood than that. Even 10% is marginal. 20% is about when it starts to get worthwhile, in terms of the odds. One of the main reasons I shifted from being a freelance artist to working in academia was due to issues around funding. During the 80's and 90's I'd been lucky with ACE, British Council and other funders. But in the late 90's the new government changed the focus of arts funding, which resulted in many of the key funding avenues being closed down (like the new film fund - which happily funded new media projects with reasonably serious amounts of money). The writing was on the wall and the research councils started to look like a better bet, with relatively generous fellowships available, as well as medium to large project funds being available to creative practice based projects, especially if technology was involved (eg: six or seven figures). Things are more competitive now, with less money available and more applicants than ever, but the hit-rate is still better than 10% and, for some funds, much better than that. Follow-on funding, for those who have already held research council funds, is better than 50/50. State funding of the arts is in a dire situation now and it is little surprise that many feel it is pointless to apply - but if you look at it another way, somebody has to apply and you can't win it if you aren't in it. I'd recommend you develop a relationship with one or more sponsoring organisations that can work with you on developing a relationship with the funders. They need to know you a bit, understand what you are doing and why and to develop a trust based relationship. In hard times they are even more risk averse than normal. best Simon On 7 Nov 2011, at 12:09, dave miller wrote: > I'm guilty of this - have never applied for funding. I always assume I'd > never get any and with the scale of the cuts going on, I've more or less > forgotten that funding even exists! > > dave > > > > On 7 November 2011 11:45, marc garrett wrote: > Arts funding: why so many artists don't apply for the money. > > Dany Louise introduces a report she wrote on arts funding that reveals > some surprising statistics. > > "The key finding is that surprisingly few individual artists apply for > money in their own right and even fewer are successful. In England, less > than 5% of artists apply in their own name every year and of those, less > than 2.5% are successful. This means that there is little direct funding > being given to artists to pursue and develop their own projects, under > their own control: under 20% of available funding for the visual arts in > England, 14% for Northern Ireland and around 18% for Scotland and Wales > in 2009-2010." > > http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2011/nov/04/arts-funding-artists-dont-apply > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > _______ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
No mater what algorithm you use the ranking would remain ridiculous - as ridiculous as trends and fashion are. It's human behaviour that is at fault. The accuracy of the algorithm is only of use if you want to comprehend the detail of what makes people so silly. best Simon On 3 Nov 2011, at 18:24, Rob Myers wrote: > On 02/11/11 23:06, Simon Biggs wrote: >> We don't need a ranking of digital artists - but I think there is one. >> It's just a secret ;) > > Post-"The Filter Bubble" and given current debates around net censorship > in the free and open UK there's a healthy interest in just how ranking > algorithms work - > > http://culturedigitally.org/2011/10/can-an-algorithm-be-wrong/ > > A public digital artist ranking algorithm would be fun. Public > algororithms are no more open to compromise than private ones - witness > the arms race between Google and "SEO" spam. > > - Rob. > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
> > > > > > > Date: Tue, 1 Nov 2011 20:37:50 + > > From: r...@robmyers.org > > To: netbehaviour@netbehaviour.org > > Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A > > geopolitical analysis and comparison of contemporary art and electronic art > > > > On 30/10/11 13:28, Eduardo Valle wrote: > > > You will find attach a presentation on the Rewire conference in Liverpool. > > > > > > If this is not the correct procedure and if the subject is not relevant > > > in this list , please let me know. > > > > It's entirely correct and relevant. :-) Thank you for sending this. > > > > The complaint that digital artists always make about the difference > > between the contemporary and digital artworlds is that there is > > precisely no money in the digital artworld. Looking at your presentation > > that looks like a simple product of relative scale. Do you think that's > > right? > > > > I'm very interested in analysing art and the artworld using data at the > > moment. Did you use any particular sources for your statistics or are > > they the product of trawling through the paperwork? > > > > - Rob. > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > Simon Biggs > si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: > simonbiggsuk > > s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh > www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk > > > ___ NetBehaviour mailing list > NetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
ough the paperwork? > > > > - Rob. > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Remediating the Social: 2nd CALL FOR PAPERS
Remediating the Social 2nd CALL FOR PAPERS The Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) research project invites paper and presentation proposals for its conference, Remediating the Social. Selected papers will be presented at the conference in Edinburgh, November 1-3, 2012. ELMCIP welcomes abstracts of up to 500 words for papers, presentations and group panel sessions that address network and digitally mediated creative practices that effect and reflect upon the role of creativity in social and community formation. Remediating the Social apprehends people and media as interacting generative agents, remediating one another as a vital part of contemporary social space. Papers that reflect upon "born digital" literary and artistic practice within the context of cultural formation are especially welcome. Papers might present theoretical positions, case studies or artist's presentations, as well as other forms. We welcome proposals for panel discussions on specific topics that engage the conference theme. Remediating the Social will be hosted at Edinburgh College of Art (eca) of the University of Edinburgh, in collaboration with New Media Scotland and University College Falmouth. The conference will be held at eca. An associated exhibition will be held at Inspace, a purpose-built research and exhibition facility in the University of Edinburgh's School of Informatics, fully instrumented to facilitate engagement with developments in new technologies, scientific research and creative practice. The exhibition will continue after the conference for three weeks. The conference programme will consist of paper presentations, across a range of disciplines and modes of inquiry, addressing examples of creative communities that have formed around various practices, media and discourses. Case studies, papers and panels, including examples arising from the ELMCIP project and other contexts, will be presented. The conference will be web-cast, allowing for remote attendees to monitor events and put questions to conference via a live public feed, employing mediating technologies within the event. Conference proceedings will be peer reviewed and published, with ISBN. About ELMCIP Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a three year collaborative research project running from 2010-2013, funded by the Humanities in the European Research Area Joint Research Programme for Creativity and Innovation. ELMCIP involves seven European academic research partners and one non-academic partner who are investigating how creative communities of practitioners form within transnational and transcultural contexts in globalized and distributed communications environments. Focusing on the electronic literature community in Europe, as a model of networked creativity and innovation in practice, ELMCIP studies the formation and interactions of that community and seeks to further electronic literature research and practice in Europe. The project partners are The University of Bergen, Edinburgh College of Art, Blekinge Institute of Technology, The University of Amsterdam, The University of Ljubljana, The University of Jyväskylä,, University College Falmouth and New Media Scotland. Abstracts of papers should be of no more than 500 words and/or two pages of A4 in PDF format. A biographical statement of no more than 250 words should be included (additional to the abstract word count). Abstracts must be sent as a single PDF file and not exceed 4 megabytes in size. They should include clear indication of technical and resource requirements as well as duration and space requirements (if applicable). Submissions will only be accepted electronically and to the email address below. Abstracts submission Deadline: December 30, 2011 Notification of selection February 29, 2012 Full papers deadline May 31, 2012 Conference dates: 01-03 November 2012, Edinburgh College of Art, Edinburgh, UK Submissions to: artwo...@elmcip.net http://www.elmcip.net/conference Co-Chairs: Simon Biggs and Jerome Fletcher. ELMCIP Project Leader: Scott Rettberg Peer review committee: Jan Beatens, University of Leuven Giselle Beiguelman, Sao Paulo Catholic University Simon Biggs, Edinburgh College of Art Serge Bouchardon, University of Technology of Compiegne Friedrich Block, Stiftung Brückner-Kühner, Kassel Laura Borràs Castanyer, University of Barcelona Mark Daniels, New Media Scotland Yra Van Dijk, University of Amsterdam Maria Engberg, Blekinge Institute of Technology Jerome Fletcher, University College Falmouth Raine Koskimaa, University of Jyväskylä James Leach, University of Aberdeen Talan Memmott, Blekinge Institute of Technology Scott Rettberg, University of Bergen Margriet Schavemaker, Stedelijk Museum Amsterdam Janez Strehovec, University of Ljubljana Joseph Tabbi, University of Illinois at Chicago Penny Travlou, Edin
Re: [NetBehaviour] bitter pills
Anybody can be an artist, including teachers. best Simon On 11 Oct 2011, at 13:31, dave miller wrote: > ... though most artists end up working as teachers! > > d > > On 11 October 2011 13:13, martin mitchell wrote: >> Teachers are not Artists ………..!! >> m. >> On 11 Oct 2011, at 12:37, manik wrote: >> >> Hi, >> I'm born to be teacher. >> Teacher is like children's disease:it's better to get it when you are young >> and strong. >> Best wishes >> MANIK >> - Original Message - >> From: "James Morris" >> To: >> Sent: Tuesday, October 11, 2011 11:26 AM >> Subject: Re: [NetBehaviour] bitter pills >> >> >> On Tue, 11 Oct 2011 01:32:59 +0100 >> James Morris wrote: >> >> MANIK, >> >> You may remember writing some fairly unpleasant words against me and >> >> my website earlier this year, right at the end of March. It was a >> >> catalyst for me deleting my website but I have now arrived at a point >> >> where restoring my website back to its former state seems like as good >> >> an idea as any other, in the semi-desperate face of things. >> >> Please forgive me, it seems I can't even get my own history right. Your >> words acted as no such catalyst for I had already deleted my website >> almost six months beforehand. >> >> Therefore I was already in the process of massively questioning the >> worth of my online activities. Your words were in effect only as a shove >> from behind to someone already stumbling (though admittedly >> someone who had antagonized you). >> >> Blessed regards, >> James >> >> >> >> -- >> http://jwm-art.net/ >> image/audio/text/code/ >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs si...@littlepig.org.uk www.littlepig.org.uk @SimonBiggsUK skype: simonbiggsuk s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh www.eca.ac.uk/circle www.elmcip.net www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] call for papers
Remediating the Social 1st CALL FOR PAPERS The Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) research project invites paper and presentation proposals for its conference, Remediating the Social. Selected papers will be presented at the conference in Edinburgh, November 1-3, 2012. ELMCIP welcomes abstracts of up to 500 words for papers, presentations and group panel sessions that address network and digitally mediated creative practices that effect and reflect upon the role of creativity in social and community formation. Remediating the Social apprehends people and media as interacting generative agents, remediating one another as a vital part of contemporary social space. Papers that reflect upon "born digital" literary and artistic practice within the context of cultural formation are especially welcome. Papers might present theoretical positions, case studies or artist's presentations, as well as other forms. We welcome proposals for panel discussions on specific topics that engage the conference theme. Remediating the Social will be hosted at Edinburgh College of Art (eca) of the University of Edinburgh, in collaboration with New Media Scotland and University College Falmouth. The conference will be held at eca. An associated exhibition will be held at Inspace, a purpose-built research and exhibition facility in the University of Edinburgh's School of Informatics, fully instrumented to facilitate engagement with developments in new technologies, scientific research and creative practice. The exhibition will continue after the conference for three weeks. The conference programme will consist of paper presentations, across a range of disciplines and modes of inquiry, addressing examples of creative communities that have formed around various practices, media and discourses. Case studies, papers and panels, including examples arising from the ELMCIP project and other contexts, will be presented. The conference will be web-cast, allowing for remote attendees to monitor events and put questions to conference via a live public feed, employing mediating technologies within the event. Conference proceedings will be peer reviewed and published, with ISBN. About ELMCIP Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a three year collaborative research project running from 2010-2013, funded by the Humanities in the European Research Area Joint Research Programme for Creativity and Innovation. ELMCIP involves seven European academic research partners and one non-academic partner who are investigating how creative communities of practitioners form within transnational and transcultural contexts in globalized and distributed communications environments. Focusing on the electronic literature community in Europe, as a model of networked creativity and innovation in practice, ELMCIP studies the formation and interactions of that community and seeks to further electronic literature research and practice in Europe. The project partners are The University of Bergen, Edinburgh College of Art, Blekinge Institute of Technology, The University of Amsterdam, The University of Ljubljana, The University of Jyväskylä,, University College Falmouth and New Media Scotland. Abstracts of papers should be of no more than 500 words and/or two pages of A4 in PDF format. A biographical statement of no more than 250 words should be included (additional to the abstract word count). Abstracts must be sent as a single PDF file and not exceed 4 megabytes in size. They should include clear indication of technical and resource requirements as well as duration and space requirements (if applicable). Submissions will only be accepted electronically and to the email address below. Abstracts submission Deadline: December 30, 2011 Notification of selection February 29, 2012 Full papers deadline May 31, 2012 Conference dates: 01-03 November 2012, Edinburgh College of Art, Edinburgh, UK Submissions to: artwo...@elmcip.net http://www.elmcip.net/conference Co-Chairs: Simon Biggs and Jerome Fletcher. ELMCIP Project Leader: Scott Rettberg Peer review committee: Jan Beatens, University of Leuven Giselle Beiguelman, Sao Paulo Catholic University Simon Biggs, Edinburgh College of Art Serge Bouchardon, University of Technology of Compiegne Friedrich Block, Stiftung Brückner-Kühner, Kassel Laura Borràs Castanyer, University of Barcelona Mark Daniels, New Media Scotland Yra Van Dijk, University of Amsterdam Maria Engberg, Blekinge Institute of Technology Jerome Fletcher, University College Falmouth Raine Koskimaa, University of Jyväskylä James Leach, University of Aberdeen Talan Memmott, Blekinge Institute of Technology Scott Rettberg, University of Bergen Margriet Schavemaker, Stedelijk Museum Amsterdam Janez Strehovec, University of Ljubljana Joseph Tabbi, University of Illinois at Chicago Penny Travlou, Edin
Re: [NetBehaviour] Horror Episodes in the Net.Art History
use they bit nazis like nobody else in Europe in IIw.w except > Russian...but they/antinayi,anti-fascist/ are aristocracy for West...you > should wisper when you mentioned their name because they loose 20 billion > people for your white ass to hate them because you ARE nazi but they are > notand Serbs are not nazi...we are punished/UE trow us ad marginem/, > now, but now we don't want EU anymore...find cheep slave in Obama's > Africa..they are going to be happy to serve their cousins from other side of > Pacific for free..even more-they going to give them their oil as reward for > make ruins of their country/Libya/...in few month Libyan people are going to > crying and call trough tears Gaddafi's time of easy living...''rebels'' are > going to be their beater...only BLOOD,POVERTY AND HUNGER for people under > NATO boot...oil for soft-ass West bloodsucker...just tell me if you want > some more lessons/but not for free anymore Herr Professor/...i can't wait to > see your answer...it's going to be brilliant add to history of human > disgraceful...i could feel that...MANIK...SEPTEMBER...2011... > - Original Message - > From: "manik" > To: "NetBehaviour for networked distributed creativity" > > Sent: Sunday, September 11, 2011 11:16 PM > Subject: Re: [NetBehaviour] Horror Episodes in the Net.Art History > > > You,actually wrote nonsense.If you tell us that you've support Bosnian fight > for freedom you should tell us which Bosnia.Theres/there was in that time > you talking about...and still is/for your information/Bosnia who 'belong' to > Serbs- Republika Srpska, Bosnia who 'belong' to Muslims/so called Muslim > Entity/ and part of Bosnia 'draft' by Croatian .You just can't tell which > *freedom*you have been support because there's no Serb Orthodox > Freedom,there's no Muslims Muslim freedom and theres no Croatian Catholic > freedom.For clever man that quantity of inforamtions could be more than > enough.For dilettante as you are all books on the world about that issue > won't be enough.Secret is in beginning...MANIK...SEPTEMBER...2011... > - Original Message - > From: "Simon Biggs" > To: "NetBehaviour for networked distributed creativity" > > Sent: Saturday, September 10, 2011 6:11 PM > Subject: Re: [NetBehaviour] Horror Episodes in the Net.Art History > > > ...and indicative of how history repeats itself. I am sure that (whilst > most, if not all, of us on this list are to the left) there are mixed > opinions over what has happened in Libya and what should be done (for > example) in Syria or Palestine or, for that matter, how we should handle the > current sovereign debt crisis. In the 1990's emotions ran high over what > happened as Yugoslavia broke up. Sometimes, even when you didn't seek it, > you ended up on one side or another. I supported Bosnia's bid for freedom > and got involved in initiatives there, as well as helping out refugees in > the UK. I also chose to show my work in Slovenia and Croatia during the > period of the Balkan wars, again because I supported their independence. > However, I doubt I'd have worked in Serbia during that period (I've shown > work there since 2000). Some people had an issue with that at that time, > including friends. Some probably still would. > > I was in Zagreb a few weeks ago and was struck how that conflict is still > raw and live. However, the big debate was not about the war but about > whether Croatia should join the EU. Some people I spoke with said they would > like to see the old Yugoslavia back and consider Serbia as their natural > partner (and the EU, dominated by Germany, as their foe). I know the history > there is extremely complex. We have (since the 19th Century) the English > verb "Balkanise" (to fragment and engender conflict in something), > indicating that this is not a recent phenomenon. The word has its roots in > the conflict between the Ottomans and Austro-Hungarians and thus, in a way, > the situation goes back to the division of the Roman Empire into Eastern and > Western zones. That is getting on for two millennia ago. That's a lot of > baggage. > > best > > Simon > > > On 10 Sep 2011, at 15:17, marc garrett wrote: > >> Hi Andrej, >> >> What I found strange, is that I have met you personally and know that >> the picture painted of you at the time is completely different... >> >> Some have asked why is it being discussed now - as in the NN thing? >> >> I am not sure how to answer this, other than, it was part of my own >> networked
[NetBehaviour] empyre archives
Here is the new link for the empyre archives. http://lists.cofa.unsw.edu.au/pipermail/empyre/ best Simon Simon Biggs | si...@littlepig.org.uk | www.littlepig.org.uk s.bi...@ed.ac.uk | Edinburgh College of Art | University of Edinburgh www.eca.ac.uk/circle | www.elmcip.net | www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Horror Episodes in the Net.Art History
Lovink and Broekman will write the history, along with some others. You can find the historians of media art here: http://www.mediaarthistory.org/ and network media, in particular, here: http://networkcultures.org/wpmu/portal/ If you want other's to write the history (like yourself) then you need to start writing. Even in a post-Foucauldian world history remains what is written. best Simon On 11 Sep 2011, at 02:11, Andrej Tisma wrote: > Hi Marc, > >> What I found strange, is that I have met you personally and know that >> the picture painted of you at the time is completely different... > > Yes of course, people had prejudice about me, but I just wanted to discuss > the situation and give my own angle of view. But since my views differed > alot from the majority I was labeled as provocateur or propagandist. Was > insulted, kicked. I felt bad at that time and I am glad you think I am > different from the picture they have painted about me. Actually they were > propagandists and didn't want to let anybody talk different. > >> >> Some have asked why is it being discussed now - as in the NN thing? > > NN was one of few people on all lists that supported me and my views. In > some situations I also supported her, although I don't know her personally. > I feel she is sincere, wise, truth loving and not brainwashed as majority on > lists. > I am glad you iniciated the discussion on NN because I appreciate her > activism very much. > >> >> I am not sure how to answer this, other than, it was part of my own >> networked history also and it is one of those moments in time that >> younger generations should observe and then consider themselves, on >> their own terms - reflection is an important thing... > > Yes this is now history, but the questions still remain. The question is > who will write the final version of the history. I hope not Lovink, > Broekman... > > Best, > Andrej > > _______ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs | si...@littlepig.org.uk | www.littlepig.org.uk s.bi...@ed.ac.uk | Edinburgh College of Art | University of Edinburgh www.eca.ac.uk/circle | www.elmcip.net | www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Auto Italia LIVE
As an owner of classic Italian sports car this is very confusing. Auto Italia is the bible of Italian car nuts. best Simon On 10 Sep 2011, at 15:27, info wrote: > Auto Italia LIVE > > 24th September – 8th October > > Launching Saturday 24th September 8pm With following broadcasts, 1st > October, 8th October Auto Italia South East presents Auto Italia Live: > an artist-run TV series, performed before a studio audience and > broadcast live over the Internet. Working in collaboration with Auto > Italia a wide variety of artists will produce new work through weekly > episodes, engaging directly with the format of live Television and a > history of artists using broadcast media platforms to distribute work. > Featuring a full camera crew, lighting technicians, directors, > performers, production designers and set builders, artists will engage > with all aspects of production opening the space for criticality and > intervention within the medium. The series aims to experiment with new > possibilities to engage in contemporary broadcast and internet culture > whilst also responding to the familiar tropes and formulas within > television programming. > > http://autoitaliasoutheast.org/ > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs | si...@littlepig.org.uk | www.littlepig.org.uk s.bi...@ed.ac.uk | Edinburgh College of Art | University of Edinburgh www.eca.ac.uk/circle | www.elmcip.net | www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Horror Episodes in the Net.Art History
...and indicative of how history repeats itself. I am sure that (whilst most, if not all, of us on this list are to the left) there are mixed opinions over what has happened in Libya and what should be done (for example) in Syria or Palestine or, for that matter, how we should handle the current sovereign debt crisis. In the 1990's emotions ran high over what happened as Yugoslavia broke up. Sometimes, even when you didn't seek it, you ended up on one side or another. I supported Bosnia's bid for freedom and got involved in initiatives there, as well as helping out refugees in the UK. I also chose to show my work in Slovenia and Croatia during the period of the Balkan wars, again because I supported their independence. However, I doubt I'd have worked in Serbia during that period (I've shown work there since 2000). Some people had an issue with that at that time, including friends. Some probably still would. I was in Zagreb a few weeks ago and was struck how that conflict is still raw and live. However, the big debate was not about the war but about whether Croatia should join the EU. Some people I spoke with said they would like to see the old Yugoslavia back and consider Serbia as their natural partner (and the EU, dominated by Germany, as their foe). I know the history there is extremely complex. We have (since the 19th Century) the English verb "Balkanise" (to fragment and engender conflict in something), indicating that this is not a recent phenomenon. The word has its roots in the conflict between the Ottomans and Austro-Hungarians and thus, in a way, the situation goes back to the division of the Roman Empire into Eastern and Western zones. That is getting on for two millennia ago. That's a lot of baggage. best Simon On 10 Sep 2011, at 15:17, marc garrett wrote: > Hi Andrej, > > What I found strange, is that I have met you personally and know that > the picture painted of you at the time is completely different... > > Some have asked why is it being discussed now - as in the NN thing? > > I am not sure how to answer this, other than, it was part of my own > networked history also and it is one of those moments in time that > younger generations should observe and then consider themselves, on > their own terms - reflection is an important thing... > > chat again. > > marc > >> Hi Marc, >> >>> I was on Syndicate around this time - still on the list & have had all >>> kinds of discussions through the years - mostly pretty tense. >> >> I know you were around Syndicate at that time, like most of the > NetBehaviour >> list members, at Nettime too, I am still at Syndicate list, but was > kicked >> from Nettime back in 1998 as I documented in my Horror Net.Art History. >> >>> I am wondering how you feel now that time has passed - what have you >>> learned this period and if the same thing happened now, would you react >>> differently? >> >> I feel still bitterness, betrayed and disappointed after that what has >> happened >> at Nettime, but I am glad that those crooks have shown their real faces >> then, and that public is aware of that. I think nothing has changed since >> then. Before it was Yugoslavia, later Iraq, Afghanistan, now it is Libya, >> Egypt, Syria etc. Soros, CIA, MI6 and Al-Qaeda are doing their dirty > job. I >> keep on reacting, maybe in a more subtle way. >> >> >>> wishing you well. >> >> Wish you well too. >> Andrej >> >> >>> marc >>>> Reminder of Nettime, Syndicate ... and Netochka Nezvanova >>>> >>>> http://www.atisma.com/webart/netart%20history/ >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > Simon Biggs | si...@littlepig.org.uk | www.littlepig.org.uk s.bi...@ed.ac.uk | Edinburgh College of Art | University of Edinburgh www.eca.ac.uk/circle | www.elmcip.net | www.movingtargets.co.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Netochka Nezvanova.
nd > radically different experiences and predictions as a result. I see a far > more open source and open net coming, but then I'm dealing with AR and at > Eyebeam, hactivism people. I think the net in fact is getting too large to > characterize uniformly, just as "America" tends to resist (at least from > inside) generality, beyond the problematic of formal governance. > > - Alan > > On Fri, 9 Sep 2011, Simon Biggs wrote: > >> Who was voting? There was a period, back when NN was active, when the >> Net was smaller and less commercialised. In that context a certain >> sample of users would have known NN and voted for her. Nowadays the net >> is a different universe, dominated by big business and government >> policy. It is only going to be more like that. It is the infrastructure >> of the knowledge economy - and government and business have a particular >> understanding of what the term economy means: making money and creating >> jobs/consumers. As I often work at the juncture of academic research >> (into the internet), government policy and commercial development it is >> clear to me that the net's future is nothing like its past - and the >> future is now. >> >> My students have little or no knowledge of the early net. They know it >> through Facebook, Twitter, blogs, BBC, apps and other commercial and/or >> custom portals. They haven't the faintest what The Well is, much less >> Nettime, Thing or 7-11. In the case of 7-11 you cannot teach them about >> it as the archives and other traces have been so effectively removed. >> Only individual artist's documentation exists - but that isn't the same. >> 7-11 was a creative community/happening and it would be great to present >> it as it was then, in its entirety. I only have my own archive (probably >> 25% of the material) to show them. >> >> Many of our researchers also have little knowledge of these early >> examples of net culture. Some do (the artists, media nuts, >> anthropologists, etc) but those working between academe and industry >> (which is most) simply aren't interested. They see the net as the >> saviour of TV and publishing. They recognise it is fundamentally >> different - but their response is not to consider cultural alternatives >> but to work out new business models (eg: social media means social >> gaming linked to a network TV series). I'm sorry it is like that, but >> it's how it is. At this point we probably need an under-net, and it is >> possible that list serves (like usenet, almost a subject for media >> archeology) are that. >> >> Ana is right that list serves are dying. The number of people on the net >> has exploded but the numbers using list serves have shrunk. Many >> artistic communities that once communicated via list serves have moved >> to blog, nings or Facebook groups. Google+ Circles, despite the failure >> of Google Wave, are the next development. Alan, you make good use of >> that... >> >> best >> >> Simon >> >> >> On 9 Sep 2011, at 17:48, Alan Sondheim wrote: >> >>> >>> >>> She was actually voted one of the 25 most important women on the Net. I >>> had some dealing with her. And everyone I knew, knew her - she might have >>> been better known in the US; NATO55 was in a lot of places. >>> >>> On Fri, 9 Sep 2011, Simon Biggs wrote: >>> >>>> Seems to overstate both the worth of turn of the Century network culture >>>> (we are talking about a few hundred people here on a list serve or two) >>>> and NN. More like a sub-cultural splinter group... Of all the people on >>>> the internet I doubt more than 0.01% have ever heard of NN. Hardly >>>> infamous. >>>> >>>> (but as NN is eternally prescient I am sure I will now be burned to a >>>> crisp ;) >>>> >>>> best >>>> >>>> Simon >>>> >>>> >>>> On 9 Sep 2011, at 14:25, marc garrett wrote: >>>> >>>>> Netochka Nezvanova. >>>>> >>>>> One of the most famous and infamous EccentricCharacters in >>>>> turn?of?the?21st Century Western artistic NetworkCulture, Netochka >>>>> Nezvanova (aka N.N., antiorp, integer, Irena Sabine Czubera) remains an >>>>> enigma to many. Widely believed to be an IdentityCollective?, Netochka >>>>> Nezvanova is a PenName named after the title character in [an ea
Re: [NetBehaviour] Netochka Nezvanova.
Of course. On 10 Sep 2011, at 01:52, Alan Sondheim wrote: > > Hi Simon, I can write you back channel about this if you want. Your > description below was followed. What happened was ugly. > > - Alan > > > On Fri, 9 Sep 2011, Simon Biggs wrote: > >> I'm surprised empyre was grief. So long as you stick to the monthly theme >> (it is a strictly thematic discussion list, not a general discussion list, >> and is moderated to ensure there are no announcements or off topic posts) it >> is a very generous community, in my experience. Melissa started it with >> excellent intentions and they have remained at its core. >> >> best >> >> Simon >> >> >> On 9 Sep 2011, at 17:50, Alan Sondheim wrote: >> >>> >>> >>> I had real trouble on empyre and went quiet; I was one of the guests at one >>> point and was attacked by one of the moderators during the period. So I'm >>> not very partial to it. Syndicate was only announcement at the end, far >>> more interesting earlier as was 7-11 etc. The Cybermind list I run has been >>> going for 18 years strong, as has been wryting-l which was originally >>> fiction-of-philosophy. Depends on the list. - Alan >>> >>> On Fri, 9 Sep 2011, Ana Vald?s wrote: >>> >>>> I remember I was subscribed to Syndicate as well but I never heard about NN >>>> and never participated, I felt Syndicate was more a list for announcements >>>> of events, maybe I only subscribed to the events list. >>>> But it's interesting to discuss the validity of the mailinglists today, as >>>> forums for discussion or for sharing information. >>>> I have been participating in the Australian list -empyre for many years and >>>> now I feel the list is slowly dissapearing. Some of you (Patrick Lichty was >>>> a briljant moderator for some month's ago) are members of -empyre too. Do >>>> you feel the same as me? It's not strange, the list has been on the net for >>>> ages and the moderators do a terrific job but the most of people are >>>> freelancing artists or teachers with very little time to spare... >>>> I tried today to reach their arrchives and the links were broken. >>>> It would be a real loss if -empyre is gone. >>>> Ana >>>> On Fri, Sep 9, 2011 at 3:54 PM, marc garrett >>>> >>>> wrote: >>>> Hi Ana, >>>> >>>> Thanks for the link to 'Doctress Neutopia', very interesting... >>>> >>>> Yes - I remember on the (once brilliant) Syndicate list years >>>> ago, where >>>> Netochka Nezvanova, N.N., antiorp, integer dominated, causing >>>> all kinds >>>> of upset... >>>> >>>> "The net entity nn (Netochka Nezvanova, integer, antiorp, etc.), >>>> a >>>> pseudonym used by an international group of artists and >>>> programmers in >>>> their extensive and aggressive mailing list-based >>>> online-performances and >>>> for other art projects, had been subscribed to the Syndicate >>>> list in 1997. >>>> It was, as the first of less than a handful of people ever, >>>> unsubscribed >>>> against its will because it was spamming the list so heavily >>>> that all >>>> meaningful communication was blocked. In January 2001, nn sent >>>> an e-mail >>>> asking to again be subscribed to the Syndicate mailing list. >>>> (What nn >>>> never bothered to realise was that subscription to the list had >>>> always >>>> been open so that, at any point, it could have subscribed itself >>>> - we have >>>> always wondered why Majordomo is such a blind spot in this >>>> technophile >>>> entity's arsenal.) After getting assurances from nn that she was >>>> not out >>>> to misuse the list, we subscribed it to the Syndicate list. >>>> >>>> Naively, as we had to realise. nn went from one or two messages >>>> every day >>>> in February to an average of three to five message in April and >>>> up to >>>> eight and ten messages per day in May and June - and that on a >>>> list which >>>> had a regular daily traffic of three to five messages a day. The >>>> distributed nature of the nn co
Re: [NetBehaviour] Netochka Nezvanova.
It became about something more important than griefing and spam. IP and money came into the picture and, eventually, lawyers. It was a mess and NN came out of it on the sticky end. best Simon On 9 Sep 2011, at 18:44, Paul Hertz wrote: > As someone who was on the Cycling74 list for the whole sweep of NN's > intervention, what strikes me was how variable the messages were. If (her) > intervention had been purely an effort to spam, NN would have been booted > immediately. But NN was inventive, frequently a very useful contributor, and > even the spammy bits were charged with a degree of humor: pickled theory > generated by a textbot. > > Of course it got hard to take, and the gradually escalating feuding poisoned > the list, in the end displacing all the mostly welcome or merely irritating > posts. > > -- Paul > > > On Fri, Sep 9, 2011 at 12:34 PM, Simon Biggs wrote: > Who was voting? There was a period, back when NN was active, when the Net was > smaller and less commercialised. In that context a certain sample of users > would have known NN and voted for her. Nowadays the net is a different > universe, dominated by big business and government policy. It is only going > to be more like that. It is the infrastructure of the knowledge economy - and > government and business have a particular understanding of what the term > economy means: making money and creating jobs/consumers. As I often work at > the juncture of academic research (into the internet), government policy and > commercial development it is clear to me that the net's future is nothing > like its past - and the future is now. > > My students have little or no knowledge of the early net. They know it > through Facebook, Twitter, blogs, BBC, apps and other commercial and/or > custom portals. They haven't the faintest what The Well is, much less > Nettime, Thing or 7-11. In the case of 7-11 you cannot teach them about it as > the archives and other traces have been so effectively removed. Only > individual artist's documentation exists - but that isn't the same. 7-11 was > a creative community/happening and it would be great to present it as it was > then, in its entirety. I only have my own archive (probably 25% of the > material) to show them. > > Many of our researchers also have little knowledge of these early examples of > net culture. Some do (the artists, media nuts, anthropologists, etc) but > those working between academe and industry (which is most) simply aren't > interested. They see the net as the saviour of TV and publishing. They > recognise it is fundamentally different - but their response is not to > consider cultural alternatives but to work out new business models (eg: > social media means social gaming linked to a network TV series). I'm sorry it > is like that, but it's how it is. At this point we probably need an > under-net, and it is possible that list serves (like usenet, almost a subject > for media archeology) are that. > > Ana is right that list serves are dying. The number of people on the net has > exploded but the numbers using list serves have shrunk. Many artistic > communities that once communicated via list serves have moved to blog, nings > or Facebook groups. Google+ Circles, despite the failure of Google Wave, are > the next development. Alan, you make good use of that... > > best > > Simon > > > On 9 Sep 2011, at 17:48, Alan Sondheim wrote: > > > > > > > She was actually voted one of the 25 most important women on the Net. I > > had some dealing with her. And everyone I knew, knew her - she might have > > been better known in the US; NATO55 was in a lot of places. > > > > On Fri, 9 Sep 2011, Simon Biggs wrote: > > > >> Seems to overstate both the worth of turn of the Century network culture > >> (we are talking about a few hundred people here on a list serve or two) > >> and NN. More like a sub-cultural splinter group... Of all the people on > >> the internet I doubt more than 0.01% have ever heard of NN. Hardly > >> infamous. > >> > >> (but as NN is eternally prescient I am sure I will now be burned to a > >> crisp ;) > >> > >> best > >> > >> Simon > >> > >> > >> On 9 Sep 2011, at 14:25, marc garrett wrote: > >> > >>> Netochka Nezvanova. > >>> > >>> One of the most famous and infamous EccentricCharacters in > >>> turn?of?the?21st Century Western artistic NetworkCulture, Netochka > >>> Nezvanova (aka N.N., antiorp, integer, Irena Sabine Czubera) remains an > >>>
Re: [NetBehaviour] Netochka Nezvanova.
And MOOs. Many evolved into MMPORGS. best Simon On 9 Sep 2011, at 19:00, Ana Valdés wrote: > Does someone remember the MUDS? I was in one of them, invited by Howard > Rheingold, one of the real old timers, founder of the Wall and of a lot of > interesting communities, as Electric Minds. > People interacted at the MUDS in a similar way they do in Facebook or Second > Life. > I like Julian Dibbells book about the life inside a MUD :) > Ana > > On Fri, Sep 9, 2011 at 7:44 PM, Paul Hertz wrote: > As someone who was on the Cycling74 list for the whole sweep of NN's > intervention, what strikes me was how variable the messages were. If (her) > intervention had been purely an effort to spam, NN would have been booted > immediately. But NN was inventive, frequently a very useful contributor, and > even the spammy bits were charged with a degree of humor: pickled theory > generated by a textbot. > > Of course it got hard to take, and the gradually escalating feuding poisoned > the list, in the end displacing all the mostly welcome or merely irritating > posts. > > -- Paul > > > > On Fri, Sep 9, 2011 at 12:34 PM, Simon Biggs wrote: > Who was voting? There was a period, back when NN was active, when the Net was > smaller and less commercialised. In that context a certain sample of users > would have known NN and voted for her. Nowadays the net is a different > universe, dominated by big business and government policy. It is only going > to be more like that. It is the infrastructure of the knowledge economy - and > government and business have a particular understanding of what the term > economy means: making money and creating jobs/consumers. As I often work at > the juncture of academic research (into the internet), government policy and > commercial development it is clear to me that the net's future is nothing > like its past - and the future is now. > > My students have little or no knowledge of the early net. They know it > through Facebook, Twitter, blogs, BBC, apps and other commercial and/or > custom portals. They haven't the faintest what The Well is, much less > Nettime, Thing or 7-11. In the case of 7-11 you cannot teach them about it as > the archives and other traces have been so effectively removed. Only > individual artist's documentation exists - but that isn't the same. 7-11 was > a creative community/happening and it would be great to present it as it was > then, in its entirety. I only have my own archive (probably 25% of the > material) to show them. > > Many of our researchers also have little knowledge of these early examples of > net culture. Some do (the artists, media nuts, anthropologists, etc) but > those working between academe and industry (which is most) simply aren't > interested. They see the net as the saviour of TV and publishing. They > recognise it is fundamentally different - but their response is not to > consider cultural alternatives but to work out new business models (eg: > social media means social gaming linked to a network TV series). I'm sorry it > is like that, but it's how it is. At this point we probably need an > under-net, and it is possible that list serves (like usenet, almost a subject > for media archeology) are that. > > Ana is right that list serves are dying. The number of people on the net has > exploded but the numbers using list serves have shrunk. Many artistic > communities that once communicated via list serves have moved to blog, nings > or Facebook groups. Google+ Circles, despite the failure of Google Wave, are > the next development. Alan, you make good use of that... > > best > > Simon > > > On 9 Sep 2011, at 17:48, Alan Sondheim wrote: > > > > > > > She was actually voted one of the 25 most important women on the Net. I > > had some dealing with her. And everyone I knew, knew her - she might have > > been better known in the US; NATO55 was in a lot of places. > > > > On Fri, 9 Sep 2011, Simon Biggs wrote: > > > >> Seems to overstate both the worth of turn of the Century network culture > >> (we are talking about a few hundred people here on a list serve or two) > >> and NN. More like a sub-cultural splinter group... Of all the people on > >> the internet I doubt more than 0.01% have ever heard of NN. Hardly > >> infamous. > >> > >> (but as NN is eternally prescient I am sure I will now be burned to a > >> crisp ;) > >> > >> best > >> > >> Simon > >> > >> > >> On 9 Sep 2011, at 14:25, marc garrett wrote: > >> > >>> Netochka Nezva
