Re: [NetBehaviour] Yuk! Cancer...

[Graziano Milano via NetBehaviour]

Dear Marc,

Hopefully the three months curable process will be successful and you will
fully recover.

Scientific studies examined how it is possible to act through diet and
lifestyle in order to prevent many non-communicable diseases like cancer.
Here are some recommendations developed by Professor Valter Longo thanks to
thirty years of research:
https://www.fondazionevalterlongo.org/en/longevity_articles/cancer-prevention-diet-and-lifestyle-the-longevity-diet-to-prevent-cancer/

Dr. Valter Longo is a Gerontology and Biological Sciences Professor and the
Director of the Longevity Institute at the University of Southern
California–Leonard Davis School of Gerontology in Los Angeles, one of the
leading centers for research on aging and age-related disease. Dr. Longo is
also the Director of the Longevity and Cancer Program at the Institute of
Molecular Oncology (IFOM) in Milan, Italy.

All the best,
Graziano

On Thu, 10 Feb 2022 at 01:55, abram stern via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> briefly unlurking for a rare moment. take care & best wishes, Marc.
>
> all the best,
> abram (aphid)
>
> On Wed, Feb 9, 2022 at 2:43 AM marc garrett via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Dear friends and associates on Netbehaviour,
>>
>> Last Wednesday I was diagnosed with stage 2 cancer in the form of lesions
>> around the neck, ear and throat - on the right side of my head. The
>> hospital crew dealing with my cancer say it's curable but they need to
>> begin the process immediately. It will involve an intense three months.
>> They will use radiotherapy and chemotherapy on me. It's going to be really
>> rough, already horrible things have happened. It will take about three
>> weeks to set it all up, and then visiting the hospital every day for six
>> weeks with radiotherapy and chemotherapy, ugh!
>>
>> I am officially on sick leave for the next three months regarding
>> Furtherfield matters, but I will pop up (hopefully) every now and then with
>> certain projects that are underway - especially the new book which is out
>> very soon, called 'Frankenstein Reanimated: Art & Life in the 21st Century.
>> Edited by Marc Garrett and Yiannis Colakides', to be published on Torque.
>>
>> Rather than telling everyone individually, it felt easier to mention it
>> here. A warm thanks for the love already that people have expressed in my
>> direction.
>>
>> Apologies if I do not respond to questions - I'm sure you'll appreciate
>> that I'll likely be too unwell to interact.
>>
>> Wishing you well.
>>
>> Marc
>> ---
>>
>> DR Marc Garrett - https://marcgarrett.org/
>> Furtherfield - http://www.furtherfield.org
>> DECAL - http://decal.is/
>> Bio - https://marcgarrett.org/bio/
>> CV - https://marcgarrett.org/cv/
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> Abram Stern (aphid)
> *he/him/his *or *they/them/theirs*
> PhD Candidate, Film and Digital Media
> University of California, Santa Cruz
> located on the unceded territory of the Awaswas-speaking Uypi Tribe.
>
> ap...@ucsc.edu // a...@aphid.org ⚛ // (831) 224-0334 <2883129202240334>
> (mobile/signal)
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] Your Vote is Important to the People's Park Plinth! ✨🗳

[Graziano Milano via NetBehaviour]

Hi Ruth,

I’ve been trying to vote this afternoon using both my Smartphone and iMac a
few times. But after clicking the “begin voting” tab it showed “Something
went wrong” so it was not possible to vote. My favorite digital artwork of
the People’s Park Plinth is “Based on a Tree Story”.

Graziano


On Mon, 30 Aug 2021 at 13:18, Ruth Catlow via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Thanks sooo much Helen!
> 🌟
>
> On Mon, Aug 30, 2021 at 12:00 PM Helen Varley Jamieson <
> he...@creative-catalyst.com> wrote:
>
>> done :)
>> On 30.08.21 20:47, Ruth Catlow via NetBehaviour wrote:
>>
>> Thanks for letting me know Helen!
>> Take a look now.
>>
>> Because we are still in Beta... there are still a few wrinkles to iron
>> out : /
>> Very happy to help anyone else that gets stuck - we want your votes
>> x
>>
>> On Mon, Aug 30, 2021 at 12:21 AM Helen Varley Jamieson <
>> he...@creative-catalyst.com> wrote:
>>
>>> hmm, i guess i must have deleted it; i registered the other day but
>>> never saw a token. i'm unable to keep up with my lists for a while so have
>>> been randomly deleting stuff ... :/
>>> On 30.08.21 03:05, Ruth Catlow via NetBehaviour wrote:
>>>
>>> Lovely writing and very appreciative of your ongoing attention Max.
>>>
>>> If any others here haven't yet voted...you can look at the work and
>>> register here https://peoplesparkplinth.org/ until Tuesday 31st.
>>> Registration closes at 8.30pm and then the vote closes at 12 midnight.
>>> BST
>>>
>>> We are discovering a few wrinkles 
>>> If you already registered or are a subscriber to Furtherfield then your
>>> token has already been delivered to you by email with the subject header
>>> “It’s Time to Vote for the People’s Park Plinth at Furtherfield Gallery”.
>>> Please check in your inbox (and spam folders).
>>>
>>> Warmly
>>> Ruth
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> On Thu, Aug 26, 2021 at 5:51 PM Max Herman 
>>> wrote:
>>>

 Hi Ruth,

 I just finished voting and think this is a fantastic concept and
 framework.  The participatory nature of it is so important for sustainable
 and resilient art community.  Mammoth frameworks of big-data algorithms and
 high-dollar collector transactions simply don't do certain things that are
 well worth doing.  Perhaps these omitted processes may be even more than
 just worth doing, but simply necessary for that which we call aesthetic
 culture to thrive.

 It's so easy to forget that the big-name objects collecting mega-price
 transactions started off as people hanging out in coffee shops speculating
 about art and life and literature and participating actively,
 experimenting, with little or no audience and on a shoestring.  It's
 equally easy to forget that we are all writing and revising our own inner
 algorithms so to speak, our choices and plans and modes of experience, all
 day every day whether we do so consciously or not.

 One aspect of Leonardo which I have found so surprising is his genuine
 sense of his own transience.  He very much wanted for his work to be
 preserved over time -- given the hostility to all art and science that our
 daily crises can foster by default -- but he understood perhaps even better
 than we do the limits of fame, immortality, and adulation.  He wrote, "Once
 daylight appears, we can put out the lamp we lit to see in the dark."  It's
 a metaphor of course -- he wasn't trying to help us with our literal home
 lighting decisions -- and one that makes the most sense to me in a context
 of knowledge-sharing, the metamorphic nature of art, and the transient
 cyclical nature of aesthetic value.  Trying to freeze such transience he
 knew would merely lead to oversized edifices of diminishing function and,
 paradoxically, increasing instability as the massive structures lose
 proportionality to place, time, people, nature, and so on.

 Thanks again for sharing this great work on list.  The in-person event
 sounds like it was even more excellent!

 All best and congratulations,

 Max


 --
 *From:* NetBehaviour  on
 behalf of Ruth Catlow via NetBehaviour <
 netbehaviour@lists.netbehaviour.org>
 *Sent:* Wednesday, August 25, 2021 10:47 AM
 *To:* NetBehaviour for networked distributed creativity <
 netbehaviour@lists.netbehaviour.org>
 *Cc:* Ruth Catlow 
 *Subject:* [NetBehaviour] Your Vote is Important to the People's Park
 Plinth! ✨🗳

 And finally an unseemly plea to anyone who has not yet voted...

 Please do vote now, here https://peoplesparkplinth.org/ (on your smart
 phone)

 We know YOU know what great digital art looks like!
 So your vote matters as well as any feedback you can give us about the
 voting process.

 See below for more details about the project.

 Thank you!
>>>

Re: [NetBehaviour] DHSI TALK 2016 RIVERRUN THEORY DHSI

[Graziano Milano via NetBehaviour]

Hi Max,

The Digital Dante  website by Columbia
University (New York) offers original research and ideas on Dante: on his
thought and work and on various aspects of his reception.

The Text section features original research of a text-focused nature and it
also houses a select library of Dante’s works in their original Italian, as
well as English translations.
https://digitaldante.columbia.edu/text/

The Bookshelf section houses Dante’s *Convivio* and *Vita Nuova* in their
original Italian, as well as English translations by Richard Lansing and
Andrew Frisardi.
https://digitaldante.columbia.edu/text/library/

*The Divine Comedy* section features the Petrocchi edition of the Italian
text, the Longfellow and Mandelbaum English translations, historical
images, audio recording and the Commento Baroliniano.
https://digitaldante.columbia.edu/dante/divine-comedy/

Graziano

On Sun, 25 Jul 2021 at 18:51, Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> Thank you for saying so Alan!  If only I did more of it.  🙂
>
> Finding interesting material about Joyce's self-definition as a "poetic
> engineer," making machine-like poems to engage the "machine age," etc.,
> germane to several topics of late so I should probably lapse into study
> mode awhile and would love to hear from any actual experts on the list!
>
> --
> *From:* NetBehaviour  on
> behalf of Alan Sondheim via NetBehaviour <
> netbehaviour@lists.netbehaviour.org>
> *Sent:* Sunday, July 25, 2021 12:28 PM
> *To:* NetBehaviour for networked distributed creativity <
> netbehaviour@lists.netbehaviour.org>
> *Cc:* Alan Sondheim 
> *Subject:* Re: [NetBehaviour] DHSI TALK 2016 RIVERRUN THEORY DHSI
>
> Honest to God, I have Noh Idea!
>
> You should tell us, you do amazing close reading!
>
> Best, Alan
>
> On Sun, Jul 25, 2021 at 1:18 PM Max Herman via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>
> Hi Alan,
>
> I am curious about the Four Thunders.  Might they compare at all to the
> following "modes of reading" which Dante expounds in *Convivio *II, in
> order to explain Ode 1?  (I am very unused to Dante's curious habit in *La
> Vita Nuova* and *Il Convivio* of writing a poem, then explaining what it
> means in prose, then another poem, another explanation, etc., not unlike a
> workshop or curricular method ironically!  Therefore I cast about trying to
> decipher Ode 1 without even reading the following page that explains it.)
>
> *Convivio *II.i states:
>
> "I say that, as was told in the first chapter, this exposition must be
> both literal and allegorical; and that this may be understood it should be
> known that writings may be taken and should be expounded chiefly in four
> senses.  The first is called the literal, and it is the one that extends no
> further than the letter as it stands; the second is called the allegorical,
> and it is the one that hides itself under the mantle of these tales, and is
> a truth hidden under beauteous fiction.  As when Ovid says that Orpheus
> with his lyre made wild beasts tame and made trees and rocks reproach him;
> which would say that the wise person with the instrument of their voice
> maketh cruel hearts tender and humble; and moveth to their will such as
> have not the life of science and of art; for they that have not the
> rational life are as good as stones.  And why this way of hiding was
> devised by the sages will be shown in the last treatise but one.  It is
> true that the theologians take this sense otherwise than the poets do, but
> since it is my purpose here to follow the method of the poets I shall take
> the allegorical sense after the use of the poets.  The third sense is
> called moral, and this is the one that lecturers should go intently noting
> throughout the scriptures for their own behoof and that of their
> disciples.  Thus we may note in the Gospel, when Christ ascended the
> mountain for the transfiguration, that of the twelve apostles he took but
> three; wherein the moral may be understood that in the most secret things
> we should have but few companions.  The fourth sense is called the
> 'anagogical,' that is to say 'above the sense'; and this is when a
> scripture is spiritually expounded which even in the literal sense, by the
> very things it signifies, signifies again some portion of the supernal
> things"
>
> My apologies for citing this passage given that it mentions so many
> hot-button topics, nor do I wish in any way to condone the atrocities of
> medieval patriarchy which continue in strong force today, but to some
> degree in order to understand the Renaissance (or the birth of the modern
> by means of un-forgetting, to use Weiss' term, the ancient as a fulcrum
> with which to modulate the present), we must understand the necessity Dante
> faced of reconciling non-theological poetry, art, and science in its
> earliest re-appearance with certain cold realities of the 

Re: [NetBehaviour] analogy and AI poetry

[Graziano Milano via NetBehaviour]

ark (did they plant a few hundred plants, trees, shrubs,
>> grasses and flowers that were all found in Manhattan before the Dutch came
>> in the 17th century? was that the concept of his "re-wilding"?) I
>> wonder how research artists re-think colonial matters, territories, and
>> compost through plants and plant art (I am thinking of someone like Bartaku
>> who recently presented his research on "Baroa belaobara: berryapple" at
>> Aalto)... and also how we can re-think our relations to climate, earth,
>> storms, droughts, hurricanes and floods (people here in the southwest of
>> Germany were unprepared and had not imagined the force of nature).. and
>> since all of you made such wonderful comments here, on the imaginaries, the
>> embodiments, and the machines, here is what my friend Bartaku writes on the
>> choke berry:
>>
>> >>
>> "Baroa belaobara: berryapple" speaks about an art practice that addresses
>> a plant while following sudden signals at a plantation in Latvia. Through
>> five passages the reader is spinning into a making_thinking constellation
>> of bacteria, breath, bone china porcelain, ether, coincidence, sap, glass,
>> semen, installation, soil, linen, ghost, light, anthocyanin,
>> Aronia_Baroacentrism, brain reader, pigment, musicians, electricity, pH,
>> leaky loops, play, protocol, pipette, gift intervention, DNA and mulberry
>> paper.morphings of a plant´s name, its shape and of plant-art perception
>> and cognition.
>>
>> Through a method of play as in improvisational music, a meshy
>> constellation comes to be with a mixture of entities playing along. The
>> leaky loops of making/thinking include micro- and photobiologists, bio-,
>> solar and fake labs, clay, a brain reader, ceramists,artists, designers,
>> herbalists, alchemists,chance, a JMW Turner painting, joyful accidents,
>> re-enactments, hand-painted photovoltaics, microbes and their fluorescent
>> pigments and plantationsThe focus of the narration is on experiences
>> with detailed accounts of the applied protocols for in vitro plant and
>> microbial growth,dye-sensitised solar cells and ceramix, as well as for
>> invented gifts and imaginary solutions
>> >>
>>
>> https://aaltodoc.aalto.fi/handle/123456789/107574
>>
>> we live in restless times, dear compostists, so:  Unruhig bleiben!
>>
>> regards
>> Johannes Birringer
>> Schmelz, Saarland
>>
>>
>>
>> 
>> From: NetBehaviour  on
>> behalf of Alan Sondheim via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org>
>> Sent: 16 July 2021 19:32
>> To: NetBehaviour for networked distributed creativity
>>
>>
>> NI sounds cool but the video sounds more like a typical advertisement;
>> every ad I see here for medicines for example uses similar rhetoric.
>> NI isn't going to work unless it's accompanied by something that will
>> stop, say, the Bransons from spending money on useless egoistic space
>> travel and investing hard cash in working to transform the planet.
>> Otherwise, NI ends up being as rhetorical as so much of the ecological
>> claims of the 60's on.
>> I wonder if re: Finsbury park, there will be any attempt at rewilding
>> part of it? In other words, like Alan Sonfist worked on years ago, fencing
>> an area off, letting it be/bee?
>>
>> Best, Alan
>>
>> On Fri, Jul 16, 2021 at 10:21 AM Graziano Milano via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> netbehaviour@lists.netbehaviour.org>> wrote:
>> Hi Eryk & all,
>>
>> Here is the other video by the The Centre4NI:
>> The secret to innovation is NI (why biology will save us)<
>> https://vimeo.com/501683043>
>>
>> The Centre4NI<https://www.centre4ni.com> says on its website that:
>> “Natural Intelligence is the intelligence that is as old as time. It
>> knows what works, what lasts and what contributes to the future of life on
>> Earth. It is the driver behind 3.8 billion years of continuous innovation,
>> adaptation and, ultimately, regeneration. It is what enables nature to
>> survive and thrive – despite limited resources and endless change and
>> disruption. Tapping into NI is how we shift from tragedy to prosperity and
>> build businesses, organisations and institutions that foster a healthier,
>> wealthier and more viable future.”
>>
>> They could add that "Natural Intelligence has also built and will carry
>> on building our artistic human creativity 

Re: [NetBehaviour] analogy and AI poetry

[Graziano Milano via NetBehaviour]

Hi Eryk & all,

Here is the other video by the The Centre4NI:
The secret to innovation is NI (why biology will save us)


The Centre4NI  says on its website that:
“Natural Intelligence is the intelligence that is as old as time. It knows
what works, what lasts and what contributes to the future of life on Earth.
It is the driver behind 3.8 billion years of continuous innovation,
adaptation and, ultimately, regeneration. It is what enables nature to
survive and thrive – despite limited resources and endless change and
disruption. Tapping into NI is how we shift from tragedy to prosperity and
build businesses, organisations and institutions that foster a healthier,
wealthier and more viable future.”

They could add that "Natural Intelligence has also built and will carry on
building our artistic human creativity because as Da Vinci said *Nature is
the source of all true knowledge.*"

Graziano


On Fri, 16 Jul 2021 at 14:20, Eryk Salvaggio via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:
>
> Max, Paul & all;
>
> Thanks for all the thought-provoking links, everyone.
>
> Sometimes there are shades of panic in the way I see AI art. It’s like
the machine is getting deep into my psyche, colonizing the culture as data
and spitting something out that barely resembles art or beauty or play. I
think that reflects the weaponized ideology of broader data practices
today: this is exactly what machine learning is doing, often to
catastrophic results. And much of that comes from how we imagine the links
between our imaginations and the machine’s “imagination.”
>
> The machine’s "imagination" (whatever happens in "latent space," which
seems to be the term we're using) is reaching to find patterns and
relationships, even when such patterns and relationships may not exist. We
hope that the way we take art into our minds is something different. But I
don’t know for sure.
>
> At the moment, I can only respond to this machine “imagination” in the
same way that we find meaning within a human-produced painting, or poem, or
film, or television advertisement. We imagine ourselves within those
worlds. We do this within our private mental spaces, but we hand over some
internal control to the artists, poets, or marketing agencies. When we do,
our story and their stories become temporarily intertwined with something
external. Whether we are being manipulated by poets or design houses, we
know it was human, and trying to meet us.
>
> With few exceptions, even the most alienating and experimental of these
communication forms are shaped by that desire for human comprehension.
Machines, in simulating art, do so without any desire to connect or
reassure us. The machine is not concerned with being understood, because it
doesn’t, and cannot, understand. It’s the cold indifference of a machine.
In the distance between us and it, we project all that we fear from the
Other: infallible, all-knowing, all-aware — and so we imagine the very
things that make them so frightening. I am used to the sense that the
screen is always there to take something from me, package it up, and offer
it back through the recommendation of some distant system. So, I am also
bringing that to my interactions with the system, in how I interpret
(imagine) what it is doing. Generative art systems don't "do this," I do it
to them.
>
> The uncanniness — that close-but-not-quite-human quality of machine
generated text and images — is a different way of intermingling
imaginations because we imagine it to be different. The image quality is
not so clear, and so the limits of the machine imagination intertwines with
a human desire to be immersed. I can see my own imagination reaching, and
how sometimes imagination fails, and unmasking that lie can be terrifying.
(The Lacanian "Real," etc.)
>
>
> -e.
>
>
>
>
> On Wed, Jul 14, 2021 at 3:38 PM Paul Hertz via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:
>>
>> There's an essay, "Intelligence Without Representation" that Brooks
wrote in 1987, http://people.csail.mit.edu/brooks/papers/representation.pdf,
that offered what was then a new point of view on how to consider AI.
>>
>> // Paul
>>
>>
>>
>> On Wed, Jul 14, 2021 at 2:10 PM Paul Hertz  wrote:
>>>
>>> Hi Max,
>>>
>>> The robotics researcher Rodney Brooks back in the late 1980s argued the
AI based on the construction of a "knowledge base" was bound to fail. He
made the case that a robot adapting to an environment was far more likely
to achieve intelligence of the sort that humans demonstrate precisely
because it was embodied. Some of his ideas are presented in the movie Fast,
Cheap, and Out of Control, directed ISTR by Errol Morris. If you haven't
seen it yet, I can recommend it.
>>>
>>> -- Paul
>>>
>>> On Wed, Jul 14, 2021, 1:38 PM Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:


 Hi all,

 I know virtually nothing about AI, beyond what the letters stand 

Re: [NetBehaviour] analogy and AI poetry

[Graziano Milano via NetBehaviour]

Hi Max,

Leen Gorissen, PhD in biology, has written the book* "Building The Future
Of Innovation On Millions Of Years Of Natural Intelligence" * where she makes
a solid case for why NI, not AI, should be at the forefront of business
innovation.

Here is the video linked to her book "What is Natural Intelligence?":
https://vimeo.com/562670741

and the website about this book: https://www.naturalintelligence.info

Graziano

On Wed, 14 Jul 2021 at 21:02, Graziano Milano 
wrote:

> Hi Max,
>
> Here is one of Leonardo Da Vinci’s famous quotes:
> *“Nature is the source of all true knowledge. She has her own logic, her
> own laws, she has no effect without cause nor invention without necessity.”*
>
> Therefore our Natural Intelligence is and will always be much more
> creative and artistic than Artificial Intelligence.
>
> Graziano
>
> On Wed, 14 Jul 2021 at 20:57, Stephanie Strickland <
> stephanie.strickl...@gm.slc.edu> wrote:
>
>> *https://www.quantamagazine.org/same-or-different-ai-cant-tell-20210623/
>> *
>> Stephanie
>>
>> Stephanie Strickland
>>
>> My new books are
>>
>> *Ringing the Changes *  & *
>> How the Universe Is Made *
>>
>>
>> On Wed, Jul 14, 2021 at 3:38 PM Paul Hertz via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>>> There's an essay, "Intelligence Without Representation" that Brooks
>>> wrote in 1987,
>>> http://people.csail.mit.edu/brooks/papers/representation.pdf, that
>>> offered what was then a new point of view on how to consider AI.
>>>
>>> // Paul
>>>
>>>
>>>
>>> On Wed, Jul 14, 2021 at 2:10 PM Paul Hertz  wrote:
>>>
 Hi Max,

 The robotics researcher Rodney Brooks back in the late 1980s argued the
 AI based on the construction of a "knowledge base" was bound to fail. He
 made the case that a robot adapting to an environment was far more likely
 to achieve intelligence of the sort that humans demonstrate precisely
 because it was embodied. Some of his ideas are presented in the movie Fast,
 Cheap, and Out of Control, directed ISTR by Errol Morris. If you haven't
 seen it yet, I can recommend it.

 -- Paul

 On Wed, Jul 14, 2021, 1:38 PM Max Herman via NetBehaviour <
 netbehaviour@lists.netbehaviour.org> wrote:

>
> Hi all,
>
> I know virtually nothing about AI, beyond what the letters stand for,
> but noticed this new article in Quanta Magazine.  Does it pertain at all?
> Interestingly it concludes that in order for AI to be human-like it will
> need to understand analogy, the basis of abstraction, which may require it
> to have a body!  🙂
>
>
> https://www.quantamagazine.org/melanie-mitchell-trains-ai-to-think-with-analogies-20210714/?mc_cid=362710ae88&mc_eid=df8a5187d9
>
> I have been interested in the book *GEB *by Hofstadter for some time,
> and have been researching how it was referenced (specifically its Chapter
> IV "Consistency, Completeness, and Geometry" and its Introduction) by 
> Italo
> Calvino in *Six Memos for the Next Millennium*, so Mitchell's
> connection to Hofstadter and *GEB *is interesting on a general
> level.
>
> Coincidentally I contacted her a year ago to ask about the Calvino
> connection but she replied she hadn't read any Calvino or the *Six
> Memos*.  However, his titles for the six memos -- Lightness,
> Quickness, Exactitude, Visibility, Multiplicity, and Consistency -- might
> be exactly the kinds of "bodily" senses AI will need to have!
>
> All best,
>
> Max
>
> https://www.etymonline.com/word/analogy
> https://www.etymonline.com/word/analogue
>
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>

>>>
>>> --
>>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>>> http://paulhertz.net/
>>> ___
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>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>> ___
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>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
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Re: [NetBehaviour] analogy and AI poetry

[Graziano Milano via NetBehaviour]

Hi Max,

Here is one of Leonardo Da Vinci’s famous quotes:
*“Nature is the source of all true knowledge. She has her own logic, her
own laws, she has no effect without cause nor invention without necessity.”*

Therefore our Natural Intelligence is and will always be much more creative
and artistic than Artificial Intelligence.

Graziano

On Wed, 14 Jul 2021 at 20:57, Stephanie Strickland <
stephanie.strickl...@gm.slc.edu> wrote:

> *https://www.quantamagazine.org/same-or-different-ai-cant-tell-20210623/
> *
> Stephanie
>
> Stephanie Strickland
>
> My new books are
>
> *Ringing the Changes *  & *
> How the Universe Is Made *
>
>
> On Wed, Jul 14, 2021 at 3:38 PM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> There's an essay, "Intelligence Without Representation" that Brooks wrote
>> in 1987, http://people.csail.mit.edu/brooks/papers/representation.pdf,
>> that offered what was then a new point of view on how to consider AI.
>>
>> // Paul
>>
>>
>>
>> On Wed, Jul 14, 2021 at 2:10 PM Paul Hertz  wrote:
>>
>>> Hi Max,
>>>
>>> The robotics researcher Rodney Brooks back in the late 1980s argued the
>>> AI based on the construction of a "knowledge base" was bound to fail. He
>>> made the case that a robot adapting to an environment was far more likely
>>> to achieve intelligence of the sort that humans demonstrate precisely
>>> because it was embodied. Some of his ideas are presented in the movie Fast,
>>> Cheap, and Out of Control, directed ISTR by Errol Morris. If you haven't
>>> seen it yet, I can recommend it.
>>>
>>> -- Paul
>>>
>>> On Wed, Jul 14, 2021, 1:38 PM Max Herman via NetBehaviour <
>>> netbehaviour@lists.netbehaviour.org> wrote:
>>>

 Hi all,

 I know virtually nothing about AI, beyond what the letters stand for,
 but noticed this new article in Quanta Magazine.  Does it pertain at all?
 Interestingly it concludes that in order for AI to be human-like it will
 need to understand analogy, the basis of abstraction, which may require it
 to have a body!  🙂


 https://www.quantamagazine.org/melanie-mitchell-trains-ai-to-think-with-analogies-20210714/?mc_cid=362710ae88&mc_eid=df8a5187d9

 I have been interested in the book *GEB *by Hofstadter for some time,
 and have been researching how it was referenced (specifically its Chapter
 IV "Consistency, Completeness, and Geometry" and its Introduction) by Italo
 Calvino in *Six Memos for the Next Millennium*, so Mitchell's
 connection to Hofstadter and *GEB *is interesting on a general level.

 Coincidentally I contacted her a year ago to ask about the Calvino
 connection but she replied she hadn't read any Calvino or the *Six
 Memos*.  However, his titles for the six memos -- Lightness,
 Quickness, Exactitude, Visibility, Multiplicity, and Consistency -- might
 be exactly the kinds of "bodily" senses AI will need to have!

 All best,

 Max

 https://www.etymonline.com/word/analogy
 https://www.etymonline.com/word/analogue


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>>>
>>
>> --
>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>> http://paulhertz.net/
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Re: [NetBehaviour] Dante and Leonardo

[Graziano Milano via NetBehaviour]

 fall
> >
> >
> > from every sphere to every sphere the same.
> >
> > He made earth's splendors by a like decree
> >
> > and posted as their minister this high Dame,
> >
> >
> > the Lady of Permutations.  All earth's gear
> >
> > she changes from nation to nation, from house to house,
> >
> > in changeless change through every turning year.
> >
> >
> > I am interested in whether "gear" can be translated as "garment" as well
> as "goods," since clothing is often a core attribute of Fortuna (i.e. rags
> to riches).  This would align with the metaphoric significance I believe
> may attach to the bridge and garment in the Mona Lisa.  In any event, I do
> see a lot of imaginative similarity between the Mona Lisa and "the Lady of
> Permutations" as well as Beatrice.
> >
> > Last year I wrote up many of these ideas in a blog for the Leonardo
> journal, and starting in January I have begun adding a discussion of Dante
> (as well as Machiavelli).  I would be very interested to hear any thoughts
> or feedback on the ideas therein!
> >
> > All very best regards,
> >
> > Max
> > "The Mindful Mona Lisa"
> > May 14 - October 29, 2020
> > Leonardo.info/blog
> >
> https://www.leonardo.info/blog/2020/05/14/the-mindful-mona-lisa-a-bridge-garment-experience-hypothesis
> >
> > +
> >
> > https://www.rct.uk/collection/912581/a-woman-in-a-landscape
> >
> > Description
> >
> > A drawing of a woman standing in a landscape, with her body turned to
> the right, and her head turned to face the spectator. She wears full
> drapery, which blows out behind her in elaborate folds. Her right hand
> rests on her breast and with her left hand she points into the distance.
> Melzi's number 216.
> >
> > The most plausible explanation of this mysterious drawing is that it
> depicts Matelda, appearing to Dante in Purgatory (Cantos 28–29), the second
> book of his Divine Comedy: ‘I came upon a stream that blocked / the path of
> my advance; […] / I halted, and I set my eyes upon / the farther bank, to
> look at the abundant / variety of newly-flowered boughs; / And there […] /
> I saw a solitary woman moving, / singing, and gathering up flower on
> flower. / […] No sooner had she reached the point where that / fair river’s
> waves could barely bathe the grass, / than she gave me this gift: lifting
> her eyes. / […] / Erect, along the farther bank, she smiled, / her hands
> entwining varicoloured flowers.’
> >
> > The fluttering drapery here echoes that of Matelda in Botticelli’s
> illustration of the same scene (Berlin, Kupferstichkabinett), though the
> distinctive pose is derived from a figure in one of Mantegna’s canvases of
> the Triumph of Caesar, the Bearers of Trophies and Bullion (c.1484–92;
> Royal Collection, RCIN 403960), perhaps known to Leonardo via a print. The
> pointing gesture and direct gaze relate the drawing to Leonardo’s
> compositions of the Angel of the Annunciation (RCIN 912328) and St John the
> Baptist (Paris, Louvre), and would put us here in the position of Dante, as
> Matelda indicates her earthly paradise to us. But Leonardo had, it seems,
> little sustained interest in Dante, and most quotations from the Divine
> Comedy in his notebooks are on natural phenomena; though the background
> here is hard to read it seems rocky, and we know from the Leda that
> Leonardo would not miss an opportunity to illustrate a flowery setting (eg.
> RCIN 912424). The context and function of the drawing thus remain unknown.
> >
> > Text adapted from Leonardo da Vinci: A life in drawing, London, 2018
> >
> >
> >
> >
> > 
> > From: NetBehaviour  on
> behalf of Graziano Milano via NetBehaviour <
> netbehaviour@lists.netbehaviour.org>
> > Sent: Monday, March 1, 2021 9:55 AM
> > To: NetBehaviour for networked distributed creativity <
> netbehaviour@lists.netbehaviour.org>
> > Cc: Graziano Milano 
> > Subject: Re: [NetBehaviour] Dante and Leonardo
> >
> > Hi Max,
> >
> > The Divine Comedy was originally simply titled Comedìa and the first
> printed edition was published in 1472. The word Comedìa was later adjusted
> to the modern Italian Commedia. The adjective Divina was added by Giovanni
> Boccaccio, an Italian writer and poet (1313-1375), due to its subject
> matter and lofty style, and the first edition to name the poem Divina
> Comedìa in the title was that of the Venetian humanist Lodovico Dolce
> (1508/10-1568), a man of letters and theorist of painting, published in
> 1555 by 

Re: [NetBehaviour] Dante and Leonardo

[Graziano Milano via NetBehaviour]

Hi Max,

*The Divine Comedy* was originally simply titled *Comedìa* and the first
printed edition was published in 1472. The word *Comedìa* was later
adjusted to the modern Italian *Commedia*. The adjective *Divina* was added
by Giovanni Boccaccio, an Italian writer and poet (1313-1375), due to its
subject matter and lofty style, and the first edition to name the poem *Divina
Comedìa* in the title was that of the Venetian humanist Lodovico Dolce
(1508/10-1568), a man of letters and theorist of painting, published in
1555 by Gabriele Gioliti de’ Ferrari (1508-1578), a 16th-century Italian
printer active in Venice.

Dante was born in Florence most probably around May-June 1265, although his
date of birth is not exactly known. Dante was exiled in 1293 because he
sided with the *White Guelphs* who were trying to defend the independence
of the city of Florence by opposing the hegemonic tendencies of Pope
Bonifacio VIII. He died in Ravenna, the night between 13th and 14th
September 1321, where he had been invited to stay in that city in 1318 by
its prince, Guido II da Polenta.

He began writing *The Divine Comedy (Inferno, Purgatorio, Paradiso)*, a
long Italian narrative poem, in 1304 and completed it in 1320, a year
before his death. The amazing artistic mosaics in the historic Ravenna’s
churches inspired his writing of the Paradiso:
https://www.ravennamosaici.it/en/

Dante Alighieri is the father of the Italian language. Because of that, in
Italy, children start reading and studying *The Divine Comedy *at their
primary schools. At the age of 9 I did that and I was really impressed by
the artistic mosaics, drawings, paintings and print artworks linked to it.

*The Divine Comedy* has been a source of inspiration for countless artists
for almost seven centuries. There are many references to Dante's work in
literature. In music, Franz Liszt was one of many composers to write work
based on the Divine Comedy. In sculpture, the work of Auguste Rodin
includes themes from Dante, and many visual artists (Gustave Dore’, Philipp
Veit, Sandro Botticelli, Antonio Manetti, Federico Zuccari, etc…)
illustrated Dante's work.

Rarely seen drawings, paintings and sculptures of *Dante’s The Divine
Comedy* have been recently put on virtual display at the Uffizi Gallery in
Florence as Italy has begun a year-long calendar of events to mark the
700th anniversary of the poet’s death:
https://www.uffizi.it/en/online-exhibitions-series/to-rebehold-the-stars

All the best,
Graziano


On Sat, 27 Feb 2021 at 19:26, Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> Hi all,
>
> Yesterday I found out that Dante (1265-1321) passed away five centuries to
> the year before Keats, making 2021 the 700th anniversary.
>
> Even though I did graduate study in English I never read Dante until this
> year.  I knew fragments of course, the general outline, some commentary,
> and even had a paperback translation of *Inferno*.  However it was only
> after reading Calvino's *Six Memos for the Next Millennium -- *a book
> that discusses the writing of both Dante and Leonardo -- in January 2018 that
> I got motivated to study Italian literature and painting more in depth.
>
> Leonardo is not generally thought to have been much influenced by Dante,
> although he is known to have been an expert on Dante's work.  As research
> for a book on the *Mona Lisa* I studied a very interesting drawing dated
> 1517-18, one of Leonardo's last major works before his passing in 1519,
> known as *Woman Standing in a Landscape:*
>
> https://www.rct.uk/collection/912581/a-woman-in-a-landscape
>
> This wonderful image seems somehow allegorical and is often compared to
> Botticelli's 1485 illustration of Matilda, Dante, and the river Lethe in 
> *Purgatorio
> *XXVIII:
>
>
> https://commons.wikimedia.org/wiki/Category:Sandro_Botticelli%27s_illustrations_to_the_Divine_Comedy#/media/File:Botticelli,_Purgatorio_28.jpg
>
> Leonardo did not title his drawing or explain anywhere in text what its
> subject might be.  Therefore as the Royal Collection Trust page above
> states, "The context and function of the drawing thus remain unknown."
>
> Comparing the two drawings makes clear one major difference: Leonardo's
> image includes a bridge, but Botticelli's does not.  Furthermore, in
> Leonardo's image the woman is pointing downstream, toward the bridge,
> whereas Botticelli's Matilda is pointing upward.
>
> Infrared scans of the *Mona Lisa* show that the bridge was added very
> late, as possibly the last element of the work:
>
>
> https://commons.wikimedia.org/wiki/File:Infrared_reflectograms_of_Mona_Lisa.jpg
>
> Why would Leonardo have added a bridge at such a late stage of the
> composition?  Nothing whatsoever is mentioned in his notebooks, and no
> Leonardo scholar has ever addressed this question.  The bridge is assumed
> almost universally by Leonardo scholars to have no meaning or function in
> the painting, either visually or thematically.  This may be

[NetBehaviour] Ruffle – the Flash Player emulator

[Graziano Milano via NetBehaviour]

Dear all,

Last week I found out by reading the Independent's article by Andrew
Griffin, that the Internet Archive announced two months ago that *“it would
be cataloguing famous Flash content so that they could be preserved even
after the technology is discontinued. Users will be able to use a Flash
emulator to play animations and games.”*

The Internet Archive, which has already saved over thousands playable DOS
games, books and a copy of the entire internet, said that it would be using
a Flash emulator called Ruffle to let animations play in the browser.

Viewers do not need to have a Flash plugin themselves installed, and the
system works on Firefox, Chrome, Edge, and Safari. Here are more info about
that published at the Internet Archive’s blog:

– Flash Animations Live Forever at the Internet Archive:
http://blog.archive.org/2020/11/19/flash-animations-live-forever-at-the-internet-archive/

– Flash Back! Further Thoughts on Flash at the Internet Archive:
http://blog.archive.org/2020/11/22/flash-back-further-thoughts-on-flash-at-the-internet-archive/

And here is *Ruffle* – https://ruffle.rs – the Flash Player emulator built
in the Rust programming language that can be installed on a website we own,
as a browser extension and using it as a desktop application.

Graziano
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Re: [NetBehaviour] The Unreasonable Ecological Cost of #CryptoArt

[Graziano Milano via NetBehaviour]

Well if a better detailed research and tools can understand and then show
the ecological impact of some or all online Crypto-Art platforms, then the
196 nations who signed the 2016 Paris Agreement within the United Nations
Framework Convention on Climate Change (UNFCCC) may be able to legally
force Google, Apple and Amazon to block those online platforms and apps.

On Sun, 24 Jan 2021 at 11:24, Ruth Catlow  wrote:

> Hi Graz,
> Our emails crossed in the ether..
>
> The question is what kind of ecological impact each digital artwork
>> uploaded and sold at Async Art and/or at any other similar online platforms
>> as CryptoArt will have in the short and long term as a result of
>> blockchain-based transactions. Probably the vast majority of artists
>> selling their digital artwork on those online platforms are not aware of
>> that. A detailed scientific study of the ecological impact of selling
>> their digital artwork on any of those platforms as CryptoArt must be
>> provided to all digital artists so they can make an informed decision if
>> they wish to use any of those platforms or not.
>>
>> If a detailed scientific study can prove and highlight the ecological
>> impact of those online Crypto-Art platforms, then Google, Apple and Amazon
>> must block those apps as they recently have blocked the far-right "free
>> speech" app Parler.
>>
> And yes we agree - we need better research and tools to understand the
> ecological impact of technologies and better ways to hold companies to
> account. Though how this is achieved is up for discussion - are we now
> saying that Google, Apple and Amazon become de-facto global law makers?
>
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Re: [NetBehaviour] The Unreasonable Ecological Cost of #CryptoArt

[Graziano Milano via NetBehaviour]

Hi Ruth,

Yesterday I did research on what Async Art is and how it works as I never
heard of it. I found out that Async Art is a new online platform for
artists to create and sell rare, programmable digital art:
https://www.youtube.com/watch?v=DZbUJeYzgsc

Async Canvas is an all-in-one uploader tool. It allows the artists to
create, preview, and mint their programmable digital art from within their
personalized dashboard. Here is an introduction video which walks the
artists through the basics of how Async Canvas works:
https://www.youtube.com/watch?v=XRR7k0uXiPk&feature=emb_logo

Apparently they will be adding more and more templates to Async Canvas as
their tool grows.

The question is what kind of ecological impact each digital artwork
uploaded and sold at Async Art and/or at any other similar online platforms
as CryptoArt will have in the short and long term as a result of
blockchain-based transactions. Probably the vast majority of artists
selling their digital artwork on those online platforms are not aware of
that. A detailed scientific study of the ecological impact of selling their
digital artwork on any of those platforms as CryptoArt must be provided to
all digital artists so they can make an informed decision if they wish to
use any of those platforms or not.

If a detailed scientific study can prove and highlight the ecological
impact of those online Crypto-Art platforms, then Google, Apple and Amazon
must block those apps as they recently have blocked the far-right "free
speech" app Parler.

Graziano

On Sat, 23 Jan 2021 at 15:05, Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Ruth, Just a few points in response, mind you I do plead ignorance.
> (Which I admit is no excuse.)
> I don't think that climate catastrophe is just the result of states and
> corporations; it's also the result of a heavily overpopulated planet that
> is reaching its carrying-capacity; the resulting coming famine leads to
> ecological disaster, and while the world builds, as you know, the biosphere
> is becoming rapidly denuded.
> I also think that blockchain is at this point, corporate in its heart;
> even the metaphor of 'mining' resonates with that. The problem though is
> deeper than that.
> I tend not to believe in utopias and worry about utopian horizons; as I
> mentioned a while, maybe ten years ago, I participated in a 'high-level'
> colloquium at Brown University on blockchain - and the discussion was
> literally taken over by an IBM executive talking about the kind of
> bankvault metaphor that was useful to the corporation (he was in charge of
> blockchain development there) on one hand, and its use for dissemination of
> advertising on the other - "you'll be walking down the street and different
> objects will trigger advertisements in vr; you click on an object, and you
> purchase" and some such.
> I don't believe that " Blockchain is a future technology. It is built for
> use in a world of clean, limitless, renewable energy." - because I don't
> think that world will exist. The machines, as I wanted to point out, that
> generate such energy need maintenance; things like windfarms already create
> eco-diverse catastrophes in the Mid-West here, and require constant
> maintenance - there are problems in this country of disposal of windfarm
> blades which are enormous and not biodegradable, and so forth. Nuclear
> fusion is enormously expensive/corporate to produce as you know and will be
> both top-down governmental and corporate (is there a difference?) and the
> target of terrorisms. And so forth.
> God, I hope you are right about blockchain...
> I've been thinking about my relation to art and finance this morning and
> realize, I tend to give my art away. I've shown in alternative spaces,
> commercial galleries, etc., and as with my part of the Furtherfield show, I
> tend to give my art away. I've done this from the beginning, even with my
> first show at an "important" gallery back then, I gave everything away
> afterwards. I've wanted to be supported for what I do, and, very very
> occasionally, have received stipends for my productions, and if someone
> offers me money for something I've given them, I'll take it, but it's not
> my impulse. (I'm stupid that way, we can't even afford a decent video
> camera at this point! :-) )
> I think part of this is coming up through the Soho period of art in the
> 60s and 70s and a bit later, when for example the Guerrilla Girls were
> starting (I may know one of them or may not), and so much postering was
> going on - this sort of grassroots had effect (I think of the A.I.R.
> feminist gallery) of course and was there, in your face. There were also
> protests against Vietnam among other things, when the Soho gallery doors
> were glued shut. I'm not trying to romanticize this era or anything like
> that, just pointing to the materiality of art and its potential for freedom
> on a personal scale; digital art of any sort including min

Re: [NetBehaviour] The Unreasonable Ecological Cost of #CryptoArt

[Graziano Milano via NetBehaviour]

In 2020 the crypto artist "Beeple" (Mike Winkelmann), that is mentioned in
“The Unreasonable Ecological Cost of #CryptoArt (Part 1)”, has broken
records on Gemini’s Nifty Gateway platform by selling a collection of 20
artworks for a sum of $3.5 million:
https://fullycrypto.com/digital-artist-beeple-sells-nft-collection-for-3-5-million

By the end of this century the value of these 20 Beeple’s artworks may
increase or completely collapse as it may happen to Bitcoins and other
crypto currencies.

On Fri, 22 Jan 2021 at 10:50, Ruth Catlow via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> re: http://cryptoart.wtf
> I mean... It's a great troll but it's not good enough!
>
> The meme of blockchain's outrageous energy use is a barrier to more
> diverse people entering the development space.
>
> Blockchain technologies are important because species collapse and climate
> emergency is an effect of the global political economy. Blockchains tech
> like cryptocurrencies, tokens, and smart contracts are the only tools we
> have (as yet) to organise directly p-2-p at a planetary scale.They are
> still new but they offer a way to imagine and realise both money and
> governance at a global scale, independent of states and corporations.
>
> The debate about blockchain's environmental impact usually focuses around
> its high energy use.
>
> [EXPLAINER: Blockchains' level of energy use are due to the consensus
> mechanisms (CMs) they use to verify transactions, and to "mine" currency.
> The amount of electricity used varies according to the CM. The two dominant
> CMs are Proof of Work (PoW) and Proof of Stake (PoS)
> Bitcoin uses PoW and infamously consumes the same amount of electricity as
> 159 countries. Ethereum (the platform for programmable money - and
> therefore the focus of a lot of work on new forms of governance) is moving
> to Eth2 a PoS system which uses far less energy. But this is still 2 years
> off.]
>
> Questions about the environmental impact of blockchain are important and
> difficult to answer.  It's right that we assess the impact of Blockchains
> but we need better ways to compare all emerging digital infrastructure
> ecosystems - including other financial techs, IoT, ML AI, 5G.
>
> A focus on reducing energy use is not enough. As @alsodanlowe put it  "It
> would be crazy to ban or dissuade colleagues from participating in an
> effort to decentralize money away from the forces that create the priority
> for fossil fuels (much of it built on debt) just because those forces
> exist. PoW is agnostic. Banks and existing oligarchy is not."
> https://twitter.com/alsodanlowe/status/1317444999361957891
>
> Blockchain is a future technology. It is built for use in a world of
> clean, limitless, renewable energy.
>
> Efforts need to focus here...and on the political economies and the
> cultural adoption patterns that they can support and grow beyond
> accumulative self-interest and extractive capitalism if we are avoid
> accelerating climate collapse.
>
> This morning I retweeted this from Sarah Friend "If I hadn't spent the
> past five years working in crypto, I'd probably be moralizing about it too,
> and this is perhaps part of why I am so profoundly annoyed by its
> superficial detractors - my shadow selves, who know so much less than me
> and are so much more sure they're right"
> https://twitter.com/isthisanart_/status/1352288565850492928
>
> There's so much more to  say about all of this. Especially about the role
> that art has to play.
>
> Soon
>
>
>
> On Fri, Jan 22, 2021 at 9:35 AM Annie Abrahams via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> The website http://cryptoart.wtf pulls in random blockchain-based
>> CryptoArt from the web, and estimates the ecological impact of each work
>> in terms of energy consumption (kWh), and greenhouse gases released
>> (KgCO2) as a result of blockchain-based transactions relating to the work.
>>
>>
>> https://memoakten.medium.com/the-unreasonable-ecological-cost-of-cryptoart-2221d3eb2053
>> ___
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>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> Co-founder & Artistic director of Furtherfield & DECAL Decentralised Arts
> Lab
> +44 (0) 77370 02879
>
> *I will only agree to speak at events that are racially and gender
> balanced.
>
> **sending thanks
> 
>  in
> advance
>
> *Furtherfield *disrupts and democratises art and technology through 
> exhibitions,
> labs & debate, for deep exploration, open tools & free thinking.
> furtherfield.org 
>
> *DECAL* Decentralised Arts Lab is an arts, blockchain & web 3.0
> technologies research hub
>
> 

Re: [NetBehaviour] Penguin Memories (Michael Szpakowski)

[Graziano Milano via NetBehaviour]

Hi Helen.

I did try to download my artwork Flash files from VS when we were alerted
last year, but it was not possible to do so. If they could have been
downloaded as Flash files then I would have converted them to HTML5 files
using Adobe Animate so they could have been shown online again on any
modern browser.

If we can get access again online to our VS artwork Flash files then we can
see if we can convert them as MP4 files using CloudCovert. However we need
to try this asap as in December 2020, Adobe will no longer support the
flash player plug-in. Google and Microsoft have also announced that they
will disable the plug-in by default in their browsers by the end of 2020 as
well. More info here:
https://turbofuture.com/computers/The-End-of-Flash-in-2020-Converting-From-Flash-to-HTML5

Just found out that the Visitors Studio enter webpage is also archived:
https://web.archive.org/web/20071126071534/http://www.visitorsstudio.org/?diff=0

Mark and Ruth can also contact Internet Archive and ask if they can
technically and financially helped Furthefield to download, convert and
archived all VS online artwork files as HTML5.

Graziano




On Sat, 22 Aug 2020 at 19:27, Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> thanks for this graziano - very useful!
>
> & yes - it would be great if  it's possible to get the visitors studio
> files  - altho i fear they must be already gone ... ?? i never managed to
> get round to downloading things when we were last alerted to do so :/
> On 18.08.20 12:12, Graziano Milano via NetBehaviour wrote:
>
> Hello everyone,
>
> Here are more ways how to convert FLV files to MP4 on Windows, Macs and
> Online:
> https://www.digitaltrends.com/computing/how-to-convert-flv-to-mp4/
>
> The CloudCovert is an online file converter by selecting FLV files from
> our computers, Google Drive, Dropbox, OneDrive and by URL:
> https://cloudconvert.com
>
> I used the Flash based Furthefield’s VisitorsStudio platform as a VJ
> artist for live events (UpStage with Ethernet Orchestra, Radio You Can
> Watch with Roger and Neil at Bristol FM, young people live VS workshops and
> events with Michael, Roger and Neil in New York, Bristol and London) and
> producing my own Flash based A/V Mixes which are archived here:
> https://web.archive.org/web/20180216121633/http://blog.visitorsstudio.org:80/?q=node/53
>
> However when you click any of them, the Flash files don't work, as they
> never did, on smartphones. They used to work till last year on my iMac as I
> installed the Flash player, but they don’t work any longer probably because
> the Visitors Studio Flash files mixes are no longer available online due
> the costs to keep them online by Furtherfiled.
>
> Hi Ruth and Mark, if it’s possible to make the Visitors Studio Flash files
> available again online so we can see if we can convert them as MP4 files by
> using the online file converter CloudCovert and then we can show and
> archive them on the Furtherfiled’s website. I tried to download my VJ Flash
> files artwork from VisitorsStudio last year but it was not possible to do
> so plus I didn't know about CloudConvert at that time either.
>
> Graziano
>
> On Mon, 17 Aug 2020 at 14:47, Mateus Domingos via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Hi Michael,
>>
>> Apologies if this has been circulated here before,
>>
>> BlueMaxima Flashpoint is a project that seeks to preserve and archive
>> Flash-based works (along with a bunch of other web plugins and standards).
>> I believe you can add projects to the database, which then become
>> accessible through the standalone launcher.
>>
>> I've only used it a couple of times, but found it to work quite nicely.
>>
>> Might be an option for preserving and making your work accessible!
>>
>> https://bluemaxima.org/flashpoint/
>>
>> Best,
>> Mateus
>>
>> --
>> *From:* NetBehaviour  on
>> behalf of netbehaviour-requ...@lists.netbehaviour.org <
>> netbehaviour-requ...@lists.netbehaviour.org>
>> *Sent:* Monday, 17 August 2020 11:00 AM
>> *To:* netbehaviour@lists.netbehaviour.org <
>> netbehaviour@lists.netbehaviour.org>
>> *Subject:* NetBehaviour Digest, Vol 993, Issue 1
>>
>> Send NetBehaviour mailing list submissions to
>> netbehaviour@lists.netbehaviour.org
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>> or, via email, send a message with subject or body 'help' to
>> netbehaviour-requ...@lists.netbehaviour.org
>>
>> Y

Re: [NetBehaviour] Penguin Memories (Michael Szpakowski)

[Graziano Milano via NetBehaviour]

Hello everyone,

Here are more ways how to convert FLV files to MP4 on Windows, Macs and
Online:
https://www.digitaltrends.com/computing/how-to-convert-flv-to-mp4/

The CloudCovert is an online file converter by selecting FLV files from our
computers, Google Drive, Dropbox, OneDrive and by URL:
https://cloudconvert.com

I used the Flash based Furthefield’s VisitorsStudio platform as a VJ artist
for live events (UpStage with Ethernet Orchestra, Radio You Can Watch with
Roger and Neil at Bristol FM, young people live VS workshops and events
with Michael, Roger and Neil in New York, Bristol and London) and producing
my own Flash based A/V Mixes which are archived here:
https://web.archive.org/web/20180216121633/http://blog.visitorsstudio.org:80/?q=node/53

However when you click any of them, the Flash files don't work, as they
never did, on smartphones. They used to work till last year on my iMac as I
installed the Flash player, but they don’t work any longer probably because
the Visitors Studio Flash files mixes are no longer available online due
the costs to keep them online by Furtherfiled.

Hi Ruth and Mark, if it’s possible to make the Visitors Studio Flash files
available again online so we can see if we can convert them as MP4 files by
using the online file converter CloudCovert and then we can show and
archive them on the Furtherfiled’s website. I tried to download my VJ Flash
files artwork from VisitorsStudio last year but it was not possible to do
so plus I didn't know about CloudConvert at that time either.

Graziano

On Mon, 17 Aug 2020 at 14:47, Mateus Domingos via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Michael,
>
> Apologies if this has been circulated here before,
>
> BlueMaxima Flashpoint is a project that seeks to preserve and archive
> Flash-based works (along with a bunch of other web plugins and standards).
> I believe you can add projects to the database, which then become
> accessible through the standalone launcher.
>
> I've only used it a couple of times, but found it to work quite nicely.
>
> Might be an option for preserving and making your work accessible!
>
> https://bluemaxima.org/flashpoint/
>
> Best,
> Mateus
>
> --
> *From:* NetBehaviour  on
> behalf of netbehaviour-requ...@lists.netbehaviour.org <
> netbehaviour-requ...@lists.netbehaviour.org>
> *Sent:* Monday, 17 August 2020 11:00 AM
> *To:* netbehaviour@lists.netbehaviour.org <
> netbehaviour@lists.netbehaviour.org>
> *Subject:* NetBehaviour Digest, Vol 993, Issue 1
>
> Send NetBehaviour mailing list submissions to
> netbehaviour@lists.netbehaviour.org
>
> To subscribe or unsubscribe via the World Wide Web, visit
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
> or, via email, send a message with subject or body 'help' to
> netbehaviour-requ...@lists.netbehaviour.org
>
> You can reach the person managing the list at
> netbehaviour-ow...@lists.netbehaviour.org
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of NetBehaviour digest..."
>
>
> Today's Topics:
>
>1. Penguin Memories (Edward Picot)
>2. Re: Penguin Memories (Michael Szpakowski)
>3. city symphony, sounds of providence (Alan Sondheim)
>
>
> --
>
> Message: 1
> Date: Sun, 16 Aug 2020 18:27:02 +0100
> From: Edward Picot 
> To: NetBehaviour for networked distributed creativity
> 
> Subject: [NetBehaviour] Penguin Memories
> Message-ID: 
> Content-Type: text/plain; charset="utf-8"; Format="flowed"
>
> I've just started transferring some of my Flash work from about 15-20
> years ago onto video. 'Penguin Memories' is the dramatic and tragic tale
> of a penguin who steals a sardine sandwich from the penguin queen.
> https://youtu.be/LKQH_rGOVP4 
>
> Edward
> -- next part --
> An HTML attachment was scrubbed...
> URL: <
> https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20200816/cdacc354/attachment-0001.htm
> >
>
> --
>
> Message: 2
> Date: Sun, 16 Aug 2020 17:34:29 + (UTC)
> From: Michael Szpakowski 
> To: NetBehaviour for networked distributed creativity
> 
> Cc: Edward Picot 
> Subject: Re: [NetBehaviour] Penguin Memories
> Message-ID: <84868958.2788334.1597599269...@mail.yahoo.com>
> Content-Type: text/plain; charset="utf-8"
>
> I am glad you are doing this Edward. I can?t rescue most of the shockwave
> work because it was generative or interactive. A mass of work from many
> people, almost a generation rendered invisible, as if it had never been, by
> the demands of commerce...?
>
>
> Sent from Yahoo Mail for iPhone
>
>
> On Sunday, August 16, 2020, 6:27 pm, Edward Picot via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>I've just started transferring some of my Flash work from about 15-20
> years ago onto vide

Re: [NetBehaviour] 60 years ago today - music transmission across 4 generations of Catlows

[Graziano Milano via NetBehaviour]

Hi Ruth,

Thanks for sharing your dado's photo. Partita is an Italian word, its
translation is "Game"

My creative/skill inheritance comes from my home village, Cassano Allo
Ionio, in Southern Italy close to Sybaris, an important city of Magna
Grecia, founded in 720 BC by Achaean and Troezenian settlers:
https://en.wikipedia.org/wiki/Sybaris

In a 2016 BBC four-part series “The Renaissance Unchained”
, the art critic
Waldemar Januszczak challenges the traditional view of the art’s most
important epoch – the Renaissance. On episode 2 – *“Whips, Deaths and
Madonnas” *– he takes a look at the importance of religious narrative in
Italian art by filming the Good Friday Procession of my Calabrian home
village where I was born and grew up. That traditional audio-visual
narrative is probably where most of my creativity comes from. You can watch
it here:
https://vimeo.com/ondemand/therenaissanceunchained/375897300?autoplay=1

Plus my dad, as a teenager, trained as a tailor and, as a prisoner of war
in Somerset and London from 1943 to 1946, he sketched and tailor made the
uniforms of some British military officers. Last year I found a copybook
with all the uniforms sketches he did during those years. Plus my mum was
an amazing embroider by decorating all sorts of fabric items we were using
at home.

Graziano

On Wed, 24 Jun 2020 at 00:10, Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> beautiful synchronicity ruth :)
>
> knitting is something i have learned/inherited from my mother that she had
> from her mother. & piano playing also from my mother & grandfather. but
> it's so long now since i played regularly that the few times i've made a
> feeble attempt it's been quite embarrassing. i do actually own a piano, in
> nz, so perhaps when i'm back here permanently i'll get back into it ...
> gardening is another skill i have from my mother, & we had a conversation
> about it recently, as i was curious where she had got the passion from. her
> parents weren't active gardeners - they had a great garden at their house
> in sydney, but they also had a gardener - so mum just learned herself. i've
> also inherited from her a love of jigsaw puzzles & the ability to select
> the perfect-sized container for putting the leftovers into - does that
> count as a skill? ;)
>
> h : )
> On 24.06.20 03:21, Alan Sondheim via NetBehaviour wrote:
>
> Hi Ruth,
> I love these and the history itself, it's wondrous and life-enhancing,
> life-giving.
> I have no creative inheritance by the way, I took sundry piano lessons my
> parents forced on me. My teacher gave up on me; I couldn't play "When the
> Caissons go Rolling Along" and I didn't know what a caisson was or why it
> was rolling! :-) In any case, I didn't play an instrument really until I
> was 19 and making a mess of my life, that was after hearing very early
> Texas and Delta blues... By the way the typography of your Partita is
> lovely as well.
> love to everyone, Alan, be healthy, be safe
>
> On Tue, Jun 23, 2020 at 5:31 AM Gretta Louw via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> How beautiful, Ruth! Thanks for sharing!
>>
>> My creative inheritance is definitely needlework. I did a fair bit of it
>> as a kid at my mum’s side then stopped for decades. When I picked it back
>> up a few years ago I found that, to my astonishment, I had picked up so
>> much more than I’d realised purely (seemingly) by osmosis watching all the
>> matriarchs in my life sew, crochet, knit, stitch, and embroider. Fabrics
>> felt immediately natural. Working with them makes me feel wonderfully
>> connected to a powerful lineage of women (both related and unrelated to me).
>>
>> Gretta
>>
>>
>>
>> On 23. Jun 2020, at 11:16, Ruth Catlow via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>> Thanks Renee and Mark,
>> I too would like to hear of other's creative/skill inheritances. Nice
>> idea Mark... go for it.
>> <3
>>
>> On Tue, Jun 23, 2020 at 10:13 AM Mark Hancock 
>> wrote:
>>
>>> I second Renée's thoughts. I love that idea that playing is bringing the
>>> past back in such an active and evocative way.
>>>
>>> I'd be interested in the creative skills and tools of the trade that
>>> other people on the list have inherited, if I may be so bold as to
>>> high-jack your email thread, Ruth?
>>>
>>> Mark
>>>
>>> On Tue, 23 Jun 2020 at 09:59, Renee Turner  wrote:
>>>
 That’s beautifully moving Ruth <3  This post made my day.

 warmly,

 Renée

 -._.-._.-._.- R*


 
 a virtual embrace
 wishing health & well-being to all



 On Jun 23, 2020, at 10:44 AM, Ruth Catlow via NetBehaviour <
 netbehaviour@lists.netbehaviour.org> wrote:

 I have been playing my violin again since lock down and I came across
 this sheet music for the second 2nd Bach Partita that I played when I was
 much younger.
>>>

Re: [NetBehaviour] shameful behaviour at Goldsmiths

[Graziano Milano via NetBehaviour]

I live close to Goldsmiths University and last year campaigners said the
university failed to respond adequately to racist abuse of student
elections candidate. Students occupied Goldsmiths campus in protest at
institutional racism:
https://www.theguardian.com/education/2019/mar/20/students-occupy-goldsmiths-in-protest-at-institutional-racism

And then the students started an anti-racism protest to mark 100th day with
a rally
https://www.theguardian.com/education/2019/jun/19/goldsmiths-anti-racism-protest-marks-100th-day-with-rally

After that, the University made a Goldsmiths Anti-Racist Action (GARA) as
a comprehensive action plan to help address the BME degree attainment gap
and wider racial justice issues highlighted by a the student protest at
Goldsmiths: https://www.gold.ac.uk/students/dth-protest-college-response/

Well, it looks like Goldsmiths completely failed to implement its GARA

This is really terrible considering that on 13th August 2017 Goldsmiths
organised various activities in marking the 40th anniversary of the Battle
of Lewisham when the racist National Front suffered a massive defeat thanks
to a vast crowds of counter-protesters that had massed on New Cross Road
(close to Goldsmiths University) to prevent the 500 supporters of the
National Front from marching.
https://www.gold.ac.uk/history/research/battle-of-lewisham/40th-anniversary-events/

Just a week before the 40th anniversary there was the emergence of a
long-lost footage, thought to have been destroyed, that offered a fresh
understanding of that protest. I went to watch it that week at Goldsmiths
and it’s on Vimeo as part of the London Community Video Archive:
https://vimeo.com/228977261

It's a 40+ minutes long footage that really shows the amazing protest by
the local multi-racial community against the National Front fascists.

Graziano

On Wed, 17 Jun 2020 at 10:41, Ruth Catlow via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Yes
> I've been watching this unfold.
> And I agree with your statement
> Goldsmiths has long had a very problematic relationship with both the
> artworld and with racism.
>
> There have been (and continue to be) some such excellent people there
> working at take-downs in both domains:
> Suhail Malik
> Zach Blas
> Ramon Amaro
> Helen Pritchard
> Sarah Ahmed
> Kristen Krieder
>  to name a few (and ignoring all the excellent work going on at the
> intersection of social justice, art and environment)
>
> But still the dreadful stories keep coming from all departments on the
> brutal and utterly unprincipled treatment of students and staff alike that
> would appear to stem from the status of the university as a business
> rather than a place of learning.
>
> URGH!
>
>
> On Tue, Jun 16, 2020 at 12:08 PM Michael Szpakowski <
> m...@michaelszpakowski.org> wrote:
>
>> Have people seen this?
>>
>> https://twitter.com/evan_ife/status/1272456549215211521
>>
>> It is utterly shameful.
>> If you're on Twitter I urge you to like and reweet Evan's message.
>> If I hear of any other solidarity steps people can take I will post them
>> here
>>
>> Michael
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> Co-founder & Artistic director of Furtherfield & DECAL Decentralised Arts
> Lab
> +44 (0) 77370 02879
>
> *sending thanks
> 
>  in
> advance
>
> *Furtherfield *disrupts and democratises art and technology through 
> exhibitions,
> labs & debate, for deep exploration, open tools & free thinking.
> furtherfield.org 
>
> *DECAL* Decentralised Arts Lab is an arts, blockchain & web 3.0
> technologies research hub
>
> for fairer, more dynamic & connected cultural ecologies & economies now.
>
> decal.is 
>
> Furtherfield is a Not-for-Profit Company Limited by Guarantee
>
> Registered in England and Wales under the Company No.7005205.
>
> Registered business address: Carbon Accountancy, 80-83 Long Lane, London,
> EC1A 9ET.
>
>
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] More Cummings ( and soon, hopefully) Goings

[Graziano Milano via NetBehaviour]

That’s right Ed,

Below are the reason I used the colours red, yellow and blue:

– For Satanists, the colour red (fire) can represent sexual desire,
revenge, and aggressive magic. It is also useful as a focus of the will and
to remove obstacles.
– For Satanists, the colour yellow (air) can add to the energy of spell
work and it can also influence the mind and intelligence (that's what
Dominic does).
– For Satanists the colour blue (water) can represent the focus on a
spiritual goal or endeavour, or to bring luck to a situation. The blue is
also linked to the Tories.

I’ve been thinking to set up Instagram account so I can upload the image as
a square one without any text.

Graziano Milano

On Mon, 25 May 2020 at 13:26, Edward Picot via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> That's a brilliant image! Actually it would do very nicely as an image of
> Satan, because it's got the look of a Renaissance saint, but encrusted with
> corruption. I think it would probably be even more powerful with less text.
>
> Edward Picot
>
>
> On 25/05/2020 12:43, Graziano Milano via NetBehaviour wrote:
>
> Just published on Twitter a self-privileged infected hypocrite Dominic
> Cummings billboard poster I've designed today under the name of *Opera
> Smooth*: https://twitter.com/OperaSmooth/status/1264877698805125120
>
> On Sun, 24 May 2020 at 11:48, Michael Szpakowski 
> wrote:
>
>>
>>
>> Another petition which seems to be putting on weight very fast - Brits
>> please sign and share this too :)
>>
>> https://www.change.org/p/uk-parliament-dominic-cummings-must-be-sacked
>>
>>
>>
>>
>>
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
> ___
> NetBehaviour mailing 
> listNetBehaviour@lists.netbehaviour.orghttps://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] More Cummings ( and soon, hopefully) Goings

[Graziano Milano via NetBehaviour]

Just published on Twitter a self-privileged infected hypocrite Dominic
Cummings billboard poster I've designed today under the name of *Opera
Smooth*: https://twitter.com/OperaSmooth/status/1264877698805125120

On Sun, 24 May 2020 at 11:48, Michael Szpakowski 
wrote:

>
>
> Another petition which seems to be putting on weight very fast - Brits
> please sign and share this too :)
>
> https://www.change.org/p/uk-parliament-dominic-cummings-must-be-sacked
>
>
>
>
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
___
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NetBehaviour@lists.netbehaviour.org
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Re: [NetBehaviour] How is everyone?

[Graziano Milano via NetBehaviour]

Hi Marc and Ruth,

Just realised that I missed your podcast invitation about *“News From Where
We Are”*

At Telegraph Hill, South East London, we set up a Covid-19 Aid group to
ensure that every household in our community has access to the food they
need during the coronavirus outbreak. Our aim has been to provide boxes of
nourishing food to those hit hardest by this crisis.

We’ve been able to do so thanks to hundreds of local volunteers and £15k+
donations via Just Giving:
https://www.justgiving.com/campaign/feedthehill?fbclid=IwAR0mmzAr0xqp7OLjyn4ylT2_6raqaNT3FT0A1B8xx0h0c_fLiMM0er-r544

Last week the Independent newspaper published an article where our
Telegraph Hill group was mentioned through an interview as an example of
more than 4,000 UK “mutual Aid” group:
https://www.independent.co.uk/news/uk/home-news/coronavirus-help-the-hungry-campaign-food-covid-19-mutual-aid-uk-a9453216.html

A Goldsmiths University lecturer, Tom Trevatt, has made a short film of our
project to promote the good work being done by mutual aid groups in UK:
https://www.youtube.com/watch?v=YSQEsxAcwUM.

Graziano

On Tue, 14 Apr 2020 at 19:04, Paul Hertz via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hello everyone,
>
> My wife and I have now spent over a month in social isolation in our house
> in Chicago. We're fortunate to have a building with an apartment upstairs
> and a storefront studio and small apartment downstairs. I work on new work
> or print old work and archive it in the back apartment. We have a forest
> preserve and tree-lined streets to walk in, and the grocery store offers
> curbside pickup. My wife retired from nursing a few years ago, and I have
> retired from teaching. In some ways we are quite cozy and secure, though we
> miss seeing our granddaughters, who used to spend after school afternoons
> with us. Now I read to them over video chat.
>
> Chicago is a hotspot for Covid-19 and yet we have been somewhat more
> fortunate than other cities in the U.S., perhaps because the governor of
> Illinois and the mayor of Chicago took prompt action. The mayor has become
> a meme—images of her looking stern show up on Instagram
> , superimposed
> on public parks, restaurants, and porches. Inveterate news junkies, we are
> daily aware of how desperate the situation is for some people. I am happy
> to report that the city is making emergency funds available to undocumented
> immigrants and the homeless, far more than the federal government has been
> willing to do. The plight of prisoners in the county jail and stat prisons
> however is very concerning, in this nation where incarceration is nearly as
> popular as guns.
>
> I have been slow to engage with all the flurry of online art, though I did
> attend parts of the Ann Arbor Film Festival, some of the Quarantine
> Concerts  of the local
> experimental music venues, and the Goodman Theater's production of School
> Girls; or, the African Mean Girls Play
> . Domenico Dom Barra
> kindly asked my participation for his White Page Gallery
> , a project he has been
> nurturing for some time.
>
> I said some time ago to a friend online that I was more concerned with the
> slow accumulation of sorrow than with the immediate pangs of social
> distancing. Anticipated grief erupts sometimes in unguarded moments when
> emotion overwhelms me and just as quickly subsides, swift and ingenuous as
> a child. I wonder if Boccaccio's young men and women celebrated their
> freedom at the same time they held grief at bay. Did they confront a mix of
> privilege and guilt, or were they just grateful for a respited from the
> dire motion of the world around them, however brief? In the meantime, they
> told stories. And so we do. And just as surely, the world is going to
> return to us and we to it.
>
> Here in the U.S, we also confront a government led by an incompetent, who
> boasted once that he could commit murder and the crowd would still love
> him. People are dying because of his ignorance and narcissism. It remains
> to be seen whether he and the party that supports him will be held to
> account. This much is clear: a system of government that does not seek the
> trust of all of its citizens, but plays at power games and propaganda to
> divide them, is ill-prepared for crises on the order that humanity now
> faces. The hierarchy of slow-moving disasters we locate under the rubric of
> "climate change" are going to be much more massive than this pandemic. We
> are all ill-prepared, but countries mired in convenient mythologies that
> conceal brutal histories or devoted to authoritarian visions of social
> order are especially vulnerable to reality. One handles reality by getting
> real. Getting real as a society seems to me at least to mean not just
> confronting the world crisis 

Re: [NetBehaviour] Ethernet Orchestra Distant Presences VJ mix

[Graziano Milano via NetBehaviour]

Thanks Roger for the Distance Presences video.

I really miss the VisitorsStudio audio-visual platform that we used so much
back then for various art projects:
– Distance Presences
– Radio You Can Watch
– Ocean Between Sounds
– Bristol, Bronx, Bruce Grove Youth A/V Workshops and Performance

It would be great we would be able to set up a similar audio-visual online
platform by using Java Script, HTML 5 and/or any other software coding.

Graziano

On Tue, 14 Apr 2020 at 15:51, marc garrett via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Roger,
>
> Lovely to hear & see this again. Big shame we could not keep VS going,
> way ahead of its time.
>
> I also feel a bit angry towards the elites of the net art community at
> that time, such as Ars Electronica idiots, only supporting their
> institutional/academic pals, and not supporting and giving it the
> credit it really deserved.
>
> On Tue, 14 Apr 2020 at 13:06, Roger Mills  wrote:
> >
> > In 2018, Ruth and Marc opened up VisitorStudio for anyone to record
> their mixes before it was finally mothballed. I was at the tail end of a
> writing project and managed to record only a few performances, which i am
> now slowly dubbing sound to picture.
> >
> > This video, Distant Presences (2007), was an audio-visual radio
> performance by Ethernet Orchestra, featuring Neil Jenkins, Graziano Milano
> and Helen Varley-Jamieson mixing in Visitors Studio to our live
> tele-improvisation.
> >
> > The program host, Brooke Olsen, took listeners through how they could
> access VisitorsStudio and watch the VJ mix, while listening to our
> performance on terrestrial radio, as well as the net broadcast. In turn,
> the musicians we were able to view the performance and respond to changes
> in the visual stream.
> >
> > We had been pursuing the concept of radio you can watch with
> Furthernoise radio in Bristol, but expanded it here to live networked
> improvisation rather than a playlist.
> >
> > It also reminded me of the innovative performances many of us here were
> doing, e.g., Dissension Convention, Month of Sundays. Particularly for a
> time in which low latency multi-directional networked audio was only just
> becoming possible.
> >
> > VisitorsStudio was so innovative for its time.
> >
> > There’s a couple more mixes to dub sound on, and I will post them as I
> have time.
> >
> > View and listen to Distant Presences https://youtu.be/n9zAcc_Uz7w
> >
> > Enjoy!
> >
> > —
> > Roger Mills
> >
> > http://www.eartrumpet.org
> > http://ethernetorchestra.net
> > http://telesound.net
> >
> > Oceans between Sound, an album of online improvisation by Ethernet
> Orchestra, Pueblo Nuevo 2020
> > 
> >
> > Author of Tele-Improvisation: Intercultural Interaction in the Online
> Global Music Jam Session. London: Springer 2019 <
> https://www.springer.com/gp/book/9783319710389>
> >
> > New chapter - Mills, R. (2020). Rhythm, Presence, and Agency: Defining
> Tele-Collaborative Space as a Site for Net Music Pedagogy. In Busch, T.,
> Moormann, P. & Zielinski, W. (Eds.): Musical practices and virtual spaces,
> Munich: Kopaed (in process).
> >
> > Lead researcher on Net Diaporas: Developing Cultural Practices through
> Internet Music Performance.  Iranian House of Music, Sydney.
> >
> > ___
> > NetBehaviour mailing list
> > NetBehaviour@lists.netbehaviour.org
> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
>
> --
> Wishing you well.
>
> Marc
>
> ---
>
> Marc Garrett
>
> Co-founder & Artistic director of Furtherfield & DECAL Decentralised Arts
> Lab
>
> Furtherfield disrupts & democratises art and technology through
> exhibitions, labs & debate, for deep exploration, open tools & free
> thinking. http://www.furtherfield.org
>
> DECAL Decentralised Arts Lab is an arts, blockchain & web 3.0
> technologies research hub for fairer, more dynamic & connected
> cultural ecologies & economies now. http://decal.is/
>
> Recent publications:
>
> State Machines: Reflections & Actions at the Edge of Digital
> Citizenship, Finance, & Art. Edited by Yiannis Colakides, Marc
> Garrett, Inte Gloerich. Institute of Network Cultures, Amsterdam 2019
> http://bit.do/eQgg3
>
> Artists Re:thinking the Blockchain. Eds, Ruth Catlow, Marc Garrett,
> Nathan Jones, & Sam Skinner. Liverpool Press - http://bit.ly/2x8XlMK
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] Invitation to join in dialogue, COVID Net Art discussion

[Graziano Milano via NetBehaviour]

*‘Zoombombing’* info are now on wikipedia:
https://en.wikipedia.org/wiki/Zoombombing

On Fri, 3 Apr 2020 at 16:31, Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> Hi Danielle,
>
> These sound fun, I will try to check one out!
>
> I think the relevance of Leonardo da Vinci and his fabulous integration of
> art and science, indeed of all the arts and all the sciences, couldn't be
> more essential for the crisis of Covid-19 (a virus appearing during the
> year of Leonardo's 500th anniversary celebrations which I was fortunately
> able to visit in Florence last June).
>
> How we build on and continue Leonardo's legacy may be crucial to how well
> the planet will cope with the pandemic.
>
> Last July I got the strange idea, after reading a lot of Calvino's *Six
> Memos*, Giunti's "Decoding Leonardo" edition of the Codex Leicester
> (bought in Florence at the Galileo Museum's Leonardo exhibit), and a book
> on Leonardo's library, that the Mona Lisa is itself best understood as a
> work of network art, specifically, as a mindfulness network map of human
> and planetary history.
>
> How did this viewing arise?  It occurred to me on the airplane while
> returning from a vacation in California, and was perhaps prompted by
> Calvino's mention in *Six Memos for the Next Millennium*, in Exactitude
> pp. 77-80, of Leonardo's highly poetic and visual description of a
> sea-going dinosaur in the Codex Atlanticus, which Calvino felt Leonardo
> used as "a symbol of the solemn force of nature."
>
> For whatever reason, either the Calvino, or my recent visit to Florence,
> or my inability (on the same trip!) to visit the actual Mona Lisa at the
> Louvre because we visited on the day of the 1-day strike to protest the
> excessive number of tourists, I was really trying to engage with the Mona
> Lisa on that flight home from California.  I had realized that I thought
> about the ML more than I actually looked at it, and should look at it some
> more (if only out of respect for the artist on his 500th anniversary year).
>
> What I saw in my mind's eye, looking at the ML in reproduction, was an
> interactive temporal and cognitive map.  This was partly prompted by my
> attempt to "meet the gaze" of the painting, not a quick glance but a
> sustained engagement.  To do this, I used a bit of mindfulness meditation
> while viewing it.  I tried to just look, without analyzing, for a sustained
> time, say five minutes or so.  I appreciated and felt how the ML's facial
> expression changed along with my internal mental state or attitude,
> "responding" in a kindly, admonishing, or neutral depending on my inner
> sense of my own viewing agency.  I saw this as a kind of mute dialogue, the
> image being designed by Leonardo so that an intelligence or knowledge of
> his own could greet and engage with something similar in myself.  This I
> felt to be a cycle, like breathing, not a one-and-done; what in yoga
> sometimes is called the namaste or mutual recognition.
>
> This way of viewing the painting felt very rich and real to me, in an
> almost shocking way.  It seemed like a true step forward.  So, I looked to
> the background of the painting for clues.  I saw the bleak and empty
> landscape on the left background, showing the tectonic erosion as mentioned
> in the Giunti Codex Leicester pp. 58-59, and a river flow as on p. 14
> (detail of the ML) and pp. 32-34.  This of course also elicited images of
> vortices of water, described in the Giunti thus:  "The spiral is one of the
> shapes of water that most attracts Leonardo (fig. 10), in his eyes it
> represents one of the greatest manifestations of the power of water,
> because the vortices can dig the bottom of the rivers like augers" (p.19).
>
> I'd known for a while that the horizon line in the ML background is
> disjunct on the left and the right, but why?  It appeared to me that the
> main difference was that the right side was a bit more complex, but most
> strikingly, it had a human-built structure: a bridge.  This had to be a
> major factor -- it was practically the only object in the whole background,
> other than mists, flowing water, and primordial rocks.  Then the visual
> "shock" or rupture hit me, that the bridge flowed seamlessly into a vortex,
> a twisting braid of the sitter's shawl, bringing me back instantly from the
> mists of geologic time to the sitter's garment, then body, then face.
>
> This struck me as consequential.  The sitter's garment is dignified, but
> far from gaudy or splendid.  It serves mainly to accent the hands (for me
> the most lush and gorgeous part of the picture apart from the eyes), the
> heart (simple and meditative), and the face.  I couldn't have imagined a
> more shocking and indeed blasting return to the gaze from an
> almost-infinite distance in time and space.  I cannot but confess this
> changed my life forever.  I scribbled on a piece of paper so I wouldn't
> forget, and showed it to my wife who was watchin

Re: [NetBehaviour] Invitation to join in dialogue, COVID Net Art discussion

[Graziano Milano via NetBehaviour]

Hi Danielle,

Probably it’s better not to use *Zoom* for virtual online gatherings as
I’ve just read an article in The Guardian about Zoom where security
researchers say the app is a *‘privacy disaster’*. You can read the full
article here:
‘Zoom is malware’: why experts worry about the video conferencing platform


Best,
Graziano

On Fri, 3 Apr 2020 at 09:04, Danielle Siembieda via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi there, I wanted to share a couple of important things Leonardo is doing
> in the next week. I thought you'd like to join us.
>
> *Coffee and Cocktails - A Social Connecting Space in your timezone.*
>
>
> They are on Mondays and Thursdays.* Here is a link with details about
> times, * when
> you register it will email you the private Zoom room information. Our next
> one is Thursday morning at 9:00 AM San Francisco time hosted by Leonardo's
> Managing Editor Erica Hruby.
>
>
> I also wanted to make sure you know about and are able to attend a special
> panel discussion for a net art exhibition sponsored by the Chronos Art
> Center and Rhizome at the New Museum in response to COVID-19. We=Link:
> Ten Easy Pieces press release and ten partner organizations can be found
> here . The artworks are
> currently on the Chronus site here  and
> will soon be on the Leonardo site archived.
>
>
> We hope you will join us for an interactive panel on Monday, April 6 at
> 5:00 San Francisco time. *Details are and RSVP here
> . We will also
> share this live on Facebook
> .*
>
>
> One last thing, we are in the midst of collaborating with our LASER Hosts
> around the world for a global LASER Event. We will announce more soon.
>
>
> Best,
>
> Danielle Siembieda
> Managing Director
> Leonardo/ISAST
>
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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[NetBehaviour] Alternative UK general election posters

[Graziano Milano via NetBehaviour]

Hello,

The Guardian has just published
*'A new hope': your alternative general election posters
*From
locusts to the descent of man, they share some of their readers’
alternative election posters.

The poster *"Get rid of this arty-party lunacy party"* has been designed by
a friend of mine using the name "Opera Smooth" to avoid being targeted it
by far right right extremists.

You can share the above links on Facebook, Twitter and Pinterest

Opera Smooth is also on Twitter: https://twitter.com/operasmooth

Graziano
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Re: [NetBehaviour] Links - Anyone members of coops?

[Graziano Milano via NetBehaviour]

Yes, Amanda is part of it.

On Fri, 3 May 2019 at 13:35, Tom Keene  wrote:

> Ahh, I believe a very old friend of mine (Amanda Getrup) is building with
> you on Church Grove...
> Thanks for sharing the event details!
> T
>
>
> On Fri, 3 May 2019, at 12:17 PM, Graziano Milano via NetBehaviour wrote:
>
> Hello,
>
> I’m actively involved with Rural Urban Synthesis Society (RUSS)
> <https://www.theruss.org> which is a members-led Community Land Trust
> based in Lewisham (South East London), founded in 2009 with the aim of
> creating sustainable community-led neighbourhoods and truly affordable
> homes.
>
> It was a long and hard journey for us, but in June 2018 our first housing
> project was finally granted planning permission by Lewisham Council and
> soon after that we managed to get a £988k pre-development grant from the
> Mayor of London. Our story started a few years earlier when, after a
> campaign led by RUSS members, we successfully completed a public
> procurement process and signed a Development Agreement in April 2016 with
> Lewisham Council for a ‘community-led, affordable, self-build housing
> development’ in a derelict former school and industrial site at Church
> Grove in Ladywell, South East London.
>
> The project will provide 33 new sustainable, customised, high quality
> homes (including 5 social housing) that will be permanently affordable and
> partly self-built in order to reduce construction costs. Have a read at the 
> Innovative
> Approach to Community-Led Housing
> <https://issuu.com/ruralurbansynthesissociety/docs/russ_prospectus>
> brochure (which I designed) for more detailed info about RUSS’s vision.
>
> In summer 2017, I also successfully led a Spacehive crowdfunding campaign
> <https://www.spacehive.com/ladywellselfbuild> to raise £50k+ to
> self-build (this summer) a community hub on the same site as a training
> facility for would-be community self-builders (may well be used for
> community arts projects as well). If you wish to find more about it, you
> can book a free ticket for the RUSS Community Hub - Build Launch Event
> <https://www.eventbrite.co.uk/e/russ-community-hub-build-launch-event-tickets-60878784082?fbclid=IwAR2HNnvBJGqgL-xgaSl9Cz46gtb_JgrYFL_qOYNSuHwid1emCT25OrlkiAU>
> on Wednesday 15th May.
>
> Graziano
>
> On Fri, 3 May 2019 at 10:31, Tom Keene  wrote:
>
>
> Hi all,
> Interesting thread.
>
> On Cressingham Gardens Estate where I live, we're currently setting up our
> own tenant management organisation and explored a coop option, but as we
> have a very complex relationship with Lambeth Council (i.e intention to
> demolish through regeneration) the coop structure didn't seem to fit. We
> are now about to become a Community Interest Company (CIC).
>
> Interestingly, Lambeth appointed itself as the UK's first 'cooperative
> council' though in reality this is meaningless. When housing officers
> attempted to enact a cooperative approach they didn't have a clue what it
> meant in practice, and said as much. The officers (and councillors)
> practice is based around tight control of information through existing
> technical systems, though they don't particularly recognise the role of
> technology. Weirdly, Lambeth Labour party councillors partnered and
> campaigned under a joint Labour/Coopertive Party banner. In other words,
> they co-opted (I do like a pun;) the term cooperative to make their
> policies of social cleaning through urban regeneration more palatable.
>
> What I've learnt through my experience of housing activism (trying to stop
> a council demolishing my home) is that multiple organisational structures
> are required to intervene in, alter, or instigate new power dynamics. On
> Cressingham, for example, there's a Residents Association, Community
> Interest company, Save Cressingham Campaign (organised around an anarchist
> model), and a formal council structure based on a written constitution.
> Each of which presents different possibilities of action - you need this
> fluidity or ability to participate in different structures to address a
> problems from multiple, simultaneous, directions. This multiplicity is
> required because they things we are dealing undergo constant change which
> is a central problem of capitalism... Can you tell i'm in the middle of my
> PhD writeup  ;)
>
> Tom
>
>
> On Thu, 2 May 2019, at 10:06 PM, Ruth Catlow via NetBehaviour wrote:
>
> Dear Julian,
>
> It's great to hear that you have finally got some traction for the
> development work that you want to do. I would be v. interested to hear how
> it goes.
>
> I've been interested in cooperatives as one (incomplete 

Re: [NetBehaviour] Links - Anyone members of coops?

[Graziano Milano via NetBehaviour]

Hello,

I’m actively involved with Rural Urban Synthesis Society (RUSS)
 which is a members-led Community Land Trust based
in Lewisham (South East London), founded in 2009 with the aim of creating
sustainable community-led neighbourhoods and truly affordable homes.

It was a long and hard journey for us, but in June 2018 our first housing
project was finally granted planning permission by Lewisham Council and
soon after that we managed to get a £988k pre-development grant from the
Mayor of London. Our story started a few years earlier when, after a
campaign led by RUSS members, we successfully completed a public
procurement process and signed a Development Agreement in April 2016 with
Lewisham Council for a ‘community-led, affordable, self-build housing
development’ in a derelict former school and industrial site at Church
Grove in Ladywell, South East London.

The project will provide 33 new sustainable, customised, high quality homes
(including 5 social housing) that will be permanently affordable and partly
self-built in order to reduce construction costs. Have a read at the Innovative
Approach to Community-Led Housing

brochure (which I designed) for more detailed info about RUSS’s vision.

In summer 2017, I also successfully led a Spacehive crowdfunding campaign
 to raise £50k+ to self-build
(this summer) a community hub on the same site as a training facility for
would-be community self-builders (may well be used for community arts
projects as well). If you wish to find more about it, you can book a free
ticket for the RUSS Community Hub - Build Launch Event

on Wednesday 15th May.

Graziano

On Fri, 3 May 2019 at 10:31, Tom Keene  wrote:

> Hi all,
> Interesting thread.
>
> On Cressingham Gardens Estate where I live, we're currently setting up our
> own tenant management organisation and explored a coop option, but as we
> have a very complex relationship with Lambeth Council (i.e intention to
> demolish through regeneration) the coop structure didn't seem to fit. We
> are now about to become a Community Interest Company (CIC).
>
> Interestingly, Lambeth appointed itself as the UK's first 'cooperative
> council' though in reality this is meaningless. When housing officers
> attempted to enact a cooperative approach they didn't have a clue what it
> meant in practice, and said as much. The officers (and councillors)
> practice is based around tight control of information through existing
> technical systems, though they don't particularly recognise the role of
> technology. Weirdly, Lambeth Labour party councillors partnered and
> campaigned under a joint Labour/Coopertive Party banner. In other words,
> they co-opted (I do like a pun;) the term cooperative to make their
> policies of social cleaning through urban regeneration more palatable.
>
> What I've learnt through my experience of housing activism (trying to stop
> a council demolishing my home) is that multiple organisational structures
> are required to intervene in, alter, or instigate new power dynamics. On
> Cressingham, for example, there's a Residents Association, Community
> Interest company, Save Cressingham Campaign (organised around an anarchist
> model), and a formal council structure based on a written constitution.
> Each of which presents different possibilities of action - you need this
> fluidity or ability to participate in different structures to address a
> problems from multiple, simultaneous, directions. This multiplicity is
> required because they things we are dealing undergo constant change which
> is a central problem of capitalism... Can you tell i'm in the middle of my
> PhD writeup  ;)
>
> Tom
>
>
> On Thu, 2 May 2019, at 10:06 PM, Ruth Catlow via NetBehaviour wrote:
>
> Dear Julian,
>
> It's great to hear that you have finally got some traction for the
> development work that you want to do. I would be v. interested to hear how
> it goes.
>
> I've been interested in cooperatives as one (incomplete and partial I
> know) route to democratising work and money flows - following the debates
> around platform cooperatives, open cooperatives, and the Preston model
> (where the local authority has committed to favouring local and
> cooperatively run services in public procurement decisions, with great
> benefits to the local economy).
>
> I've followed the rocky journey of Resonate to build a blockchain-based
> cooperative music service. And what I know of their experience chimes with
> the article when it says...
>
> "cooperatives are more difficult to bootstrap than corporations because
> they don’t have access to the same capital markets. Historically, it’s been
> a lot harder to coordinate investment from members with shared va

Re: [NetBehaviour] This Wednesday evening...Roger Mills presents his new book Tele-Improvisation at Furtherfield Commons

[Graziano Milano via NetBehaviour]

Fortunately I can make it, looking forward to meeting Roger.
Still remember all the audiovisual work we did together:
http://ethernetorchestra.netpraxis.net/info/

Graziano

On Mon, 1 Apr 2019 at 16:38, Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> congratulations roger! i look forward to reading the book & will raise a
> glass to you from munich on wednesday :)
> On 01.04.19 11:32, Michael Szpakowski wrote:
>
> I don’t think I can make it but it sounds tremendous - I will definitely
> get a copy. I absolutely loved the work that Roger and others did with the
> ethernet orchestra - I just googled it and see that they were active in
> 2010 which is remarkable and heroic... I would swap all of FB , Twitter &c
> for five minutes of that fragile beauty...
>
>
> Sent from Yahoo Mail for iPhone 
>
> On Monday, April 1, 2019, 10:04 am, Ruth Catlow via NetBehaviour
> 
>  wrote:
>
> Dear All,
>
> Our esteemed friend and colleague Roger Mills, 4 years editor of
> Furthernoise is in London, on tour with his fantastic new book. Would  love
> it if any of you in reach of London would like to join us to celebrate its
> launch.
>
> Date: Wed 3rd April 2019.
>
> Time - 6-8pm
>
> Venue - Furtherfield Commons
>
> https://www.furtherfield.org/visit/
>
> Roger Mills presents his new book Tele-Improvisation: Intercultural
> Interaction in the Online Global Jam Session, just published in the
> Springer Series on Cultural Computing. This book is the first known
> examination of online music making that considers the role of culture in
> the interactive musical experience.
>
> It describes how cross-cultural musicians negotiate spatial and temporal
> dislocation, distributed agency, as well as the unfamiliar musical,
> cultural and phenomenological characteristics of telematic interaction. It
> draws on Roger’s extensive experience of networked music making, as well as
> case studies of live online performances and interviews with leading
> practitioners in the field.
>
> “Mills has provided a timely exposé on the musical and artistic potential
> and histories of networked performance. I see this volume urgently relevant
> in the current day crises of the network and its social media channels that
> have grown into a dangerous pariah eating away at our social, political and
> economic systems” - Randall Packer 2018
>
> This part of a larger series of public Lectures and Performances, Europe
> 2019, by Roger Mills.
>
> More info about book here:
>
> https://www.springer.com/gb/book/9783319710389
>
> For information on more background on projects and performances:
>
> http://www.eartrumpet.org
>
> http://ethernetorchestra.net
>
>
> --
> Co-founder & Artistic director of Furtherfield & DECAL Decentralised Arts
> Lab
> +44 (0) 77370 02879 <+44%2077370%2002879>
>
> *Furtherfield *disrupts and democratises art and technology through 
> exhibitions,
> labs & debate, for deep exploration, open tools & free thinking.
> furtherfield.org 
>
> *DECAL* Decentralised Arts Lab is an arts, blockchain & web 3.0
> technologies research hub
>
> for fairer, more dynamic & connected cultural ecologies & economies now.
>
> decal.is 
>
> Furtherfield is a Not-for-Profit Company limited by Guarantee
> registered in England and Wales under the Company No.7005205.
> Registered business address: Ballard Newman, Apex House, Grand Arcade,
> Tally Ho Corner, London N12 0EH.
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> ___
> NetBehaviour mailing 
> listNetBehaviour@lists.netbehaviour.orghttps://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
> --
>
> helen varley jamieson
>
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz
> ___
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> NetBehaviour@lists.netbehaviour.org
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Re: [NetBehaviour] Social Media / major Internet services alternatives

[Graziano Milano via NetBehaviour]

Another great source is Tactical Technology Collective:
https://tacticaltech.org

On 29 March 2018 at 12:02, marc.garrett via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi nacho,
>
> Thanks for sharing this info - will submit what I come across, either here
> on your site.
>
> The site is a great source for presenting in a straight forward way how to
> create privacy online :-)
>
> wishing you well.
>
> marc
>
>
>
> Hi everyone
>
> i quit my social media (also google and dropbox) some months ago, and now
> with all the Cambridge Analitica, ect, news, all my friends are asking me
> lot of questions, why, how, when, and specially they ask for alternatives
> and websites with more info.
>
> more than trying to make a list (which would be also very interesting) of
> services i'm interested in those websites with lot of information and
> alternatives. if you happen to have similar ones, please share. i have
> bookmarket this one:
>
> https://myshadow.org/
>
> n
>
>
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> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
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Re: [NetBehaviour] Mark E Smith, founder and lead singer with the Fall, dies aged 60

[Graziano Milano via NetBehaviour]

Hi Marc,

Really sad day. One of my audiovisual postcards
 in Visitors Studio was about
Make E Smith. Not sure if it's still works:
http://www.visitorsstudio.org/mix6068

It would be great if somehow you can publish it online in Furtherfield
website and/or social media.

Graziano


On 25 January 2018 at 10:45, marc.garrett via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Mark E Smith, founder and lead singer with the Fall, dies aged 60
>
> Sad to hear abotu the death of Mark E Smith. I will be playing The Fall
> all day today. Will be missed. One of my many working class heroes...
>
> "Smith formed the Fall in 1976 in Prestwich and was the only constant
> member of the band. He was known for his tempestuous relationship with his
> bandmates, and frequently fired them – there have been 66 different members
> over the years, with a third of them lasting less than a year. Smith
> famously once said: “If it’s me and yer granny on bongos, it’s The Fall.”
>
> "He was a famously prolific musician. Last year the Fall released their
> 32nd studio album, New Facts Emerge, and had been fitfully touring in
> recent months when Smith’s health would allow. The band played London’s 100
> Club in July, while Smith performed from a wheelchair in Wakefield in
> October."
>
> https://www.theguardian.com/music/2018/jan/24/mark-e-
> smith-lead-singer-with-the-fall-dies-aged-60
>
>
>
> Marc Garrett
>
> Co-Founder, Co-Director and main editor of Furtherfield.
> Art, technology and social change, since 1996
> http://www.furtherfield.org
>
> Furtherfield Gallery & Commons in the park
> Finsbury Park, London N4 2NQ
> http://www.furtherfield.org/gallery
> Currently writing a PhD at Birkbeck University, London
> https://birkbeck.academia.edu/MarcGarrett
> Just published: Artists Re:thinking the Blockchain
> Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
> Liverpool Press - http://bit.ly/2x8XlMK
>
> Sent with ProtonMail  Secure Email.
>
>
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>
>
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