Re: [NetBehaviour] pure:dyne discussion
Hello, I imagine Bob’s question came from Aymeric’s somewhat technical last response? I think its important to remember that, as I mentioned in my first answer, pure:dyne is a tool and not an artwork. Bob’s question was about the discussion of artwork and I don’t think it exactly applies because of this. Naturally a discussion about a tool might turn technical, especially if it’s a relatively new one that people are (luckily) interested in trying for themselves. But to answer the question more broadly – it can of course help when audiences understand some formal aspects of a medium an artwork is made in. It’s not just media arts. Luckily for media artists, the uptake of technology is happening not only in our field but in society as a whole. :) I’m reminded of something Olia Lialina said recently, paraphrasing her paraphrasing herself, that net art never used to make sense in a gallery years ago, but now we can surely imagine that gallery audiences have just got up from their computers – so they understand the references and the context. Audiences are becoming more comfortable with technological references so discussion around media artworks may not seem so obscure for much longer. To bring this back to pure:dyne you could turn it into an accessibility question. Not whether *discussion* around media art must always be at the level of Formula 1 engineers, but whether the artists must be Formula 1 engineers themselves. Do all media artists need to have the deep technical understanding that someone like Aymeric does, to the point where they can build their own tools like pure:dyne? Depending on your definition of media arts, but mine doesn’t even require that artwork uses a single piece of technology. The technical discussion around pure:dyne might be off-putting for some, but part of the reason for moving to the Debian system, as Aymeric laid out, was so that it could be more accessible to more people. The aim of pure:dyne is not that everyone needs to be an expert to use the tool – for example see Aymeric’s discussion about the window manager (i.e. the desktop interface) we chose. But our accessibility choices will hopefully lead you closer to, not further from, a true understanding of how the tool you are using works. In short, you don’t have to understand what repositories and packages are in order to open up applications in pure:dyne and start using them. We're happy to have a great group of partners across the UK who use pure:dyne with their local, varied, communities - young people, older people, all different backgrounds. But of course this leads into the concept the Beige collective call intentional computing – the idea that artists should learn about the tools they’re using down to the very core (code) elements in order to truly have control over what they’re creating. No Photoshop filters but hand-coded effects; even the operating system pushes you to make certain aesthetic choices. So maybe you do want to learn a bit more about how we’ve built pure:dyne if you want to have full control over what you’re making and how it runs. Otherwise, at least be consoled that the ones making those choices are artists like you :) Cheers, Heather marc garrett wrote: Hi Bob, Heather, Aymeric all, I think that Bob has raised one of the most important questions that many artists ask themselves in respect of using technology as part of their art, and those who are interested in exploring it further themselves as a contemporary practice. This question can also be extended to those who wish to curate it and critique it as well, not forgetting audiences. So my next question is, Rob's question ;-) Art forms have their technical aspects. Artists are forever learning, playing, working and experimenting with the technology at their disposal. Tools for the job. Means and ends. Artists are largely focused on the latter; the ability to use the tools is presumed. However when it comes to digital/new media/net art, discussion of the technical aspects still seems to predominate. Do you think that's in the nature of the technology? Or will there come a time when 'new media' artists won't have to talk like Formula 1 engineers? marc ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Heather Corcoran Curator FACT 88 Wood Street Liverpool, L1 4DQ t: + 44 (0)151 707 4425 f: + 44 (0)151 707 4445 http://www.fact.co.uk Bookings: +44 (0)8707 583217 Information: +44 (0)151 707 4450 FACT is proud to be in LIVERPOOL, EUROPEAN CAPITAL OF CULTURE 2008 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Now Second Life frames per second recording speed
Now Second Life frames per second recording speed This is pretty slow a lot of the time; the more complex the imagery, the higher the processing, the lower the speed. The result is the disapperance of the moire effects in a number of videos, although the quad machine takes care of the problem (these stats are from the dual core laptop and create a kind of moire effect / poem themselves). (By the way if you want to see Second Life properly, go to http://slurl.com/secondlife/Odyssey/48/12/22 - the presentation at the Interrupt festival was damaged, if not destroyed, by someone moving the second laptop projector during the show, so only one screen was visible. I didn't know this at the time (I was running the other laptop) but would have stopped the presentation if I had. It changed the meaning of the piece and somewhat soured the evening. The best part was Foofwa's perform- ance, which was brilliant.) FPS 14 15 14 15 14 14 14 15 14 15 14 12 10 10 11 13 14 15 14 15 15 14 15 13 12 12 12 12 12 14 14 13 13 12 12 12 13 14 14 14 14 13 14 14 15 14 14 14 13 14 14 14 14 14 14 15 17 18 10 10 11 2 10 9 7 4 10 10 10 10 10 10 9 10 9 10 10 10 9 10 10 10 10 9 10 10 9 10 10 10 10 10 10 10 9 10 10 10 10 10 10 10 10 9 10 10 10 10 10 10 10 10 10 11 10 10 10 10 10 10 8 10 10 9 10 10 11 10 10 10 10 10 10 10 7 4 7 8 8 8 8 8 8 8 8 8 7 8 8 9 8 8 8 9 8 8 8 8 9 8 8 8 8 8 8 8 9 10 10 10 10 10 10 11 10 11 10 10 11 10 10 10 10 12 11 11 11 11 11 10 11 11 10 10 9 9 10 10 9 10 10 9 10 10 11 10 10 10 10 11 10 11 11 10 11 10 9 8 9 10 11 10 11 10 8 8 10 10 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 10 11 11 11 11 10 11 11 10 11 10 11 11 10 11 11 11 10 11 10 11 11 10 11 10 10 11 10 11 10 10 10 11 10 10 10 10 10 10 10 10 10 11 10 10 11 10 10 10 10 10 11 10 10 10 10 11 10 10 10 10 10 10 11 10 10 10 10 10 11 10 10 11 10 10 11 10 10 10 10 10 11 10 10 10 11 10 11 10 10 11 10 10 10 10 10 11 10 11 10 10 10 10 8 8 9 9 8 9 9 10 10 10 10 10 12 10 10 12 11 11 11 11 11 12 11 12 11 12 12 11 12 12 11 13 16 16 16 14 16 16 15 16 16 15 16 15 15 16 15 15 16 14 15 15 15 15 14 15 15 15 15 16 15 15 15 15 17 15 16 17 17 17 17 16 17 17 16 17 17 16 17 17 16 18 16 17 16 17 17 16 16 17 17 16 17 16 17 17 12 12 13 15 16 18 15 13 11 12 14 13 13 13 13 13 13 13 13 13 12 13 12 11 12 13 12 12 12 12 12 12 12 12 12 12 13 12 12 11 12 12 13 12 12 12 12 12 12 13 12 13 13 13 12 12 13 13 12 12 12 13 12 13 12 13 12 13 13 13 12 10 8 13 12 11 12 12 12 13 12 11 12 12 11 13 13 15 15 15 14 14 14 9 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 6 8 6 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 12 15 13 12 11 10 9 7 8 9 15 19 23 23 25 28 31 28 31 29 33 32 34 31 35 37 33 35 33 31 33 33 32 32 33 34 33 23 36 27 21 21 21 21 20 21 28 31 32 33 33 33 32 32 33 33 32 33 40 34 37 39 41 44 43 44 44 44 44 43 43 44 44 43 44 43 44 43 42 40 40 41 40 41 41 40 41 39 39 40 39 41 41 41 41 41 41 40 41 41 41 40 41 41 41 41 40 41 41 41 44 42 42 42 44 43 40 40 41 41 39 40 41 40 41 40 41 41 40 41 40 41 41 41 40 41 40 41 40 41 41 40 41 40 40 41 40 40 41 41 39 35 34 34 32 32 31 32 33 33 31 29 38 38 32 34 34 35 33 35 33 33 34 33 33 32 34 33 33 33 33 33 33 33 33 36 38 39 37 36 36 36 36 36 36 36 36 36 36 36 36 36 36 36 37 42 44 44 45 44 44 44 43 44 43 44 43 41 40 41 42 43 41 41 41 42 43 42 42 41 42 41 43 41 41 42 27 22 21 22 21 21 21 32 35 33 34 32 24 17 10 8 8 8 8 8 8 9 8 10 11 13 10 12 11 13 13 13 12 13 13 13 13 13 12 12 12 13 11 11 11 10 11 9 10 9 8 7 10 9 10 9 10 13 15 15 15 16 16 16 15 13 15 14 14 15 19 21 27 31 31 32 33 32 34 34 34 33 35 35 36 34 37 37 37 36 36 35 33 33 33 33 33 32 33 34 34 34 35 32 36 37 39 39 39 37 40 41 42 42 39 37 38 38 38 39 38 38 36 33 31 26 26 23 23 22 23 23 21 20 21 25 21 20 19 18 18 20 18 19 19 20 20 20 22 26 29 27 30 29 32 31 25 25 24 25 29 30 31 31 17 12 11 10 9 9 11 9 9 8 8 8 9 7 9 8 9 8 8 8 9 8 8 8 7 9 8 8 8 8 9 13 18 18 10 9 10 5 10 9 9 9 9 10 9 9 9 9 9 9 9 10 9 10 9 22 24 12 10 9 12 15 15 13 15 11 11 11 12 13 15 17 19 19 17 17 13 10 9 9 9 9 9 9 8 9 8 7 8 9 8 8 9 8 8 8 8 8 8 6 8 7 8 8 8 8 7 8 2 0 4 5 6 5 6 6 5 6 8 9 8 8 9 8 8 8 8 8 8 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] [call][nictoglobe]Investigating ruptures in the art political grid
Submissions Nictoglobe magazine accepts submissions the year around Currently we ask for submissions related to but not exclusively confined to: ::: Investigating ruptures in the art political grid ::: Submissions should be no more than 500 words, abstracts about 100 words. Feel free to adorn your submission with visuals (jpg, png, gif - max size 320 x 240 pixels) . Send your submission to: submissions[at]nictoglobe[dot]com . Please take note of the fact that we review submissions 4 times a year, from January to March for the Spring issue, from April to June for the Summer issue, from July to September for the Fall issue and from October to December for the Winter issue. In case your submission will be published, you will be notified before the corresponding deadlines. Nictoglobe can be reached by email: info[at]nictoglobe[dot]com Andreas Jacobs e: [EMAIL PROTECTED] w: http://www.nictoglobe.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Affective Twins
AFFECTIVE TWINS http://br.youtube.com/watch?v=Fvs0mYMZtt0 VideoArt by Paulo R. C. Barros Sci-Fi short story by Rynaldo Papoy 0:51 am The experience was successful with rats and cats. Successful is an exaggeration. I got the time-duplication, but the animals were toasted. This time, I will use you Tarzan. Because you´re the closer stuff I have than an human, by now. And I can´t use myself, so how could I control the experience and participate it at the same time? Only when I could duplicate to myself. It was hard to discover I wasn´t duplicating the matter. I was duplicating the time. When I saw double rats or cats bones, I was seeing the same rat or cat, but divided in two pieces of quantum-time. Yes, quantum-time, professor Luís, your asshole. I don´t need that fucking graduate to prove a theory. I just can prove it. Show how it works. Clean your ass with the graduate diploma you don´t want to give to me. I must put you inside the [módulo] to proof that the quantum-time does exist. No, I don´t have anything against Einstein. If he was alive, he had review his own theories. Now, Tarzan, think well: am I guilt to discover how to duplicate the light velocity, getting make the matter be in two quantum-time at the same time? Am I guilty I got fractionate the time to a fraction so small I discovered it´s made by many packages, just like the matter and its quantum packages? And you think in the Switzerland they build a billion dollars stuff to demonstrate what I could demonstrate in a simple mercury-centrifuge built in my backyard. And the time module is not but a giant microwave oven. That´s enough, Tarzan. Soon the will note I took you as a loan at the psychology department. But I can´t guarantee you will go back there. Be toasted by microwave can be so [grave] than be frozen by nanowaves. But see it for a positive side: you are part of a historical moment. You will figure in the history books beside Laika. 01:15 am All ready. The nanowaves Cannon is almost completely charged. I gave to Tarzan his last meal. I asked what he wanted, but as he didn´t answer, I gave him bananas. What´s the last wish of a monkey but bananas? When I push enter, the module will be filled with nanowaves and Tarzan will be frozen to - 600C. Yes, I know, it´s less than the absolute zero, but as I got the Double of maximum temperature of the Universe, witch moved the matter to the double of light velocity, making it return a fraction of the quantum-time, I discovered I also can get the double of the maximum freezing of the Universe. By now, the subatomic particles stop all activity, resulting a collapse in the atom energy, who wants keep moving. How it can move in the space, it moves in the time. I´m anxious to make that experience with myself. What must be the sensation to have two conscious? Or I will think the time passed by me regularly, by watching the video, I could contemplate the twins of the crazy scientist who is here. 02h32m I can´t resist. Without my graduation in phisics, what I can do in my life? To be a sci-fi writer? Fuck you, professor Luís, fuck all masters of phisics in the world. I sent by e-mail my discovering to universities, journals and magazines around the world. I also sent to many people. If the universities and the press conspire to keep my discovering in secret, ever will exists a mad man who will have courage to speak everywhere what I discovered. You can´t imagine what I did: I low the temperature to - 2.000C. Tarzan stood suspended in the quantum-time. He became in four Tarzans. He´s even dead. He dead in the exactly moment when I shoot the nanowave. But his body beats as wanting run out the module. I won´t low the temperature more. I don´t know what the 12,000 V transformer holds. I think he will explode. Or the own module. I´ll turn off the equipment and sweep the rests of Tarzan together the other bones. 03:47 am I´ll be very carefully to don´t let any fly penetrate the module. ahahahahah... it´s a joke, of course. But I couldn´t resist to say that. I started the regressive count. I´m gonna in the module. At 3:50 am, the computer will shoot the nanowave on me. I will be extra-frozen [term I invented to temperatures under absolute zero]. I won´t survive to contemplate either a quantum-time fraction of my body divided in many scientists living the same matter, but in different times. But the cam is on. The computer is programmed to send the video of my experience to all my e-mail list. I easily solved the problem: how experience and participate at the same time? Just programming. When the nanowave will be turned on , I will showing my finger to you, Dr. Luís. Your asshole. Before GO in the module, by the way, I will fill a glass with vodka and cheer. Cheer in tribute to the real science. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org
[NetBehaviour] jwm-art.net update coming soon... test please?
Alright? Am just updating my site. Have been working in debian lenny offline on home pc, was looking how i wanted. now online, crt monitor looks too dark, image scaling defeats transparent gifs (it didn't offline), some other stuff too. http://jwm-art.net/o8.php?p=j20081015-2048 just wanted some feedback about this, if you're willing to have a quick look. you can post feedback as comments (if you want to) as i've re-instated and updated the comment code to request a security number (with instructions how to find it) and denies any comments with links expressed in various formats (plain txt urls allowed). the old version is still available btw. most of the work posted here to netbehaviour now has it's own page in various sections of the new site, but not the old. Cheers, james. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] (curating) interference
(curating) interference exhibition announcement call for participation denmark, october - december 2008 -- curating interference (annette finnsdottir, carlos katastrofsky) open to public participation 10/20/2008 - 11/20/2008 the aim of the project is to discuss the working methods and the task of a curator within a networked environment. curating on the internet is a working process that wants to be visible in the same way as the processes frequently hidden behind internet-based art. the curator acts not only as an intermediary in the presentation of art but also according to his own filtering processes, choices and decisions. the transparency of his work is highly relevant for the transparency of the presented artworks and aims to get a broad public involved in a collective discourse. metaphorically speaking, the constant and ongoing publication of a curator's notebook contributes to the visualisation of a workflow that does not only show the final results of this process in form of an exhibition. it unfolds the existence of a network of non-linear thoughts, relational research and deductive as well as inductive filtering processes. this discussion is open to public participation. please register and join our debates. discussion forum: http://cont3xt.net/interference registration: http://cont3xt.net/interference/discuss/ucp.php?mode=register -- interference (2005-2008) by carlos katastrofsky 12/06/2008 - 03/09/2009 on december 6th 2008 the vienna-based media artist carlos katastrofsky opens his second single exhibition with the title interference and shows a selection of mainly internet-based artworks from 2005 to 2008. the exhibition with a focus on conceptual and minimal strategies within the field of internet-based art is organised in a decentral way by the platform netfilmmakers.dk and curated by annette finnsdottir. it will take place at three different venues in denmark and online and, additionally, will be accompanied by a discussion forum, which is open for public participation from now on. spanien 19C, aarhus - http://www.spanien19c.dk mikrogalleriet, copenhagen - http://www.mikrogalleriet.net netfilmmakers, online - http://netfilmmakers.dk more details to be announced in soon. -- http://katastrofsky.cont3xt.net http://cont3xt.net ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] SURVEYING SURVEILLANCE: What and whom is surveillance for?
SURVEYING SURVEILLANCE: What and whom is surveillance for? Sunday 26th October, The Vortex, 3 Bradbury Street, Dalston, London N16 8JN 11.00 SeeCTV – Watching the Watchers – local street activism documentation workshop 14.00 Surveying Surveillance Symposium 16.00 Workshop conclusion 1 This Sunday October 26th at 2pm, Alex Haw (atmos) will be chairing a major multidisciplinary discussion between various surveillance experts interrogating the purpose and spatial significance of surveillance technologies. 2 The Symposium will be preceded by a workshop at 11am exploring and documenting Dalston's neighbourhood surveillance 3 The overall Festival launch is this Thursday, 7pm; all welcome ___ 1 SYMPOSIUM Forms of surveillance are all around us, radically transforming our experiences of cities and spaces. Our attitudes to them are ambiguous and conflicted: we decry privacy intrusions but demand yet more CCTV cameras; our daily news is riddled with stories of disastrous data losses, yet dataveillance and surveillance are rapidly growing industries, increasingly explored by writers and artists, increasingly ubiquitous as forms of televisual entertainment. Our needs mingle with both our fears and our desires. This symposium, convened by Alex Haw (atmos) as part of the TINAG annual conference, gathers a number of experts from the various corners of the surveillance debate to confront and discuss issues concerning the purpose, ethics, effectiveness, spatiality, and finally the fantasies and dystopias of surveillance. Juvenal's oft quoted surveillance adage 'Quis Custodes Ipsos Custodiet' will prompt another Latin question: Cui Bono? Our main question is simply – what is surveillance for? Does it promote peace and justice, or encourage fear and anxiety? Does it benefit a private or privileged elite, or serve a much wider humanity? Is it there to be obeyed, or subverted? Which is its main constituency – the people, the politician, the policeman, the artist, the street performer, the service provider or CCTV operative? Each speaker will give a brief presentation of their work and research in the field before a wider panel discussion. Symposium starts at 2pm sharp, The Vortex, 3 Bradbury Street, Dalston N16 8JN *Peter Fry* Peter is a Chartered Civil Engineer, first introducing public area CCTV surveillance systems into the 5 towns of the Local Authority in the UK, of which he was Director of Operations. He has advised numerous Local Authorities and Police Forces on the management, operation and strategic development of their CCTV systems In 2000 he became director of the CCTV User Group, which develops standards for the operation of systems, and promulgates best practice; it's membership now approaches 500 organisation representing most of the Local Authorities and Police Forces throughout the UK, as well as universities, hospitals, retail, commercial and transport systems. www.cctvusergroup.com *Nic Groombridge* Nic is a senior lecturer at St Mary's University Collegehttp://www.smuc.ac.uk/, Twickenham. He lectures in both media arts and sociology/criminology. His particular interests are the margins of criminology. He has published on CCTV, sexuality and criminology and car crime (the subject of his PhD) and contributed sections on sexuality, queer theory, normalisation and pathology to the Sage Dictionary of Criminologyhttp://www.sagepub.co.uk/booksProdDesc.nav?prodId=Book227942. He sits on the Editorial Advisory Board of the Howard Journal of Criminal Justicehttp://www.blackwellpublishing.com/journal.asp?ref=0265-5527site=1and the British Sociological Association's newsletter, Network http://www.britsoc.co.uk/publications/network.htm. http://www.criminologyinpublic.com/index.html *Alex Haw* Alex Haw is an architect and artist operating at the intersection of design, research, art and the urban environment. He runs *atmos*, a collaborative experimental practice which produces a range of architecture and events including private houses, installations and larger public art commissions. Much of *atmos'* work focuses on the role of surveillance and dataveillance in shaping space, whether illuminating Canary Wharf with real-time solar data, immersing visitors into live spatial fluctuations of the Frankfurt stock exchange, building camera frameworks for dancing to CCTV, or transforming the tracked movement of everyone within a university into light. Alex has run design studios at the Architectural Association, Cambridge University and TU Vienna. www.atmosstudio.com Manu Luksch* Throughout her films, telematic performances and interdisciplinary works, Manu Luksch is consistently preoccupied with the effect of emerging technologies on daily life, social relations and political structures. Luksch¹s recent project, science-fiction fairy tale Faceless, uses authentic CCTV footage, which she recovered under the UK¹s Data Protection Act following her ŒManifesto for CCTV filmmakers. Luksch has
[NetBehaviour] SwanQuake: House
SwanQuake: House V22 Ashwin Street Until 2 Nov 2008/ installation view SwanQuake: House - 2007 /Computer installation with sound - installation view V22 is delighted to present /SwanQuake:House/. Through re-purposing media tools and combining them with re-modeled household objects, house simulates and reconfigures representations of an east-end underworld. Gibson and Martelli take over the basement project space to create a site-responsive work which taps into a sensorial flux where the real and virtual co-exist. V22 ASHWIN STREET, Basement Project Space, 10-16 Ashwin Street, London, E8 3DL Opening hours: Thursdays Sundays 12 - 6pm or by appointment +44 (0)20 7613 4996 [EMAIL PROTECTED] http://www.igloo.org.uk http://www.swanquake.com http://www.v22london.com www.londongamesfestival.com Directions http://maps.google.com/maps?f=qhl=engeocode=q=V22+ashwin+street,+London,+E8+3DLsll=51.546909,-0.074735sspn=0.007806,0.012875ie=UTF8z=16iwloc=addr *Other events:* *Games Art Networking Event*: does exactly what it says on the tin; art that uses, abuses and misuses the materials and language of games, whether real world, electronic or both. Gibson Martelli will be taking part in a networking event at HTTP Gallery which brings together artists, gamers, hackers, theorists, curators, activists, thinkers and doers. Saturday October 25 - from 12:00pm - 6:00pm HTTP Gallery, Unit a2, Arena Design Centre, 71 Ashfield Road, Haringey, London, England N4 1NY More info here http://www.furtherfield.org/gamesart_networking.php Please RSVP please email [EMAIL PROTECTED] http://www.furtherfield.org Based in London, Gibson and Martelli work together and often as igloo with international artists, including John McCormick and Adam Nash. They have exhibited widely both in Britain and abroad. Recent shows include ArtSway, Hampshire, Around the Coyote, Chicago and Sara Meltzer Gallery, New York. In 2007 they were selected with five other artists to represent New Forest Pavilion at the 52nd Venice Biennale. /SwanQuake //SwanQuake: House/ - 2007 Computer installation with sound ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] fewe olde immagees ofe Julue Twinee
fewe olde immagees ofe Julue Twinee olde Julue Twinee ise s/hee roilinge skywarde mmerrilye remmemmbere hire, fore s/hee ise faire s/hee testes thee physicse ofe thee aire ane olde boxe cammerae tooke thesee thinges ande mmadee themme somethinge newe suche mmarblee skine ande onyxe ringes fromme earthe dooe quitee ensuee doe notee thee absente glovee and frocke ande trousere ine thee skye Julue doe dancee arounde thee clocke thee ringes arounde hire flye thee mmermmaide downe withine thee seae swimme downe ande upe ise noughte soe freee http://www.alansondheim.org/comma1.jpg http://www.alansondheim.org/comma2.jpg http://www.alansondheim.org/comma3.jpg ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] pure:dyne discussion
Hi Bob, Marc, list Art forms have their technical aspects. Artists are forever learning, playing, working and experimenting with the technology at their disposal. Tools for the job. Means and ends. Artists are largely focused on the latter; the ability to use the tools is presumed. However when it comes to digital/new media/net art, discussion of the technical aspects still seems to predominate. Do you think that's in the nature of the technology? Or will there come a time when 'new media' artists won't have to talk like Formula 1 engineers? Short answer: There will be indeed a time 'new media' artists won't have to talk like Formula 1 engineers. But not because their discourse has changed, but because their lingo will have been absorbed in popular culture, or on the other hand made completely obsolete just like the technology they once used. (which is why it is always difficult to talk about new media without any context attached to it) Long (non)answer: As Heather just said, my previous post was a technical answer to a technical question, and indeed pure:dyne is a platform to allow us, and a few others, to make art or anything creative with artistic software. But this platform is not art. It's a software environment (and I won't get into the neoclassical code as craft thing either). Back to the question, I don't know if it can be answered or not. As it is formulated now, it's very difficult to come up with something that would be really satisfying because it might carry a couple of cans of worms attached to it. For example, I believe it is not possible to generalise on the fact that technical aspects predominate in new media art, without first making a distinction between, on the one hand, artists operating in the field of new media with a complete technology illiteracy and who need technicians to implement their concept, and on the other hand, artists who can code and coders who make art. That sounds trivial, but it's often forgotten or left as a detail from the art perspective. But in my eyes it's very relevant. In the 1st case the technological factor is little or not present because the artist see the technic as just a support or an enabler to illustrate an idea/concept. Nothing new, and it's something common no matter from which angle it is seen: from the relationship contemporary conceptual artists and designers have with craftmanship, or from the engineers/artists post E.A.T. collaborative dreams point of view. In the second group, though, artists who can code and coders who make art it is true that technology is predominant, but this *not* predominant compared to something else that would be in minority, such as art. It is predominant because it *is* art, the good old concept/technic dichotomy cannot apply here, and any attempt will end up in this deadlock where one will try to look for something which is right under his nose. Of course there are important variations within this field as well. For example an artist who can program might build an imaginary based on a very badly programmed, but creative software art, or an artistic interpretation of technology that would sound like pseudoscience. At the other extreme, a programer making art will have the tendency to focus much more be in the technical process and the manifestations of this underlying mechanics would be treated as side effects or illustrations of these. In real life, such extremes exists, but things are generally a bit more balanced, but what is important is that in both case software is seen as something much closer to a medium rather than something like a tool. It is up to an artist to stay in the safe frame of the materialtoolobject instruments and the multimedia metaphors (digital paint, virtual canvas, etc) or to decide to explore what software as artistic medium has to offer. In this situation the technology is either transparent or its structure used as platform to reflect upon an idea. The understanding of software as technology is mandatory here of course. But what seems to appear as a mass of overwhelming technical information is just language to express and explore ideas that cannot be expressed otherwise. a. PS: No idea how Formula 1 works ;) ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] pure:dyne discussion
Hi Heather, Aymeric all, Thank you for your answers so far, As the global, economical crisis seeps deeper into people's lives everywhere. More are questioning their own approaches to living, and many are reconsidering their social values after the break-down of these capitalist, (free) market-led frameworks and the attitudes that once supported them. It has been mentioned on various news channels that East Germans are now flocking to buy Das Kapital by Karl Marx. A recent survey found 52 percent of eastern Germans believe the free market economy is unsuitable and 43 percent said they wanted socialism rather than capitalism, findings confirmed in interviews with dozens of ordinary easterners. http://tinyurl.com/5zlo5c Perhaps East Germany is an easy target for declaring that social change is occuring, but there is something in the air. So, considering the current state of things and the impact of economies collapsing around us, do you think that this climate adds extra weight for more people to use (FLOSS) Free/Libre/Open Source Software and pure:dyne, if so why? marc ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] newe 2. fewe olde immagees ofe Julue Twinee
newe 2. fewe olde immagees ofe Julue Twinee 2. olde Julue Twinee ise s/hee 2. roilinge skywarde mmerrilye 2. remmemmbere hire, fore s/hee ise faire 2. s/hee testes thee physicse ofe thee aire 2. ane olde boxe cammerae tooke thesee thinges 2. ande mmadee themme somethinge newe 2. suche mmarblee skine ande onyxe ringes 2. fromme earthe dooe quitee ensuee 2. doe notee thee absente glovee and frocke 2. ande trousere ine thee skye 2. Julue doe dancee arounde thee clocke 2. thee ringes arounde hire flye 2. thee mmermmaide downe withine thee seae 2. swimme downe ande upe ise noughte soe freee 2. http://www.alansondheim.org/comma4.jpg 2. http://www.alansondheim.org/comma5.jpg 2. http://www.alansondheim.org/comma6.jpg 2. http://www.alansondheim.org/comma7.jpg 2. http://www.alansondheim.org/comma8.jpg 2. http://www.alansondheim.org/comma9.jpg 2. http://www.alansondheim.org/comma10.jpg 2. http://www.alansondheim.org/comma11.jpg 3. http://www.alansondheim.org/swoosh1.jpg 3. http://www.alansondheim.org/swoosh2.jpg 3. http://www.alansondheim.org/swoosh3.jpg 3. http://www.alansondheim.org/swoosh4.jpg 3. http://www.alansondheim.org/swoosh5.jpg 3. http://www.alansondheim.org/swoosh6.jpg 3. http://www.alansondheim.org/swoosh7.jpg ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
