Re: [NetBehaviour] Maecenas

[ruth catlow]

Not sure this is the best tool
https://etherpad.net/p/MarlyStudiedTheQuotations

but a place to start

On 15/10/17 16:15, ruth catlow wrote:

I'd be up for thinking this one through.
Let's do it.

On 13/10/17 20:34, Edward Picot wrote:
Oops! Apologies for posting this twice. I thought the first one 
hadn't worked.


On 13/10/17 19:10, Edward Picot wrote:
Can't we do something with this? Couldn't we create a conceptual 
work of art that didn't actually exist at all - we could use some 
ideas from Curt Cloninger's 'Essay About Nothing' to represent it - 
and market shares in it via the Blockchain? Proceeds to 
Furtherfield, unless the value went above a trillion dollars, in 
which case I want a cut.


Edward

On 11/10/17 18:56, Rob Myers wrote:

On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't 
my idea of utopia.


"""Marly studied the quotations. Pollock was down again. This, she 
supposed, was the aspect of art that she had the most difficulty 
understanding. Picard, if that was the man's name, was speaking 
with a broker in New York, arranging the purchase of a certain 
number of "points" of the work of a particular artist. A "point" 
might be defined in any number of ways, depending on the medium 
involved, but it was almost certain that Picard would never see the 
works he was purchasing. If the artist enjoyed sufficient status, 
the originals were very likely crated away in some vault, where no 
one saw them at all. Days or years later, Picard might pick up that 
same phone and order the broker to sell. """


- William Gibson, "Count Zero", 1986.



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Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.



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Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] Maecenas

[ruth catlow]

I'd be up for thinking this one through.
Let's do it.

On 13/10/17 20:34, Edward Picot wrote:
Oops! Apologies for posting this twice. I thought the first one hadn't 
worked.


On 13/10/17 19:10, Edward Picot wrote:
Can't we do something with this? Couldn't we create a conceptual work 
of art that didn't actually exist at all - we could use some ideas 
from Curt Cloninger's 'Essay About Nothing' to represent it - and 
market shares in it via the Blockchain? Proceeds to Furtherfield, 
unless the value went above a trillion dollars, in which case I want 
a cut.


Edward

On 11/10/17 18:56, Rob Myers wrote:

On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't my 
idea of utopia.


"""Marly studied the quotations. Pollock was down again. This, she 
supposed, was the aspect of art that she had the most difficulty 
understanding. Picard, if that was the man's name, was speaking with 
a broker in New York, arranging the purchase of a certain number of 
"points" of the work of a particular artist. A "point" might be 
defined in any number of ways, depending on the medium involved, but 
it was almost certain that Picard would never see the works he was 
purchasing. If the artist enjoyed sufficient status, the originals 
were very likely crated away in some vault, where no one saw them at 
all. Days or years later, Picard might pick up that same phone and 
order the broker to sell. """


- William Gibson, "Count Zero", 1986.



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www.furtherfield.org

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Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] The Binary Graffiti Club. Call to be involved.

[ruth catlow]

Ha ha! oops!
Accidental post.
But I think this may be of interest- chekkit!

On 13/10/17 18:28, Stanza wrote:

*The Binary Graffiti Club. Call to be involved.*


We are looking for people to help us on Saturday 21st October from 12 - 5pm


*Would you like to be part of something fun, arty, musical in London 
which will be made into to a short film?*



The Binary Graffiti Club are looking for volunteers to take part in 
experimental vocal event led by artist Stanza and musician Richard 
Frostick. The date we need you is Saturday 21st October from 12 - 5pm.


This will be a fun day in an interesting venue in the middle of London. 
We will all make music by trying to sing a musical score composed of a 
series of binary codes extracted from a newly published book made from 
public contributions. All you have to do is turn up wear a hoodie and 
sing, and take some instruction. The aim is to have fun creating music 
and make a piece of art (a film) which will be exhibited in November. If 
you can sing great (you're in) if you cannot sing no worries (you're in 
as well.)



Requirements.

No vocal experience needed but we need you to be up for it and prepared 
to experiment with your voice.


Participants will be filmed.

Participant will be asked to wear a binary hoodie which will be provided.

No payment is available therefore volunteers only. Please come in black 
legging / black trousers and black shoes if you can.*Dates and Times.


Oct 21st Saturday 12am - 5 PM
Venue: Hinde Street, Methodist Church. (ie large church on corner) The 
nearest London Underground station is Bond Street.

Contact. Please confirm via by email. i...@thebinarygraffiticlub.com
*

*www.thebinarygraffiticlub.com/
*


--
Stanza
www.stanza.co.uk
tel +447701309802




--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.



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Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] The Binary Graffiti Club. Call to be involved.

[ruth catlow]

Hi Stanza,
Sounds like fun.
We have our own thing on that day (meditating with mushrooms in Finsbury 
Park;)

But tweet it @furtherfield and we will spread the word.

Also do join the Netbehaviour email list 
http://www.netbehaviour.org/mailman/listinfo/netbehaviour


You may catch some interest there. You post and I will endorse!

:)
R



On 13/10/17 18:28, Stanza wrote:


*Hi Ruth
*


**Can you send this out on your network. Indeed would you be up for it 
 or Mark?* *


*Kind Regards*

*
Stanza
*

*
*

*The Binary Graffiti Club. Call to be involved.*


We are looking for people to help us on Saturday 21st October from 12 
- 5pm



*Would you like to be part of something fun, arty, musical in London 
which will be made into to a short film?*



The Binary Graffiti Club are looking for volunteers to take part in 
experimental vocal event led by artist Stanza and musician Richard 
Frostick. The date we need you is Saturday 21st October from 12 - 5pm.


This will be a fun day in an interesting venue in the middle of 
London. We will all make music by trying to sing a musical score 
composed of a series of binary codes extracted from a newly published 
book made from public contributions. All you have to do is turn up 
wear a hoodie and sing, and take some instruction. The aim is to have 
fun creating music and make a piece of art (a film) which will be 
exhibited in November. If you can sing great (you're in) if you cannot 
sing no worries (you're in as well.)



Requirements.

No vocal experience needed but we need you to be up for it and 
prepared to experiment with your voice.


Participants will be filmed.

Participant will be asked to wear a binary hoodie which will be provided.

No payment is available therefore volunteers only. Please come in 
black legging / black trousers and black shoes if you can.*Dates and 
Times.


Oct 21st Saturday 12am - 5 PM
Venue: Hinde Street, Methodist Church. (ie large church on corner) The 
nearest London Underground station is Bond Street.

Contact. Please confirm via by email. i...@thebinarygraffiticlub.com
*

*www.thebinarygraffiticlub.com/
*

--
Stanza
www.stanza.co.uk
tel +447701309802




--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] Maecenas

[ruth catlow]

Ha hah!


what do you mean by "value", ruth? value to whom? monetary value, 
cultural value, nostalgic value, personal value ... ??



value to anyone with a stake in the question

and all of the above kinds of value and more (please proliferate)


& then, what do you mean by "art" and "artists" ...

every possible definition of art as defined by art lovers, critics, 
historians, machines

and artists as defined by themselves and others


h ;)


But I'm not sure that is the question I was looking for!

Ruth



On 11.10.2017 10:51, Gretta Louw wrote:
I’ve been spending a lot of time puzzling over social media lately 
and think (horrifyingly) that the value of the latter is increasingly 
measured in instagram followers - we’re not yet at the point of 
openly sponsored posts, but indirectly I think it’s already happening…





On 11. Oct 2017, at 09:58, ruth catlow <ruth.cat...@furtherfield.org 
<mailto:ruth.cat...@furtherfield.org>> wrote:


Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't my 
idea of utopia.


I have a question brewing - that I want to run by everyone - about 
the value of art and artists now and in the future.


If anyone can tell me what that question is I'd be very interested 
to hear what it is;)


Otherwise...soon...
:!

On 09/10/17 09:22, helen varley jamieson wrote:


agree. thank goodness my art is mostly ephemeral & can't be stuck 
with a financial pin like a dead butterfly ...



On 07.10.2017 02:29, Alan Sondheim wrote:


I noticed this -

"Maecenas touts itself as a blockchain platform that, according to 
its creators, will democratise access to fine art. For the first 
time, the Maecenas website enthuses, technology will allow 
investors, collectors and owners to exchange shares in paintings 
and sculptures instantly, akin to the way stocks of a company are 
traded today."


This does NOT democratise access to art; it's nothing more than a 
secure way to protect and exchange's one investment - which plays 
into the notion of enclaving described in Mike Davis' City of 
Quartz (think it was written in the 80s). Art has to RESIST 
enclaving, unless one accepts useless decoration and 
connoisseurship as the only form of art worth considering.


One of the amazing things about Furtherfield is, at least as far 
as I can tell, it itself is a form of resistance! I'd thank God 
for this, but given the state of things on the planet, I wouldn't 
want to burden Her with more communication.


- Alan
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helen varley jamieson
he...@creative-catalyst.com <mailto:he...@creative-catalyst.com>
http://www.creative-catalyst.com <http://www.creative-catalyst.com/>
http://www.upstage.org.nz <http://www.upstage.org.nz/>


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Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.

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he...@creative-catalyst.com <mailto:he...@creative-catalyst.com>
http://www.creative-catalyst.com
http://www.upstage.org.nz


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Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] Maecenas

[ruth catlow]

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't my idea 
of utopia.


I have a question brewing - that I want to run by everyone - about the 
value of art and artists now and in the future.


If anyone can tell me what that question is I'd be very interested to 
hear what it is;)


Otherwise...soon...
:!

On 09/10/17 09:22, helen varley jamieson wrote:


agree. thank goodness my art is mostly ephemeral & can't be stuck with 
a financial pin like a dead butterfly ...



On 07.10.2017 02:29, Alan Sondheim wrote:


I noticed this -

"Maecenas touts itself as a blockchain platform that, according to 
its creators, will democratise access to fine art. For the first 
time, the Maecenas website enthuses, technology will allow investors, 
collectors and owners to exchange shares in paintings and sculptures 
instantly, akin to the way stocks of a company are traded today."


This does NOT democratise access to art; it's nothing more than a 
secure way to protect and exchange's one investment - which plays 
into the notion of enclaving described in Mike Davis' City of Quartz 
(think it was written in the 80s). Art has to RESIST enclaving, 
unless one accepts useless decoration and connoisseurship as the only 
form of art worth considering.


One of the amazing things about Furtherfield is, at least as far as I 
can tell, it itself is a form of resistance! I'd thank God for this, 
but given the state of things on the planet, I wouldn't want to 
burden Her with more communication.


- Alan
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he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.upstage.org.nz


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Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] Apologies and URL

[ruth catlow]

Love this!
Thanks for sending it Alan

:)

R


On 29/09/17 00:31, Alan Sondheim wrote:


http://eyebeam.org/stopwork/resource-for-teachers-library-of-collaborative-methods/ 



Bad karma sending this out, here's the resource URL -

Apologies again, Alan
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Furtherfield

www.furtherfield.org

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Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.

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Re: [NetBehaviour] I hate blockchain plantoids by O’Khaos - that's probably why they are great

[ruth catlow]

Hi Annie, Edward, Alan and Rob

Many many thanks to you all as always for your help processing this stuff.

Some thoughts in no particular order:

Annie, I share many of your misgivings. Like many blockchain projects 
Plantoid asserts all kinds of equivalences between living and machine 
systems that need to be challenged.


I also share your annoyance with the "conservatism" of equating voting 
with payments (or market processes) with deliberative democratic 
processes (this  chimes with a prevalent argument in the UK that all 
culture should be crowdfunded).


With our book  
are seeking out potential of interactions with blockchain technologies 
for art (and artists and all those who want art to continue to exist in 
the world). We want to continue to explore how commons and communality 
can be grown as cultural resources in the context of blockchain 
environments.


The exploration is full of uncomfortable perversities - including a dive 
into difficult technical and financial abstractions (which can be felt 
as a distraction from immediate and pressing political concerns).  
However we think it's worthwhile and necessary because financial 
services make up 20% of the total gross domestic product in developed 
economies .And while the Web is the Internet of messages, and 
communication, the blockchain is the Internet of programmable money 
(think computer viruses with wallets in their pockets - and money to 
spend and to bank). And  also, as Rob suggests, critical artistic 
appropriation of blockchain techs might make these otherwise invisible 
forces and effects more perceptible and accessible for more people.


Finally the ongoing assertion by many promoters of blockchain that 
because the code of smart contracts deployed across blockchains are 
incorruptible by humans, they are an automatic improvement on all human 
institutions, rings really oddly to artists ears. I think that this is 
because artists (especially those that have worked with network media) 
agree that corruption of meaning, intention and outcomes often occur 
through decontextualisations. Rob's comparison of smart contracts with 
spirographs rather than stormbringer (worth a trip to wikipedia 
) is helpful - but I'm sure 
it is possible to imagine good done with stormbringer and evil done with 
spirographs ;)


Hope to continue this conversation because this stuff is really hard to 
disentangle.


warmly
Ruth

On 29/09/17 05:01, Alan Sondheim wrote:


It depends, doesn't it, on what is meant by 'infallible'? They're 
corruptible in terms of value and in terms of use; it's the old 
use/exchange value conundrums here. They're corruptible because 
they're not ideal; a prime number isn't corruptible, but protocols 
are. What if a "distortive intervention" comes in the form of nuclear 
war?


You're postulating an ideality somewhere between engineering and 
Godel's neo-platonism I think and I'm not sure that position would 
hold. These models exist in a real world of interactions after all.


How are we freed from deceit and usury when blockchains are used for 
ransomware payments? There's a difference as well between the "meant 
to" in terms of usage of blockchain, and the reality?


The anthropocene desert you describe is brutal in my opinion, allied 
to Kristeva's clean and proper body; without ecosystems in depth, 
without the dirt of the world, the cleansed future (or so I read it) 
frightens.


Did you mean Labanotation? That's a good example; the interstice 
between Labanotation and the real/grit world of dance is fascinating, 
amazing!


I'm the first to admit here I don't really know what I'm talking about 
since the details of blockchain elude me, as do the claims made for 
it. That side, I've been reading what I can; I just don't hold to the 
utopian vision that seems to accompany it.


Best!, Alan, and apologies for my ignorance

On Thu, 28 Sep 2017, Rob Myers wrote:


Entities of code and rules are incorruptible and infallible (so it
is said), they are not subject to distortive interventions by
debased human institutions. They have no soul, it is true, but
they also do not weigh on ours. They are Spirographs, not
Stormbringer.

The blockchain's metronymic, reified, transactional model of human
relations is meant to free us from deceit and usury. We are
already homeostats in socioeconomic networks whose restrictions we
notice about as much as a fish notices water. Code at least makes
this explicit.

Plantoid is a way of paying for the creation and exhibition of art
- a difficult and worthwhile problem - in a creative way. If it is
too successful it will end up as the economic-aesthetic equivalent
of grey goo. The anthropocene desert will be filled not with
triffids but with plantoids and the artisans hired by their code
to create their offspring. Maybe these offspring will mutate into
relational artworks that choreograph 

Re: [NetBehaviour] trAce, LOST project

[ruth catlow]

Thanks for posting this Tamar.

This makes me reflect on the pathology of the hype surrounding the 
Internet of Things that suggests that life can be improved by knowing 
where every "thing" is at every moment, and then making it "do" 
something for us.






On 03/09/17 11:27, Tamar Schori - Doflash wrote:

I love the "lost" filter
many years ago, in the ancient times before social software I created 
this project:
See http://tamar-schori.net/oodlala/ from 2002, a social network for 
memory objects.


some of the stories are really touching...
take a look

Tamar Schori



Tamar Schori
0544-560136

On Thu, Aug 31, 2017 at 12:25 AM, Alan Sondheim > wrote:



(From Sue Thomas on Facebook; she headed trAce at Nottingham-Trent;
I was the 2nd virtual writer-in-residence. Think this might be of
interest here because of the networking involved, which was also a
metaphor for lost packets, lost archives, disappearances, ruptures,
etc. in online worlds.)


Sue Thomas
August 26 at 12:26pm

My favourite trAce project ever - Lost, by Alan Sondheim . It no
longer
judders on the page as it was designed to do but the entries are as
haunting as ever. Users were invited to fill in the form and write
about
things they have lost. Many entries very sad, some very funny!
L*O*S*T

http://web.archive.org//20/http://trace.ntu.ac.uk:80/lost/

(From Sue Thomas, and trAce) -
L*O*S*T
web.archive.org 

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Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] Plans for a new regular cryptoparty in London

[ruth catlow]

Hi peeps,

This is a nice development.

Plans for a new regular cryptoparty in London- "a format you're probably 
already familiar with. It'll be about cryptography, privacy, 
surveillance, and -more generally - about digital technologies and the 
way the affect our life and society.


More information: https://www.cryptoparty.in/london

They'd like to involve people from different backgrounds, including DJs, 
musicians, artists and videoartists. The event will be free and open to 
anyone


Chekkit!

:)
Ruth

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[NetBehaviour] BLOCKCHAIN ART COMMISSION: The CryptoDetectorist – hoards, coins & trades

[ruth catlow]

Call for Proposals from Furtherfield and NEoN Digital Arts Festival

*BLOCKCHAIN ART COMMISSION: The CryptoDetectorist – hoards, coins & trades**
*
Deadline for submissions 4th September
For exhibition 9th November
Fee and production costs £2500

While archaeology has often understood cultures through excavations of 
hoards and coins, what will today’s digital currencies tell future 
archaeologists about the way we live and trade?


This co-commission with NEoN Digital Arts Festival forms part of 
Furtherfield’s ongoing investigations into the politics of the 
blockchain, smart contracts, and cryptocurrency systems like Ethereum. 
It invites artists to imagine themselves as future media archaeologists, 
as recorders of our current information-based society, and as 
time-travelers highlighting the continued relevance of our long past. 
Will you dig for the digital, brush the dirt off the non-material, or 
excavate the internet?

*/
For all details see here 
http://furtherfield.org/projects/blockchain-art-commission


/*
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Re: [NetBehaviour] noticable differences

[ruth catlow]

Thanks Alan,

for prooving that 
Furtherfield is "30 centimeters more or less above buckingham palace".


It was a wonderful blast having you and Azure here in London.

A bit like Alan Sondheim "30 centimeters more or less outwith the 
Netbehaviour email list"


Have a good trip back. We'll miss your physical presences :)

warmly
Ruth (and the rest of the Furtherfield gang)

On 11/07/17 21:06, Alan Sondheim wrote:



noticable differences

http://www.alansondheim.org/london513.jpg
jane austin was here we knocked, mayhem
http://www.alansondheim.org/london588.jpg
this is jane austin knocking us about, mayhem
antennae are giveaways in the j.a. world
http://www.alansondheim.org/london754.jpg
neurplasticity of peat and j.a. neural transmission
http://www.alansondheim.org/london755.jpg
proof of the above

http://www.alansondheim.org/london778.jpg
furtherfield gallery as an attraction 30 centimeters
more or less above buckingham palace
i know where i'm heading!
http://www.alansondheim.org/london815.jpg
"nothing to do with anything"

"this is what i do on the road with almost no
connectivity but a mind bristling with good intentions."

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[NetBehaviour] Sondheim SPEAKS! Tonight at Furtherfield Commons and .....Re: Children of Prometheus exhibition at Furtherfield

[ruth catlow]

Thanks Michael,

This is really good to hear!
It's going down well with other visitors too :)

It's such a pleasure to have Alan and Azure in the country and I'd like 
to remind everyone within shouting distance that

**Sondheim SPEAKS tonight* *from 6.30 at Furtherfield Commons!

He will be discussing his work Avataurror, from the current exhibition 
/Children of Prometheus/ 
, and 
sharing some of his more recent works and activities.


We'd love to see you there.

Warmly,

Ruth/
/


On 02/07/17 16:23, Michael Szpakowski wrote:

Hi all
I saw this but briefly on Friday night ( I had something long planned 
I had to get to) but the thing that struck me is how handsome and 
confident the whole show looks.
There a sense of maturity, of purpose, about every show that happens 
at Furtherfield.
I've seen this grow over the years - the shows have never been 
anything but good,what the latest few have had is that sense of 
cogency and necessity that comes with a really good show and this one 
epitomises that trajectory.
I looked quite closely at Alan's work which is as one would expect, 
great, both the videos and the 3d prints..
I wasn't able to give anything but the most cursory of looks at the 
other work but Simon's work looked very interesting and engaging & I 
look forward to inspecting it in a lot more detail and the Carla Ganni 
'Bosch' work makes an immediate and formidable impression.
Definitely a show worth spending a proper amount of time at, which is 
what I'll be doing next visit  :)

michael



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Re: [NetBehaviour] Some London Now

[ruth catlow]

Loving the London notes Alan!

On 04/07/17 12:41, Alan Sondheim wrote:



Some London Now

Working, like Karl Marx, in the British Library.

Status: Resolving address of alansondheim.org Status:
Connecting to 208.76.80.46:21...
Status: Connection attempt failed with
"ETIMEDOUT - Connection attempt timed out".
Error: Could not connect to server Status:
Waiting to retry... Status: Resolving
address of alansondheim.org Status: Connecting to
208.76.80.46:21... Status: Connection attempt failed with
"ETIMEDOUT - Connection attempt timed out".
Error: Could not connect to server
Not connected to any server

http://www.alansondheim.org/london321.jpg
Technological eyepod of the big London wheel.
http://www.alansondheim.org/london322.jpg
Followed by the secretive hidingplace in plain sight of
Doctor Who's Arch Enemies, the Trump-peters.
http://www.alansondheim.org/london335.jpg
While elsewhere someone's looking at someone else
only god knows why.
http://www.alansondheim.org/london352.jpg
Old master lighting obscures everything but Turner's
steam painting, described, if I remember correctly, by
Michele Serres.
http://www.alansondheim.org/london358.jpg
A pigeon accidently assigned the number of John Donne's
full portrait, of which the following, surprisingly
enough, has the bracelet of air about the wrist, reminiscent
of his poem The Relic, one of my favorite in all literature.
How did the pigeon get in there?
http://www.alansondheim.org/london359.jpg

 - Donne's The Relic -

"When my grave is broke up again
   Some second guest to entertain,
   (For graves have learn'd that woman head,
   To be to more than one a bed)
And he that digs it, spies
A bracelet of bright hair about the bone,
Will he not let'us alone, "

http://www.alansondheim.org/london360.jpg
John Donne appears... and then:

http://www.alansondheim.org/london366.jpg
Mysterious antennae with an antiquated looking, perhaps
connecting the foreign office to the nineteenth century.

We are in the British Library.

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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] An Interview with Alan Sondheim @furtherfield

[ruth catlow]

Thanks Mark!

And thanks Michael and Alan.

The interview is superb and reinforces my conviction that whenever 
possible we should tip ourselves *Art First* into life.


Please any Netbehaviourists get to the Children of Prometheus exhibition 
opening this Friday if you can. 
http://furtherfield.org/programmes/exhibition/children-prometheus


You will meet Alan in the flesh and/or attend his talk at 
Furtherfield Commons next Wednesday evening. It would be so brilliant to 
manifest the NB network in the flesh.


Lahhh!
Ruth







On 29/06/17 11:35, Mark Hancock wrote:

This is a great interview.

Can I just say: I don't know what's in the cyber-water across 
Furtherfield and associated collaborator networks right now, but the 
past few months have been totally invigorating and inspiring. Stay 
strong and keep doing whatever it is everyone who drinks deep from the 
well of net art/digital media art does.


You are all needed today more than ever before.

On 28 June 2017 at 10:45, Marc.garrett > wrote:


An Interview with Alan Sondheim

By Michael Szpakowski.

On the occasion of his talk at Furtherfield Commons this coming
Wednesday 5 July, and participation in the Children of Prometheus
exhibition at Furtherfield Gallery we present an interview
conducted by the artist and writer Michael Szpakowski in which
Sondheim gives a broad overview of his artistic formation,
practice and philosophy. Alan Sondheim has been ploughing a very
singular furrow through art, music, writing, philosophy,
technology, and much else since the late sixties.

http://bit.ly/2s17rtN

Wishing you well

marc

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


Curating, Touring Exhibition
Monsters of the Machine:Frankenstein in the 21st Century
At Laboral, Spain until Sept 2017 http://bit.ly/2eGdpw1
Visiting other countries soon...

Sent with ProtonMail  Secure Email.


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Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] Finsbury Park attacks..

[ruth catlow]

Hi Michael,

I share your sense of the shift in feeling on the ground.
Also, love your banners!!!

The Labour party manifesto is the first piece of political collateral in 
my adult memory to directly address the interests and capacities of 
young people- and to counter the idea that we should regard people as 
either selfish, dumb, greedy, lazy consumers or resources to be 
cultivated and harvested to feed the wealthy via the markets.


We are witnessing the emergence of a new situation and set of 
energies... I am eager for its realisation : )


Thanks to everyone for your support and conversation around recent 
events in Finsbury Park - there is also a palpable love reaction in the 
area which is heartening.


Warmly
Ruth

On 19/06/17 17:19, Michael Szpakowski wrote:
There clearly has been a rise in Islamophobia recently , fuelled in no 
small measure by the government's attempt to scapegoat all Muslims 
with the despicable Prevent strategy. We also saw the beginning of an 
attempt by May to ratchet this up with her 'Enough is enough' speech 
towards the end of the election campaign.

I wanted to say, though, that it's important not to sink into despair.
I've been very active around Stand up to Racism over the last year and 
I've experience some interesting and often counter intuitive things.
When Arek Jozwik was killed in Harlow last year the vigil we organised 
a couple of nights after was attended by significant numbers of the 
white working class poor who live in the area. These will 
statistically have been 'leave' voters...
We've campaigned pretty much every week since then, largely around 
opposition to racism ,in the town centre on Saturday mornings. It was 
certainly not always easy going but there was always a minority of 
people willing to engage. ( especially the young, in a prefiguring of 
the huge pro Corbyn upswell)
We also held a 60 strong rally against racism in early March -again 
very much dominated by the under twenties.
What changed the atmosphere completely was the Labour manifesto - all 
of a sudden people had hope, focussed on improving the lives of all 
not 'competing for resources' ( a myth of course - stop spending 
millions on Trident, on wars of intervention and tax the rich and 
resources would be no problem, but a potent myth especially in the 
absence of hope that things might change). Even after the two 
horrendous attacks in Manchester then London this enthusiasm and this 
change of atmosphere was maintained -we heard very  little overt 
racism and experienced next to no hostility.
This has continued since the election with the humiliation of both May 
and UKIP - what was interesting last week though was that although the 
racists were in a small minority they were coming out with all sorts 
of filth around Grenfell ( but once again large numbers of people were 
signing the May must go, people not profit, working class lives matter 
,petition ).

In short I'd put forward three propositions.
(1) Racism  and Islamophobia are clearly a major problem and  one 
encouraged by this weak and nasty government
(2) We are not, though, powerless bystanders -whether it's directly 
combatting the racists through SUTR or offering hope through agitating 
for this government to go and for us to have the very real chance of 
one committed to a real improvement in the lives of ordinary people 
there is lots of very concrete, very practical work to do.
(3) Although there will be some ways in which artists can bring their 
specific talents to bear in this ( I have got very good for example at 
making large banners each week:


https://www.flickr.com/photos/szpako/35212704985/

https://www.flickr.com/photos/szpako/34239170983/

https://www.flickr.com/photos/szpako/34159735663/
https://www.flickr.com/photos/szpako/34929717326/

https://www.flickr.com/photos/szpako/34062471264/

https://www.flickr.com/photos/szpako/34223234740/
 )

we should participate along with as many and diverse people as we can 
in organising, protesting, demonstrating... This is not a time for any 
sort of guild mentality but for getting stuck in.


I particular urge anyone in the UK not a member of Stand Up To Racism 
to join today.


http://www.standuptoracism.org.uk/


best wishes to all
Michael



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Re: [NetBehaviour] Finsbury Park attack

[ruth catlow]

Helicopters circling for hours overhead.

This quote by biologist and cybernetics theorist Humberto Maturana rings 
true and requires no explanation only imagination.


"Only love expands intelligence. To live in love is to accept the other 
and the conditions of his existence as a source of richness, not as 
opposition, restriction or limitation"


Love
Ruth


On 19/06/17 13:48, Alan Sondheim wrote:



How do we cope with this, what can we possibly do? Things continue to 
get worse - today -


Virginia Muslim girl found dead near mosque
BBC News - 1 hour ago
Police in the US state of Virginia have found the remains believed to 
be of a 17-year-old Muslim girl who was assaulted near a mosque before 
disappearing.


There's also this -

The world's displaced people - in numbers

There are 65.6 million displaced people in the world - more people 
than live in the UK. Of these:


22.5 million are refugees
40.3 million are displaced in their own country
2.8 million are seeking asylum

Where do the refugees come from?

Syria: 5.5 million*
Afghanistan: 2.5 million
South Sudan: 1.4 million

Who is hosting the refugees?

Turkey: 2.9 million
Pakistan: 1.4 million
Lebanon: 1 million
Iran: 979,4000
Uganda: 940,800
Ethiopia: 791,600

*Another 6.3 million Syrians are internally displaced

And in the US anti-refugee, anti-anyone who's not white, male, 
Christian, healthy, rich, etc. is targeted by the current

administration. There are small beautiful islands like the Gay
Pride events this weekend in Providence, but catastrophe,
fuelled by enclaving, global warming, hatred, seems to be on
the rise. We're heartbroken here.

Furtherfield is a beacon of hope and kindness in the midst of
all of this, and thank you everyone for the work you do - and
do online as well, this list is a haven for so many wonderful
people.

Here, we're isolated in many ways, please keep us up to date.

love and condolences, Alan and Azure
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Re: [NetBehaviour] Finsbury Park attack

[ruth catlow]

Thanks for asking Alan.

This attack happened last night at Finsbury Park Mosque which is about 
100 yards from Furtherfield Commons.


Some people drove a van into a group of late night worshippers as they 
left the mosque. One of the attackers was apprehended and held by the 
group until the police arrived.


Last year Park Theatre (local partners of ours) commissioned a playwrite 
to worked directly with the mosque to produce the Hurling Rubble 
 
plays about how extremist violence grows. We hosted ourSuperdiversity 
exhibition 
 
this spring in which Katherine Stansfeld an artist and cultural 
geographer brought together more than 50 different perspectives of lives 
lived in the area. This area is bold in its expression of difference - 
its value and its difficulties - we love it.


We have yet to hear from our local friends. I'm heading up there now - 
full of sorrow.


~
Ruth


On 19/06/17 03:44, Alan Sondheim wrote:



Please please share any information anyone might have about this, 
apparently on Seven Sisters Road. This is terrible...


Thank you,

Alan
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Re: [NetBehaviour] new wikipedia articles

[ruth catlow]

Excellent blog post Helen - for wide sharing! And an inspiring effort 
from you Munich wiki-feminists. The emancipatory punch of Woolf and De 
Beauvoir powers-through in your work.

And this is before we get onto the question of class-exclusion.

It such a humungous mind-melon-twister to argue for one's own notability 
and a bit overwhelming to have you do it on my behalf. So much work! A 
massive thank you!


Ruth


On 03/06/17 12:08, helen varley jamieson wrote:


hi everyone,

a couple of months ago there was a wikipedia edit-a-thon here in 
munich that was attended by myself, gretta louw, tamiko thiel & quite 
a lot of others. it was a good event, altho somewhat frustrating - as 
many wikipedia editing experiences are!! (i blogged about it here: 
http://creative-catalyst.com/serendipity/index.php?/archives/195-whats-wrong-with-wikipedia.html)


anyway the good news is that as a result, there are now 2 new 
wikipedia articles:


https://en.wikipedia.org/wiki/Ruth_Catlow
https://en.wikipedia.org/wiki/Gretta_Louw

& some editing was done on other pages:

https://en.wikipedia.org/wiki/Tamiko_Thiel
https://en.wikipedia.org/wiki/Helen_Varley_Jamieson
https://en.wikipedia.org/wiki/Annie_Abrahams

(there was also a page created for Susanne Wiegner but it has been 
deleted; we might have also worked on some other pages but i can't 
remember now ...)


gretta's and my articles both still have tags saying "multiple 
issues", despite having lots of quite reputable references. mine needs 
someone who does not have a "close connection" to me (i don't know how 
wikipedia defines "close") to add more secondary sources. gretta's 
article is an orphan, meaning it needs links from other wikipedia 
pages to her article. it also says it needs additional citations, it 
already has more than plenty of male artists who don't have the same 
tags on their pages so i think once it's no longer an orphan we should 
be able to get rid of that.


so, if anyone out there has idle time on their hands & feels like 
entering into the twisted labyrinth of wikipedia editing, i invite you 
to contribute to improving these articles :)


h : )

--
helen varley jamieson
he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.upstage.org.nz

*We have a situation, Coventry! *
24 November 2016



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Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] on beauty

[ruth catlow]

Edward

I didn't take Michael's text as a rule or a command. More as a heartfelt 
invitation to use all our powers to co-create an expanded and enriched 
vision of life and communality, in which humans have a central role ...


...which I greatly appreciated.

Ruth

 On 04/06/17 21:07, Edward Picot wrote:

Michael,

I agree. We have to try to be adequate to our feelings about the time 
in which we live - but ruling certain things either in or out of art 
because they don't or do seem 'appropriate to our era' isn't really an 
adequate response, I don't think.


Edward

On 04/06/17 12:06, Michael Szpakowski wrote:

https://www.flickr.com/photos/szpako/34244779394/

michael


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Re: [NetBehaviour] 'intelligence is not enough' notes from talk at TPG

[ruth catlow]

Great title Katriona!

and woohoo! Gretta in London :)


On 31/05/17 10:19, Gretta Louw wrote:

Thanks Katriona! Looking forward to checking it out.

Also, I might be coming to London in July for a couple of days, so 
hope we can catch up then! I got an invitation to speak on a panel at 
Central Saint Martins, just need to see about their budget and maybe 
whether I can line up any other speaking gigs or presentations to 
cover costs. Hope it works out, would be great to see you and catch up 
on all your exciting work!


g.x

———

*grettalouw.com *
twitter  - _instagram_ - vimeo 



*UPCOMING / NEWS*
November 2016 - August 2017 - Monster of the Machine, LABoral Centro 
de Arte y Creación Industrial, curated by Marc Garrett, Gijón, 
Spain. March - July 2017 - No Secrets: Bilder 
der Überwachung, Stadtmuseum München, curated by Rudolf Scheutle, 
Munich, Germany.September 2017 - Group Therapy, UNSW Galleries, 
curated by Vanessa Bartlett, Sydney, Australia.December 2017 - 
February 2018 - Networking the Unseen, Villa Merkel, curated by Gretta 
Louw, Esslingen am Neckar, Germany.


On 29 May 2017, at 16:05, Katriona Beales > wrote:


Hi All -

Some of you may be interested in a short talk I gave at a Creative AI 
meet up at the Photographers Gallery a couple of weeks ago... Notes 
now up

http://www.katrionabeales.com/talks/

Best

Katriona


On 27 May 2017 at 12:00, > wrote:


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To subscribe or unsubscribe via the World Wide Web, visit
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than "Re: Contents of NetBehaviour digest..."


Today's Topics:

   1. Alan Sondheim on LURKER BIAS! (Alan Sondheim)


--

Message: 1
Date: Fri, 26 May 2017 22:01:24 -0400 (EDT)
From: Alan Sondheim >
To: netbehaviour@netbehaviour.org

Subject: [NetBehaviour] Alan Sondheim on LURKER BIAS!
Message-ID: >
Content-Type: text/plain; charset=US-ASCII; format=flowed



Alan Sondheim on LURKER BIAS!

Releasing experimental audio in small numbers!

https://lurkerbias.bandcamp.com/album/elegaic


Elegaic by Alan Sondheim LB_086 May 2017

(Seven pieces I really love from .wav files on cassette;
the tape sound is often better with the stretched bandwidths
I use.)

GIVE A LISTEN! Support the music!

Cassette + Digital Album

Includes unlimited streaming of Elegaic via the free
Bandcamp app, plus high-quality download in MP3, FLAC and more.
Ships out within 3 days

$6 USD or more

Streaming + Download

Includes high-quality download in MP3, FLAC and more.
Paying supporters also get unlimited streaming via the
free Bandcamp app.

1. ELEGYFORALL 03:28
2. Insaz 2 05:03
3. PAEANFORALL 12:42
4. Prelude (For Rossi) 04:22
5. Purgatory 05:08
6. Sadness 04:26
7. Towers Passing 03:23

released May 22, 2017
tags: experimental folk jazz free improvisation
guitar Chicago

https://lurkerbias.bandcamp.com/album/elegaic


GIVE A LISTEN! Support the music!



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End of NetBehaviour Digest, Vol 3087, Issue 1
*




--

www.katrionabeales.com 
twitter: @KatrionaBeales
instagram: @bealesabout

'Are we all addicts now?'
http://online-addict.tumblr.com
An artist-led enquiry into new pathologies created by digital 
technologies and specifically internet addiction, supported by the 
Wellcome Trust and Arts Council 

Re: [NetBehaviour] linux laptops

[ruth catlow]

I've been running Linux Mint on the same Samsung laptop for the last 4 
years without a single unfortunate incident... and low level 
maintenance. With Gimp, Open Office (sometimes annoying), Inkscape, 
Kdenlive, Audacity, VLC, Filezilla.

Good wireless connectivity. Some trouble with print drives (that's it)

Linux Ra Ra Rah!

Ruth


 On 23/05/17 19:15, Edward Picot wrote:

Helen,

Good for you! I agree that Linux is much less deterring than we are 
generally led to believe. I started by putting it on an old spare 
computer a few years ago, and since then I've been buying cheap 
laptops and over-writing the existing Windows operating system with 
Linux, which always gives me a bit of a transgressive thrill. Apart 
from anything else you save a fortune in anti-virus fees. I started 
out with Mandriva Linux - which was probably an odd choice, but I came 
across a disc for it somewhere - but I now use Ubuntu. Unfortunately 
Ubuntu 16, which is the one I'm currently using, has some 
well-documented wireless connectivity problems, so I have to connect 
to my router via an ethernet cable, not that that's the end of the 
world. There are some rather lengthy fixes out there, but I haven't 
got round to trying them yet.


The range and quality of software available for Linux never ceases to 
amaze me. Libre Office, the Gimp, Audacity, Kdenlive and Inkscape are 
all wonderful. As for Blender, it's mind-bending to be able to get 
your hands on a piece of software that powerful for nothing, although 
it's extremely challenging to learn (I've only scratched the surface). 
The only thing I genuinely miss is Flash - but Flash in its Adobe 
incarnation is now so expensive that I wouldn't be able to afford it 
anyway.


Edward

On 22/05/17 09:47, helen varley jamieson wrote:


hi everyone,

more than a year ago i wrote to this list asking for advice about 
buying a linux laptop. it took me a while, but i'm now happily 
working with ubuntu mate on a no-brand machine :)


i spent quite a lot of time looking at second-hand & B-ware 
(ex-display) machines, & also at new models (lenovo, dell, hp, acer, 
asus, etc etc ... ) & got quite overwhelmed by the choice & 
variables. nothing was exactly what i wanted, & i couldn't decide on 
what to compromise. i had a couple of things that were definite - not 
bigger than 14", must have ethernet port, prefereably separate audio 
in & out; so that narrowed things down quite a bit, but still i 
wasn't finding anything that felt right.


then i found a uk company that sells no-brand laptops with linux 
pre-installed (https://www.entroware.com). i could choose the hard 
drive, RAM, keyboard layout, etc & it arrived 5 days after i ordered 
it. i took it out of the box, turned it on, & started using it. the 
trickiest thing i've had to do so far was use the command line to get 
it to talk nicely to my printer - & i managed that without incident.


i'm still adjusting to the non-mac keyboard shortcuts - it's easier 
to take a screenshot but more difficult to do an umlaut (ü), & there 
are a couple of things i still need to work out. & one loss is that 
there are no linux drivers for my wireless webcam, so i'm back to a 
tethered webcam for now. but it is s much faster than my old mac, 
& i've found most of the software that i need.


so if anyone else out there is also considering making the switch to 
linux, i say - just do it! :)


h : )
--
helen varley jamieson
he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.upstage.org.nz

*We have a situation, Coventry! 
*

24 November 2016



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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] Opening tonight - NEW WORLD ORDER at Furtherfield Gallery

[ruth catlow]

Aw thanks Nathaniel!
We should have some images up soon.

It was a really enjoyable opening. There were lots of people there who 
were involved in early net art. Drawn, I think, by a feeling that we are 
in a similar moment with a new Internet protocol that has not yet 
solidified and that has no *normal*.


Ruth


On 19/05/17 16:46, Nathaniel Stern wrote:

you guys are the coolest. this looks amazing.

nathaniel stern
http://nathanielstern.com

On May 19, 2017, at 8:59 AM, ruth catlow 
<ruth.cat...@furtherfield.org <mailto:ruth.cat...@furtherfield.org>> 
wrote:


It would be so cool to see you at the opening tonight 6-8, if Lonon 
is reachable for you.

x
Ruth

View e-mail in browser 
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<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1074=142267> 




  /NEW WORLD ORDER/ at Furtherfield Gallery



20 May - 25 June 2017
Saturday and Sunday, 11am-5pm or by appointment
Private View: Friday 19 May 2017, 6-8pm (Register 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1075=142267>)




A mysterious and controversial technology is among us. The Blockchain 
underpins digital currencies and makes possible dramatic new 
conceptions of global governance and economy, that could permanently 
enrich or demote the role of humans - depending on who you talk to.


This exhibition presented by Furtherfield features artworks that 
envision future world-making by machines, markets and natural 
processes, free from interference by states and other human institutions.


Artists Jaya Klara Brekke, Pete Gomes, Rob Myers, Primavera De 
Filippi of O’Khaos, Terra0, Lina Theodorou and xfx (aka Ami 
Clarke) imagine a world in which responsibility for many aspects of 
life (reproduction, decision-making, organisation, nurture, 
stewardship) have been mechanised and automated. Deferred to the 
blockchain.


Artworks include a self-owning forest with ideas of expansion, a 
self-replicating android flower, a tale of lost innocence, a DIY 
money making rig, a Hippocratic Oath for software developers and a 
five minute marriage contract.


+More info about the exhibition 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1074=142267>
+Download PR 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1076=142267>
+Download Exhibition Catalogue 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1077=142267>



EVENTS, ACTIVITIES, WORKSHOPS & WEDDINGS

Manpowertop 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1086=142267> - 
free workshop by Network Diagnostics
Saturday 10 June, 2-5pm – Furtherfield Commons 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1078=142267>
Join Network Diagnostics (Dave Young and Niall Docherty) to discover 
how the promotional media of Silicon Valley companies envision the 
role of technology in society. In partnership with Antiuniversity 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1087=142267>
Booking is essential for this FREE event 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1088=142267>


GeoCoin 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1089=142267> - 
Bodystorming Blockchain in the City
Friday 23 June 10am - 5pm – Furtherfield Commons 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1078=142267>
A day of design-based research using the GeoCoin platform to explore 
novel ways of reconsidering and reinventing currency through 
location-specific value transactions. This workshop is part of the 
ESRC funded research project After Money lead by Design Informatics 
at the University of Edinburgh.
Booking is essential for this FREE event 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1090=142267>


Book launch - Artists Re:thinking the Blockchain
Friday 23 June, 6-8pm, – Furtherfield Gallery 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1078=142267>
‘Artists Re:thinking the Blockchain’ produced in collaboration with 
the experimental publishing group Torque and Liverpool University Press


Wedding Event Day 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1089=142267> - 
Blockchain special

Saturday 24 June 11am - 5pm, Furtherfield Gallery
Ever wanted to join your partner in bitcoin matrimony? Or wanted to 
join another partnership for a short time only? You’ve come to the 
right place. For this day only, you can record your short-term 
bitcoin union via H

[NetBehaviour] Opening tonight - NEW WORLD ORDER at Furtherfield Gallery

[ruth catlow]

 Location



Furtherfield Gallery
McKenzie Pavilion, Finsbury Park

London N4 2NQ
MAP 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1079=142267>





 Transport



Tube: Manor House, Finsbury Park
Buses: 141, 341, 153, 253, 254, 259, 29, 4, N253, N279, N29
Train: Finsbury Park, Harringay, Harringay Green Lanes stations




 About Furtherfield



Furtherfield 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1080=142267> was 
founded in 1997 by artists Marc Garrett and Ruth Catlow. Since then 
Furtherfield has created online and physical spaces and places for 
people to come together to address critical questions of art and 
technology their own terms.




Furtherfield is supported by Haringey Council and Arts Council England 
through the National Portfolio funding programme.






<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1081=142267>Furtherfield 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1080=142267> - 
A living, breathing, thriving network

for art, technology and social change since 1997





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Re: [NetBehaviour] Auto-Re: Annie Abrahams - Networked Conversations

[ruth catlow]

They only just signed up. So I think it's safe to assume.
They can always get in touch :)

On 06/05/17 12:44, Michael Szpakowski wrote:
Apparently it says 'Your mail has been received, thank-you!' ( no 
special knowledge, Google translate) so it's possible it's a vacation 
response or something...
Irritating, to be sure, but it would be a shame to remove someone 
until we're sure they don't want to be here...

cheers
m.



*From:* John Hopkins 
*To:* NetBehaviour for networked distributed creativity 


*Sent:* Saturday, May 6, 2017 12:35 PM
*Subject:* Re: [NetBehaviour] Auto-Re: Annie Abrahams - Networked 
Conversations


Can someone plz unsub this person...

On 06/May/17 04:19, xuchunx...@zjut.edu.cn 
 wrote:

> 邮件已收到，谢谢！
>徐春晓
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org 
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>


--
++
Dr. John Hopkins, BSc, MFA, PhD
hanging on to the Laramide Orogeny
twitter: @neoscenes
http://tech-no-mad.net/blog/

++

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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] Auto-Re: Annie Abrahams - Networked Conversations

[ruth catlow]

Thanks John,
Done.
We've been a way for a couple of days and this slipped through the net.

: /

R

On 06/05/17 12:34, John Hopkins wrote:

Can someone plz unsub this person...

On 06/May/17 04:19, xuchunx...@zjut.edu.cn wrote:

邮件已收到，谢谢！
徐春晓
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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.

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[NetBehaviour] Out now! Bad Shibe - A Sci-fi Novella by Rob Myers, illustrated by Lina Theodorou

[ruth catlow]

As a taster for our upcoming exhibition New World Order 
<http://www.furtherfield.org/programmes/exhibition/new-world-order>
*Furtherfield is proud to announce the publication of Bad Shibe - A 
Sci-fi Novella*
Story by Rob Myers, illustrations by Lina Theodorou, afterword by Ruth 
Catlow

<http://www.furtherfield.org/projects/bad-shibe-sci-fi-novella-rob-myers>
Bad Shibe - A Sci-fi Novella 
<http://www.furtherfield.org/projects/bad-shibe-sci-fi-novella-rob-myers>


FREE TO DOWNLOAD 
<http://www.furtherfield.org/projects/bad-shibe-sci-fi-novella-rob-myers>


Bad Shibe is a sci-fi novella set in a future society that may or may 
not be based on a descendant of the Dogecoin cryptocurrency, where it’s 
as hot and as dusty as a virtual money mining rig. A trusting young 
shibe called YS questions the basis of their utopia and their place 
within it and feels ... bad.


The story invites us to imagine what kind of society emerges when a 
system designed to verify the transfer of digital assets is combined 
with a world where reputation is based on "followers" and "likes". The 
story deals with the implications of a new wave of fully financialised 
planetary-scale automation and the struggle to discern right from wrong 
when human and machine agency merges.


Print edition offered for sale at £10 or equivalent cryptocurrency amount
(0.01BTC at time of printing but varying wildly)


This special print edition of Bad Shibe is a prequel for the upcoming 
book, Artists Re:Thinking the Blockchain. It is a collaboration between 
Torque and Furtherfield, connecting Furtherfield's Art Data Money 
project with Torque's experimental publishing programme.


Imagined as a future-artefact of a time before the blockchain changed 
the world, and a protocol by which a community of thinkers can transform 
what that future might be, the publication acts as a gathering and 
focusing of contemporary ideas surrounding this still somewhat mythical 
technology.



Lina Theodorou's illustrations are also featured in the exhibition New 
World Order 
<http://www.furtherfield.org/programmes/exhibition/new-world-order> at 
Furtherfield Gallery 19 May - 25 June 2017 where print copies of the 
book are offered for sale.



Cheers!

Ruth

--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] Job Opp: Festival & Touring Producer at AND festival

[ruth catlow]

Nice job opportunity here

===

*Job Opportunity: Festival & Touring Producer*
AND are looking for an experienced Producer to play a key role in AND’s 
Festival and Touring Programme. This exciting new role will be key to 
the development and delivery of the AND Festival 2017, its key 
commissions and subsequent national touring programme in 2017-18.


Salary : £24,000 (pro rata)
Contract:18 Month Fixed Term Contract (PAYE) Full-time May-Dec 2017, 
then part-time Jan-Aug 2018

Deadline:17:00 Monday 24 April 2017
Interviews: w/c 1st May 2017

Application Process: To apply, submit your CV (no more than 2 pages and 
including at least two referees) alongside a supporting statement (500 
words max) highlighting how your experience meets the skills and 
experience criteria outlined in the Job Description and where possible 
include links to online examples of your previous work relevant to this 
role.


For more information and to apply visit: 
http://www.andfestival.org.uk/blog/job-opportunity-festival-touring-producer/ 



===

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[NetBehaviour] Furtherfield Gallery: Offline is the New Luxury Exhibition Opening tomorrow with Alison Ballard

[ruth catlow]

Hello!

"Offline is the New Luxury" is both a true statement and the name of 
Alison Ballard's exhibition that opens tomorrow at Furtherfield Gallery.


Please join us 6-8pm for celebratory drinks on what promises to be a 
warm spring evening in the park.

Would love to see any of you who are within range of London

Also streaming every day, during opening hours: http://bit.ly/2mExQ0v
:)
Ruth

View e-mail in browser 
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<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1048=135818> 



<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1049=135818>


 /Offline is the New Luxury/ at Furtherfield Gallery



*07 – 16 April 2017
Thursday - Sunday, 11am-5pm or by appointment
Private view: Thursday 6 April, 6 - 8 pm
*



Alison Ballard presents /Offline Is The New Luxury, /a collection of 
works exploring our relationship with technology and the Internet. When 
daily encounters are increasingly mediated by online technology, how is 
this affecting our experience of live-ness, presence, and time?


With live streaming, instant replays and video chat technologies, 
concepts of time, space, and distance, are changing. We ‘hang out’ 
together online, we ‘live chat’ with computer algorithms, watch cat 
videos over and over again and share world political events as they 
happen, ‘in real time’. Contemporary Western culture has become 
now-centric. Social media offers more ways than ever to ‘go live’ 
meaning we no longer have to share our experiences with others in the 
past tense (a photograph we took on holiday or a video of the event we 
attended last week). Instead, we share our every moment instantaneously 
in a continuously unfolding now.


Through this exhibition, Ballard reflects upon the current state of 
hyper-reality; the context-collapse of the real and unreal, the 
distinction between what is simulated and what seems ‘real’, and invites 
us to reconsider our view of reality.


Streaming every day, during opening hours: http://bit.ly/2mExQ0v

*+ More info about the exhibition 
<http://furtherfield.org/programmes/exhibition/offline-new-luxury>*






 Location



Furtherfield Gallery
McKenzie Pavilion, Finsbury Park
London N4 2NQ
MAP 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1051=135818>





 Transport



Tube: Manor House, Finsbury Park
Buses: 141, 341, 153, 253, 254, 259, 29, 4, N253, N279, N29
Train: Finsbury Park, Harringay, Harringay Green Lanes stations




 About Furtherfield



Furtherfield 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1052=135818> 
was founded in 1997 by artists Marc Garrett and Ruth Catlow. Since then 
Furtherfield has created online and physical spaces and places for 
people to come together to address critical questions of art and 
technology their own terms.




*Furtherfield is supported by Haringey Council and Arts Council England 
through the National Portfolio funding programme.*






<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1053=135818>Furtherfield 
<http://crm.furtherfield.org/sites/all/modules/civicrm/extern/url.php?u=1052=135818> 
- A living, breathing, thriving network

for art, technology and social change since 1997

Click here 
<http://crm.furtherfield.org/civicrm/mailing/optout?reset=1=631=135818=4a1caa070564e918> 
if you no longer wish to receive this newsletter.


McKenzie Pavilion
Finsbury Park
London, N4 2NQ


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[NetBehaviour] FARM Workshop: Functional Art, Music, Modelling and Design, Oxford UK, 9th September 2017

[ruth catlow]

This came through from Alex to the Eu-gene mailing list
I don't know anything about FARM but I am intrigued.

May be of interest here too.

---Ruth

5th ACM SIGPLAN International Workshop on Functional Art, Music,
Modelling and Design
Oxford, UK, September, 9th 2017

Key Dates:

Submission deadline June 1, 2017
Author Notification July 1, 2017
Camera Ready July 13, 2017

Call for Papers and Demos:

The ACM SIGPLAN International Workshop on Functional Art, Music,
Modelling and Design (FARM) gathers together people who are harnessing
functional techniques in the pursuit of creativity and expression.  It
is co-located with ICFP 2017, the 22nd ACM SIGPLAN International
Conference on Functional Programming.

Functional Programming has emerged as a mainstream software
development paradigm, and its artistic and creative use is booming. A
growing number of software toolkits, frameworks and environments for
art, music and design now employ functional programming languages and
techniques. FARM is a forum for exploration and critical evaluation of
these developments, for example to consider potential benefits of
greater consistency, tersity, and closer mapping to a problem domain.

FARM encourages submissions from across art, craft and design,
including textiles, visual art, music, 3D sculpture, animation, GUIs,
video games, 3D printing and architectural models, choreography,
poetry, and even VLSI layouts, GPU configurations, or mechanical
engineering designs. Theoretical foundations, language design,
implementation issues, and applications in industry or the arts are
all within the scope of the workshop. The language used need not be
purely functional (“mostly functional” is fine), and may be manifested
as a domain specific language or tool. Moreover, submissions focusing
on questions or issues about the use of functional programming are
within the scope.

FARM 2017 website : http://functional-art.org/2017/

Submissions

We welcome submissions from academic, professional, and independent
programmers and artists.

Submissions are invited in three categories:

1) Original papers

We solicit original papers in the following categories:

- Original research
- Overview / state of the art
- Technology tutorial

All submissions must propose an original contribution to the FARM
theme. FARM is an interdisciplinary conference, so a wide range of
approaches are encouraged.

An original paper should have 5 to 12 pages, be in portable document
format (PDF), using the ACM SIGPLAN style guidelines and use the ACM
SIGPLAN template. [ http://www.sigplan.org/Resources/Author/ ]

Accepted papers will be published in the ACM Digital Library as part
of the FARM 2017 proceedings. See http://authors.acm.org/main.cfm for
information on the options available to authors. Authors are
encouraged to submit auxiliary material for publication along with
their paper (source code, data, videos, images, etc.); authors retain
all rights to the auxiliary material.

2) Demo proposals

Demo proposals should describe a demonstration to be given at the FARM
workshop and its context, connecting it with the themes of FARM. A
demo could be in the form of a short (10-20 minute) tutorial,
presentation of work-in-progress, an exhibition of some work, or even
a performance. Demo proposals should be in plain text, HTML or
Markdown format, and not exceed 2000 words. A demo proposal should be
clearly marked as such, by prepending Demo Proposal: to the title.

Demo proposals will be published on the FARM website. A summary of the
demo performances will also be published as part of the conference
proceedings, to be prepared by the program chair.

3) Calls for collaboration

Calls for collaboration should describe a need for technology or
expertise related to the FARM theme. Examples may include but are not
restricted to:

- art projects in need of realization
- existing software or hardware that may benefit from functional programming
- unfinished projects in need of inspiration

Calls for collaboration should be in plain text, HTML or Markdown
format, and not exceed 5000 words. A call for collaboration should be
clearly marked as such, by prepending Call for Collaboration: to the
title.

Calls for collaboration will be published on the FARM website.

Submission is via EasyChair

https://easychair.org/conferences/?conf=farm2017

Authors take note

The official publication date is the date the proceedings are made
available in the ACM Digital Library. This date may be up to two weeks
prior to the first day of your conference. The official publication
date affects the deadline for any patent filings related to published
work.

Questions

If you have any questions about what type of contributions that might
be suitable, or anything else regarding submission or the workshop
itself, please contact the organisers at:

farm-2...@functional-art.org

All presentations at FARM 2017 will be recorded. Permission to publish
the resulting video (in all probability on YouTube, 

[NetBehaviour] Up Projects: Commons, drones, gifs by Ruth Beale

[ruth catlow]

Ruth Beale commissioned by Up Projects - Using 'common' air space up to 
120ft over the land to fly a drone over a common - questions land 
ownership http://upprojects.cmail20.com/t/y-l-htzhrl-ykdugdjuy-o/


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[NetBehaviour] “MY INTENTION REALLY WAS TO DESTROY THE COMPETITION.”— CORNELIA SOLLFRANK

[ruth catlow]

Checkout Cyberfeminist intervention Female Extension (1997) by Cornelia 
Solfrank

Courtesy of Rhizome's netart anthology

http://anthology.rhizome.org/female-extension

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Re: [NetBehaviour] test

[ruth catlow]

ahoy!
On 28/02/17 13:01, Michael Szpakowski wrote:

test


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www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] Armin Medosch remembered by Sarah Cook, me, and on NEW-MEDIA-CURATING Digest

[ruth catlow]

Hi all,

An excellent memorial to Armin (pasted below) from Sarah Cook. Along 
with an account by him, of his own work.


In his account he refers to PLENUM - Public Ruling Tournament For a 
Network Usurpation Module. The link he gives is no long active - 
agh! - but there is a reference to it here 
.


I attended PLENUM, a 12 hour long, participatory evaluation opera 
devised by artist Shu Lea Cheang with Armin Medosch and also Ilze Black, 
in the cavernous, grimey and charismatic Limehouse Town Hall, in London 
in March 2006.


It was the closing event for NODE.London a media arts festival of 
networked, open, distributed events. Inspired by the Free Open Source 
Software movement NODE.London was an experiment in consensual, 
transparent organisation by 80 volunteers from organizations of 
different scales and degrees of establishment across London.


PLENUM was billed as a "workout session about issues which affect 
self-organising communities". But somehow it vied for status as the 
official evaluation event for the festival, which had received Arts 
Council funding and therefore needed to give an account of itself.


In a series of improvised acts participants were dragooned into giving 
“feedback” using microphones positioned in a pugilistic arrangement at 
the four corners of a boxing ring. Opinions and controversies were 
recorded by conscientious note takers while a Delphic group of 
electronic sound artists assaulted our ears and our sanity with 
amplified grinding, whistling and square-wave sounds.


"Whereas self-organising groups often claim to be open and transparent, 
hidden social group dynamics come into play. But how autonomous and open 
can we really be? Who is setting the agenda?"


The whole affair was a call for precision in process and polemics AND at 
the same time an exuberant assertion of the absurdity of devising 
metrics for valuing art, especially networked art, for outside agencies. 
While it was almost certainly intended as a critique of the festival 
organisers (Armin was painfully critical and openly  disparaging about 
the efforts of organisers) it also bemoaned the baleful influence of all 
official art-valuing processes on the art that will get made.This 
remains an ongoing tension art funders and and for artists for who value 
autonomy and for whom the production of new, wilder and more diverse 
subjectivities must remain the goal.


Memories of PLENUM keep this question alive. Which is brilliant.

Armin you were a substantial, difficult and brilliant man and we are all 
so sad you're gone!


: (
Ruth


 Forwarded Message 
Subject:NEW-MEDIA-CURATING Digest - 21 Feb 2017 to 24 Feb 2017 
(#2017-24)
Date:   Sat, 25 Feb 2017 00:01:55 +
From:   NEW-MEDIA-CURATING automatic digest system 
Reply-To: 	Curating digital art - www.crumbweb.org 


To: new-media-curat...@jiscmail.ac.uk



There is 1 message totaling 187 lines in this issue.

Topics of the day:

  1. Armin Medosch d.2/23/2017

--

Date:Fri, 24 Feb 2017 12:28:08 +
From:"Sarah Cook (Staff)"
Subject: Armin Medosch d.2/23/2017

Dear CRUMB list
with a heavy heart I write to let you know of the passing of one of CRUMB's 
longtime supporters and first subscribers, Armin Medosch, who died yesterday.
Armin was based in Vienna and was initiator of the Technopolitics working 
group, who at the Transmediale in Berlin earlier this month released their 
Timeline of Information Society. Not long ago in October, he spoke in New York 
with Rhizome about this new book New Tendencies – Art at the Threshold of the 
Information Revolution (1961-1978), published in June 2016, at MIT Press. This 
book was based on his doctoral thesis at Goldsmiths (2012), a case study of the 
international movement New Tendencies. Armin was an artist, curator and scholar 
whose work since the 1980s addressed art and technology as well as art and 
science practices. His essay “Shockwaves” is in the Companion to Digital Art 
(2016), edited by Christiane Paul. I remember well his longtime support of the 
London media art scene through our affiliation with the University of Openess.
The fine folk at Monoskop have got a page up with links to his work and 
writings:https://monoskop.org/Armin_Medosch
I'd urge you all to read his work and remember this kind and generous man with 
fondness and respect.
He described himself as a dinosaur of media art. Perhaps this is right and 
people will remember him for a long time to come. I paste below one of his 
messages to CRUMB from about a decade ago, in which he describes some of his 
early projects in open source culture.
yours,
Sarah





Begin forwarded message:

From: Armin Medosch >
Subject: Re: Open source first 

[NetBehaviour] Lighthouse job

[ruth catlow]

Nice Job - Artistic Director at Lighthouse

http://www.lighthouse.org.uk/news/artistic-director-opportunity--2

 : D

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[NetBehaviour] 3-5pm tomorrow - Superdiversity: Picturing Finsbury Park exhibition at Furtherfield Gallery

[ruth catlow]

Dear All,

You are invited to the opening of our exhibition 3-5pm tomorrow.

It is the culmination of a research residency by artist and cultural 
geographer, Katherine Stansfeld.


Superdiversity: Picturing Finsbury Park 
 
questions what the area means for different people. It is an exploration 
of what place and difference mean in the context of a neighbourhood in 
today’s London, a global city. It attempts to re-socialise ‘the map’ 
through a social research practice.


See you there

Cheers!
Ruth and the FF gang


--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] Fwd: Faculty opening in creative programming

[ruth catlow]

This looks like a great job, in a really great Academic department .
If anything would tempt you to move to the US!


Dear friends,

I hope you've survived the unprecedented insanity that 2017 has 
delivered thus far. A bright note from my backyard has been news that my 
New Media department is hiring a tenure-track faculty member in creative 
programming.


We're looking for a candidate with strong skills in Web, mobile, and/or 
game development. Classes will take place in our new $10M facility, 
chock full of 3d printers, lasercutters, 360-degree projection rooms, 
and soon an environment dedicated to Augmented and Virtual Reality. 
Support for the position includes UMaine's expanding initiatives like 
Programming Across the Curriculum and Just-in-time Learning, a bottom-up 
approach that integrates interactive video tutorials into learning in 
and outside of class.


Anyone interested should visit:

http://UMaineNewMedia.org/new-media-position

If you know someone who does cool stuff with code and would enjoy 
helping others learn how, please forward this email or have them find me 
on Twitter. I will also be happy to meet candidates in New York anytime 
during the College Art Association, i.e., Wednesday 15th through 
Saturday 18th February.


Good luck with your own projects in the coming year!

jon

__
Jon Ippolito
Professor and Program Coordinator, New Media
Co-director, Still Water
Director, Digital Curation graduate program
Does Anyone Actually Read These Titles
The University of Maine
IMRC Center, Rm 101
5785 Stewart Commons
Orono, ME  04469-5785
207.581.4389
http://UMaineNewMedia.org
jippol...@maine.edu 
Twitter: @jonippolito

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Re: [NetBehaviour] Valentine’s Day 2017 aPS

[ruth catlow]

*<3
*
*<3
*
*<3

*On 14/02/17 05:38, Anthony Stephenson wrote:


http://anthonystephenson.org/art/xo.html


​


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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] inter - intra - action

[ruth catlow]

Hi Annie,

I appreciate both this and your previous post on Agency Art 
very much. I 
have yet to properly read the two articles you shared. You asked in your 
previous email, why Agency Art had not gained more traction. At first 
scan I think that the practices of Agency Art are full of riches but the 
name has unfortunate connotations in relation to commercial culture - if 
you search the term online it returns pages of links to advertising 
agencies.


I especially appreciate how Barad's intra-action offers a new way to 
think about how new groups and exclusions are established and reveals 
how difference get made and unmade. It also suggests to me that we can 
take the effect on viewers/audiences as part of the materials of the 
work (in this way it moves on the thinking suggested by 'Agency Art' 
which separates the artistic intention from the effect).


Also very timely,

I will spend more time with this stuff Annie.

Thank you

Ruth

On 13/02/17 09:55, Annie Abrahams wrote:

Hi netbehaviourists,

/Interaction was the word I used 20 years ago when I talked about my 
work in hypertext. Today I need other words: one word, I already wrote 
about it in my last post, is *Agency Art*. Another might be 
*Intra-action*. This word could be usefull to analyze my works of 
collaborative performance art, where it is not really clear what is 
causing what, where the agency is – not between clearly distinguisable 
entities, but coming from within a whole, where server conditions, 
individual computers, webcam and sound devices, as well as the voices 
and images of the co-performers, local light conditions and family 
situations are all entangled in what Barad would call the phenomenon./

From https://aabrahams.wordpress.com/2017/02/06/inter-intra-action-eng/

I am not done with these yet. Somewhere soon hopefully something more 
concrete on Agency Art and maybe Bohrian Apparatusses.


**
All the best
Annie*
*

--

/I like the concept of *Agency Art* because it doesn’t take any 
technology or medium as it’s starting point, but puts what these make 
possible in the foreground./*

*https://aabrahams.wordpress.com/2017/01/26/agency-art/

J’aime beaucoup la notion d'*Agency Art*, parce que elle ne prend pas 
un medium, ou une technologie comme point de départ, mais met en avant 
ce que celles-ci rendent possible.
https://aabrahams.wordpress.com/2017/02/07/inter-intra-action-fr/ 




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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] Hannah Arendt now

[ruth catlow]

This discussion about Hannah Arendt offers a welcome lens on the current 
political situation: on thought, identity, evil as a fungus, and the 
conditions for totalitarianism (including the subjection of human 
dissent by bureaucracy).

A timely gift!
http://www.bbc.co.uk/programmes/b08c2ljg

~ Ruth
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[NetBehaviour] Fwd: Curators' Professional Development short course London, and Funded PhD studentships

[ruth catlow]

Of interest?


CURATING ART AFTER NEW MEDIA - PROFESSIONAL DEVELOPMENT COURSE  
http://www.macurating.net/shortcourse.htm

26 Feb - 4 Mar 2017, Central London

In 2014-16 this course ran with curators from Hong Kong, India, Turkey, 
Austria, France, The Netherlands, Ireland, USA and the UK.
This intensive week-long course in London includes visits to discuss with 
curators at:

V, Tate, Iniva, Carroll/Fletcher, ODI (Open Data Insitute), furtherfield, 
Wellcome Collection.

--

AHRC-FUNDED PHD STUDENTSHIPS IN ART AND DESIGN
Details: 
http://www.sunderland.ac.uk/research/newsevents/news/news/index.php?nid=4281

Digital Art / Curation: contact Professor Beryl Graham
Design (Sunderland): contact Professor Beryl Graham or Dr. Andrew Richardson

Application deadline - 6th March 2017.
Interviews - week commencing 3 April, 2017

Do feel free to chat to me informally if you are interested in full-time or 
part-time research. Please note that these studentships have some UK residency 
requirements - see RCUK's CONDITIONS OF RESEARCH COUNCIL TRAINING GRANTS 
Student Funding Guide pages 11-12. 
http://www.rcuk.ac.uk/documents/documents/termsconditionstraininggrants-pdf/

Yours,

Beryl




Beryl Graham, Professor of New Media Art
CRUMB web resource for new media art curators http://www.crumbweb.org
Research Student Manager, Art and Design
MA Curating Course Leader http://www.macurating.net

Faculty of Arts, Design, and Media, University of Sunderland
The David Puttnam Media Centre, St Peter's Way, Sunderland, SR6 0DD  Tel: +44 
191 515 2896

New Collecting: Exhibiting and Audiences, Ashgate. http://www.ashgate.com/
Rethinking Curating: Art After New Media, MIT Press. 
http://mitpress.mit.edu/books/rethinking-curating

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[NetBehaviour] Fwd: #exstrange: skype portrait, programmed leisure, +

[ruth catlow]

I like the look of this by the splendid Marialaura and Rebekah.
Haven't played with it yet - anyone else here?

:)
R
#exstrange: skype portrait, programmed leisure, +

 




 #exstrange
 

 with a stranger.

Week 2 artworks now on #exstrange 
.
Join the show. Post questions to artists on eBay auctions. Bid. Post 
your own auction/artwork 
.


 


*TRAINING OK GOOGLE*
Artist: Abhishek Hazra

 


*SKYPE PORTRAIT*
Artist: Renuka Rajiv

 


*INDIA IS LOST*
Artist: Yogesh Barve

 


*SLAP IN THE FACE*
Artist: Lanfranco Aceti

 


*ALGORITHM ROMANCE*
Artist: Sophia Brueckner

 


*PROGRAMMED LEISURE*
Artist: Silvio Lorusso

 


*MISSING EVIDENCE*
Artist: Beat Officer, Lucy Pawlak

 


*MEDAL PROTOTYPE*
Artist: Meaney + Lee

 


*#EXSTRANGE HOME*


 



 



 




/Copyright ©#exstrange_2017, All rights reserved./

*Our mailing address is:*
http://www.exstrange.com

Want to change how you receive these emails?
You can update your preferences 
 
or unsubscribe from this list 
 









This email was sent to ruth.cat...@furtherfield.org 

/why did I get this?/ 
 
unsubscribe from this list 
 
update subscription preferences 
 


#exstrange · 817 16th Cross Road, Block A · Bangalore 560083 · India

Email Marketing Powered by MailChimp 
 



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Re: [NetBehaviour] Tech meet performance meet science meet you

[ruth catlow]

Hi Joumana,
Thanks for sharing this with us.
Do we use the #OrbitsProcess hashtag to respond to your question /When 
do you feel most connected to the universe?


:)
R
/
 On 21/01/17 07:51, Joumana Mourad wrote:

Dear friends colleagues


Join us online on January 23rd, 24th, or 25th at 14:00 GMT and 19:00 
GMT I hope that you and your students or friends will join live from 
the comfort of your seat, interacting with us as we perform our latest 
piece, Walk Into Space:


Join us on Open Online Theatre 
http://www.openonlinetheatre.org/co-creation/ 
.



*How does it work? *


To be involved, simply login to Open Online Theatre and share your 
responses to the question:/When do you feel most connected to the 
universe?/


*/Share your ideas with us/*

Facebook:**https://www.facebook.com/groups/orbitsprocess/ 



Twitter:**@IJADDance 

E-mail: he...@ijaddancecompany.com 

Than watch all your answers and interactions 
http://www.openonlinetheatre.org/co-creation/ 
 on the 23rd, 24th, and 
25th to see the performance evolve.


_We are looking forward to receiving your contributions before 23rd 
January 2017._


Alternatively,* join us in person* - public performances are at 2pm 
and 7pm on January 23th, 24th, and 25th FACT in Liverpool. See here 
for information: 
http://www.fact.co.uk/whats-on/current/walk-into-space.aspx?when=next7days 



I hope you can make one of them online or physically.

Let me know if you need more details.

All the best


Joumana Mourad
Artistic Director
Tel: 07930 378 639
joum...@ijaddancecompany.com 
IJAD Dance Company
Registered Charity: 1080776 
www.ijaddancecompany.com 
@IJADdance
Facebook: IJAD Dance Company page


Support IJAD
https://www.giveasyoulive.com/join/IJAD



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Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] 'A WORLD WHICH IS FRAGILE’ by Markus Soukup at the Widget Art Gallery, January 20 - March 20 2017.

[ruth catlow]

A timely and touching piece of work.
Thanks!

Ruth

n 21/01/17 08:47, Chiara Passa wrote:

Dear friends & colleagues,

Hope this finds you well.
I'm glad to present 'A WORLD WHICH IS FRAGILE’ by Markus Soukup, at 
the Widget Art Gallery, January 20 2016 - March 20 2017.
The Widget Art Gallery http://www.chiarapassa.it/wag is a Web-App 
cross-device, just save the WAG icon on your mobile!
Always available the osx-dashboard version at 
http://www.chiarapassa.it/TheWidgetArtGallery.html 
 Enjoy the show!


Best regards, Chiara Passa


About the WAG:

Due to our needs that seem to be increasingly handheld, WAG was born 
on 2009! The Widget Art Gallery is a pioneering-format I made to show 
digital art. The WAG is a mini single art gallery room fitting into 
people's pocket that every month hosts a solo digital art exhibition 
related to its dynamic site-specific context. So the WAG works both as 
a sort of kunsthall showing temporary exhibitions and also as museum 
conserving all the past shows inside an online archive that creates a 
permanent collection.
WAG website http://www.chiarapassa.it/TheWidgetArtGallery.html 



About the artwork:

'A WORLD WHICH IS FRAGILE’ by Markus Soukup, 20 January - 20 March 2017.

A WORLD WHICH IS FRAGILE is a site specific animation project that the 
artist developed for the net-based Widget Art Gallery. The 
gif-animation comprises of a 2D and typographic animation loop 
contemplating about the current situation [and trying to find hope] in 
a time characterized by tension, conflict, societal regression and 
climate change. 
Markus Soukup is a media artist living and working in 
London. www.toofastproduction.co.uk 




--
Chiara Passa - media artist
chiarapa...@gmail.com 
http://www.chiarapassa.it







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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] on Art and Finance

[ruth catlow]

Hello All,

Our collaboration with Brett Scott on Building the Activist Bloomberg is 
featured in the latest issue of the Journal of Finance and Society. 
http://financeandsociety.ed.ac.uk/article/view/1727/2229


More about the special Issue on ART AND FINANCE
Edited by Suhail Malik and Gerald Nestler

"The editorial premise of this special issue is that the adage ‘art and 
money do not mix’ is now wholly untenable. As detailed in our extended 
interview with Clare McAndrew, the art market has grown rapidly over the 
last twenty years, leading to systemic and structural changes in the art 
field. For some, this growth of the market and its significance for art 
is an institutional misfortune that, for all of its effects, is 
nonetheless inconsequential to the normative claim that art and money 
shouldn’t mix. This commonplace premise looks to keep the sanctity or 
romance of art from the business machinations of market mechanisms, as 
eloquently summarised by Oscar Wilde’s definition of cynicism (‘knowing 
the price of everything and the value of nothing’).


This issue repudiates that normative moral code, and precisely for the 
reasons just stated: by now, the interests of the art market permeate 
all the way through the art system. The interests of the art market 
shape what is exhibited and where; what kinds of discourse circulate 
around which art (or even as art) and in what languages; and what, in 
general, is understood to count as art. In short, the art market – 
comprising mainly of collectors, galleries and auction houses – is now 
the primary driver in what is valuable in art."


see more details of the NY launch here 
http://p-exclamation.com/programs/launch-reception-and-film-screening/

details of the London launch to follow.

Journal link:
http://dx.doi.org/10.2218/finsoc.v2i2


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[NetBehaviour] Stranger Collaborations, Art Projects Screening Room at London Art Fair

[ruth catlow]

Hello,

Michael, Annie, Liz Sterry, Emile and Maxime, and I are featured in this 
exhibition - Stranger Collaborations 
 
- as part of London Art Fair this week.


See info below.

All the best

Ruth

ART PROJECTS SCREENING ROOM

The radical development fostered by net art was the possibility that 
artists who had never met to nonetheless be inspired by, use and remix 
each other’s work. Hosted in the Art Projects Screening Room, ‘Stranger 
Collaborations 
’ 
is an exhibition featuring artworks that in some way wouldn’t have been 
possible without the collaborations formed via the internet, showing how 
strangers can, sometimes even unknowingly, create an artistic 
partnership online.


The artworks of Annie Abrahams and Liz Sterry create temporary 
communities that are ‘safe spaces’ in which socially-proscribed 
behaviours – such as public anger or private alcohol consumption – are 
accepted and even embraced. In Abrahams’ ‘Angry Women’ series, people 
who met via the internet come together to both vent their frustrations 
and explore the power of anger, while Sterry’s ‘Drinking Alone with the 
Internet’ documents a succession of online performances in which the 
artist put out an open call for internet users to join her in dressing 
and drinking like a Star Wars character, creating a virtual party in 
which everyone is both together and very much alone.


The practices of Michael Szpakowski and the art duo Émilie Brout & 
Maxime Marion appropriate the creations of others, individuals whose 
identities usually remain anonymous and who probably never expected 
their works to be re-presented as constituents of a work of art. 
Szpakowski’s ‘Shit Happens in Vegas’ remixes images from Google Street 
View to stage a vicarious cruise through Las Vegas and Brout & Marion’s 
‘Gold and Glitter’ is a shimmering, largescale projection comprising 
several hundred golden animated GIFs sourced from the internet.


As the technology of the internet develops, so do the types of 
collaboration that it enables. Ruth Catlow’s Time Is Speeding Up is an 
online video created in real time with the participation of visitors to 
the Screening Room, which is then authenticated using the anonymous, 
distributed network of the blockchain.



Curated by Pryle Behrman, ‘Stranger Collaborations’ runs throughout 
London Art Fair in the Art Projects Screening Room on Gallery Level 1.



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Re: [NetBehaviour] hope against hope (new video)

[ruth catlow]

Thanks Donna,
An excellent mashup for current times.
:)
R


On 20/12/16 19:34, donna kuhn wrote:

https://youtu.be/Rfs3abtPZFI
http://digitalaardvarks.blogspot.com 


http://www.youtube.com/user/digitalaardvarks
http://www.facebook.com/donnakuhnart
https://www.flickr.com/photos/donnakuhn 

http://picassogirl.tumblr.com 


https://twitter.com/digitalaardvark
https://plus.google.com/+digitalaardvarks 


https://www.linkedin.com/in/donnakuhn
http://www.saatchionline.com/donnakuhn
http://pinterest.com/sarcas tr
https://soundcloud.com/donna-kuhn/tracks





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Re: [NetBehaviour] I saw this from Annie. It made me sad...and curious

[ruth catlow]

Hello

We (Marc, I and the Furtherfield crew) are in a process of major 
organisational review at the moment. We are reworking out how to value 
what we all do by trying out new lenses, tools and strategies in 
response to inevitable changes to our environment (political, social 
physical, psychic etc).  Some of these changes are more bewildering and 
apparently twisted than others.


The thinking and feeling that you have all done here (on this occasion 
prompted by Annie - thanks Annie) is super-helpful.


I don't have anything much to add, other than an aim for greater 
precision in all things organisational, political and artistic. Always 
looking for the sweet spot of emancipatory AND sustaining approaches.


Warmly
Ruth



On 13/12/16 21:27, Alan Sondheim wrote:

On Tue, 13 Dec 2016, Patrick Lichty wrote:



However, I think that the world is entering a very tense, even dark 
time, and in an Adorno-esque way, perhaps it is good to consider what 
being committed as artists means again.




It means at the least, not being committed, which in Trump's Amerikkka 
is a very real possibility. -

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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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[NetBehaviour] I saw this from Annie. It made me sad...and curious

[ruth catlow]

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Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] chapter on "We have a situation!" in book on global civic engagement

[ruth catlow]

Thanks Helen,

I've got this queued up and am ready to pounce on this link :)

In my view "We have a Situation" is a very important project. It goes 
deep, and involves people creatively with the work of co-constructing 
and performing rhetoric on political topics that directly impact their 
lives. It's at the other end of the continuum of online activism from 
social media clicktivism.


best
Ruth


On 05/12/16 17:39, helen varley jamieson wrote:


hi everyone,

my chapter "We have a Situation! Cyberformance and Civic 
Engagement in Post-Democracy" is about to be published in the book 
"Convergence of Contemporary Art, Visual Culture, and Global Civic 
Engagement", edited by Ryan Shin.


the chapter documents the political cyberformance project "We have a 
situation!", specifically focusing on the "situation" in Rio de 
Janeiro last year (which looked at the water pollution crisis in the 
context of the build-up to the olympics), & examines how cyberformance 
can promote proto-political engagement and post-democratic citizen 
activism (with a look at how mainstream social media is NOT doing this).


the publishers are offering a 3-day free access period to promote the 
book, from tuesday 6 december. if you are interested, you can find it 
at the following link: 
http://services.igi-global.com/resolvedoi/resolve.aspx?doi=10.4018/978-1-5225-1665-1


the official info is this:

IGI Global is allowing the research community to access the 
publication I contributed to, /Convergence of Contemporary Art, 
Visual Culture, and Global Civic Engagement, / for the next three 
days!//Starting Tuesday, December 6th, 2016, the entire publication 
will be open and free to access through IGI Global’s InfoSci® 
Platform. Electronic access will close on Thursday, December 8th, 
2016, at 11:59 pm EST. Please follow the link below to take advantage 
of this unique opportunity. Upon entering the platform, please simply 
create an account and log in, or log in with a preexisting account.


*Access the content at the following link: 
http://services.igi-global.com/resolvedoi/resolve.aspx?doi=10.4018/978-1-5225-1665-1*


After reviewing this content, please consider recommending the title 
to your library. If you have any questions or concerns, you may 
contact the IGI Global Marketing Department at 
market...@igi-global.com . 

enjoy!
helen : )
--
helen varley jamieson
he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.upstage.org.nz

*We have a situation, Coventry! *
24 November 2016



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Furtherfield is the UK's leading organisation for art shows, labs, & 
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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] FW: NetBehaviour Digest, Vol 2912, Issue 1

[ruth catlow]

On 30/11/16 09:47, Charlotte Elizabeth Webb wrote:


Last night I was watching Astra Taylor give a keynote for the 2016 
Rhizome Seven on Seven event <https://vimeo.com/169714504>, and she 
made a good point that 'purity' re: Facebook (i.e. not being there on 
principle) is counter-effective when it comes to political organising, 
because it is simply where the people are.



We're people here too ; )



X Charlotte




*From:* netbehaviour-boun...@netbehaviour.org 
<netbehaviour-boun...@netbehaviour.org> on behalf of AGF poemproducer 
<a...@poemproducer.com>

*Sent:* 30 November 2016 09:23
*To:* NetBehaviour for networked distributed creativity
*Subject:* Re: [NetBehaviour] FW: NetBehaviour Digest, Vol 2912, Issue 1
Alan, leave facebook and keep posting

agee


On 30 Nov 2016, at 11:11, x <mis...@spell.blue 
<mailto:mis...@spell.blue>> wrote:


Utterly agree here with Michael, Ruth, and I suspect many others, and 
others I've missed.


Will def miss Alan's stuff if it were on FB as FB isn't going to be 
on my network anytime soon.

+
Alan,  if most posts went to FB, would it not be an illustration of 
how the "feed-bubble" is wrapping goo over mindful attention spans?

Alan --> Please Don't Go!

Perhaps my time recall requires an apology, was it not only a few 
months back when we've discussed how NB could be at times so many 
people use the fb. I think neterarti came as a response to that 
conversation?


Surely, when a person - or just me (?) - signs up to a mailinglist, 
it's with Otherness within a certain range that you go for? Other 
rather than a bubble? And by extension, a bit of Adorno's notion of 
"art" as un-able to be entertaining, "art" as a radical that 
constantly links away from cultural comforting beats?


Cheers!

aharon
xxx

November 30 2016 8:51 AM, "ruth catlow" <ruth.cat...@furtherfield.org 
<mailto:%22ruth%20catlow%22%20%3cruth.cat...@furtherfield.org%3E>> 
wrote:


Agreed!
Same!
Alan, You are the highly valued artistic "ping" of Netbehaviour.

It's been a while - but there have been times when many more of
us posted work regularly.

I for one would love to what Netbehaviour people are up to on a
more daily basis.
If it wasn't for Annie's post last week, I would not have got to
experience the networked "feeling" experiment hosted by The
Nunnery Gallery last week- which changed the way I listen to
machines.

Please people, don't hold back.

Ruth
On 30/11/16 08:18, Michael Szpakowski wrote:

Please don't cut down Alan. People are grown ups and can
exercise some choice as to what they view.
I don't look at everything you post by any means but I'm glad
it's there.
michael


*From:* Alan Sondheim <sondh...@panix.com>
<mailto:sondh...@panix.com>
*To:* NetBehaviour for networked distributed creativity
<netbehaviour@netbehaviour.org>
<mailto:netbehaviour@netbehaviour.org>
*Sent:* Tuesday, November 29, 2016 11:21 PM
*Subject:* Re: [NetBehaviour] FW: NetBehaviour Digest, Vol 2912,
Issue 1



I'm cutting back on my posts on Nb; I don't want to be either a
nuisance
or feel responsible for unsubbing. I'll post every few days w/
urls; the
usual daily sludge will be on Fb -

- Alan

==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org <http://www.alansondheim.org/>/
cell 718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/uh.txt
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Furtherfield is the UK's leading organisation for art shows,
labs, & debates
around critical questions in art and technology, since 1997

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
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[NetBehaviour] And following my own advice! LARP alert

[ruth catlow]

We are on our way to Moneylab to run a Live Action Role play in which 
*people will (we hope) learn to create DAOs (blockchain-based 
organisations called Decentralised, Autonomous Organisations) and play 
out the emotional and social dynamics of producing a DAO- and so any 
alliance of people with diverse interests, stakes and values. * **Check 
it **http://www.furtherfield.org/projects/road-budgetary-blockchain-bliss


:) R


On 30/11/16 08:18, Michael Szpakowski wrote:
Please don't cut down Alan. People are grown ups and can exercise some 
choice as to what they view.

I don't look at everything you post by any means but I'm glad it's there.
michael



*From:* Alan Sondheim 
*To:* NetBehaviour for networked distributed creativity 


*Sent:* Tuesday, November 29, 2016 11:21 PM
*Subject:* Re: [NetBehaviour] FW: NetBehaviour Digest, Vol 2912, Issue 1



I'm cutting back on my posts on Nb; I don't want to be either a nuisance
or feel responsible for unsubbing. I'll post every few days w/ urls; the
usual daily sludge will be on Fb -

- Alan

==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 
718-813-3285

music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/uh.txt
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Furtherfield is the UK's leading organisation for art shows, labs, & 
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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] FW: NetBehaviour Digest, Vol 2912, Issue 1

[ruth catlow]

Agreed!
Same!
Alan, You are the highly valued artistic "ping" of Netbehaviour.

It's been a while - but there have been times when many more of us 
posted work regularly.


I for one would love to what Netbehaviour people are up to on a more 
daily basis.
If it wasn't for Annie's post last week, I would not have got to 
experience the networked "feeling" experiment hosted by The Nunnery 
Gallery last week- which changed the way I listen to machines.


Please people, don't hold back.

Ruth
On 30/11/16 08:18, Michael Szpakowski wrote:
Please don't cut down Alan. People are grown ups and can exercise some 
choice as to what they view.

I don't look at everything you post by any means but I'm glad it's there.
michael



*From:* Alan Sondheim 
*To:* NetBehaviour for networked distributed creativity 


*Sent:* Tuesday, November 29, 2016 11:21 PM
*Subject:* Re: [NetBehaviour] FW: NetBehaviour Digest, Vol 2912, Issue 1



I'm cutting back on my posts on Nb; I don't want to be either a nuisance
or feel responsible for unsubbing. I'll post every few days w/ urls; the
usual daily sludge will be on Fb -

- Alan

==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 
718-813-3285

music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/uh.txt
==
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Re: [NetBehaviour] next Thursday cyberformance evening Connect

[ruth catlow]

ahem...
this photo http://www.somewhere.org.uk/broadcast/pilgrims/ruth/cloud.htm

On 21/11/16 15:37, ruth catlow wrote:

Dear Annie,

I look forward to seeing this.

This connects with personal history for me.
Marc and I worked at Bow Arts in the early days, and I participated 
with the first 'Visions in the Nunnery' series back in 1996.
This photograph - of a sculpture that I made called "The Cloud of 
Unknowing" was taken in the attic of the Nunnery.

http://www.somewhere.org.uk/broadcast/pilgrims/ruth/cloud.htm
I hope to go back there this week to enjoy your performance.

Ruth


On 20/11/16 10:59, Annie Abrahams wrote:


Hi netbehaviourists,

Thursday 24 Nov. at 6.30 pm London time. (Timeconvertor 
<http://www.worldtimeserver.com/convert_time_in_GB.aspx?y=2016=11=24=18=30> 
for other places) you can join Daniel Pinheiro, Lisa Parra and me 
online in Distant FeelingS #3D <http://bram.org/distantF/>


*You can participate in this digital mindfulness experiment *using 
your webcam
by Downloading the zoom.us application <https://zoom.us/download> – 
desktop or other devices – and “Join meeting” using the link or 
number we will provide soon on the distant feelings websites here 
<https://aabrahams.wordpress.com/2016/11/14/distant-feelings-3-visions-in-the-nunnery/> 
and here 
<http://landproject.tumblr.com/post/153347267099/distant-feelings-3-visions-in-the-nunnery>.


*Distant FeelingS #3* is part of VisionS in the Nunnery 
<http://bowarts.org/nunnery/programme-2-launch-event> Programme 2 Launch.

Curated by Tessa Garland and Cinzia Cremona.
The Nunnery, 181 Bow Road, London E3 2SJ.

visions_002

/How does it feel to share an interface with eyes closed and no talking?/

*At the Nunnery* you can assist in two more performances by Cinzia 
Cremona**and Natalia Skobeeva. (from 6pm)


Natalia Skobeeva’s /Siri /explores the fact that code is a life form, 
a life form that is created by humankind. Skobeeva’s performance 
enables artificial intelligence, as well as non-human and 
non-biological forms, a platform. Annie Abrahams, Daniel Pinheiro & 
Lisa Parra’s /Distant Feeling(s)/ is an online performance series in 
which Daniel Pinheiro in Porto, Annie Abrahams in Montpellier and 
Lisa Parra in New York experiment “distanced feeling” together in an 
interface normally used for videoconferencing. They experiment an 
online séance where the main goal is to experience the others’ 
presence with their eyes closed and no talking allowed. Together they 
try to get a grip on what, why and how energy flows when bodies are 
absent in online performance situations. In Cinzia Cremona’s, /By 
Invitation Only/ a meal is shared by sitting around the same table in 
person and on screen, experimenting with hybrid connections, 
conversations, flows, forms of intimacy and materiality, textures and 
relationships. Bodies are present with different intensities as the 
flavours and textures of the shared food alters the perception of 
materiality and proximity.


*Online* you can continue at 7pm by connecting to the UpStage 
platform for "We have a situation, Coventry! 
<http://www.wehaveasituation.net/?page_id=1414>" by Rachelle Viader 
Knowles, Helen Varley Jamieson and students of the Coventry University.


I hope to (not) see, (not) hear but feel you online next Thursday.
Annie

*Can we be mindful online?*/


/

**


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Furtherfield is the UK's leading organisation for art shows, labs, & 
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Re: [NetBehaviour] next Thursday cyberformance evening Connect

[ruth catlow]

Dear Annie,

I look forward to seeing this.

This connects with personal history for me.
Marc and I worked at Bow Arts in the early days, and I participated with 
the first 'Visions in the Nunnery' series back in 1996.
This photograph - of a sculpture that I made called "The Cloud of 
Unknowing" was taken in the attic of the Nunnery.


I hope to go back there this week to enjoy your performance.

Ruth


On 20/11/16 10:59, Annie Abrahams wrote:


Hi netbehaviourists,

Thursday 24 Nov. at 6.30 pm London time. (Timeconvertor 
 
for other places) you can join Daniel Pinheiro, Lisa Parra and me 
online in Distant FeelingS #3D 


*You can participate in this digital mindfulness experiment *using 
your webcam
by Downloading the zoom.us application  – 
desktop or other devices – and “Join meeting” using the link or number 
we will provide soon on the distant feelings websites here 
 
and here 
.


*Distant FeelingS #3* is part of VisionS in the Nunnery 
 Programme 2 Launch.

Curated by Tessa Garland and Cinzia Cremona.
The Nunnery, 181 Bow Road, London E3 2SJ.

visions_002

/How does it feel to share an interface with eyes closed and no talking?/

*At the Nunnery* you can assist in two more performances by Cinzia 
Cremona**and Natalia Skobeeva. (from 6pm)


Natalia Skobeeva’s /Siri /explores the fact that code is a life form, 
a life form that is created by humankind. Skobeeva’s performance 
enables artificial intelligence, as well as non-human and 
non-biological forms, a platform. Annie Abrahams, Daniel Pinheiro & 
Lisa Parra’s /Distant Feeling(s)/ is an online performance series in 
which Daniel Pinheiro in Porto, Annie Abrahams in Montpellier and Lisa 
Parra in New York experiment “distanced feeling” together in an 
interface normally used for videoconferencing. They experiment an 
online séance where the main goal is to experience the others’ 
presence with their eyes closed and no talking allowed. Together they 
try to get a grip on what, why and how energy flows when bodies are 
absent in online performance situations. In Cinzia Cremona’s, /By 
Invitation Only/ a meal is shared by sitting around the same table in 
person and on screen, experimenting with hybrid connections, 
conversations, flows, forms of intimacy and materiality, textures and 
relationships. Bodies are present with different intensities as the 
flavours and textures of the shared food alters the perception of 
materiality and proximity.


*Online* you can continue at 7pm by connecting to the UpStage platform 
for "We have a situation, Coventry! 
" by Rachelle Viader 
Knowles, Helen Varley Jamieson and students of the Coventry University.


I hope to (not) see, (not) hear but feel you online next Thursday.
Annie

*Can we be mindful online?*/


/

**


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Re: [NetBehaviour] report from IMAL Blockchain.Fact.Future.Fiction.

[ruth catlow]

Thanks for sharing this Max.

Really good to get the report, and I agree with a lot of what you say.
Lots of different people need to think this stuff through.

There are two things that still bemuse me

How is Faircoin actually working, and for who, and in what kinds of 
situations...?


Plantoid is a (usefully) dystopian working through of promise of 
autopoetic natureculture through blockchain logic...
and yet Primavera Di Philipi expresses only the emancipatory potential 
of blockchains (for coordinating without intermediaries) in her writing 
and research (and her Ted talk)


Ruth


 On 09/11/16 11:31, Max Dovey wrote:
/I am surrounded by artists/designers and activists who want to code 
economic “smart” contracts into their projects with the belief that 
self-executing transaction technology will enable greater autonomy, 
freedom and civil liberty. Smart contracts, DAOs or Turing complete 
code appeal to young, radical crowd because of their ‘anti 
authoritarian autonomy” but often led to whitepapers, objects and 
scenarios that are more akin to a Deuleuzian society of control rather 
than a libertarian promise of civic freedom.


/
Read the complete report from IMAL event Blockchain Fact Future 
Fiction//here 
/

/
http://networkcultures.org/moneylab/2016/11/09/blockchain-fact-future-fiction/ 



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around critical questions in art and technology, since 1997

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, 
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Re: [NetBehaviour] "We have a situation, Coventry!": live online, Thursday 24 November, 7pm UK time

[ruth catlow]

Hi Helen,

Could you persuade one or two of your participants to give a short 
account of the "situation" and share it with us here on Netbehaviour? 
Especially for those of us who are unable to log in for the event.


The topic is so rich and will resonate with people in many places. The 
current political upheaval seems to pivot on the tension between global 
forces and local agency.


It would be great to have a report from the ground.

Break a digit!

:)
Ruth

On 14/11/16 11:17, helen varley jamieson wrote:


hi everyone,

"We have a situation, Coventry! 
" takes place live 
online in UpStage, on *Thursday 24 November at 7pm UK time*.


"We have a situation, Coventry!" is the sixth event in the ongoing 
networked performance series "We have a situation! 
", which uses cyberformance to 
address topical local/global issues. This "situation" explores the 
university-city relationship in Coventry. As the university rapidly 
grows and dominates the centre of the city, what is happening to the 
social relationships between the local citizens and the staff and 
students of the university? What does the university bring to 
Coventry, and what does the town give to the university? What is 
gained or lost in the process?


The event on Thursday 24th consists of a cyberformance followed by a 
live discussion between local participants at the Shopfront Theatre in 
Coventry and online participants from around the world. The 
cyberformance is being created by university students and Coventry 
locals during a week-long workshop, led by Helen Varley Jamieson who 
is currently International Artist in Residence at Coventry 
University's Disruptive Media Learning Lab.


A live link to the online stage will be available here 
 and here 
 shortly before the 
performance time; find your local time here 
. Everyone is welcome!


h : )
--
helen varley jamieson
he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.upstage.org.nz

*We have a situation, Coventry! *
24 November 2016



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Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] The NHS and the blockchain

[ruth catlow]

Superb!
Thanks Edward -I've put this in my back pocket.
We should workshop this to find out everything that can go right and 
wrong for all stakeholders - from the patient to the politicians.


It would be nerdy bliss.


On 30/10/16 19:24, Edward Picot wrote:
I've now made so many unsuccessful and partially-successful attempts 
to get my head round the Blockchain concept that I'm starting to think 
I might have some form of early dementia.


However, there's one field in which I dimly understand what the 
implications might be: namely, the health service, where I work. Since 
the Labour government introduced the 'Payment by Results' system into 
the NHS about fifteen years ago, and then the Conservative government 
put groups of GPs (clinical commissioning groups, or CCGs) in charge 
of local health budgets, there's been no end of muddle about how to 
get good reliable statistics out of the system as regards which 
patients are being treated where, what they're having done, how much 
it's costing, and which health authorities they belong to. The 
blockchain is probably an answer to this problem.


Let's say a patient rings 999 one weekend because he's having a 
heart-attack. The ambulance takes him to the local A department at 
the Tunbridge Wells Hospital. He gets investigated, and after 
investigation he gets transferred to St Thomas's Hospital in London 
for a triple bypass. Then he's discharged to a Cottage Hospital in 
Hawkhurst, and eventually back home.


At each stage of the journey he has incurred costs. First of all the 
ambulance trust charges for transporting him (once to the Tunbridge 
Wells Hospital, then from Tunbridge Wells to the St Thomas' Hospital, 
then back to the Cottage Hospital). Then his A attendance and 
investigations in Tunbridge Wells will all incur costs (via the 
Maidstone and Tunbridge Wells Hospital Trust); then his treatment and 
stay in St Thomas's (via the Guys and St Thomas' Hospital Trust); and 
finally his stay in the Cottage Hospital (which comes under the 
Maidstone and Tunbridge Wells Hospital Trust again).


Now, all of these costs and data about what treatments were carried 
out, length of stay, drugs dispensed to the patient while in hospital, 
etc, are supposed to find their way into our local health informatics 
system, which is a big 'data silo', so that if we want to (or, more to 
the point, if the CCG wants to) it's possible to 'drill down', as they 
call it, and find, under the Cardiology costs for a particular 
financial year, the treatment and costs for that particular patient as 
a result of that particular health episode. The difficulty is that the 
information has to be pulled in from various different trusts - our 
local hospital, the hospital in London, and the local ambulance 
service - and compliance varies from trust to trust. So the 
information from our local hospital trust will probably be available 
more or less straight away, the information from the ambulance trust a 
bit more slowly, and the information from London a bit more slowly 
again. Things can get even more complicated if our patient has his 
heart attack while he's on holiday in Dorset - because all the costs 
he incurs should still come back to the area in which he is a 
registered patient, but of course a hospital in Dorset feeds back 
information much more slowly to Kent than it would to its own health 
authority. And things can also get more confusing if parts of the 
patient journey, while still chargeable to the NHS, are carried out by 
one of the private hospitals - let's say the patient, instead of 
having a heart attack, has a cataract operation at a private hospital, 
which is doing cataract operations on an NHS contract as part of the 
Any Qualified Provider arrangements. The private hospital may not have 
good arrangements in place for feeding back data into the NHS system.


A big part of the problem is that you've got all these different 
organisations operating within the NHS - hospital trusts, ambulance 
trusts, CCGs, individual surgeries, private hospitals etc. - and 
they've all got their own bespoke computer systems with their own 
bespoke ways of recording patient data, and it's a constant struggle 
to get them to talk to one another. A blockchain distributed ledger 
would surely be an improvement on the existing system. You'd just have 
to enter a transaction onto the blockchain every time you performed 
some kind of service for a patient - anything from a prescription for 
paracetamol to a hip replacement - and as soon as the transaction was 
recorded the information would be available from one end of the system 
to the other, with the costs correctly allocated both to that 
particular patient and to the patient's own health authority. Of 
course you'd also have to record the same event on the patient's 
clinical records, in order to keep an accurate clinical history, so 
you'd either have to enter it twice, once on the clinical record and 
once on the 

Re: [NetBehaviour] CRITICAL INTERFACE POLITICS RESEARCH GROUP @ HANGAR - EVENTS

[ruth catlow]

More brilliant and necessary work from Hangar!
Thanks for sharing Joanna.

And everyone check out the Open Call - A Residency for Interface Criticism

https://hangar.org/en/recerca/convocatories/espanol-convocatoria-membrana-2-residencia-artistica-para-una-aproximacion-critica-de-la-interfaz/

:)
Ruth
On 02/11/16 14:33, JOANA wrote:

Dear all,

We are happy to announce our next events within the Critical Interface
Politics research group based at HANGAR [Barcelona], part of the
European consortium IMAGIT. The project seeks to critically reveal and
analyze the complex network of agents that come together to configure
the Internet, from submarine and underground cables to geopolitics,
environmental impact of data flows, tangible and intangible interfaces,
online tracking, surveillance and privacy. Our investigation strongly
focus on developing critical pedagogical strategies and experimental
methodologies to uncover and analyze common online tracking practices
used by major marketing and advertising corporations, highlight the
materiality of the global flows of information, visualize Internet
infrastructures and identify the biases within user interface design.


+ RESEARCH ARCHIVE: https://crit.hangar.org/toolbox/


WORKSHOPS //

THE INTERNET DECONSTRUCTED // Joana Moll // November 3rd 2016 // Htmlles
2016 - Concordia University, Montreal.

+ Info:
http://feministmediastudio.ca/events/htmlles-joana-moll-a-deconstruction-of-the-internet/



TRACKING FORENSICS // Joana Moll & Andrea Noni // November 12-13th //
Spektrum, Berlin.

+ Info:
http://spektrumberlin.de/events/detail/workshop-tracking-forensics-joana-moll-andrea-noni.html



TRACKING FORENSICS // Joana Moll & Andrea Noni in collaboration with
SHARE LAB. // November 18-20th // HANGAR, Barcelona.

+ Info:
https://hangar.org/en/workshops-artist2artists/taller-tracking-forensics-joana-moll-andrea-noni/



A POETIC DECONSTRUCTION OF THE INTERFACE // Joana Moll
December 7th 2016 // Karlsruhe University of Arts and Design (HfG)
+ Info (coming soon)


RESARCH & ARTISTIC RESIDENCIES //

“ETHIC USES OF COLLECTED DATA ” // SHARE LAB [https://labs.rs/en/] //
November – December 2016.


“INTERFACE BIAS” // OPEN CALL! // Deadline January 17th 2017

+ Info:
https://hangar.org/en/beques/convocatories-beques/espanol-convocatoria-membrana-2-residencia-artistica-para-una-aproximacion-critica-de-la-interfaz/


+ CONTACTS //

joana.m...@hangar.org
HANGAR // http://www.hangar.org

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Furtherfield is a Not-for-Profit Company limited by Guarantee
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Registered business address: Ballard Newman, Apex House, Grand Arcade, 
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[NetBehaviour] How we made the Blockchain film - The Script

[ruth catlow]

s like?


We have to make sure that we find a way of extracting our intentions in 
a way that's understable by both the machines and the humans.


We need a Hippocratic oath for developers mainly because decentralised 
computer infrastructure does not necessarily mean decentralised power.


I think it's so important to differentiate between Blockchains and the 
Blockchain because a lot of the vision you get in corporations or 
startups is that there is the one Blockchain and it will be theirs.


It's something that everyone needs to participate in, the discussion 
about society and economy and also governance, how we rule ourselves. 
These are topics we've been discussing for thousands of years.


The Blockchain represents a similar function as constitutions or even 
manifestos for groups, so it's this idea that you write down a set of 
ethics and then you act by them.


Particularly artists and kind of fringe groups have always been, like, 
very innovative in terms of governance models and the way which they 
organise and cooperate with one another and I think that the Blockchain 
creates an opportunity for those forms of governance to become legible 
and usable by other communities.


In the Blockchain community there needs to be a lot more kind of 
interdisciplinary work because the technology is going into fields and 
going into areas that are quite complicated.


Because of the Blockchain in the future we will have a new economic 
system, we will redefine the way that governance is done, so the role of 
government and what it means to be a citizen, participating in that 
government is going to be challenged and changed and to have to rethink 
those definitions of transparency, of trust, and of what a intermediary 
is and how those things come together and form something that we call 
society.


We don't know what a Blockchain can do yet.

Contributors: Dr Anat Elhalal, Digital Catapult; Ben Vickers, Co-founder 
of unMonastery and Curator of Digital, Serpentine Galleries; Dr 
Catherine Mulligan, Research Fellow, Associate Director - Centre for 
Cryptocurrency Research, Imperial College; Elias Haase, Developer, 
Thinker, Beekeper, Founder of B9lab; Irra Ariella Khi, Co-founder and 
CEO of Vchain Technology; Jaime Sevilla, developer, researcher, GHAYA , 
#hackforgood; Jaya Klara Brekke, digital strategy, design, research and 
curating, Durham University; Kei Kreutler, Independent Researcher, 
Co-founder of unMonastery; Pavlo Tanasyuk, CEO of BlockVerify; Rob 
Myers, artist, writer, hacker; Sam Davies, Digital Catapult; Vinay 
Gupta, resilience guru, Hexayurt.


Film credits
A Furtherfield Film
In collaboration with Digital Catapult

Directed by Pete Gomes
Concept, research and development by Ruth Catlow, Furtherfield.
Edited by Pete Gomes and Ruth Catlow
Music by Warlock

Licensed under a Creative Commons Attribution 4.0 International License
-

Ruth

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www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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Re: [NetBehaviour] The Blockchain- Change Everything Forever - a Furtherfield Film

[ruth catlow]

Thank you all for your generous attention. Much appreciated as always.

Annie, the relentlessness of the visual and audio flow of the film are 
an intentional rhyming with (our sense of) the cultures surrounding 
blockchain at the moment. The information and meaning(s) can be 
extracted by repeated viewing.


Aharon, have you watched the film? You bring up interesting points. The 
title is not intended as a literal command.


Rob, glad you like the LARP idea, cos we may come to you for some advice 
on the DAO templating; )


I will post the transcript in a separate mail.

Respec
R

On 30/10/16 05:32, Rob Myers wrote:

On 27/10/16 04:03 AM, ruth catlow wrote:

Ben Vickers and I are going to be running a LARP (Live Action Role Play)
event for /Blockchain Budgetary Bliss /at the upcoming Moneylab
<http://networkcultures.org/moneylab/program-3/> in Amsterdam.
We will be building paper-based Dapps and DAOs (blockchain based apps
and organisations) for a fictional good cause and thinking about all the
asymmetries of power at play- should be fun. We'd love it if NBers
wanted to sign up and participate.

Hey that's awesome. :-)


Finally, I just want to be clear. We are NOT blockchain evangelists. I
personally have a bad feeling about this technology. But I also know
that it's here and that more diverse people need to get into the middle
of its development to feel its strangeness and scope.

I think that's a good way to be.

The blockchain is only a teletype or an email server, but look at what
past art movements did with those, both in terms of social organization
and political critique.

- Rob.




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Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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, 
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Re: [NetBehaviour] The Blockchain- Change Everything Forever - a Furtherfield Film

[ruth catlow]

Hi Michael,

Thanks for taking the time to watch the film. Glad you enjoyed its look : )
We wanted to capture the mixed urban flows of people going about their 
daily lives in London as this new protocol is getting developed.


Thanks also for bringing up the - /but what is the blockchain?/ - 
question. I'm sure that many others who've watched it will feel the same 
way.


You are exactly right that our intention is to start a debate - and a 
debate across different disciplines and tribes
We do have plans in the pipeline for infographics - but there are some 
examples of this out there already- see here 
<https://www.youtube.com/watch?v=oSP-taqLWPQ>for instance


One reason why its hard to grasp - and I only really understand this now 
after gathering 5 hours of interviews on the topic - is that it is still 
in its really early stages.


Most people we interviewed for this film said that blockchain 
technologies are at the same stage of development as the web in the late 
1980s - pre ftp.
There is not yet the ecology of tools and interfaces to allow 
non-experts to playtest it. Though these are being developed.


I guess the easiest way to describe blockchains are as databases shared, 
updated, verified and maintained across many computers in a way (mostly) 
that cannot be jimmied.


So while currently world banks maintain a ledger (or database) of all 
transactions, and we rely on them to do this honestly - and it affords 
them influence over states, companies and individuals - a blockchain 
allows people (or at least those who know how, and who have the 
resources) to collectively maintain such a ledger of transactions or 
exchanges. And they are rewarded in digital currency to give over their 
computer processing power to do this.


This tech has come out of cryptographic anarchist traditions of the 70s 
- and is driven by libertarian enthusiasm to do away with intermediaries.
This is a technology that comes from the desire to allow individuals to 
control money and its circulation. However, now the major deployments of 
blockchains are private blockchains by world banks. This has MASSIVE 
political and social implications. The current developments are to 
deploy smart contracts across this infrastructure - autonomous software 
programmes to control devices (and their people no doubt). Rob Myers 
points at the political tensions with hisDAOWO white paper 
<http://www.furtherfield.org/artdatamoney/includes/files/daowo.pdf> 
which is an important touchstone for our thinking.


At Furtherfield we are currently working with a few people (artists and 
techies) to develop more activities, workshops, events and resources to 
lure people beyond fintech to come and see what a blockchain might do 
(for better or worse) for expression, human and interspecies relations 
and governance etc


Ben Vickers and I are going to be running a LARP (Live Action Role Play) 
event for /Blockchain Budgetary Bliss /at the upcoming Moneylab 
<http://networkcultures.org/moneylab/program-3/> in Amsterdam.
We will be building paper-based Dapps and DAOs (blockchain based apps 
and organisations) for a fictional good cause and thinking about all the 
asymmetries of power at play- should be fun. We'd love it if NBers 
wanted to sign up and participate.


Finally, I just want to be clear. We are NOT blockchain evangelists. I 
personally have a bad feeling about this technology. But I also know 
that it's here and that more diverse people need to get into the middle 
of its development to feel its strangeness and scope.


Cheers!

Ruth
(not a blockchain evangelist)

On 27/10/16 10:57, Michael Szpakowski wrote:
Hi Ruth I wanted to say what a nicely made piece of work this is. It's 
a really compelling watch & I hope the launch goes well tonight. By 
the bye I do love the kind of hyper territory it creates by seamlessly 
melding the South Bank and an unfeasibly sunny Finsbury Park/Seven 
Sisters Road.My only reservation is that in all honesty  I'm not sure 
how much more clued about the blockchain I am at the end of it. I'm 
guessing that it is a vehicle for starting a debate. I wonder if there 
is a place for an idiot's guide to the blockchain with nice graphics 


Anyway hope it goes great tonight...
michael


--------
*From:* ruth catlow <ruth.cat...@furtherfield.org>
*To:* NetBehaviour for networked distributed creativity 
<netbehaviour@netbehaviour.org>

*Sent:* Sunday, October 23, 2016 12:41 PM
*Subject:* [NetBehaviour] The Blockchain- Change Everything Forever - 
a Furtherfield Film


Hi All,

We have made a short film called /The Blockchain- Change Everything 
Forever /about the impact of blockchain technologies. You can read 
about it and watch it online here. 
<http://www.furtherfield.org/projects/blockchain> The London launch of 
the film is this Thursday evening - see below for details and sign up 
if you want to come a

[NetBehaviour] Call for Works / Tomorrows Exhibition, Athens

[ruth catlow]

This call from Daphne Dragona may be of interest.

Ruth

*Tomorrows *


*Urban fictions for possible futures*
*Call for works *
Deadline: 2 December 2016


How will everyday life evolve in the cities of tomorrow? What kind of
changes will smart systems, technologies of automation and constant
connectivity bring? Which new economic models might emerge and what will
the role of the particularities of different geographical areas be? How
will the development of the future cities affect the environment and the
natural resources of the planet?

The future today seems to be closer than ever. A new way of living has
already emerged based on the constant aggregation and processing of data.
Nonhuman factors, like the algorithms, have been introduced in models for
smarter cities and smarter homes, promising the constant optimization of a
city’s functioning and of citizens’ everyday life. While the mediation of
technology is, indisputably, of central importance when discussing the
future of the urban environment, at the same time the following needs to be
pointed out: Projections to the future usually refer mostly to economically
advanced metropolises or to urban centers with no local features attributed
to them. The different geographical particularities, the local economies
and the dynamic of citizens’ involvement are, for instance, often left out,
shaping an image for tomorrow’s cities, which is inevitably generalized and
idealized.

The exhibition Tomorrows will aim to capture the urban future through
different utopian and dystopian scenarios being developed by artists,
architects and designers, opening up to territories with different
possibilities and needs. Real cities projected into the future, city models
that will never be built and hypothetical cityscapes will come together to
tell stories about the upcoming economic, social and environmental
conditions. New urban skylines, infrastructures, tools, wearables and
everyday objects will become the starting point for unexpected or
purposefully exaggerated stories, where the future is used as a tool that
can assist in critically understanding present itself.

Part of the exhibition will focus on the Mediterranean, a region
summarizing the crisis of the western world. Struck by the ongoing
financial crisis and affected by mass population movements and climate
change, the area is going through transformations affecting both the
natural and the urban environment. The exhibition will examine how the
future of the Mediterranean might evolve, imagining what, for instance, the
role of the smart systems, biometric technologies and network
infrastructures will be.

The open call of the exhibition focuses on projects addressing the future
of the Mediterranean cities. It involves existing projects as well as new
proposals for works referring – without being limited – to objects,
systems, infrastructures and environments. It welcomes visionary ideas for
alternative futures as well as reflective responses for phenomena of the
present.

Submissions will need to include the following:
•Description of the project (250 words max)
•Technical and exhibition requirements
•4-6 images or drawings
•List of people involved and credits
•Links related to the work – if any
•Credits
•Contact details (email, phone, postal address)
•Short bio of the creator or the group (up to 150 words)

Material will need to be submitted in a single PDF, not exceeding 3 MB.
All texts will need to be written in English.

Submissions will need to be sent to tomorr...@sgt.gr by 2 December 2016.
Notifications regarding the selection will be sent by 16 January 2017.
For more information use the above email address.

More info regarding the exhibition will be uploaded on the website
http://tomorrows.sgt.gr/en/.

The exhibition will open in May 2017 in Athens.

Organized by: Onasssis Cultural Center / Christos Carras
Curated by: Daphne Dragona, Panos Dragonas
Designed by: Panos Dragonas, Varvara Christopoulou
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Re: [NetBehaviour] neoscenes - live for le placard: basilisk ...

[ruth catlow]

Missed it : (
Enjoyed exploring the various interfaces though. Especially this one 
http://locusonus.org/soundmap/051/

Is it against the spirit of the thing to make recordings?
If not, I'd love to hear it.

Ruth

On 08/10/16 22:45, John Hopkins wrote:
Hei folks -- I'm about to do a live streamed remix from my field 
recording archive -- see http://tech-no-mad.net/blog/archives/81537 
for details...


jh



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Re: [NetBehaviour] The Hacking Manifestos

[ruth catlow]

Hi Laura,

I love the web tour format - 30 seconds to soak up anything from couple 
of lines of rhetoric to a website with links to ten thousand links of 
navel-focused-philosophy.

It's going to be running in the background on my laptop all day today:)

It reminds me of an early web form - the web ring - It's all broken up 
now but Andy Deck's Anti War Web Ring did something very similar.

http://artcontext.org/antiWar/index.php

Thanks for sharing this.

Ruth

On 05/10/16 15:08, lauraplanagracia wrote:





THE HACKING MANIFESTOS

Online Exhibition Opening

Website Seeing brings you the best virtual site-seeing experience of 
World Wide Web in a nicely curated, exclusive and weekly 5-minute 
automatic virtual tour. The tour will take you on a wonderful online 
tour, where you could enjoy the sites, admiring the scenery and moving 
to the next site.


/ Powered by arebyte /


*The Hacking Manifestos*
*
*
**
*A Compilation of The Hackers Manifestos Of The 20th And 21st Century*
*
*
**
**
*http://websiteseeing.net/*
*
*
**
**
*Curated by Laura Netz / la...@netzzz.net / http://netzzz.net 
*





In collaboration with Arebyte Gallery





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Re: [NetBehaviour] PeerValue conference review on INC MoneyLab blog

[ruth catlow]

Well said Rob.


On 09/09/16 22:46, Rob Myers wrote:

On Fri, 9 Sep 2016, at 02:54 AM, marc garrett wrote:
“The reason many people on the left are excited about proposals such 
as universal basic income is that they acknowledge economic 
inequality and its social consequences. However, a closer look at how 
UBI is expected to work reveals that it is intended  to provide 
political cover for the elimination of social programs and the 
privatization of social services. The Liberal Party's resolution is 
no exception. Calling for "Savings in health, justice, education and 
social welfare as well as the building of self-reliant, taxpaying 
citizen," clearly means social cuts and privatization.”


Neoliberal proposals for UBI are obviously Neoliberal and should be 
opposed on that basis. But the left's engagement with UBI goes a long 
way past that.


"Inventing The Future" pages 118-123 (footnotes 91-119) lays out the 
grounds for left UBI clearly. Or I pulled out some quotes relevant to 
the above in May of this year -


http://robmyers.org/2016/05/27/left-universal-basic-income/

notably:

"The conservative argument for a basic income – which must be avoided 
at all costs – is that it should simply replace the welfare state by 
providing a lump sum of money to every individual. In this scenario, 
the UBI would just become a vector of increased marketisation, 
transforming social services into private markets. Rather than being 
some aberration of neoliberalism, it would simply extend its essential 
gesture by creating new markets. By contrast, the demand made here is 
for UBI as a supplement to a revived welfare state."


This demand is not intended to be made in a vacuum or as an end in 
itself. "Inventing The Future" proposes it as part of a broader 
political programme, and as an answer to a particular set of political 
problems.




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Re: [NetBehaviour] What the hell with Snapchat?? Help!

[ruth catlow]

I now work on the assumption that anything that i do using social media 
is allowing profit-driven corporations to reach into my person, harvest 
parts of my subjective experience even I didn't know about, for their 
own profit, and at the risk of alienating my current selves from my 
future selves.


long live clunky email discussion lists : )

putting (a little part of) human experience out of the reach of the 
machines - ha hah!




On 30/08/16 00:16, Alan Sondheim wrote:


Agree with you but this seems particularly intrusive; basically, it 
wants to take control of one's life -


On Mon, 29 Aug 2016, John Hopkins wrote:




Help - am I missing something? This is what Snapchat can access
on my PC if I install it - it seems like a serious invasion of
privacy. Any comments greatly appreciated - Alan


at this point, anything on social media is going to to this and more 
-- no need to be surprised, eh, Alan? more data = more $$ -- it's 
nauseating imho.


is there any 'net privacy available anymore? doesn't seem like it...

jh


--
++
Dr. John Hopkins, BSc, MFA, PhD
grounded on a granite batholith
twitter: @neoscenes
http://tech-no-mad.net/blog/
++
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Re: [NetBehaviour] Artists Re:Thinking the Blockchain crowdfunder and open call

[ruth catlow]

Just 0.6 Bitcoin from the target now!

;)


On 28/07/16 10:44, nathan jones wrote:

Hi,

delighted to announce Torque's new book and public discourse project, 
in partnership with Furtherfield.


ARTISTS RE:THINKING THE BLOCKCHAIN will be a beautifully designed, 
accessible introduction, speculative art and radical theoretical book 
about this still largely mythical technology.  It aims to reroute 
conversations that up to now have been dominated by financial 
concerns, into less utilitarian areas.


We're over halfway through our small crowdfunder 
, so 
we just need a few more pre-orders and pledges to help us get the 
project launched. Your pre-order or donation will contribute to 
printing costs, and most importantly help us compete for funding from 
Arts Council England, which is tricky given the shadowy subject matter.

So we need all the help we can!
https://www.youtube.com/watch?v=kngWnLDyeCM

We're also seeking proposals 
 for 
content.

http://www.torquetorque.net/projects/open-call-artists-rethinking-the-blockchain/

After a range of public events, Artists Re:Thinking the Blockchain 
book will launch in Jan 2017 as a limited edition print edition and 
freely available digital copies, accompanied by a 
blockchain-based-protocol version.


It will be our third book after Mind Language Technology 
(2014) 
and The Act of Reading 
(2015).  
The book will be designed by Mark Simmonds.

torquetorque.net 

Do share the info if you think others will be interested.

WTF?!
The blockchain is best known as the technology which underlies 
'Bitcoin', but our central assertion is that there is need for 
discourse, play and speculation by practitioners outside of 
financial-technology circles - particularly given the potential for 
democratic and cultural changes which have been proposed as part of 
blockchain's evolutions.


If you don't know anything or not much about the potentials of the 
blockchain, this book aims to bring you up to speed on theory and 
mechanics of this new technology. If you do, its a platform to combine 
the inventiveness of creative culture with this emergent technology.


It's a hugely resonant time to be undertaking this project, as the 
book and discussions will show.  Our current systems of governance, 
finance and civic mechanics appear to be crumbling under 'post-truth' 
politics, psychotic economics and media saturation.  Is the blockchain 
going to be our saviour?  Probably not. But art is a great way to 
understand and communicate the reach of new technologies - as well as 
bend and reroute them.


We also believe that artists are well placed to communicate with 
people about what the future of the blockchain might *really feel 
like*. This will strand will take the form of science fictions, 
experimental texts, code-recipes, speculative essays, illustrations, 
diagrams, and hybrids of all these.


PLEDGE
£5 gets your name inscribed in this landmark publication,
you can pre-order the book at a discounted £15.
There's also screen prints and suchlike available.
http://www.crowdfunder.co.uk/artists-rethinking-the-blockchain

CONTRIBUTE
An Open Call for essays, artworks, poems etc.
http://www.torquetorque.net/projects/open-call-artists-rethinking-the-blockchain/
[another open call specifically for poets/text artists, based on PW 
Studio's Txtblock concept, will launch in a few weeks]


As well as a book, we're going to be hosting several events in Tate 
and Furtherfield in London and with St Helens' Heart of Glass project 
in the North West getting people engaged in these kinds of ideas, and 
gathering their thoughts for publication.


There's loads of lovely rewards there for pledgers.

Hope you enjoy it.

best wishes,

Nathan

--
--
Nathan Jones
language media art

http://mercyonline.co.uk 
http://torquetorque.tumblr.com 
http://alittlenathan.co.uk 
http://electronicvoicepheneomena.net 



mob: 07877660150
twtr: @nathmercy

also follow @syn_dro_me


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Re: [NetBehaviour] Blockchain & Bureaucracy

[ruth catlow]

On 22/07/16 23:26, Rob Myers wrote:

On Fri, 22 Jul 2016, at 08:28 AM, ruth catlow wrote:
Another informative blog here from Max. 
http://networkcultures.org/moneylab/2016/07/12/%C2%ADblockchain-bureaucracy/ 

It certainly reflects many of my encounters with blockchain-engaged 
types in London so far.
It's hard to overstate the extremities and contradictions that we've 
encountered in this area
Yes there's a gulf between the world-changing rhetoric and the 
money-grubbing behaviour that is sadly familiar from past developments 
in tech.

WOW that's a thought!
When I remember the utopian verve with which I embraced the early 
development of the WWW...


I had thought that the skepticism that Blockchain arouses within me was 
to do with the fact that it converts every exchange into a transaction 
as part of a global market. But you are probably correct- this is pretty 
much business as usual.

Possibly a cognitively necessary one.

What, really, why?
What's new this time around is the full-stack entitlement to passive 
income and return-on-investment.

Yes!

The threat of this
"The inability to imagine alternative use cases for p2p distributed 
networks to enable greater financial inclusion, citizen empowerment 
or civil organization will lead to the inevitable commercialization 
and privatization of blockchain, and bankers will fondly remember 
Bitcoin as the greatest gift the hackers ever made."


is a strong motivation for Furtherfield's work in this territory.
"Financial inclusion" is a strong driver in conventional 
cryptocurrency - won't someone think of the unbanked?

Brett Scott wrote about this here http://www.unrisd.org/brett-scott
Recuperation is the fate of any technology under capitalism. What's 
extraordinary about this particular technology is that it turns so 
many of its critics into technological determinists.
I think that this is a function of its inaccessibility too. Unlike the 
early WWW we (the mass of amateur experimental tech adventurers- of many 
ages and values) can't so easily get our hands on the code. In the early 
90s I could take a piece of simple html, upload it to a computer and 
then share it around the world we can't mess with BC software in the 
same way...


OR CAN WE?!

Rob- perhaps you know of some cut-and-paste DIY resources that we could 
play with together.


cheers!

Ruth


That's fortunately not the case here.



- Rob.


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Re: [NetBehaviour] Blockchain & Bureaucracy

[ruth catlow]

Another informative blog here from Max. 
http://networkcultures.org/moneylab/2016/07/12/%C2%ADblockchain-bureaucracy/ 



It certainly reflects many of my encounters with blockchain-engaged 
types in London so far.
It's hard to overstate the extremities and contradictions that we've 
encountered in this area


The threat of this
"The inability to imagine alternative use cases for p2p distributed 
networks to enable greater financial inclusion, citizen empowerment or 
civil organization will lead to the inevitable commercialization and 
privatization of blockchain, and bankers will fondly remember Bitcoin as 
the greatest gift the hackers ever made."


is a strong motivation for Furtherfield's work in this territory.

Look out for our upcoming Paper DAO workshops for artists and upstarts- 
planned for the autumn


And our open call for submissions to a new book Artists Re:thinking the 
Blockchain. (Deadline 1st October)

http://furtherfield.org/programmes/event/open-call-artists-rethinking-blockchain

Thanks Max!

Cheers
Ruth

On 13/07/16 14:41, Max Dovey wrote:
///The inability to imagine alternative use cases for p2p distributed 
networks to enable greater financial inclusion, citizen empowerment or 
civil organization will lead to the inevitable commercialization and 
privatization of blockchain and bankers will fondly remember Bitcoin 
as the greatest gift the hackers ever made.


/http://networkcultures.org/moneylab/2016/07/12/%C2%ADblockchain-bureaucracy/ 



Report from ‘blockchain for social good 
‘ 
workshop at European Commission in June 2016/

/
--
/Upcoming >>>/

Secret Post Office at Wilderness Festival 
 | 4 - 7 August 2016
Secret Post Office at End of the Road Festival 
 | 2 - 4 September 2016
A Hipster Bar at Ars Electronica Festival  | 8 - 
12 September 2016


Forget Network - a monthly radio show on Itunes 
 and 
Soundcloud 




MoneyLab  | 1 & 2 Dec 2016 | 
Pakhuis de Zwijger, Amsterdam








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[NetBehaviour] FW: Call for submissions: MozEx art exhibit

[ruth catlow]

--> may be of interest

MozEx is an art exhibition with a 21st-century twist. Curated by the digital 
learning teams at both the Tate and the V, this space showcases dynamic 
digital artwork that spans many disciplines and media.

The MozEx exhibit explores links between art, society, and the digital world. 
Created by both individual practitioners and cross-disciplinary collaborations, 
the exhibit will explore the value of art to society through Web literacy, 
digital inclusion and accessibility, privacy, policy, and hacking.
This is a call for artists, designers, creative technologists, makers, coders, 
scientists, visual journalists -- from techies to newbies! We are inviting 
submissions of original artwork that relates to our lives online.
Deadline for submissions and proposals is 1st August 2016.

Look forward to seeing a great variety of work and thanks for taking part!

Submit:http://mzl.la/MozEx  | More details:https://mozillafestival.org/


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Re: [NetBehaviour] 5 Operas

[ruth catlow]

If you need cheering up, watch these : )

I wrote about the Operas back in 2003
http://www.furtherfield.org/reviews/5-operas

Still brilliant!

: D
Ruth

On 10/07/16 12:02, Michael Szpakowski wrote:
In 2003 I put out a call for opera libretti of exactly 100 words, 5 of 
which I then developed into internet resident tiny operas,


with performances by a chorus of primary school students and with the 
principals sung by local FE students.
The format in which I made them, shockwave movies, is increasingly 
unreliable nowadays


so I am converting them all into videos and re-posting them here

https://www.flickr.com/photos/szpako/albums/72157670738115225


and on my own website. If you're interested the original project is here:

http://www.somedancersandmusicians.com/5operas.html


cheers

michael


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Re: [NetBehaviour] #PostRefArt

[ruth catlow]

This brings us back to the big question of whether/how we are placed as 
artists to influence the attitudes that shape the decisions of citizens 
(who are also voters)


This connects back to the earlier conversations we had about 
#LeftAccelerationism - where is our agency as artists.


I am still struck by my experience of meeting with the Warnayaka Art 
Centre crew - and an integrated vision of culture, where image-making, 
law, language and knowledge is daily renewed (and audited) by many many 
many people in the community.



On 03/07/16 10:52, Joseph Young wrote:

Thanks for starting this important thread...

The key to this is changing the narrative and placing the blame for 
the current position squarely on our (successive) right-wing 
governments and their failed and unnecessary austerity policies. 
Whatever "European" artwork is produced has to concentrate on 
challenging the dominant narratives that have allowed UKIP et al to 
convince post industrial working class communities that the EU is to 
blame rather than their own government.


*Joseph Young*
*Artist : Activist : Cultural Producer*
*
*
artofnoises.com <http://artofnoises.com>
@artofnoises / @artsforeu

On 3 Jul 2016, at 11:13, ruth catlow <ruth.cat...@furtherfield.org 
<mailto:ruth.cat...@furtherfield.org>> wrote:



Thanks Steven and Anita, for initiating this conversation.

I, like many people I have spoken to over the last week (including 
our many European friends and colleagues in the UK and on the 
continent) have found this last week very distressing.


The referendum promoted a narrative, supported in ALL mainstream 
media, (not just in the UK it seems, but across Europe)... that 
characterizes the British people, and especially the English, as 
wannabe-again-Imperialists, and (depending on their class) either 
dumb, uneducated and racist; or hubristic Neoliberal muppets.


This narrative is now amplified (and seemingly proved) by an upsurge 
of street-level racism and hostility towards our neighbours from 
Germany, Poland, Greece, Romania etc who have enriched our lives by 
making theirs in the UK.


Before the referendum, I found myself uneasy about actually 
campaigning for Remain in spite of my desire for pan-European 
peoples' alliance- because I couldn't ally myself with the dominating 
political arguments proposed by the Tories (and backed up by 
big-business and the establishment), and didn't want to participate 
in a process that further stamped on the dignity of people in the UK 
who are already so disenfranchised by the effects of austerity cuts 
(and many years of other systemic injustices). The social-liberal 
<http://www.theguardian.com/politics/2016/jul/02/march-for-europe-eu-referendum-london-protest> 
layer in the UK is now finding its voice, but the reporting of the 
protests reinforces the Leave-voter caricatures.


So I am looking for better information. Here's some 
<http://www.globalresearch.ca/regime-change-in-britains-labour-party-the-ashcroft-opinion-poll-is-this-why-jeremy-corbyn-must-go/5533742>


A UCL study has shown that the poorest 20% of British workers have 
indeed been affected adversely by immigration... 
[nevertheless]Asked which of the following they considered to be 
forces for good, a considerable proportion of leave voters expressed 
support for multi-culturalism (29%), social liberalism (32%), 
globalisation (49%), the green movement (38%), feminism (40%) and 
even immigration (21%). About half of the voters, whether leave or 
remain, felt capitalism was a force for ill rather than a force for 
good (51%:49%).


Whatever we do, I think we need to build solidarity with other people 
who are suffering the effects (and they are many) of the bank crisis 
and resulting austerity politics.


Respect,

Ruth


http://www.furtherfield.org/rcatlow/rethinking_wargames/
On 02/07/16 19:19, Steven Ball wrote:

I’m posting this to following a brief conversation with Anita McKeown, Ruth, 
and Marc.

The ramifications for life in the UK after the EU referendum are still very 
unclear. Parliamentary politics is in meltdown and the direction of travel for 
future government seems to be further right, the economy is looking precarious, 
meanwhile a toxic wave of overt public racist violence is spreading across the 
country. It is tempting to think that we are entering a disturbingly illiberal 
dystopia. Artists cannot sit by or remain in a bubble while this happens, the 
necessity of responding to this situation is urgent, but what can we do, what 
are we doing?

The purpose of this discussion is twofold:
- Firstly and most simply to make connections, to share information about what 
we are doing in response as part of our practice, to share news and information 
of any exhibitions or opportunities to produce public responses to the current 
situation.
- Secondly to speculate how we might produce and present work that responds to 
the current situation, w

Re: [NetBehaviour] #PostRefArt

[ruth catlow]

Thanks Steven and Anita, for initiating this conversation.

I, like many people I have spoken to over the last week (including our 
many European friends and colleagues in the UK and on the continent) 
have found this last week very distressing.


The referendum promoted a narrative, supported in ALL mainstream media, 
(not just in the UK it seems, but across Europe)... that characterizes 
the British people, and especially the English, as 
wannabe-again-Imperialists, and (depending on their class) either dumb, 
uneducated and racist; or hubristic Neoliberal muppets.


This narrative is now amplified (and seemingly proved) by an upsurge of 
street-level racism and hostility towards our neighbours from Germany, 
Poland, Greece, Romania etc who have enriched our lives by making theirs 
in the UK.


Before the referendum, I found myself uneasy about actually campaigning 
for Remain in spite of my desire for pan-European peoples' alliance- 
because I couldn't ally myself with the dominating political arguments 
proposed by the Tories (and backed up by big-business and the 
establishment), and didn't want to participate in a process that further 
stamped on the dignity of people in the UK who are already so 
disenfranchised by the effects of austerity cuts (and many years of 
other systemic injustices). The social-liberal 
 
layer in the UK is now finding its voice, but the reporting of the 
protests reinforces the Leave-voter caricatures.


So I am looking for better information. Here's some 



A UCL study has shown that the poorest 20% of British workers have 
indeed been affected adversely by immigration... [nevertheless]Asked 
which of the following they considered to be forces for good, a 
considerable proportion of leave voters expressed support for 
multi-culturalism (29%), social liberalism (32%), globalisation (49%), 
the green movement (38%), feminism (40%) and even immigration (21%). 
About half of the voters, whether leave or remain, felt capitalism was a 
force for ill rather than a force for good (51%:49%).


Whatever we do, I think we need to build solidarity with other people 
who are suffering the effects (and they are many) of the bank crisis and 
resulting austerity politics.


Respect,

Ruth


http://www.furtherfield.org/rcatlow/rethinking_wargames/
On 02/07/16 19:19, Steven Ball wrote:

I’m posting this to following a brief conversation with Anita McKeown, Ruth, 
and Marc.

The ramifications for life in the UK after the EU referendum are still very 
unclear. Parliamentary politics is in meltdown and the direction of travel for 
future government seems to be further right, the economy is looking precarious, 
meanwhile a toxic wave of overt public racist violence is spreading across the 
country. It is tempting to think that we are entering a disturbingly illiberal 
dystopia. Artists cannot sit by or remain in a bubble while this happens, the 
necessity of responding to this situation is urgent, but what can we do, what 
are we doing?

The purpose of this discussion is twofold:
- Firstly and most simply to make connections, to share information about what 
we are doing in response as part of our practice, to share news and information 
of any exhibitions or opportunities to produce public responses to the current 
situation.
- Secondly to speculate how we might produce and present work that responds to 
the current situation, what is the nature of that work, who does it address, 
and where will it be exhibited.

We invite and welcome your action, thoughts, and ideas.




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Furtherfield is a Not-for-Profit Company limited by Guarantee
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[NetBehaviour] Improvisation & transformative processes: research workshop

[ruth catlow]

Hello,
Pete Gomes (artist/filmmaker) asked me to circulate this from the 
TransDisciplinary Improvisation Network (TIN)

Looks good.

:)
R


@TINSalons event information.pdf
Description: Adobe PDF document
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[NetBehaviour] Digital Thresholds: from Information to Agency- Daniel Rourke at Tate

[ruth catlow]

Daniel Rourke is running this short course at the Tate. I expect it will 
be very good!

: )

http://bit.ly/1Oa5swS

Data is the lifeblood of today’s economic and social systems. Drones, 
satellites and CCTV cameras capture digital images covertly, while 
smartphones we carry feed data packets into the cloud, fought over by 
corporations and governments. How are we to make sense of all this 
information? Who is to police and distribute it? And what kind of new 
uses can art put it to?


This four-week series led by writer/artist Daniel Rourke 
 will explore the politics and potential of 
big data through the lens of contemporary art and the social sciences. 
Participants will assess the impact the digital revolution has had on 
notions of value attached to the invisible, the territorial and the 
tangible. We will look at artists and art activists who tackle the 
conditions of resolution, algorithmic governance, digital colonialism 
and world-making in their work, with a focus on key news events yet to 
unfold in 2016.




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Re: [NetBehaviour] Inspired by recent discussion here on netbehaviour...about accelerationisms

[ruth catlow]

Dear P[all],

Thanks for the audio interpretation of our acceleration-deceleration
https://soundcloud.com/pall-thayer/acceleration-deceleration
It maps to the dynamic, ominous, muscular debate, that suddenly 
stopped what? why?


Perhaps the debate evaporated, from a stream of conversation into a 
cloud of collective contemplation.


For myself, the discussion has been continuing (like several bees) in my 
own mind; telepathically with NBers (you know who you are); and then 
off-list over beers with many others in the world.


There was the usual display of generosity by those talking about things 
that are hard to talk about. The discussions about artists and artworks 
deserve more time.


There were so many strange iceberg statements made
+ Annie exhorted us not to dream
+ Michael mocked those who asserted that oceans would be made of 
lemonade if they wished it so

+ John, Alan and Simon all seem to prefer a planet sans-humans
+ Rob advocated asteroid mining for a universal basic income
+ Gretta was exasperated by the elites
+ James' software wouldn't run on my computer and he doesn't care
- - None of these icebergs can be explored with the nuance required, in 
this format, in this place, but it's still good to see them hoving into 
view.


I am still Ruth, and I am still a (left) Accelerationist
because its a condition not a mission.

Thanks everyone!

:)
Ruth

On 23/05/16 04:01, Pall Thayer wrote:

This one is titled "Acceleration-Deceleration". Best with headphones.

https://soundcloud.com/pall-thayer/acceleration-deceleration
--
P Thayer, Artist
http://pallthayer.dyndns.org


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Furtherfield is the UK's leading organisation for art shows, labs, & 
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Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] Fwd: Bitcoin tech applied to clinical trial documents

[ruth catlow]

This is interesting.
If it becomes a way for researchers to prove the integrity of their results.

Edward, from your experience, how could this go wrong?



On 15/05/16 23:10, Edward Picot wrote:
From the Digital Health Intelligence website: 
http://www.digitalhealth.net/infrastructure/47678/bitcoin-tech-applied-to-clinical-trial-documents 
.

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Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.

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[NetBehaviour] "If nature is unjust, change nature!" Re: Accelerationism

[ruth catlow]

This all rather got away from me this week :-(
Every post is bursting with so much juice.


But this is a cause for great cheer!


and a Promethean feminism:

"In the name of feminism, 'Nature' shall no longer be a refuge of 
injustice, or a basis for any political justification whatsoever!

If nature is unjust, change nature!"

(Xenofeminist music is a thing: 
https://soundcloud.com/yoneda-lemma/sets/d-n-e )


Thank you all for everything so far.

:)
Ruth

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Re: [NetBehaviour] email about "prevent"

[ruth catlow]

Hi Michael,
I appreciate your response to this process, and for highlighting so 
clearly what is at stake. I no longer hold a permanent post in a Higher 
Education institution but have been shocked to read in the press, and to 
hear from those of my peers who do, about increasing pressure to monitor 
and report (and so impinge on the freedom of expression of) learners. 
This is part of a wider threat (along with the tactics of the gutter 
press) to the development of the critical and discursive faculties in 
the UK public at large.


Sigh!
Ruth

On 29/04/16 20:27, Michael Szpakowski wrote:

Hi all
the college where I teach has enthusiastically taken to heart the 
government's Islamophobic "prevent" strategy. Last week they made it 
compulsory for every further education student to attend ( and I am 
not making this up) a /puppet show /about "prevent" and put pressure 
on HE lecturers to pressure their students to attend.


In response I sent I sent a carefully worded e mail to our management 
and copied in the UCU  ( the lecturers union) membership and my 
students too, whom I regard, perhaps unfashionably, as being capable 
of making their own minds up about things.

I have now been summoned to a meeting with HR and a senior manager.
I am chronicling events on Flickr. I would really appreciate support - 
at the moment simply in terms of favouriting and commenting upon the 
posts but it could well come to some sort of campaign if they attempt 
to discipline me. Here's my original email:


https://www.flickr.com/photos/szpako/26601297832/


and here's the latest exchange:

https://www.flickr.com/photos/szpako/26716002535/

please feel free to circulate this

many thanks
michael




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Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[ruth catlow]

approach to inclusivity though. Let's not participate in 
mutual back-slapping or hand-wringing with ppl only from our own 
sub-cultures...

>
>     All the best to everyone, and thank you for sharing your thoughts. xx
>
> > On 23 Apr 2016, at 21:54, ruth catlow 
<ruth.cat...@furtherfield.org> wrote:

> >
> > Here Baruch Gottlieb reviews “Inventing the Future”by Srnicek & 
Williams  (co-authors of the Accelerationst Manifesto)
> > 
https://blog.p2pfoundation.net/inventing-future-beholden-present-review/2016/04/08

> >
> > He says
> >
> > "visions or projects for teleportation, nano-surgery and 
socialist Mars colonies, are not going to convince capitalists to stop 
attacking socially produced value every way they can. We need more 
fundamental knowledge about how the present is reproduced in this first 
place, the legacy of colonialism, imperialism, patriarchy and slavery in 
the very devices we use to understand such things, and we need social 
and cultural technologies to integrate that consciousness into new 
behaviours, new sociabilities, new modes of exchange."

> >
> >
> >> On 23/04/16 13:15, ruth catlow wrote:
> >> So is this the accelerationist aesthetics question?
> >>
> >> Q. How can we as artists and people use the logics & tools of 
automation and markets as part of making better art and better life for 
us all?

> >>
> >> : )
> > Tom said
> >>
> >>>>> when it appeared that the prognostications of the first wave of
> >> accelerationists had partly came true: namely, that the 
accelerations

> >> inherent in capitalism, specifically the tendency to mobilize more
> >> surplus labour and resources at greater rates of efficiency and
> >> abstraction, would exacerbate the system's inherent 
contradictions to a
> >> catastrophic point. Only partly came true though: the system 
did not
> >> collapse but massively reorganized itself (all those would-be 
John Galts

> >> suddenly all too happy to accept government bail-outs, massive
> >> expropriation of assets from the poor). This required a 
recalibration of
> >> the theses of that first wave of accelerationists, a 
recalibration that

> >> perhaps either is reflected in art, or in which<<<
> >>
> >> The unfettered development of automation and market-forces is 
currently seen as the preserve of people on the political right (who 
seek to preserve the status quo or enhance their wealth and power). But 
who may at some points ask for time-out (and bail-outs) in order to 
re-set their position of advantage.

> >>
> >> Rob said
> >>
> >> If I was trolling I'd argue that if you're on the left you're 
either a
> >> conscious or an unconscious accelerationist. But it's possible 
to do

> >> things in an un-Accelerationist way - it's not an inescapable or
> >> inevitable cultural condition.
> >>
> >> Yes, this is why I declared myself an Accelerationist- it was 
not a proud declamation (a la 'I'm a feminist and I'm proud') more an 
admission (a la, the declaration at meetings of people participating in 
the 12 step programme).

> >>
> >> What I think is worth reflecting on (even if only idly) in this
> >> discussion is whether there is anything in one's own life or 
work that
> >> this strategy would be productive for. What could each of us 
better
> >> understand and reason about (in some sense) so as to be able 
to better

> >> change it?
> >>
> >> Both these points indicate something that Left Accelerationism 
has been
> >> criticised for from various angles - it is a *selective* 
acceleration.

> >>
> >>
> >> Left Accelerationists are critiqued as these 
social-power-tools (of automation and market-forces) are seen as 
inherently dehumanising and destructive of solidarity and freedom?

> >>
> >>
> >>
> >>
> >>> On 23/04/16 02:49, Rob Myers wrote:
> >>>> On 22/04/16 03:27 AM, ruth catlow wrote:
> >>>> Not that we all need to be in an unending frenzy of 
communication and

> >>>> exchange. More that we have ever-more nuanced ways to sense the
> >>>> significance of different kinds of participation: in a loop 
of unwitting

> >>>> participation and active collaboration and organisation.
> >>> I thin

Re: [NetBehaviour] Accelerationist aesthetics

[ruth catlow]

Gretta,

These points are very well made, and they chime with the sense of 
exhaustion and suspicion I have heard expressed by many people (who are 
not full time intellectuals) in connecting to the  bunch of 
Accelerationist stances, concepts and strategies.


I respond very positively to your words, because you speak with the 
voice of an activist- informed by a daily practice in which you must 
make decisions about which new ideas, networks and actions to include 
and exclude...this is not (primarily) about career, reputation or 
"getting on" but about making judgements and being effective in the world.


So this debate is a bit of a gamble with the energies of 
Netbehaviourists. I guess that we all have to search our own consciences 
on the matter of whether we participate in these kinds of discussions, 
and if so, whether we do so with the right attitude.


Respect!
Ruth

 On 24/04/16 02:33, Gretta Louw wrote:

This makes so much sense to me, thank you Ruth. I see so much of this in 
Europe, North America and the western, urban mainstream; an utter inability 
(and, probably, unwillingness) to look outside our own narrowly defined 
cultural lens when purportedly studying/attempting to understand technology, 
media, digitalisation, and their impacts. It hampers real discussion and 
cross-fertilization of ideas. Preaching to the (mostly white, educated, urban, 
western, northern) choir - as most tech/ digital/ futurist and possibly 
accelerationist (I hope I'm wrong about the last one, still too early to tell) 
festivals/meetings/discussion do - is a futile endeavor and exhausting to 
watch. Diversification is essential, but the way the discourse has developed 
around diversity actually is counterproductive to achieving greater diversity. 
Just as an example, there are studies that have shown that reminding applicants 
of their 'diverse' (one must ask, according to whom, diverse from what??) 
background in a job ad by specifically stating that one is an equal 
opportunities employer etc, will in fact reduce the number of applicants from 
diverse backgrounds.

I am rambling, but this issue is always tacked on to the sidelines of debates 
around the pressing issues of our time; an afterthought or a nod to political 
correctness. It needs to be at the core: we should not discuss these issues 
unless we have sufficiently broad input, otherwise we are just talking 
ourselves into insignificance. NB: I am talking generally and from some 
disappointing experiences at European 'digital futures'-type round tables and 
panels, not about netbehaviourists. I do think that we all need to take a much 
more radical approach to inclusivity though. Let's not participate in mutual 
back-slapping or hand-wringing with ppl only from our own sub-cultures...

All the best to everyone, and thank you for sharing your thoughts. xx


On 23 Apr 2016, at 21:54, ruth catlow <ruth.cat...@furtherfield.org> wrote:

Here Baruch Gottlieb reviews “Inventing the Future”by Srnicek & Williams  
(co-authors of the Accelerationst Manifesto)
https://blog.p2pfoundation.net/inventing-future-beholden-present-review/2016/04/08

He says

"visions or projects for teleportation, nano-surgery and socialist Mars colonies, 
are not going to convince capitalists to stop attacking socially produced value every way 
they can. We need more fundamental knowledge about how the present is reproduced in this 
first place, the legacy of colonialism, imperialism, patriarchy and slavery in the very 
devices we use to understand such things, and we need social and cultural technologies to 
integrate that consciousness into new behaviours, new sociabilities, new modes of 
exchange."



On 23/04/16 13:15, ruth catlow wrote:
So is this the accelerationist aesthetics question?

Q. How can we as artists and people use the logics & tools of automation and 
markets as part of making better art and better life for us all?

: )

Tom said

when it appeared that the prognostications of the first wave of

accelerationists had partly came true: namely, that the accelerations
inherent in capitalism, specifically the tendency to mobilize more
surplus labour and resources at greater rates of efficiency and
abstraction, would exacerbate the system's inherent contradictions to a
catastrophic point. Only partly came true though: the system did not
collapse but massively reorganized itself (all those would-be John Galts
suddenly all too happy to accept government bail-outs, massive
expropriation of assets from the poor). This required a recalibration of
the theses of that first wave of accelerationists, a recalibration that
perhaps either is reflected in art, or in which<<<

The unfettered development of automation and market-forces is currently seen as 
the preserve of people on the political right (who seek to preserve the status 
quo or enhance their wealth and power). But who may at some points ask for 
time-out (and bail-outs) in order 

Re: [NetBehaviour] Accelerationism

[ruth catlow]

Yes Michael, and this is profoundly poetic.

All human traditions, values and communities are dissolved in an acid 
bath of everlasting agitation and uncertainty.


What this passage does not describe though is a situation where the 
wider ecologies of non-human planetary life, upon which we depend, are 
also fatally eroded.
We need to sense and engage not just the real relations with "our kind" 
(expanded to engage people and perspectives of all kinds (YES Gretta!)), 
but beyond, with other species, and materials.


This must include a correction to systems of dominance - to which Simon 
points with his example of improper use of neuro-science to validate the 
'use' of humans.





On 23/04/16 16:38, Michael Szpakowski wrote:

Marx & Engels on accelerationism in 1848:

"The bourgeoisie cannot exist without constantly revolutionising the 
instruments of production, and thereby the relations of production, 
and with them the whole relations of society. Conservation of the old 
modes of production in unaltered form, was, on the contrary, the first 
condition of existence for all earlier industrial classes. Constant 
revolutionising of production, uninterrupted disturbance of all social 
conditions, everlasting uncertainty and agitation distinguish the 
bourgeois epoch from all earlier ones. All fixed, fast-frozen 
relations, with their train of ancient and venerable prejudices and 
opinions, are swept away, all new-formed ones become antiquated before 
they can ossify. All that is solid melts into air, all that is holy is 
profaned, and man is at last compelled to face with sober senses his 
real conditions of life, and his relations with his kind."


   This does the *descriptive* job as well as anything written since 
and it still stands perfectly well...

Sent from my iPhone


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Re: [NetBehaviour] Accelerationist aesthetics

[ruth catlow]

Here Baruch Gottlieb reviews “Inventing the Future”by Srnicek & 
Williams  (co-authors of the Accelerationst Manifesto)

https://blog.p2pfoundation.net/inventing-future-beholden-present-review/2016/04/08

He says

"visions or projects for teleportation, nano-surgery and socialist Mars 
colonies, are not going to convince capitalists to stop attacking 
socially produced value every way they can. We need more fundamental 
knowledge about how the present is reproduced in this first place, the 
legacy of colonialism, imperialism, patriarchy and slavery in the very 
devices we use to understand such things, and we need social and 
cultural technologies to integrate that consciousness into new 
behaviours, new sociabilities, new modes of exchange."



On 23/04/16 13:15, ruth catlow wrote:

So is this the accelerationist aesthetics question?

Q. How can we as artists and people use the logics & tools of 
automation and markets as part of making better art and better life 
for us all?


: )


Tom said



when it appeared that the prognostications of the first wave of

accelerationists had partly came true: namely, that the accelerations
inherent in capitalism, specifically the tendency to mobilize more
surplus labour and resources at greater rates of efficiency and
abstraction, would exacerbate the system's inherent contradictions to a
catastrophic point. Only partly came true though: the system did not
collapse but massively reorganized itself (all those would-be John Galts
 suddenly all too happy to accept government bail-outs, massive
expropriation of assets from the poor). This required a recalibration of
 the theses of that first wave of accelerationists, a recalibration that
 perhaps either is reflected in art, or in which<<<

The unfettered development of automation and market-forces is 
currently seen as the preserve of people on the political right (who 
seek to preserve the status quo or enhance their wealth and power). 
But who may at some points ask for time-out (and bail-outs) in order 
to re-set their position of advantage.


Rob said

If I was trolling I'd argue that if you're on the left you're either a
conscious or an unconscious accelerationist. But it's possible to do
things in an un-Accelerationist way - it's not an inescapable or
inevitable cultural condition.

Yes, this is why I declared myself an Accelerationist- it was not a 
proud declamation (a la 'I'm a feminist and I'm proud') more an 
admission (a la, the declaration at meetings of people participating 
in the 12 step programme).


 What I think is worth reflecting on (even if only idly) in this
discussion is whether there is anything in one's own life or work that
this strategy would be productive for. What could each of us better
understand and reason about (in some sense) so as to be able to better
change it?

Both these points indicate something that Left Accelerationism has been
criticised for from various angles - it is a *selective* acceleration.


Left Accelerationists are critiqued as these social-power-tools (of 
automation and market-forces) are seen as inherently dehumanising and 
destructive of solidarity and freedom?





On 23/04/16 02:49, Rob Myers wrote:

On 22/04/16 03:27 AM, ruth catlow wrote:

Not that we all need to be in an unending frenzy of communication and
exchange. More that we have ever-more nuanced ways to sense the
significance of different kinds of participation: in a loop of 
unwitting

participation and active collaboration and organisation.

I think this (and Simon & Pall's conversation) raises two important
points about "Accelerationism".

The first is that contemporary society appears to have speeded up
anyway. We can debate whether progress or the economy has stalled, but
our experience of life seems to involve the compression of time by
technology and by socioeconomic demands.

The obvious critic of this kind of speed and acceleration, as Paul
mentioned, is Virilio. Who I think relates speed to power in a way that
makes sense of our experience of it as disenfranchising.

Wanting to slow down from *this* kind of acceleration isn't a bad thing
and is in fact the end point of MAP/Fixing The Future -style
Accelerationism: let's get the machines to do the busy-work so we can do
something actually useful with our time instead.

The second is that Accelerationism isn't a historical epoch like
postmodernism or globalisation. It's a *strategy*.

If I was trolling I'd argue that if you're on the left you're either a
conscious or an unconscious accelerationist. But it's possible to do
things in an un-Accelerationist way - it's not an inescapable or
inevitable cultural condition.

What I think is worth reflecting on (even if only idly) in this
discussion is whether there is anything in one's own life or work that
this strategy would be productive for. What could each of us better
understand and reason about (in some sense) so as to be able to better
change it?

Both 

Re: [NetBehaviour] Accelerationist aesthetics

[ruth catlow]

So is this the accelerationist aesthetics question?

Q. How can we as artists and people use the logics & tools of automation 
and markets as part of making better art and better life for us all?


: )

Tom said


when it appeared that the prognostications of the first wave of

accelerationists had partly came true: namely, that the accelerations
inherent in capitalism, specifically the tendency to mobilize more
surplus labour and resources at greater rates of efficiency and
abstraction, would exacerbate the system's inherent contradictions to a
catastrophic point. Only partly came true though: the system did not
collapse but massively reorganized itself (all those would-be John Galts
 suddenly all too happy to accept government bail-outs, massive
expropriation of assets from the poor). This required a recalibration of
 the theses of that first wave of accelerationists, a recalibration that
 perhaps either is reflected in art, or in which<<<

The unfettered development of automation and market-forces is currently 
seen as the preserve of people on the political right (who seek to 
preserve the status quo or enhance their wealth and power). But who may 
at some points ask for time-out (and bail-outs) in order to re-set their 
position of advantage.


Rob said

If I was trolling I'd argue that if you're on the left you're either a
conscious or an unconscious accelerationist. But it's possible to do
things in an un-Accelerationist way - it's not an inescapable or
inevitable cultural condition.

Yes, this is why I declared myself an Accelerationist- it was not a 
proud declamation (a la 'I'm a feminist and I'm proud') more an 
admission (a la, the declaration at meetings of people participating in 
the 12 step programme).


 What I think is worth reflecting on (even if only idly) in this
discussion is whether there is anything in one's own life or work that
this strategy would be productive for. What could each of us better
understand and reason about (in some sense) so as to be able to better
change it?

Both these points indicate something that Left Accelerationism has been
criticised for from various angles - it is a *selective* acceleration.


Left Accelerationists are critiqued as these social-power-tools (of 
automation and market-forces) are seen as inherently dehumanising and 
destructive of solidarity and freedom?





On 23/04/16 02:49, Rob Myers wrote:

On 22/04/16 03:27 AM, ruth catlow wrote:

Not that we all need to be in an unending frenzy of communication and
exchange. More that we have ever-more nuanced ways to sense the
significance of different kinds of participation: in a loop of unwitting
participation and active collaboration and organisation.

I think this (and Simon & Pall's conversation) raises two important
points about "Accelerationism".

The first is that contemporary society appears to have speeded up
anyway. We can debate whether progress or the economy has stalled, but
our experience of life seems to involve the compression of time by
technology and by socioeconomic demands.

The obvious critic of this kind of speed and acceleration, as Paul
mentioned, is Virilio. Who I think relates speed to power in a way that
makes sense of our experience of it as disenfranchising.

Wanting to slow down from *this* kind of acceleration isn't a bad thing
and is in fact the end point of MAP/Fixing The Future -style
Accelerationism: let's get the machines to do the busy-work so we can do
something actually useful with our time instead.

The second is that Accelerationism isn't a historical epoch like
postmodernism or globalisation. It's a *strategy*.

If I was trolling I'd argue that if you're on the left you're either a
conscious or an unconscious accelerationist. But it's possible to do
things in an un-Accelerationist way - it's not an inescapable or
inevitable cultural condition.

What I think is worth reflecting on (even if only idly) in this
discussion is whether there is anything in one's own life or work that
this strategy would be productive for. What could each of us better
understand and reason about (in some sense) so as to be able to better
change it?

Both these points indicate something that Left Accelerationism has been
criticised for from various angles - it is a *selective* acceleration.


I am currently showing a live networked video piece, I created with
Gareth Foote, called /Time is Speeding Up/ at 20-21 Visual Arts Centre
up in Scunthorpe as part of the show We Are Not Alone. I have no idea
whether this is an Accelerationist artwork.

It's increasing our ability to perceive and reason about our situation,
so quite possibly.


I agonized about the aesthetics of the work- at first- so un-"cool", so
un-cyber - because the humans are so alive AND they make the work.
But now I'm really happy with it and would like to assert a place for
this almost folksy aesthetic (rather than a rush to slick, black
fluidity) in post-capitalist art.

Bladeru

[NetBehaviour] Accelerationist aesthetics

[ruth catlow]

Hi Tom,

 I like where you take this question of accelerationist aesthetics.
>So the question that accelerationism poses might be something like: 
what sort of coordination can/should exist between a post-capitalist 
political program and art?


I think/hope that there are a number of people preparing to join this 
bit of this discussion soon.


For me, in politics as in art, a successful encounter is one that moves 
diverse people to seek agency (on their own terms) within contemporary 
culture; and that acts as a spur for joyful, mutualist acts.


Not that we all need to be in an unending frenzy of communication and 
exchange. More that we have ever-more nuanced ways to sense the 
significance of different kinds of participation: in a loop of unwitting 
participation and active collaboration and organisation.


I am currently showing a live networked video piece, I created with 
Gareth Foote, called /Time is Speeding Up/ at 20-21 Visual Arts Centre 
up in Scunthorpe as part of the show We Are Not Alone. I have no idea 
whether this is an Accelerationist artwork.


The image capture software is designed to reproduce the sensation that 
we have of how time speeds up as we get older. A webcam takes a new 
image every 3 or 4 minutes and adds it to a 3 minute looping video. The 
video is becoming more dense over time- and so the images of individual 
gallery visitors are gradually being crushed out of memory, like dead 
leaves into oil.


See it live here ( we are now on day 44 approx 17fps) 
http://gtp.ruthcatlow.net/
And after 8 days (at 3fps) 
https://embed.ascribe.io/content/1PHX3XJid9Erh5rCTNgf6L2M15ePL39Ror


I agonized about the aesthetics of the work- at first- so un-"cool", so 
un-cyber - because the humans are so alive AND they make the work.
But now I'm really happy with it and would like to assert a place for 
this almost folksy aesthetic (rather than a rush to slick, black 
fluidity) in post-capitalist art.


Cheers
Ruth

On 21/04/16 23:09, Tom Kohut wrote:
Regarding what an accelerationist aesthetics might resemble (or the 
set of things which m ight be grouped via family resemblance as an 
"accelerationist aesthetics"), there's the June 2013 /EFlux/ which was 
devoted to exactly this question. In it, Patricia MacCormack (In 
"Cosmogenic Acceleration: Futurity and Ethics") asks:
"[…] what is the qualitative difference between a nihilistic reading 
of acceleration as saturation without refined intensity [as in its 
90s, Nick Land versions], and an accelerationist aesthetic that does 
not equate speed with the too-fast replacements of capitalism, instead 
seeking intensity in all movement, and thus all movement as 
acceleration (even multidirectional)?"
I think this last point is particularly interesting insofar as it 
insists, as I think Rob Myers pointed out vis-à-vis Futurism, that 
speed is not an absolute quality, but is a relational concept. In this 
sense, no continents without islands.
I also wonder about how accelerationism's aesthetics relates to the 
larger question of political aesthetics. What I mean by this is: 
accelerationism, in its latest version, started off primarily as a way 
of naming a political tendency: how to best bring about a 
post-capitalist global situation using the tools which are available. 
Thus, not exactly an oppositional stance – we must smash capitalism – 
but rather a repurposing/hacking of the platforms that capitalist 
interests have made available and using them as weapons against that 
which impedes a transition to post-capitalism. Is aesthetics one such 
tool? I might point out that the 90s cyber version of accelerationism 
certainly had aesthetic investments (/Neuromancer/, /Blade Runner/, 
/Terminator/, etc.). So the question that accelerationism poses might 
be something like: what sort of coordination can/should exist between 
a post-capitalist political program and art?


Sent from my iPad

On Apr 21, 2016, at 3:11 PM, Rob Myers > wrote:


I think Haraway is a good historical example. Their Cyborg Manifesto 
was written against sclerotic essentialist-/eco- feminism and amidst 
the decline of left politics in the US during the Reagan era. They 
take the Cold War figure of the cyborg and re-purpose it to critique 
all of this. There are strong parallels to Srnicek & Williams' 
current argument that "folk politics" is insufficient to bring about 
political change.


I don't think that Accelerationist aesthetics are even slightly 
resolved yet, and that's a good thing. In "Accelerationist Art" I 
mention some examples and possibilities, particularly art that tries 
to exit the confines of Contemporary Art's simulacrum of freedom. 
Maybe we can come up with something here. :-) In general, 
Accelerationist aesthetics would presumably be about increasing the 
capabilities of our reason in/via art, which I think would require 
increasing the capabilities of our perception. One view of this would 
be something 

Re: [NetBehaviour] My name is [Your Name Here] and I am an Accelerationist

[ruth catlow]

Dear Annie, Dave, Alan and Paul,

Annie you asked
"I want to slow down, to be attentive, to touch - can that be part of 
Accelerationisme?"


Yes. I think so.
This is less about speed (as distinct from Futurism) than it is about 
rates of change.


The technologies that we use are bound up with with advanced capitalism. 
We watch our political and social infrastructures unable to evolve fast 
enough to solve the wicked problems - for environment, democracy, 
justice and a good life- than they create.


I think we can take two attitudes

1) Save ourselves! Take what we can carry, run for the hills and build 
the best fortresses we can with people whose values we share.


or

2) coordinate and collaborate in the higher interests of all living 
beings - constantly working out who and what these are- and using all 
means at our disposal.


I like the idea of living in the hills.
But not under siege, and not in earshot of future generations of 
bemused, brutalised, alienated people.


The dominant model of global coexistence is that of endless economic 
growth and Neoliberalism (the (increasingly automated) marketization of 
everything). This  tends to centralize power and resources and renders 
less effective the usual ways of blocking and resisting; of work-based 
and traditional-identity based solidarity.


Instead Contemporary Accelerationism suggests (I think) that we use in 
new combinations all the tools, tactics, and knowledges in an attempt to 
perform a series of judo moves (using the force rather than resisting 
the force), or to sling-shot our way through the mess we are in.


As always, there needs to be a way to accommodate the visions and madcap 
schemes of all sorts- many islands rather than one land mass as Paul 
said. That's why this discussion here and now.


Respect!
Ruth

On 21/04/16 12:01, Annie Abrahams wrote:

My name is Annie Abrahams and I don't know if I am an Accelerationist.
I don't like the word and I know that words are not innocent.
I do like Ruth and I know she never is completely wrong.

Why in the first place I should think about it? Modernism, the 
Postmodern, the New Aesthetics, Post Internet Art - just names, almost 
forgotten names - containers that served to categorize discussions, 
postures ... analyses? perspectives?


Is Accelerationisme the most recent one in this row?
What should we discuss ... ?
Accelerate? What is knowledge in this frame, how is it constructed? Is 
it a-historical? Is it prospective?


I want to slow down, to be attentive, to touch - can that be part of 
Accelerationisme?


(to be continued)

On Thu, Apr 21, 2016 at 11:37 AM, ruth catlow 
<ruth.cat...@furtherfield.org <mailto:ruth.cat...@furtherfield.org>> 
wrote:


Hello,
My name is Ruth Catlow,
and I am an Accelerationist.

Back in 1996 
(to be continued)
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--
Gretta Louw reviews my book 
<http://www.furtherfield.org/features/reviews/personal-politics-language-digital-colonialism-annie-abrahams%E2%80%99-estranger> 
from "estranger to e-stranger: Living in between languages", and finds 
that not only does it demonstrate a brilliant history in performance 
art, but, it is also a sharp and poetic critique about language and 
everyday culture.


New project with Daniel Pinheiro and Lisa Parra : Distant Feeling(s) 
<http://bram.org/distantF/>



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Furtherfield is the UK's leading organisation for art shows, labs, & 
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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
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[NetBehaviour] My name is [Your Name Here] and I am an Accelerationist

[ruth catlow]

Hello,
My name is Ruth Catlow,
and I am an Accelerationist.

Back in 1996 
(to be continued)
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[NetBehaviour] 'We Need to Talk About Accelerationism' debate on Netbehaviour & Neterarti starting Thursday 21st April////////////////

[ruth catlow]

Hi Netbehaviourists,

Welcome to the first day of 'We Need to Talk About Accelerationism' a 
month of art, discussion and exchange here on Netbehaviour and Neterarti 
(https://neterarti.furtherfield.org) (drop me a line if you need an 
invitation to Neterarti- it's invitation only at the moment to keep the 
spam at the gates).


Our idea is that in depth discussion can take place here, and that 
Neterarti provides the perfect platform for pithy punchy accelerationist 
performance.


Here is more info about why we think this is a worthwhile endeavour- 
along with some context and readings.

http://www.furtherfield.org/programmes/event/we-need-talk-about-accelerationism-0

This recent article by Rob Myers, is helpful in that it concisely points 
to different uses of, and contexts for, the term 'Accelerationism' along 
with a commentary about its relevance to emancipatory practices in 
contemporary art . 
http://www.furtherfield.org/features/articles/accelerationist-art


As Marc said before, lots of people will have different ideas about what 
Accelerationism means to them and this is one of the reasons for this 
discussion taking place.

Everyone is welcome to join in however makes sense to them.

Let's go!

Respect!
Ruth

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[NetBehaviour] RIXC art art science festival announces call

[ruth catlow]

--->

RIXC is the center for new media culture and artist collective, 
established in 2000. We initiate projects in intersection of art, 
science and emerging technologies. RIXC's activities include: production 
of artworks and innovative art, science and technology projects, 
organizing annual RIXC art and science festival, exhibitions, publishing 
of Acoustic Space journal series.


Please find attached the conference call.



2016_conference_call.doc
Description: MS-Word document
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Re: [NetBehaviour] 31 paintings after Zhao Ji's 'Listening to the Qin' / 聽琴圖

[ruth catlow]

They are wonderful and day-improving.

And the conversations around the images are also full of riches
like here
https://www.flickr.com/photos/szpako/22575537344/in/album-72157658505648373/
Thanks Michael.
:)
Ruth

On 03/04/16 13:48, Michael Szpakowski wrote:

as noted above :)

https://www.flickr.com/photos/szpako/albums/72157658505648373

cheers
michael


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Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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.
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[NetBehaviour] Art and the Blockchain

[ruth catlow]

Dear NBers

To continue the conversation started by Max Dovey...here is a link to 
some images of the Art and the Blockchain showcase that we put together 
for Digital Catapult, London. The exhibition features work by Rob Myers, 
Okhaos, Émilie Brout & Maxime Marion.


https://www.flickr.com/photos/http_gallery/albums/72157666170945870

And here is my blog post that gives one lens on what why we think it's 
important that artists are working with blockchain technologies.


https://www.digitalcatapultcentre.org.uk/art-and-the-blockchain/

Last Tuesday I spoke at the Digital Catapult event, Blockchain: Beyond 
FinTech. The exhibition provided a way to usefully probe conversations 
about the marketization-of-everything. It helped provoke debate about 
the kind of humans we want to be and the society that we want to 
co-create with this 'paradigm shifting' decentralizing tech.


Respect!

Ruth and the Furtherfield Crew


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Furtherfield

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+44 (0) 77370 02879
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Furtherfield is the UK's leading organisation for art shows, labs, & debates
around critical questions in art and technology, since 1997

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.

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Re: [NetBehaviour] review of 'Promise of Blockchain' event in Amsterdam, Netherlands

[ruth catlow]

Hi Max,
Thanks very much for this excellent review. It sets out very clearly 
some of the current debates about the limits and potentials of 
emancipatory developments in blockchain technology.

Super useful!

Cheers
Ruth

On 25/03/16 11:35, Max Dovey wrote:
Hi Netbehaviours, long review on (some) of the problems surrounding 
Blockchain speculation hype  -


Long review of 'MICHEL BAUWENS & THE PROMISE OF THE BLOCKCHAIN' event 
organised by Fiber as part of their Coded Matters Series.


The desire to uproot the dichotomies of power with a distributed 
public ledger should be met with greater consideration and questioning 
of what would actually benefit from becoming de-centralized, 
distributed and autonomous.If you want to frame the expansion of 
Blockchain as a political revolution than I would go one step further 
to ask what are you fighting for? Social justice and inequality won’t 
be solved by any technical application so if your building 
applications from the frequently termed ‘bottom-up’, take greater 
consideration to ask who it is for and who would it benefit?


http://networkcultures.org/moneylab/2016/03/21/promise-of-the-blockchain/

 Mx

--
/Upcoming >>>/
/
/
H.I.T. at Digital Bauhaus Summit  
| 2 - 4 June 2016
Secret Post Office at Wilderness Festival 
 | 4 - 7 August 2016
Secret Post Office at End of the Road Festival 
 | 2 - 4 September 2016


www.maxdovey.com 





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Re: [NetBehaviour] ruth catlow eating a flapjack & playing the fiddle..

[ruth catlow]

Hi Michael,

Thanks for outing me as a flapjack eater and a fiddler :)

Honoured to be featured in the glorious Mickiewicz remix series.

Happy hols everyone.

:)
R


On 24/03/16 15:24, Michael Szpakowski wrote:
..are two of the things featuring in this 2 minute extract from a ten 
minute video I made to complete my '12 remixes'  vids, working with 
people in Scunthorpe a couple of Saturdays ago.

https://www.flickr.com/photos/szpako/25402318543/

It's showing (with all the other remix videos) at 20-21 until April 30th.
The whole sequence ( except this latest one, which I will post once 
the 20-21 show closes) is up here:

https://www.youtube.com/playlist?list=PLa6O5ysH1zEEDKKmDmEkiczkO3cRwenVZ

cheers

michael





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Furtherfield

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Furtherfield is the UK's leading organisation for art shows, labs, & 
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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] Furtherfield is on the map - literally!

[ruth catlow]

Hehehe! That's funny John: )

Our celebration is flavoured with joyous absurdity.

In spite of creeping privatization, the London tube still /feels/ like 
one of the last vestiges of public infrastructure. Of all the maps- this 
is a good one to be on.


cheers!

On 16/03/16 17:27, John Hopkins wrote:

On 16/Mar/16 04:46, helen varley jamieson wrote:

as it should be! :)


m, not sure if that is a good thing or not -- a TAZ should stay 
below all radars! Perhaps you should 'load' Furtherfield into a lorry 
and start moving to stay ahead of the map-makers!


Reification is dangerous!

jh





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Furtherfield is the UK's leading organisation for art shows, labs, & 
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around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Re: [NetBehaviour] Mood Board for ‪#‎FutureFinance‬

[ruth catlow]

Doh!

poor URL

https://www.flickr.com/photos/http_gallery/albums/72157665587538115

On 09/03/16 21:05, ruth catlow wrote:

We had a productive weekend at The Photographers Gallery.

Brett Scott worked with a group of people around building the Activist 
Bloomberg Terminal. They made a start building a bank simulator and 
then thinking about a tool to enable people to see corporations 
through the different lenses of all of their stakeholders (not just 
shareholders).


In the other corner of the Gallery, we worked with gallery visitors on 
an active reworking of the images surrounding money and finance 
cultures. Images of the mood boards and masks for #MythicMoney and 
#FutureFinance can be found here.

https://www.flickr.com/photos/http_gallery/albums/721576655875381157

Cheers
Ruth




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Re: [NetBehaviour] Mood Board for ‪#‎FutureFinance‬

[ruth catlow]

We had a productive weekend at The Photographers Gallery.

Brett Scott worked with a group of people around building the Activist 
Bloomberg Terminal. They made a start building a bank simulator and then 
thinking about a tool to enable people to see corporations through the 
different lenses of all of their stakeholders (not just shareholders).


In the other corner of the Gallery, we worked with gallery visitors on 
an active reworking of the images surrounding money and finance 
cultures. Images of the mood boards and masks for #MythicMoney and 
#FutureFinance can be found here.

https://www.flickr.com/photos/http_gallery/albums/721576655875381157

Cheers
Ruth

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Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
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Registered business address: Ballard Newman, Apex House, Grand Arcade, 
Tally Ho Corner, London N12 0EH.

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Re: [NetBehaviour] besides, what are we (Martina and Annie in their networked performances) doing?

[ruth catlow]

Thank you for sharing this Annie,
I have a question (I enjoyed reading the last Bakhtin quote about voice).
Do you think that voice is also conveyed in the same way in the written 
word?


I ask, because I recently participated in a residency in which a writer 
was partnered with a voice coach. I was lucky enough to have a session 
with the voice coach and feel that the extended range of voices that I 
accessed through this session have added range to my thought and writing.


Ruth

On 03/03/16 10:48, Annie Abrahams wrote:



light

This is a copy of my latest blogpost. I want to share it here too, 
because it might be of interest to some of you who are not connected 
to me otherwise.

(Next performance will be March 19th 20h in Im_Flieger in Vienna)

Take care
Annie

We started out with three very different meetings (See turbulence.org 
) and then decided to 
continue to explore one of them further; we restricted ourselves to a 
theme and made the project on “meeting online =” also a research on 
the relation between objects/things, text and the voice.
We began experiencing and experimenting the performances as *an other 
method of thinking together about both object agency and online 
collaboration*.


– We stage a collaborative performance project online.
– Meeting online =
– We are meeting online, trying to get more grip on what is actually 
happening in online webcam communication.

– This is a research project where we use performance as a tool.
– Using performance as a tool, is a way to create a common responsibility.
– We use an interface which doesn’t permit that either of us two can 
become dominant, an interface that has flaws, glitches, bugs, an 
interface that cannot be domesticated.
– We are not developing a performance – our performances are part of a 
research process.
/My performances are a research tool, not an object ansich, not 
something to show off. /(See allergic-to-utopias 
)


*But the audience? Why should they be interested, What is it for 
them?* *They can think with us!*



  So far :
  /besides, the person I am becoming /1/06 2015
  There are :
  – *the interface *: two webcam images side by side, one
  managed by Martina, one by Annie. Both images have exactly
  the same size and presence there is no power relation. *
  – a text *: a remix, done together, of phrases read and
  heard, collected over one month by Annie and Martina
  individually. We determined before who would read what part
  of the text.
  – *objects* : things : we will not use personal objects,
  things with a very specific personal history and they should
  not be too beautiful, as ordinary, casual, daily as possible.
  What did we mean by that, why? We didn’t want things to be
  symbols. We almost entirely excluded also natural objects as
  flowers, leafs etc., because, they are already alive on
  their own and so are too symbolically loaded too.
  The objects were placed in front of the webcam at before
  undetermined intervals.
  – *the hands* : hands who lay down the objects carefully.
  – *two voices* : as neutral as possible. Because the
  interface merges the sound of both webcams in one stream,
  there is no way for the audience to distinguish if a voice
  comes from the one or from the other webcam. They can only
  hear that there are two different voices, *there is a dialogue*.

/What dialogue? Who is talking to who, who is addressed? Who receives? 
The objects replace the faces we are used to see in webcam images. We 
see them in close up – they become actors – we can believe them to be 
intimate, to have a relation. They too have a / are in dialogue. They 
too are elements being in the event. (1)/


*This is where the two subjects meet. This is where we meet.*


  In /besides, the city is not a tree,/ 22/07 2015 we used a
  different, more narrative, mix of the same text collection.
  We decided to abandon the neutral voice and let the exchange
  be more natural allowing for affect to transpire (2). We
  speeded the rhythm and alternations.
  Hands should be just careful installers, shouldn’t
  manipulate, nor stay too long in the frame.
  For /besides, smaller than a single pixel/ 28/11 2015 we
  made a new text collection. No natural objects at all were
  allowed anymore. Would the perceived agency of the thing
  change if we would enter and exit them at specific moments
  in the text? If we stopped talking while changing the
  objects? Would the objects become more present, have more
  influence if we allowed for moments without text?
  We stayed with 

[NetBehaviour] Mood Board for ‪#‎FutureFinance‬

[ruth catlow]

I'm currently preparing the matrix for a Mood Board for‪#‎FutureFinance‬ 


The x-axis goes as follows:

DEBT
CURRENCY
SURVEILLANCE
MAGIC | MYSTIQUE
DEATH
THEFT
SEDUCTION
LIBERTY
SOLIDARITY

This weekend Furtherfield is in residence at The Photographers' Gallery 
withBrett Scott of the London School of Financial Arts. It would be 
great to have any of you there. It's free if you turn up before 12noon - 
otherwise £3 entry gives you access to all the exhibitions. Info here 
http://furtherfield.org/programmes/event/changing-image-finance-furtherfield-residence-photographers-gallery




*Changing the Image of Finance

*



Cheers!
Ruth



--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879
Meeting calendar - http://bit.ly/1NgeLce
Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

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. 



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[NetBehaviour] seeking unruly montage making tool

[ruth catlow]

Hi everyone

Can anyone recommend me an online montage tool.

I can find photocollage and curation apps/tools but they are all so 
orderly! and the outcomes so dull and proper.


I am looking for something like the delicious old collaborative drawing/ 
online landfill type sites that proliferated in the early noughties when 
so many artists still made tools/platforms for fun rather than for business.


I want to bung a load of images and text snippets into a single window 
and then press a randomising button to keep throwing them up in the air 
until something wonderful occurs.


Help please!

Respect,
Ruth
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