Re: [NetBehaviour] EvenSalon: Anti-Natural, Saturday November 7th, Apiary Studios, Hackney, London 19.30pm+

[Richard Wright]

“... the diagonalising of new ecologies and forms of life without the 
supra-prosthetic of ‘Nature’ itself".

Yes mate.


> 
> From: jk 
> Subject: [NetBehaviour] EvenSalon: Anti-Natural, Saturday November 7th, 
> Apiary Studios, Hackney, London 19.30pm+
> Date: 27 October 2015 19:45:12 GMT
> To: netbehaviour@netbehaviour.org
> Reply-To: NetBehaviour for networked distributed creativity 
> 
> 
> 
> 
> Anti-Natural prompts invited artists and theorists into a range of responses 
> to notions on the production of the natural, where the human imperative is 
> the need to produce or 
> change nature, to re-nature nature, and so to make the highest poverty, the 
> diagonalising of new ecologies and forms of life without the supra-prosthetic 
> of ‘Nature’ itself.
> 
> In an evening of inevitable naturalism, of condemnation by the condemned, 
> Anti-Natural includes works by:
> 
> ±  Callum Gunn
> ±  Dani Ploeger
> ±  Danilo Mandic
> ±  Himali Singh Soin
> ±  Inigo Wilkins
> ±  Jelena Stojkovic
> ±  Jonathan Kemp
> ±  Laboria Cuboniks
> ±  Marina Vishmidt
> ±  Nihal Yesil
> ±  Paul Abbott
> ±  Roc Jimenez de Cisneros 
> ±  Sabina Ahn
> ±  Tim Goldie
> ±  ΦΛΞ
> ±  _blank
> 
> Even Salon
> Apiary Studios
> 458 Hackney Rd
> London E2 9EG
> 
> 7.30pm doors for 8pm | £5
> 
> Full lineup details: http://even.org.uk/ 
> Apiary Studios: http://www.apiarystudios.org  
> 
> Anti-Natural is the first of a series of themed bi-monthly Even Salons, 
> offering a platform for exchanges by a range of invited participants. 
> After each event a pamphlet will be collated and produced for hand out at the 
> next salon.
> 

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Re: [NetBehaviour] Know Your Filesystem (and how it affects you)

[Aymeric Mansoux]

Hello!

Thanks Dave for the text and cheers to Furtherfield for publishing it as
well as hosting this discussion.

I'm very much looking forward to tomorrow's event. Actually, some of the
points discussed in this thread so far, relate quite closely to the
topic of my presentation for RWX, namely how nowadays modes of
production and social structures are sandboxed both at a technological
and juridical level.

Some of my comments below are derived from this idea:


Rob Myers said :
> Xanadu was started a decade before the Star project, and Computer
> Lib/Dream Machines was published in 74. There may be something to the
> idea of epochs, or at least eras. :-)
>
> [...] 
>
> UNIX's file/directory system is no more "natural" than DOS/Windows'
> version with the slashes going the other way. They and the desktop
> file/folder metaphors contrast with other historical filesystems: BeOS's
> database, VMS's versioned file system, the Lisa's search system, the
> original Mac's flat list of files. It's more weird that UNIX won than
> that other systems do it differently.

There has been a Cambrian explosion of OS research during the 60s
up to the early 80s, but the rise of the computer industry made it so
that such diversity was only seen as a pool of competitive products from
which a few were meant to survive. The Unix-like operating systems
won unintentionally this race because they had a simple way to implement
portability, time-sharing, process interoperability and showed promises
of standardisation (the latter which led to a big failure during the
so-called Unix wars), but most importantly Unix benefited from a
proto-free software distribution model in its early days, and this
benefited a lot to AT to turn it into a commercial product once the
telco, liberated from its monopoly position, was able to sell its UNIX
branded software, after a decade of development and distribution as part
of a "fellowship" (term employed by Unix authors themselves). Within
this fellowship the social structure linked to the production of
software was closely informed and reflected from news ideas in computer
science, most notably the notions of library and utility (that were
initially explored in Project MAC during the mid-60s), and became quite
explicit with Unix, where cooperation and collaboration followed similar
patterns of modularity and reuse in the couples software-software,
human-software, and human-human.

If Bell Labs had tried to turn Unix into a commercial product right away
in the early 70s and if its development had depended exclusively on its
immediate commercial success, I am not sure if Unix would have been so
widely present nowadays. Maybe there is a parallel universe where smart
phones are not Unix based (like Android, iOS) but instead Lisp machines?
:)

Anyway, from a technical perspective, as the preface of the UNIX-haters
handbook says, from the top of my head, Unix won because it was "good
enough", and that's also why an OS like Plan 9 which was supposed to
replace Unix eventually never got adopted because Unix like systems were
doing just fine with the odd duct tape fix every now and then.

In fact it is quite interesting to realise that much of the smartness
described below...


Dave Young said :
> > I find the use of the term "smart operating systems" strange. 
> 
> The term 'smart phone', like 'cloud computing', is the produce of the
> dark arts of corporate tech marketing, happily echoed by the likes of
> The Verge, Engadget, Guardian Tech, etc.
>
> [...]


... is built on top of development approaches where it is quite common
to avoid qualifying tools as "good" but as "sucking less" than others,
and where the playful cleverness of the hacker cohabits with crude hacks
and piles of temporary fixes, and where ultimately, methods such as Keep
It Simple Stupid (KISS) contrasts with whatever smartness is added
during the marketing stage. To some extend an automagical tech slogan
like "it just works!" could easily be reversed to another interpretation
as something that in fact *merely and barely* works.

So indeed it should not be a surprise that todays computational culture
is reduced to the making and polishing of fanciful user interfaces and
user experience, UI and UX, and ...


> I think we are really losing the entitlements that come with
> user-agency and tool-ownership as a consequence of these
> 'smart operating systems' and their reluctance to share their
> dirty laundry (filesystems, background processes,
> data-caching, and so on) with us - should we ask them to.

... as a strategy to hide the dodgy business behind these facades.

In that regard the way Android permissions and sandboxing are
implemented on top of the Unix user/group system is quite illustrative
of both the crudeness and flimsiness of these things and how the notion
of home folders and user files has became completely irrelevant in the
age of smart phones being in fact dumb terminals for remote services.
And of course this very 

[NetBehaviour] Production Methods by Executive Chair at Watermans

[Irini Papadimitriou]

Dear all

I wanted to share info for our new exhibition at Watermans, which opens
very soon. I hope you will get a chance to visit.

We have a special event on Saturday 14 November as part of the Digital
Performance Weekender, as well as a series of free workshops collaborating
with the artists for a new artwork. Please see info below. Fell free to
share with anyone who might be interested to join us.

*Production Methods *
By Executive Chair
Friday 6 November - Sunday 10 January
Watermans
Special event: Saturday 14 November, 18.30-21.00, as part of Digital
Performance Weekender
http://watermans.ticketsolve.com/shows/873541456/events?show_id=873541456

Whether you have had a job for life, are on a zero-hours contract or are an
unpaid intern, Production Methods will seem familiar to all that have ever
worked. It gives an unsettling sense of scale forcing us to look upwards to
the boss or "the management" and beyond to the infrastructure and digital
technologies that influence so many of our waking and working hours.
Throughout the space office furniture and the remains of a bankrupt
business sit, the workers are absent, perhaps fired by group text message?

When visiting the gallery it might be buzzing with energy, and words, or
lying dormant waiting for the start of the business day. The boxes that
dominate the space are the kind hastily packed with possessions and
clutched by a worker just made redundant; containing within them the
promises and produce of marching progress, these boxes also serve as the
site of artistic production. And the gallery will be re-energised, a
business founded anew through a group of new economy workers who will bring
the space to life through a programme of participatory public workshops.

Production Methods brings together curatorial insights, sculptural
critiques and playful interventions into the infrastructure of financial
markets, the polemics and semantics of outsourced public services and the
diffuse boundary between work and life.

*Executive Chair* are artists Haydn Jones, Fabio Lattanzi Antinori,
Jonathan Munro working with curator Ozden Sahin. The group examines the
worlds of work and finance and how art and technology can be used to cast a
light on the diffuse boundary between work and life. They make playful,
challenging and engaging installations and sculptures that examine complex
personal, governmental and organisational relationships.

http://executivechair.co

A series of five free participatory workshops will allow members to engage
with the project and collaborate with the artists for the production of a
new artwork and/or publication for the exhibition.

Workshop Dates: Saturdays, 31 October, 7, 14, 21, 28 November, 14.00-17.00,
FREE
Bookings:
http://watermans.ticketsolve.com/shows/873541300/events?show_id=873541300

All the best
Irini

-- 
Irini Papadimitriou
Head of New Media Arts Development
Watermans
40 High Street
Brentford
TW8 0DS

Direct line: +44 (0)20 8232 1012
Admin: +44 (0)20 8232 1020

www.watermans.org.uk
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[NetBehaviour] Sold Separately

[{ brad brace }]

public-icon pdf publication $101

a playful 101-page glossy snapshot collection of commercial signage across 
america
poised atop giant glass-rendered phalli

Iconography 90`s: typography & public-sculpture

* the transliteration of contemporary, mediated multi ethnic culture
* the disjuncture of physically-represented typography in public
* formed metal signage appended to commercial buildings
* representation of architecture by such signage
* digital melding of documented signage
* virtual sculpture or maquettes for public monuments
 * sample page * iconography 90`s


http://bbrace.net/PI/public.html
http://bradbrace.net/PI/public.html

/:b

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