Paradise Now: UbuWeb's World Without Copyright. Paradise Now: UbuWeb's World Without Copyright Kenneth Goldsmith, founding editor of UbuWeb Keynote SpeechECO-Encuentro de Nuevos Sonidos March 17th, 2012, 12.30 h Lecture Hall. Nave de Música, Madrid Institución: Matadero Madrid “Let's imagine Utopia: a world with no copyright, no fair use, no micropayments, no royalties, no profits, no losses, no attribution, no licensing, no property. Let's imagine a world without money; in fact, let's imagine that money doesn't exist: nobody touches it; nobody pays, & nobody gets paid. Let's imagine a world with no grants, no government support, no Kickstarter campaigns, no fundraising drives. Let's imagine a world with no advertising, no mailing lists, no promotional blasts, no coercion, no donation boxes. “Imaginemos Utopia: un mundo sin copyright, sin micropagos, sin royalties, sin beneficios, sin atribuciones, sin licencias, sin propiedades.
Museums and artists take a stand against the dominance of social media. Artists play a crucial role in visualizing power relationships and disrupting subliminal daily routines of social media usage. They are often first to deconstruct the familiar and to facilitate an alternative lens to understand and critique these media. As a matter of fact, Thierry Geoffroy / Colonel, is one of the artists who pressingly calls for resistance to social media. More specifically, he emphasizes the task of the museum as ‘human patrimony collector’ and role of ‘social stimulator’, signifying that social media has stolen territory which must be regained. In the exhibition Photography Calling, Geoffroy / Colonel offers a penetration wall space at the Sprengel Museum Hannover museum to exhibit censured material from 9 October–10 November 2011.
There’s an open call for contributing censured material to the exhibition: “Exhibit what has been rejected by the social media! [vimeo] FB Resistance Workshop at Transmediale 2011. Searching For Mark Pilgrim. [[ MARK IS FINE and his work is not lost. Please see the update and addendum later in the post. —E. ]] Just yesterday, I took a screenshot of the title page of Dive Into HTML5 to include in a presentation as a highly recommended resource.
Now it’s gone. That site, along with all the other “Dive Into…” sites (Accessibility, Python, Greasemonkey, etc.) and addictionis.org, is returning an HTTP “410 Gone” message. This is very reminiscent of Why the Lucky Stiff’s infosuicide, and it’s honestly shocking. “Embracing HTTP error code 410 means embracing the impermanence of all things.” —Mark Pilgrim, March 27, 2003 (diveintomark.com) Update 5 Oct 11: Jason Scott just tweeted the following: Mark Pilgrim is alive/annoyed we called the police. So there you have it. Addendum 5 Oct 11: Several people have asked me if I know why Mark took this step. Mirrors of Mark’s work have started appearing (see the comments for some of them) and so his legacy, if not his presence, will not be lost. Twitter Psychology.
Psychological research on Twitter reveals who tweets, how much, what they talk about and why. There are now 190 million Twitter users around the world producing 65 million tweets each day. 19% of US internet users now say they use Twitter or a similar service to share updates about themselves—double the figure from the previous year (Pew, 2009). So who tweets? Why? What are they talking about? Since Twitter didn’t exist until 2006, psychologists have had little chance to explore it, but some of the early research suggests a social network unlike those that came before. Before we get onto the research, though, here’s a quick intro for Twitter newbies: What is Twitter?
Twitter is a cross between a social network and a blog. The video above shows you what it looks like on a mobile phone. 1. Because messages are short and can be broadcast quickly and easily, Twitter can feel to its users like a fast-paced conversation (Boyd et al., 2010). 2. 3. 4. 5. 7. 8. 9. Judith Butler: Bodies in Alliance and the Politics of the Street | eipcp.net. In the last months there have been, time and again, mass demonstrations on the street, in the square, and though these are very often motivated by different political purposes, something similar happens: bodies congregate, they move and speak together, and they lay claim to a certain space as public space.
Now, it would be easier to say that these demonstrations or, indeed, these movements, are characterized by bodies that come together to make a claim in public space, but that formulation presumes that public space is given, that it is already public, and recognized as such. We miss something of the point of public demonstrations, if we fail to see that the very public character of the space is being disputed and even fought over when these crowds gather. Of course, this produces a quandary. We cannot act without supports, and yet we must struggle for the supports that allow us to act.
For politics to take place, the body must appear. The Media That Therefore We Are – on Lenore Malen’s video installation « Machinology. I wrote this short catalogue text for Lenore Malen’s I am the Animal — also included stills (courtesy of and permission from Lenore Malen) from the exhibition: The Media That Therefore We Are It’s a matter of scales. If you are far enough away, and your perspective is mediated by a layer of concepts, abstractions, and an organizational eye, you might indeed see them as models of ideal society. It’s all order.
But on another scale, it looks very different. Lenore Malen’s I Am The Animal intertwines the various histories, aesthetics, and idealizations of the bee community as well as the bee’s relations withbeekeepers. Our relation to insects is reflected in much more than the narrative aspect of Malen’s work. I Am The Animal poses the question: Can insects be our companion species? So do animals have technology? The three screens of I Am The Animal are rhythmic elements that deterritorialize our vision. Animals as well as media are elements with which we become. Like this: Like Loading... Demos | Publications. Populist parties and movements are now a force to be reckoned with in many Western European countries. These groups are known for their opposition to immigration, their ‘anti-establishment’ views and their concern for protecting national culture. Their rise in popularity has gone hand-in-hand with the advent of social media, and they are adept at using new technology to amplify their message, recruit and organise.
The online social media following for many of these parties dwarfs the formal membership, consisting of tens of thousands of sympathisers and supporters. This mélange of virtual and real political activity is the way millions of people — especially young people — relate to politics in the 21st century. This is the first quantitative investigation into these digital populists, based on over 10,000 survey responses from 12 countries. It includes data on who they are, what they think and what motivates them to shift from virtual to real-world activism.
How We Know by Freeman Dyson. The Information: A History, a Theory, a Flood by James Gleick Pantheon, 526 pp., $29.95 James Gleick’s first chapter has the title “Drums That Talk.” It explains the concept of information by looking at a simple example. The example is a drum language used in a part of the Democratic Republic of Congo where the human language is Kele.
European explorers had been aware for a long time that the irregular rhythms of African drums were carrying mysterious messages through the jungle. Explorers would arrive at villages where no European had been before and find that the village elders were already prepared to meet them. Sadly, the drum language was only understood and recorded by a single European before it started to disappear. Carrington understood how the structure of the Kele language made drum language possible. In 1954 a visitor from the United States came to Carrington’s mission school. The story of the drum language illustrates the central dogma of information theory. Letters. Powered by Google Docs. Semblance and Event. Innovation Starvation. Stumpel_ma_thesis_the-politics-of-social-media_facebook_control-and-resistance. Animal Ecologies in Visual Culture.
Steve Jobs 1955-2011. | DARC – Digital Aesthetics Research Center. Newspapers and gadget magazines are overflowing with praise and remembrance, and there is no doubt that one of the big IT company leaders and visionaries has died. In many places he is praised as an aesthete that made computers and gadgets with stunning design and great wow-factor. This is of course true, but in DARC we should remember him for how he made new IT-formats or genres popular like the PC with graphical user interface (which Apple didn’t invent but popularized), the iPod and the iPhone.
Also it is significant that especially the success of the iPhone is built on culture and cultural consumption, both in the way that it integrates the musical culture of the iPod and iTunes and in the way it extend it to software culture, which it has transformed into a mobile app-culture. The iPhone and other IOS devices are cultural interfaces and cultural computing – and this is what made it different from the more engineering driven visions of e.g.
Info – Daily Watch » Supercomputer Predicts Revolution. Ostalgia Trips. The end of August marked the 31st anniversary of the Gdánsk Agreement, the accord which is usually seen as having kick-started the demise of communism. Today, Adam Michnik, millionaire and owner of Agora Media LLC, speaks at the Edinburgh Book Festival as a ‘famous dissident’, while Poland takes over presidency in the EU. But somehow no one questions why, in contemporary capitalist Poland, none of the workers’ postulates in the Gdánsk Agreement of 1980 have been achieved. The more distant the collapse of the Berlin Wall becomes, the more miraculous the events around 1989 seem to be. The more capitalist these former republics become, the more nostalgia for communism seems to grow. It ranges through art and theory, film and design, books and anthologies, all of which respond more often to communism’s aesthetic than to its political meaning.
The irony is that Žižek consciously built his career on this post-Soviet sentiment, while being one of its more lucid critics. About the author. Pasquinelli_Machinic_Capitalism. Geek Revenue – University of Copenhagen. Glitch Reality II - analogue-to-digital-to-analogue translation by @m_pf. Following from Glitch Reality No1 commissioned by It’s Nice That for Nike, Glitch Reality 2 by Matthew Plummer-Fernandez and David Gardener is a new iteration of exploring physical objects in glitch form.
The process is an interesting one, applying digital methodology to alter physical objects. Matthew Plummer-Fernandez explains: A tea set was created by purchasing non-matching tea set components, scanning them with a Z-corporation 3D scanner and roughly repairing the digital mesh files. The mesh files are then 3D printed to create an instance of this tea-set data that inherits the glitches from the analogue-to-digital-to-analogue translation.
Also below is short animation experiment Matthew made using a crude 3D scan of his friends baby Harriet. The meshing algorithm curiously created a caccoon from fragments of scanned baby pram, which inspired the title of the piece. See more images and ver 1 on M P-F’s website: cargocollective.com/plummerfernandez | It’s Nice That | David Gardener.