research

on synchronisity of art and culture, technology and environment

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Nettime

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nettime ‘neither promotes a dominant euphoria (to sell products) nor continues the cynical pessimism, spread by journalists and intellectuals in the ‘old’ media who generalize about ‘new’ media with no clear understanding of their communication aspects.’

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September 16th, 2008 at 11:00 am

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sharing

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concept of sharing, framed by a makeshift DIY aesthetic.

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September 14th, 2008 at 10:14 am

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counterculture

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‘We’ve reached a point in our civilization where counterculture has mutated into a self-obsessed aesthetic vacuum.’ adbusters 29 july 2008 coverstory

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September 11th, 2008 at 12:54 pm

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The map is not the territory

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Korzybski’s dictum (“The map is not the territory”) is also cited as an underlying principle used in neuro-linguistic programming, where it is used to signify that individual people in fact do not in general have access to absolute knowledge of reality, but in fact only have access to a set of beliefs they have built up over time, about reality. So it is considered important to be aware that people’s beliefs about reality and their awareness of things (the “map”) are not reality itself or everything they could be aware of (“the territory”). The originators of NLP have been explicit that they owe this insight to General Semantics.

http://en.wikipedia.org/wiki/Map-territory_relation

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September 10th, 2008 at 10:03 am

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NOISE

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Michael Serres: ‘…noise, trough its presence and absence, the intermittence of the signal, produces the new system.’

Gregory Bateson: ‘All that is not information, not redundancy, not form and not restraints – is noise, the only possible source of new patterns.’

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September 10th, 2008 at 9:55 am

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thinking about laboring for others

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i don’t want to see my work as a way of survival, i cannot accommodate in giving my services for small change. and to repeat that its because of development for all or most humans is hypocrisy.

in this way its better not to work, not to arrange holidays, not to have weekends.

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September 1st, 2008 at 7:42 pm

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Cybernetic Serendipity

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The term cybernetics was first used by Norbert Wiener around 1948. In 1948 his book «Cybernetics» was subtitled «communication and control in animal and machine.»

A cybernetic device responds to stimulus from outside and in turn affects external environment

Serendipity – was coined by Horace Walpole in 1754. Walpole used the term serendipity to describe the faculty of making happy chance discoveries

1965 was also the year when plans were laid for a show that later came to be called «Cybernetic Serendipity,» and presented at the ICA in London in 1968. It was the first exhibition to attempt to demonstrate all aspects of computer-aided creative activity: art, music, poetry, dance, sculpture, animation.

link: http://www.olats.org/schoffer/eindex.htm

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August 31st, 2008 at 8:37 pm

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Relational Art

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Nicolas Bourriaud explores this notion of relational aesthetics through examples of what he calls Relational Art. According to Bourriaud, Relational Art encompasses “a set of artistic practices which take as
their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.’

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August 30th, 2008 at 12:24 am

Relational Aesthetics

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A relational artist might, for example, convert a gallery space into a temporary stand for serving coffee, with the addition
of background music, suitable lighting, books to read, and comfortable chairs. The artwork here consists of creating a social
environment in which people come together to participate in a shared activity. Bourriaud claims “the role of artworks is no
longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real,
whatever scale chosen by the artist.” [4]

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August 20th, 2008 at 5:11 pm

Immaterial Labour – Maurizio Lazzarato

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“Immaterial Labor” in the Classic Definition
All the characteristics of the postindustrial
economy (both in industry and society as a whole) are highly present
within the classic forms of “immaterial” production: audiovisual
production, advertising, fashion, the production of software, photography,
cultural activities, and so forth. The activities of this kind of immaterial
labor force us to question the classic definitions of work and
workforce, because they combine the results of various different
types of work skill: intellectual skills, as regards the cultural-informational
content; manual skills for the ability to combine creativity, imagination,
and technical and manual labor; and entrepreneurial skills in the management
of social relations and the structuring of that social cooperation of
which they are a part. This immaterial labor constitutes itself in forms
that are immediately collective, and we might say that
it exists
only in the form of networks and flows. The organization of the cycle
of production of immaterial labor (because this is exactly what it is,
once we abandon our factoryist prejudices—a cycle of production) is
not obviously apparent to the eye, because it is not defined by the
four walls of a factory. The location in which it operates is outside
in the society at large, at a territorial level that we could call “the
basin of immaterial labor.” Small and sometimes very small “productive
units” (often consisting of only one individual) are organized
for specific ad hoc projects, and may exist only for the duration of
those particular jobs. The cycle of production comes into operation
only when it is required by the capitalist; once the job has been done,
the cycle dissolves back into the networks and flows that make possible
the reproduction and enrichment of its productive capacities. Precariousness,
hyperexploitation, mobility, and hierarchy are the most obvious characteristics
of metropolitan immaterial labor. Behind the label of the independent
“self-employed” worker, what we actually find is an intellectual
proletarian, but who is recognized
as such only by the employers who exploit him or her. It is worth noting
that in this kind of working existence it becomes increasingly difficult
to distinguish leisure time from work time. In a sense, life becomes
inseparable from work.This labor form is also characterized by real
managerial functions that consist in (1) a certain ability to manage
its social relations and (2) the eliciting of social cooperation within
the structures of the basin of immaterial labor.

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August 20th, 2008 at 5:11 pm

collaborative process

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compelling content is created though a collaborative process harnessing a wide range of creative skills and talents

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August 20th, 2008 at 5:11 pm

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media

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If you are reading the mainstream newspapers or listening to National
Public Radio, you are contributing to your own mental illness, no
matter how astute you believe yourself to be at “balancing” or
“deciphering” the code.

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August 20th, 2008 at 5:11 pm

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ubiquitous computing

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‘In a ubiquitous computing environment we need to be multi-literate: textually, visually and corporal.’

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August 20th, 2008 at 5:11 pm

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control-information society

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Multitudes Web – Autonomist Marxism and the Information Society

Beneath the rosy images of the information society lie
the stark goals of ’control and reduction in the costs of labour’
(Negri 1978, 254).

Such analysis is by no means unique to autonomists.
Indeed awareness of the role of informatics in the neoliberal assault
on the working class has generated an influential line of quasi-Marxist
’neo-Luddism’. Based largely on ’labour process’ perspectives derived
froth Braverman’s (1974) seminal studies on the ’degradation of work’,
but with important strands in media studies, this seeks to expose the
new technologies as instruments for deskilling and ’mind management’
(Schiller 1976) and to revive, at least intellectually, the resistant
tradition of 19th century machine-breakers (e.g. Noble, 1983, 1984 ;
Webster and Robins 1986).

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August 20th, 2008 at 5:11 pm

labour makes you autonomus

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Capital attempts to maximise exploitation either ’absolutely’ (by
extending the working day) or ’relatively’ (by raising the intensity or
productivity of labour). But workers, both in daily practice and
organised struggle, persistently initiate their own, very different
project. Seeking a secure, full, plenitudinous life that escapes the
reduction to mere labour-power, they set in motion a counter-logic that
defies capital’s by either forcing up the wage level or lowering the
duration and pace of the working day. These efforts by workers to
reclaim the values they themselves have produced are not merely
’economistic,’ but strike at capital’s intrinsically political command
over labour-power. The horizon to which they point is the separation of
labour from capital. Ultimately ; capital needs labour, but labour does
not need capital.
Labour, as the source of production, can dispense
with the wage relation : it is potentially autonomous.

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August 20th, 2008 at 5:11 pm

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Audio and video painting

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At the bottom of the canvas is audio out for stereo jack or paintings can have small speakers at the back of them.
All is connected to old kids toys that can be circuit bended at front as interaction of the viewer.
1/ Paintings can be reproductions of older known paintings and can refer to some of the parts of the painting.
2/ Paintings can be abstract colors with el. diodes or small lights that can be put on and off while viewer interact with it
3/ Painings sholud be just a collections of diodes and other el. parts

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April 27th, 2008 at 4:09 pm

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text to speech interview

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take a conversation from jabber and put it in text to speech. play with different types of people and conveniences to get spectrum of synchronisity in differences.

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April 27th, 2008 at 4:09 pm

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