GPS Film is new media artwork from filmmaker Scott Hessels that invents a new way of watching movies based on the viewer's location and movement. Using a GPS-enabled PDA or mobile phone, the audience creates a new type of film experience that reveals the story through their journey. Released as a free, open-source application, the project will premiere on 4 September 2008 along with the first film made specifically for the system, Singaporean filmmaker Kenny Tan's chase comedy "Nine Lives".The GPS Film application, source code, and "Nine Lives" are available for free download on the project website www.gpsfilm.com. The application allows for a developer to create story spaces of any size. The movies are also interchangeable and easily matched to any place. The software default is currently "Nine Lives"—a prototype film comedy that can unfold in nine directions depending on the viewer's journey around downtown Singapore.
Scott Hessels is an internationally recognised media artist and filmmaker who merges cinema with new technologies to create innovative media experiences. For GPS Film, he collaborated with film and engineering students at Singapore's Nanyang Technological University.
The project uses emerging technologies to bring story into real space; neighborhoods, architecture, and landscapes become part of the cinema experience. Movies can be personalized and localized. Storytelling becomes a physical, viewer-controlled experience; a journey of fiction ties directly to a journey of fact.
A press conference will be held Thursday, 4 September at Kay Ngee Tan Architects Gallery with the artist, filmmakers, and programmers present as well as handheld devices for demonstration. The presentation starts at 2pm, but the device will be available for trial and demonstration till 4pm.
read more for details ]]>
GPS Film is new media artwork from filmmaker Scott Hessels that invents a new way of watching movies based on the viewer's location and movement. Using a GPS-enabled PDA or mobile phone, the audience creates a new type of film experience that reveals the story through their journey. Released as a free, open-source application, the project will premiere on 4 September 2008 along with the first film made specifically for the system, Singaporean filmmaker Kenny Tan's chase comedy "Nine Lives".
The GPS Film application, source code, and "Nine Lives" are available for free download on the project website www.gpsfilm.com. The application allows for a developer to create story spaces of any size. The movies are also interchangeable and easily matched to any place. The software default is currently "Nine Lives"—a prototype film comedy that can unfold in nine directions depending on the viewer's journey around downtown Singapore.
Scott Hessels is an internationally recognised media artist and filmmaker who merges cinema with new technologies to create innovative media experiences. For GPS Film, he collaborated with film and engineering students at Singapore's Nanyang Technological University.
The project uses emerging technologies to bring story into real space; neighborhoods, architecture, and landscapes become part of the cinema experience. Movies can be personalized and localized. Storytelling becomes a physical, viewer-controlled experience; a journey of fiction ties directly to a journey of fact.
A press conference will be held Thursday, 4 September at Kay Ngee Tan Architects Gallery with the artist, filmmakers, and programmers present as well as handheld devices for demonstration. The presentation starts at 2pm, but the device will be available for trial and demonstration till 4pm.
read more for details
Address:
KAY NGEE TAN ARCHITECTS GALLERY
16-17 Duxton Hill Singapore 089600
t: 65-6423 0198
f: 65-6423 0197
e: gallery@kayngeetanarchitects.com
For more information, visit www.gpsfilm.com or contact gpsfilmpress@gmail.com
GPS Film, Not a Moving Picture, a Picture Moving.
-- info via gps film press
]]>Cybernetics Serendipity Redux
http://www.media.uoa.gr/yasmin/viewtopic.php?t=4385
A moderated discussion on YASMIN
Beginning September 1 2008
Discussion On YASMIN, led by Ranulph Glanville.
Moderators Ranulph Glanville, Paul Brown, Paul Pangaro
40 years ago, Jasia Reichart's exhibition "Cybernetic Serendipity" showed that cybernetics, computing and art had arrived.
40 years later, while computers and art remain, cybernetics has nearly vanished, although there is a reviving interest in art.
In celebrating Cybernetic Serendipity we have the chance to re-open the debate, to reconsider the relationship particularly between cybernetics and art, and to do so taking into account the way that cybernetics has developed during its period of near invisibility.
So what is new in cybernetics, and how can that inform art: and, what is new in art, and how can that inform cybernetics. ]]>
Cybernetics Serendipity Redux
http://www.media.uoa.gr/yasmin/viewtopic.php?t=4385
A moderated discussion on YASMIN
Beginning September 1 2008
Discussion On YASMIN, led by Ranulph Glanville.
Moderators Ranulph Glanville, Paul Brown, Paul Pangaro
40 years ago, Jasia Reichart's exhibition "Cybernetic Serendipity" showed that cybernetics, computing and art had arrived.
40 years later, while computers and art remain, cybernetics has nearly vanished, although there is a reviving interest in art.
In celebrating Cybernetic Serendipity we have the chance to re-open the debate, to reconsider the relationship particularly between cybernetics and art, and to do so taking into account the way that cybernetics has developed during its period of near invisibility.
So what is new in cybernetics, and how can that inform art: and, what is new in art, and how can that inform cybernetics.
This is a chance to reopen the connection, to explore again, and to move beyond some of the current models taken from cognitive science, computing, AI and AL, and complexity, to the (much more radical) field of their origin, cybernetics.
List of Discussants
Albert Mueller
Andreas Giannakoulopoulos
Andrew Brouse
Enrique Rivera
Ian Clothier
Jasia Reichart
Julien Knebusch
Mitchell Whitelaw
Paul Brown
Paul Pangaro
Ranulph Glanville
Roger Malina
Stephen Jones
------------------
To become a member & Yasmin list archive: http://www.media.uoa.gr/yasmin/
To join Yasmin-map: http://haystack.cerado.com/yasmin
To post: yasmin@estia.media.uoa.gr
To unsubscribe: http://www.media.uoa.gr/yasmin/unsubs.php?lid=1
facebook event : http://www.new.facebook.com/event.php?eid=71923825014
]]>
the artist is called Blu
his blog shows works in progress and other projects he's worked on. well worth a look!
http://www.blublu.org/
The new short film by Blu: an ambiguous animation painted on public walls.
Made in Buenos Aires and in Baden (fantoche)
http://www.blublu.org/
http://www.blublu.org/sito/video/muto.htm
music by Andrea Martignoni
produced by Mercurio Film
assistant: Sibe
more videos at:
]]>
the artist is called Blu
his blog shows works in progress and other projects he's worked on. well worth a look!
http://www.blublu.org/
The new short film by Blu: an ambiguous animation painted on public walls.
Made in Buenos Aires and in Baden (fantoche)
http://www.blublu.org/
http://www.blublu.org/sito/video/muto.htm
music by Andrea Martignoni
produced by Mercurio Film
assistant: Sibe
more videos at:
http://www.blublu.org/sito/video/video.htm
he has a new book available from Studiocromie
the World Transhumanist Association defines transhumanism as :
Transhumanism is a way of thinking about the future that is based on the premise that the human species in its current form does not represent the end of our development but rather a comparatively early phase. We formally define it as follows:
]]>
the World Transhumanist Association defines transhumanism as :
Transhumanism is a way of thinking about the future that is based on the premise that the human species in its current form does not represent the end of our development but rather a comparatively early phase. We formally define it as follows:
(1) The intellectual and cultural movement that affirms the possibility and desirability of fundamentally improving the human condition through applied reason, especially by developing and making widely available technologies to eliminate aging and to greatly enhance human intellectual, physical, and psychological capacities.
(2) The study of the ramifications, promises, and potential dangers of technologies that will enable us to overcome fundamental human limitations, and the related study of the ethical matters involved in developing and using such technologies.
It is not our human shape or the details of our current human biology that define what is valuable about us, but rather our aspirations and ideals, our experiences, and the kinds of lives we lead. To a transhumanist, progress occurs when more people become more able to shape themselves, their lives, and the ways they relate to others, in accordance with their own deepest values. Transhumanists place a high value on autonomy: the ability and right of individuals to plan and choose their own lives. Some people may of course, for any number of reasons, choose to forgo the opportunity to use technology to improve themselves. Transhumanists seek to create a world in which autonomous individuals may choose to remain unenhanced or choose to be enhanced and in which these choices will be respected.
Through the accelerating pace of technological development and scientific understanding, we are entering a whole new stage in the history of the human species. In the relatively near future, we may face the prospect of real artificial intelligence. New kinds of cognitive tools will be built that combine artificial intelligence with interface technology. Molecular nanotechnology has the potential to manufacture abundant resources for everybody and to give us control over the biochemical processes in our bodies, enabling us to eliminate disease and unwanted aging. Technologies such as brain-computer interfaces and neuropharmacology could amplify human intelligence, increase emotional well-being, improve our capacity for steady commitment to life projects or a loved one, and even multiply the range and richness of possible emotions. On the dark side of the spectrum, transhumanists recognize that some of these coming technologies could potentially cause great harm to human life; even the survival of our species could be at risk. Seeking to understand the dangers and working to prevent disasters is an essential part of the transhumanist agenda.
Transhumanism is entering the mainstream culture today, as increasing numbers of scientists, scientifically literate philosophers, and social thinkers are beginning to take seriously the range of possibilities that transhumanism encompasses. A rapidly expanding family of transhumanist groups, differing somewhat in flavor and focus, and a plethora of discussion groups in many countries around the world, are gathered under the umbrella of the World Transhumanist Association, a non-profit democratic membership organization.
-- via http://www.transhumanism.org/index.php/WTA/faq21/46/
---
IEEE's Singularity list @ http://spectrum.ieee.org/singularity
singularity - that pivotal moment when machines attain superhuman intelligence
http://transhumanism.org/images/uploads/transflash.swf - an intro web video
http://studiesinthetranshuman.blogspot.com - the blog from a transhumanist university course held at Arizona State University (USA)
Human-computer interaction scientist Karl MacDorman has produced an illustrated video lecture on the psychology of the uncanny valley - the effect where androids become creepy when they're almost human.
1. Introduction
2. Form Dynamics Contingency
3. Human Perception
4. Do Looks Matter?
5. Android Science
6. Explanations
7. What makes a robot uncanny?
& MacDorman's paper on the Uncanny Valley where he morphed android faces with human ones (using Philip K Dick as the human face!) and measured how the images trigger differing feelings of familiarity, eeriness and the like
Robot Face Mimics Human Expression: Crosses Uncanny Valley
http://www.thoughtware.tv/videos/watch/1974
Bio Ethics article in the Age : Where are the ethics in brazen bioethics? by Michael Cook (2004)
World Congress of Bioethics - conference site
Ray Kurzweil's Artificial Intelligence site
Better Humans site - news from around the world, blogs & articles
Artificial General Intelligence Research Institute wiki
Methuselah Foundation website - extending healthy human life. they have a Prize : "The Methuselah Mouse Prize is the premiere effort of The Methuselah Foundation™; a scientific competition designed to draw attention to the ability of new technologies to slow and even reverse the damage of the aging process, preserving health and wisdom in a world that sorely needs it".
University of Cambridge - department of genetics
Longevity meme - encourages healthy life extension
Strategies for Engineered Negligible Senescence (SENS) = "a proposed way to develop a cure for aging."
from the wta-arts mail list : Human Biotechnology in Art & Culture: A List - a comprehensive list!
Next Nature website - highlighting the nature caused by human culture
BVPS - Biggest Visual Power Show by Next Nature : The Biggest Visual Power Show is an intellectual spectacle blending a conference and a pop concert. BVPS mixes movies and live performance, morphs physical experiences into virtual imagination. The theme of BVPS 2008 is Next Nature; the nature caused by human culture. Nowadays, children know more corporate logo's and brands than bird or tree species. Our established image of nature needs to be updated. Our technological world has become so complex and uncontrollable it has become a nature of its own. Wild systems, genetic surprises, autonomous machinery and beautiful black flowers. Nature changes along with us. with Kevin Kelly & Eric Davis. photos @ http://www.nextnature.net/powershow2008/pictures.php
]]>the documentary can be downloaded at greylodge.org, and they describe the parts as :
[quote]
Part 1: Transhuman
Part 1 gives an overview of recent technological developments (biogenetics, artificial intelligence, robotics, implants, nanotechnology,…) and prognoses made by leading scientists about the impact of these developments in the near future.
Part 2: Preparing for the Singularity
In this part advocates and opponents of a transhuman future are weighed against each other; prognoses are done when we can expect the transhuman revolution and how people are preparing for it already now.
Part 3: The Metaphysics of Technology
]]>the documentary can be downloaded at greylodge.org, and they describe the parts as :
[quote]
Part 1: Transhuman
Part 1 gives an overview of recent technological developments (biogenetics, artificial intelligence, robotics, implants, nanotechnology,…) and prognoses made by leading scientists about the impact of these developments in the near future.
Part 2: Preparing for the Singularity
In this part advocates and opponents of a transhuman future are weighed against each other; prognoses are done when we can expect the transhuman revolution and how people are preparing for it already now.
Part 3: The Metaphysics of Technology
This part covers the metaphysical consequences of the new technological revolution. On the one hand scientist start to use metaphysical concepts to describe the impact of their research, on the other hand, a surprisingly large number of scientific projects is inspired by religious aspirations and more and more theologians from any religious or spiritual belief are getting interested in these aspirations of new technology, making the discussion inextricable complex.
[/quote]
there's also a promo on youtube
recommended book (MLA) : Designer Evolution: A Transhumanist Manifesto by Simon Young
]]>
Pratilipi is an online bilingual magazine featuring Indian writing and stories in English and Hindi & other languages.
Pratilipi is (wants to be) a bilingual / multilingual, multiscript magazine that provides a space for conversation / debate between diverse sorts of writing and writers. Pratilipi forbids itself nothing – except taking on a representational role on the web or catering to such expectations – and, hopefully, never will.
visit the site @ http://pratilipi.in ]]>
Pratilipi is an online bilingual magazine featuring Indian writing and stories in English and Hindi & other languages.
Pratilipi is (wants to be) a bilingual / multilingual, multiscript magazine that provides a space for conversation / debate between diverse sorts of writing and writers. Pratilipi forbids itself nothing – except taking on a representational role on the web or catering to such expectations – and, hopefully, never will.
visit the site @ http://pratilipi.in
]]>In 1998, M/C - A Journal of Media and Culture was devised by David Marshall as an online publishing project for a new media culture honours course at the University of Queensland. The journal was intended as an open-access, scholarly intervention in and forum for debates surrounding media and culture with a strong desire to cross between the academic and the popular. This year, M/C Journal celebrates its tenth anniversary, and in this special issue we ask: what is the face of publishing today? ]]>
In 1998, M/C - A Journal of Media and Culture was devised by David Marshall as an online publishing project for a new media culture honours course at the University of Queensland. The journal was intended as an open-access, scholarly intervention in and forum for debates surrounding media and culture with a strong desire to cross between the academic and the popular. This year, M/C Journal celebrates its tenth anniversary, and in this special issue we ask: what is the face of publishing today?
We invite submissions that address contemporary cultural/political aspects of publishing, such as recent shifts in print culture, online/open-access publishing, print-on-demand and self-publication, approaches to copyright and intellectual property (e.g., creative commons), the impact of research quality assessments on academic publishing, cross-platform publishing, independent publishing, and so forth. In this era of social networking and continuous peer-review, how has the form of academic publishing shifted and, in a more normative sense, how should it shift? What possible futures can be imagined in publishing and publication and what are the new desires and demands to be "published"? All of these various issues and approaches to the idea of publish will be entertained as we mark M/C Journal's own online publishing milestone.
Details
* Article deadline: 27 June 2008
* Release date: 27 August 2008
* Editors: David Marshall and Peta Mitchell
Send any enquiries, and complete articles of 3000 words, to publish@journal.media-culture.org.au
http://journal.media-culture.org.au/journal/upcoming.php#publish
---
FOR IMMEDIATE RELEASE - 26 May 2008
M/C - Media and Culture
http://www.media-culture.org.au/
is calling for contributors to the 'publish' issue of
M/C Journal
http://journal.media-culture.org.au/
M/C Journal is looking for new contributors. M/C is a crossover journal
between the popular and the academic, and a blind- and peer-reviewed
journal. In 2008, M/C Journal celebrates its tenth anniversary.
To see what M/C Journal is all about, check out our Website, which contains
all the issues released so far, at .
To find out how and in what format to contribute your work, visit
.
Call for Papers: 'publish'
Edited by P. David Marshall and Peta Mitchell
In 1998, M/C - A Journal of Media and Culture was devised by David Marshall
as an online publishing project for a new media culture honours course at
the University of Queensland. The journal was intended as an open-access,
scholarly intervention in and forum for debates surrounding media and
culture with a strong desire to cross between the academic and the popular.
This year, M/C Journal celebrates its tenth anniversary, and in this
special issue we ask: what is the face of publishing today?
We invite submissions that address contemporary cultural/political aspects
of publishing, such as recent shifts in print culture, online/open-access
publishing, print-on-demand and self-publication, approaches to copyright
and intellectual property (e.g., creative commons), the impact of research
quality assessments on academic publishing, cross-platform publishing,
independent publishing, and so forth. In this era of social networking and
continuous peer-review, how has the form of academic publishing shifted
and, in a more normative sense, how should it shift? What possible futures
can be imagined in publishing and publication and what are the new desires
and demands to be "published"? All of these various issues and approaches
to the idea of publish will be entertained as we mark M/C Journal's own
online publishing milestone.
Submit papers of 3,000 words in length to the editors at
publish@journal.media-culture.org.au.
Article deadline: 27 June 2008
Issue release date: 27 Aug. 2008
M/C Journal was founded (as "M/C - A Journal of Media and Culture") in 1998
as a place of public intellectualism analysing and critiquing the meeting
of media and culture. Contributors are directed to past issues of M/C
Journal for examples of style and content, and to the submissions page for
comprehensive article submission guidelines. M/C Journal articles are blind
peer-reviewed.
---------------------------------------------------------------------------
Further M/C Journal issues scheduled for 2008 and 2009:
'country': article deadline 22 August 2008, release date 22 October 2008
'recover': article deadline 10 October 2008, release date 10 December 2008
'still': article deadline 16 January 2009, release date 11 March 2009
---------------------------------------------------------------------------
M/C - Media and Culture is located at http://www.media-culture.org.au
---------------------------------------------------------------------------
M/C Journal is online at http://journal.media-culture.org.au
All past issues of M/C Journal on various topics are available there
---------------------------------------------------------------------------
Open Humanities Press is an international open access publishing collective in critical and cultural theory.Open Humanities Press journals are fully peer reviewed, scholarly publications that have been chosen by OHP's editorial advisory board for their outstanding contribution to contemporary theory.
OHP's journals are independent, published under open access licences and free of charge to readers and authors alike.
A grassroots response to the crisis in scholarly publishing in the humanities, Open Humanities Press is an international open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide.
visit http://openhumanitiespress.org for more details and to see their included publications ]]>
Open Humanities Press is an international open access publishing collective in critical and cultural theory.
Open Humanities Press journals are fully peer reviewed, scholarly publications that have been chosen by OHP's editorial advisory board for their outstanding contribution to contemporary theory.
OHP's journals are independent, published under open access licences and free of charge to readers and authors alike.
A grassroots response to the crisis in scholarly publishing in the humanities, Open Humanities Press is an international open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide.
visit http://openhumanitiespress.org for more details and to see their included publications
]]>http://wiki.aoir.org/index.php?title=About_IR9.0
Paper Deadline June 15th.
Second Life is a 3d virtual environment created by Linden Lab (R) which has captured the attention of researchers and teachers from around the world from a variety of disciplines.
This workshop aims to improve the understanding of Second Life as a Learning and Research environment. It will bring 35 researchers together to collaborate, discuss and workshop diverse topics related to research and learning in Second Life. We will pursue a full-day schedule in which participants will discuss their work and interests on four different topics: learning in Second Life, integrated learning, the contributions of research to the community and ethical research methods. How can we better enable learning in this sphere? How can we better enable research? ]]>
http://wiki.aoir.org/index.php?title=About_IR9.0
Paper Deadline June 15th.
Second Life is a 3d virtual environment created by Linden Lab (R) which has captured the attention of researchers and teachers from around the world from a variety of disciplines.
This workshop aims to improve the understanding of Second Life as a Learning and Research environment. It will bring 35 researchers together to collaborate, discuss and workshop diverse topics related to research and learning in Second Life. We will pursue a full-day schedule in which participants will discuss their work and interests on four different topics: learning in Second Life, integrated learning, the contributions of research to the community and ethical research methods. How can we better enable learning in this sphere? How can we better enable research?
Our honored keynote will be Pathfinder Linden
Researchers are requested to submit papers and short biography to slworkshop08@gmail.com, which will be selected and distributed amongst participants before the workshop. First invitations will be offered to those who provide full papers for consideration.
These papers have two purposes: first is to provide a common platform for understanding our research and teaching and second submitted papers may be considered for publication in an edited volume being produced in relation to the workshop, or possibly in peer reviewed publication derived from the workshop (these are currently under discussion).
Subsequent invitations will be made based upon research/teaching statement and biography with priority given to people submitting full papers. If you are interested in participating, please send an email containing your information to slworkshop08@gmail.com.
Decisions will be made by August 1st, barring incident. There is a limit of 35 participants at the physical meeting; the event will be simulcast into Second Life which will be organized by Jason Nolan.
We welcome professionals, faculty and graduate students to participate.
This workshop is sponsored by Linden Lab, creators of Second Life, and is organized by Jeremy Hunsinger, Rochelle Mazar, Aleks Krotoski and Jason Nolan. Lunch, coffee breaks and the room is included in participation. (And you'll probably get a t-shirt!)
*We are also seeking additional sponsors, please contact jhuns@vt.edu if you would like to sponsor this workshop
]]>
Speech and the faculty of meta-reflection about one's language are inherent characteristics of human beings. All projects shown in the exhibition YOU OWN ME NOW UNTIL YOU FORGET ABOUT ME. are originally Internet-based artworks. The main common ground is their starting point in the exploration of our language with its arbitrary systems and rules, its corresponding functions within society, as well as with its absurdities and restrictions for the individual. Rather than to focus on the isolated - literary/literally - artwork, the exhibition highlights general artistic tendencies leading to a discursive process, which originates from the Internet and finds its way back to the "virtualities of our real life".Besides general information and documentation about YOU OWN ME NOW UNTIL YOU FORGET ABOUT ME. the website of the exhibition includes the possibility to extend the concept as well as the list of selected works of art. Just go to http://www.youownmenow.net, enter a link of your own choice plus short link-description and submit your preferred work of art. Thank you for your participation! ]]>
Speech and the faculty of meta-reflection about one's language are inherent characteristics of human beings. All projects shown in the exhibition YOU OWN ME NOW UNTIL YOU FORGET ABOUT ME. are originally Internet-based artworks. The main common ground is their starting point in the exploration of our language with its arbitrary systems and rules, its corresponding functions within society, as well as with its absurdities and restrictions for the individual. Rather than to focus on the isolated - literary/literally - artwork, the exhibition highlights general artistic tendencies leading to a discursive process, which originates from the Internet and finds its way back to the "virtualities of our real life".
Besides general information and documentation about YOU OWN ME NOW UNTIL YOU FORGET ABOUT ME. the website of the exhibition includes the possibility to extend the concept as well as the list of selected works of art. Just go to http://www.youownmenow.net, enter a link of your own choice plus short link-description and submit your preferred work of art. Thank you for your participation!
PHYSICAL EXHIBITION AND CALL FOR ONLINE PARTICIPATION
CONT3XT.NET.NEWS #04.08
----- ----- -----
YOU OWN ME NOW UNTIL YOU FORGET ABOUT ME
----- ----- -----
OPENING RECEPTION: 15 May 2008, 8 pm
EXHIBITION DURATION: 16 May - 22 June 2008
HOSTING INSTITUTION: Mala galerija - Moderna galerija / Museum of Modern
Art, Ljubljana
LOCATION: Slovenska cesta 35, 1000 Ljubljana, Slovenija
WEBSITE: http://www.youownmenow.net
CURATORS: Birgit Rinagl, Franz Thalmair / CONT3XT.NET
WITH WORKS BY:
Mary-Anne Breeze (mez)
Codemanipulator(R)
Christina Goestl, clitoressa.net
Karl Heinz Jeron, Valie Djordjevic
carlos katastrofsky
Joerg Piringer
Marek Walczak, Martin Wattenberg
----- ----- -----
ONLINE PARTICIPATION:
Besides general information and documentation about YOU OWN ME NOW UNTIL YOU
FORGET ABOUT ME. the website of the exhibition includes the possibility to
extend the concept as well as the list of selected works of art. Just go to
http://www.youownmenow.net, enter a link of your own choice plus short
link-description and submit your preferred work of art. Thank you for your
participation!
----- ----- -----
EXHIBITION CONCEPT:
Speech and the faculty of meta-reflection about one's language are inherent
characteristics of human beings. All projects shown in the exhibition YOU
OWN ME NOW UNTIL YOU FORGET ABOUT ME. are originally Internet-based
artworks. The main common ground is their starting point in the exploration
of our language with its arbitrary systems and rules, its corresponding
functions within society, as well as with its absurdities and restrictions
for the individual. Rather than to focus on the isolated -
literary/literally - artwork, the exhibition highlights general artistic
tendencies leading to a discursive process, which originates from the
Internet and finds its way back to the "virtualities of our real life".
According to Ferdinand de Saussure's theses, human language can be divided
into three fundamental aspects: the biological preconditions for speaking
(langage), the fixed system of rules and signs (langue) and the act of
speaking itself (parole). The supposition that the language system - thought
as a collective institution of norms - and the speech act - thought as an
individual, coherent and meaningful utterance - are linked reciprocally and
that there is no backflow into the system without speaking, it becomes clear
that human language withdraws itself from an immediate observation. Language
can only be examined in the course of the reconstruction of the process of
its appearance, that is, its articulation. Considering this point of view of
our communication system, the question arises if, accordingly, language is
an exclusively virtual product, the existence of which begins and ends with
its realisation.
In parallel, digital artworks are predetermined by the binary (linguistic)
code, but do not become "real" (commonly comprehensible) until the code is
transformed into text, image, and/or sound (by opening the data file and
executing the commands). Both language and digital artworks are based on
processes, transformations, and a continuous fluidity. The creation of
digital artworks is built upon the active participation of the user just
like the existence of language is built upon a speaking person. Hence, word
and image are no longer integer parts of the artwork, or langue and langage
(as thought by Saussure) are no longer part of parole. The individual
elements of both are entangled in a performative act making interpretation
obsolete. The open work manifests itself by intermediation and is created
individually through every new reception. But what happens if the user
closes the data file, or if the speaking person stops talking?
"In the end there is nothing of an object here, just a process, a set of
rules that leads you to the point of questioning unicity, ownership, and the
object-like nature of digital art works and what you can own is nothing more
than the memory of it."
another station I've listened to online is Israel National Radio as some of the shows are in English. they have interviews and music programs and also Jewish specific programs so it's interesting to listen. I listened to some programs after the Yeshiva was attacked by the terrorist. and today being Memorial Day, there's a special program of songs that every Israeli knows. another program has an interview with local Israeli trance artists ITP - Individual Thought Patterns
of course there's also Voice of Peace Radio which used to broadcast from a ship in the Mediterranean Sea off Tel Aviv. VOP was very popular with the Israeli people and peace protester Abie Nathan was it's main stalwart. this was the first Israeli pirate radio station broadcasting from 1973 to 1993. it's since closed down, though I read they might start it up again one day - not sure if this has happened. they had a reunion in 2006, and a double album tribute cd was released in 2007.
]]>2 PM PDT, 5 PM EDT, 11 PM CEDT
As part of the 4th Annual Open Space Victoria Voice++ Festival
the AVATAR ORCHESTRA METAVERSE will perform two new mixed reality compositions: XAANADRuuL by Canadian composer Jeremy Owen Turner, and The Heart of Tones (mixed reality version) by American composer Pauline Oliveros.
The performance will take place on Second Life, on site at Open
Space in Victoria, BC, Canada, and will be audio streamed live on the web. For
updates and listening urls, go to http://avatarorchestra.blogspot.com/
or see web stream urls at the bottom of this post.
Audio Web Stream urls:
Shoutcast server 1
http://d-oo-b.cc:8034
Listening url server 1
http://d-oo-b.cc:8034/listen.pls
Shoutcast server 2
http://d-oo-b.cc:8036
Listening url server 2
http://d-oo-b.cc:8036/listen.pls
Shoutcast server 3 (reserve)
http://d-oo-b.cc:8038
Listening url server 3
http://d-oo-b.cc:8038/listen.pls
--
PROGRAM ]]>
2 PM PDT, 5 PM EDT, 11 PM CEDT
As part of the 4th Annual Open Space Victoria Voice++ Festival
the AVATAR ORCHESTRA METAVERSE will perform two new mixed reality compositions: XAANADRuuL by Canadian composer Jeremy Owen Turner, and The Heart of Tones (mixed reality version) by American composer Pauline Oliveros.
The performance will take place on Second Life, on site at Open
Space in Victoria, BC, Canada, and will be audio streamed live on the web. For
updates and listening urls, go to http://avatarorchestra.blogspot.com/
or see web stream urls at the bottom of this post.
Audio Web Stream urls:
Shoutcast server 1
http://d-oo-b.cc:8034
Listening url server 1
http://d-oo-b.cc:8034/listen.pls
Shoutcast server 2
http://d-oo-b.cc:8036
Listening url server 2
http://d-oo-b.cc:8036/listen.pls
Shoutcast server 3 (reserve)
http://d-oo-b.cc:8038
Listening url server 3
http://d-oo-b.cc:8038/listen.pls
--
PROGRAM
AVATAR ORCHESTRA METAVERSE
Virtual Reality Performance and Audio Web Stream
Jeremy Owen Turner (Vancouver, BC)
XAANADRuuL
dedicated to the memory of Karlheinz Stockhausen
Pauline Oliveros (Kingston New York)
The Heart of Tones (mixed reality version)
dedicated to the memory of Toyoji Tomita
May 10 2 PM PDT, 5 PM EDT, 11 PM CEDT
XAANADRuuL by Jeremy Owen Turner (Wirxli Flimflam)
Stockhausen's Pleasuredome 4 Sirius Business" (2007/2008)
XANADRuuL is a Second Life composition in 3 sections created for the Avatar Orchestra Metaverse. One can see this composition as an official elegy/tribute to the Modernist music pioneer, Karlheinz Stockhausen. XANADRuuL was created from samples that were solely derived from the Composer's (Wirxli's) own digitally manipulated voice. This composition was inspired by Stockhausen's claim of being an alien from Sirius and so the 3 sections of this composition correspond to Sirius A, B and C stars. In addition, there are also many references to Xanadu (including the movie with Olivia Newton John). The Opening Ceremonies take place on Sirius A where angels sing along with the selected voice samples from heavenly heights on the ceiling of a pentagonal geodesic dome and also on Sirius B where meandering avatars vainly attempt to communicate with these alien angelic muses using only pre-recorded samples. Sirius C is a "meta-composition" and is performed by the public throughout Second Life.
Set Design and Construction by Dethomas Dibou (Detlef Thomas), Regensburg, Germany
Instruments and Halos by Bingo Onomatopoeia (Andreas Mueller), Regensburg,Germany
___
The Heart of Tones (mixed reality version) by Pauline Oliveros (Free Noyes)
This piece was originally composed for trombone and two oscillators, and commissioned by Abbie Conant and her Wired Goddess Project during her residency at Mills College in the Fall of 1999. This is an ensemble version of the piece adapted for the mixed realities of Second Life and Real Life, combining virtual instruments with live trombones and voices.
The Heart of Tones: A tone, in this instance D4, is minutely explored in the smallest possible increments on, above and below the prescribed pitch, through the smallest timbre variations and spatial locations by performers on virtual and RL instruments. The pitch variations are never more than a half step away from the given pitch. The resultant beats, timbral shifts and audio illusions create rhythms, transformations and textures of depth. The focus is on listening to the beat frequencies and the overtones that result. The musicians decide independently and intuitively on the variations.
Virtual Instruments and Cloaks / Receivers by Bingo Onomatopoeia (Andreas Mueller), Regensburg, Germany
___
Avatar Orchestra Metaverse is a group of composers, performers, and
media artists living in Europe, East Asian and North America who
explore together the interactive possibilities of the Second Life
online virtual reality platform to create works with open, interactive
and possibly "infinite" elements. The Orchestra works with ideas
that challenge conventional practices of creating and performing
music, and finds new ways to conceive of and erase notions of
identity, place, social, cultural and sexual identity, and the roles
of composer, performer and listener.
For this special performance, dedicated to the memory of two
exceptional human beings and musicians, the Orchestra is joined by
guest vocalists, trombonists and instrumentalists from Canada and the
United States, whose avatars will appear on Second Life with their
streamed instrumental sound joining the virtual AOM instruments.
Guest vocalists:
Aurel Miles (Stephanie Farrington), Ottawa, Canada
Chris Reiche (Bowlerhat Trenchcoat), Victoria, Canada
Guest Trombonists (Heart of Tones)
Sum Noyes (Monique Buzzarte),
Trombonejen Wigglesworth (Jen Baker)
Weave Noyes (Sarah Weaver)
And in spirit,
Toyoji MacDonnell (Toyoji Tomita)
with a special appearance by The Seattle Toyoji Band appearing as avatar StuArtnoise Sass (Heart of Tones):
Thomasa Eckert, voice
Janice Giteck, cello
Roger Nelson, piano
Paul Taub, flute
Renko Ishida Dempster, koto
Stuart Dempster, trombone
Avatar Orchestra Performers:
AOM virtual instruments:
Bingo Onomatopoeia (Andreas Mueller), Regensburg, Germany
Blaise delaFrance (Biagio Fracia), Italy
Free Noyse (Pauline Oliveros), Kingston, New York, USA
Goodwind Seiling (Sachiko Hayashi), Stockholm, Sweden
Gumnosophistai Nurmi (Leif Inge), Oslo, Norway
Ida Aabye (Nathalie Fougeras), Brussels, France
Miulew Takahe (Bjorn Eriksson), Solleftea, Sweden
Paco Mariani (Chris Wittkowsky), Regensburg, Germany
Wirxli Flimflam (Jeremy Owen Turner, Vancouver, Canada)
Voices and AOM virtual instruments:
Fernsing Llewelyn (Cathy Lewis), Victoria, Canada
Humming Pera (Tina Pearson), Victoria, Canada
Liz Solo (Liz Solo), St. John's, Newfoundland, Canada
Zonzo Spyker (Viv Corringham), Minneapolis, USA, London, UK
Streaming by Loop Luo (Loopland), Regensburg, Germany)
Streaming host: Eifach Films, Basel, Switzerland
May 10 2 PM PDT, 5 PM EDT, 11 PM CEDT
--~--~---------~--~----~------------~--
Avatar Orchestra Metaverse -
************************************
http://avatarorchestra.com
-~----------~----~----~----~------~----
Labour movementLabour movement mentions examples of virtual office companies where the employees are all mobile / working from home or cafes.
Family ties article talks about networked technology bringing people together - families and friends staying in contact more often. children keeping in contact with their parents for longer.
James Katz at Rutgers calls the mobile phone a new sort of umbilical cord between children and their parents and wonders whether this might in some cases “retard maturation”. Sherry Turkle, the psychologist at MIT, says that wireless gadgets are, ironically, a “tethering technology” and create new dependencies that delay the important “Huck Finn moment” in young lives when adolescents first realise that they are alone on the urban equivalent of the Mississippi. Getting drunk and lost after a party is different when one push of a button summons the parental chauffeur. In 2005 a psychology professor at Middlebury College in Vermont found that undergraduates were communicating with their parents, on average, more than ten times a week.
in Japan, studies have shown :
Mobile technology also tethers couples, especially young ones, but in a different way. Mimi Ito, an anthropologist who studies the effects of mobile technology on youth culture in Japan and America, has found that Japanese lovers send constant text messages to avoid parental rules and to stay connected emotionally when they are physically separated. Every nomadic culture has its idiosyncrasies, and the Japanese speciality is a rich vocabulary of “emoticons”: “I really want to see you (>_<)”; “I feel like I am going to be sick (;_;)”.
This steady stream of emoticons and photos in between physical “flesh meets” amounts to “tele-nesting”, says Ms Ito. It also spices up and prolongs the flesh meets. Young people in Tokyo, she has observed, will start their date by exchanging text messages all afternoon as they do homework or take the train to the rendezvous. At night, on their journey home after the actual date, they use messages again as “fading embers of conversation”, sometimes continuing for days and turning little memories into the couple's “lore”.
and even a personal mobile videoblogging & photoblogging / flickring tie in :
Often entire cliques do this sort of thing, creating, in effect, their own tribal medium and narrative. Ms Ito has noticed a new genre of photography on the rise as young people use their phones to snap photos of everyday situations—the view from the escalator on the way to school, say—which mean a lot to their friends and nothing to anybody else. They especially love photos that capture “dumb things that their friends do”, such as getting drunk and falling into puddles, which collectively amount to “everyday, casual documentaries” for a circle of friends.
another section talks about technology being not good for strangers :
Mr Ling, whose job includes loitering in public places for observation, watched a woman at an Oslo underground station who texted as she walked. She was wholly focused on her text message but had to look up occasionally to weave through the crowds on the platform. Other people were doing the same. It was an "atomised and individualised" scene, says Mr Ling: a new form of the proverbial lonely crowd.
But at least this particular Norwegian woman was signalling through her body language to all around her that she wanted to be left alone. The spread of "hands-free" Bluetooth devices, with hidden earplugs seemingly attached to nothing, is removing even those clues. Steve Love, a psychologist, was travelling on a train from Edinburgh to Glasgow once when a girl standing next to him started talking to him. She asked him how he was and how his day had been, and Mr Love, though a bit shy, politely told her how much he was looking forward to watching Scotland play football that evening. As he spoke, the girl looked at him in horror, then turned away. Only then did Mr Love hear her say "OK, I'll call you later." Not a word or gesture was exchanged for the remainder of the (suddenly uncomfortable) journey.
and the awkwardness of waiting for someone else you're with to finish a call :
Probably the single most common etiquette conflict occurs, as Mr Ling puts it, when mediated communication interrupts co-present communication, as when two or more people are sitting at a table in conversation or negotiation and one of them gets, and answers, a call. The other co-present people must now keep themselves busy while seeming nonchalant. What is more, they must pretend not to be eavesdropping even though they are only a few feet away from the mediated conversation, ideally by assuming a pose of concentration on some other object, such as their fingernails or their own phone. As soon as the intervening call ends, everybody must try to re-enter the co-present context as gracefully as possible.
]]>another article I read last month (when I couldn't post to the site), was the Kevin Kelley article "1,000 True Fans" from his Technium blog.
A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author - in other words, anyone producing works of art - needs to acquire only 1,000 True Fans to make a living.
A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can't wait till you issue your next work. They are true fans.
...
To raise your sales out of the flatline of the long tail you need to connect with your True Fans directly. Another way to state this is, you need to convert a thousand Lesser Fans into a thousand True Fans.
Assume conservatively that your True Fans will each spend one day's wages per year in support of what you do. That "one-day-wage" is an average, because of course your truest fans will spend a lot more than that. Let's peg that per diem each True Fan spends at $100 per year. If you have 1,000 fans that sums up to $100,000 per year, which minus some modest expenses, is a living for most folks.
One thousand is a feasible number. You could count to 1,000. If you added one fan a day, it would take only three years. True Fanship is doable. Pleasing a True Fan is pleasurable, and invigorating. It
rewards the artist to remain true, to focus on the unique aspects of their work, the qualities that True Fans appreciate.
sounds easy enough doesn't it ;)
---
Kelly also has an interesting article called Humanity's Identity Crises where he asks a couple of questions previously asked by science fiction author Philip K Dick during a 1978 speech.
"The two basic topics which fascinate me are "What is reality?" and "What constitutes the authentic human being?" Over the twenty-seven years in which I have published novels and stories I have investigated these two interrelated topics over and over again. I consider them important topics. What are we? What is it which surrounds us, that we call the not-me, or the empirical or phenomenal world?"
amazing how everything seems to be looping back to the courses and topics at the Maybe Logic Academy lately (well, actually for a while ...)
what does it mean to be human? is it the personal connections you have with others? the amount of things you learn? our physiology? our minds? our hearts? our consciousness? the human connections and networks (as mentioned on the blogs above? what we think of? what we do? where we work??
another article :
Free! Why $0.00 Is the Future of Business by Chris Anderson
Clojure was developed by architect / programmer Rich Hickey who has worked on projects such as scheduling, automation, election displays, fingerprinting, audio analysis, machine listening.
"Clojure is a dynamic programming language that targets the Java Virtual Machine. It is designed to be a general-purpose language, combining the approachability and interactive development of a scripting language with an efficient and robust infrastructure for multithreaded programming. Clojure is a compiled language - it compiles directly to JVM bytecode, yet remains completely dynamic. Every feature supported by Clojure is supported at runtime. Clojure provides easy access to the Java frameworks, with optional type hints and type inference, to ensure that calls to Java can avoid reflection."
]]>Clojure was developed by architect / programmer Rich Hickey who has worked on projects such as scheduling, automation, election displays, fingerprinting, audio analysis, machine listening.
"Clojure is a dynamic programming language that targets the Java Virtual Machine. It is designed to be a general-purpose language, combining the approachability and interactive development of a scripting language with an efficient and robust infrastructure for multithreaded programming. Clojure is a compiled language - it compiles directly to JVM bytecode, yet remains completely dynamic. Every feature supported by Clojure is supported at runtime. Clojure provides easy access to the Java frameworks, with optional type hints and type inference, to ensure that calls to Java can avoid reflection."
"Clojure is a dialect of Lisp, and shares with Lisp the code-as-data philosophy and a powerful macro system. Clojure is predominantly a functional programming language, and features a rich set of immutable, persistent data structures. When mutable state is needed, Clojure offers a software transactional memory system and reactive Agent system that ensure clean, correct, multithreaded designs."
videos explaining clojure :
Clojure Concurrency @ http://blip.tv/file/812787
clojure is ... "maybe the friendliest face that's been presented to functional programming"
mentioned the book "Java Concurrency in Practice " - said everyone should read this. it makes it sound like concurrency in java is really hard.
emacs editor - closure plugin
]]>looking for works within the following genres only please, at least initially:
Drone
Drone doom metal
Dark ambient
Experimental
Noise
Industrial/Death Industrial
For fuller details please email:
simonjay704 AT hotmail.com
I look forward to hearing from potential collaborators!
Regards
Simon Marshall-Jones|FracturedSpacesRecords
DREAMLAND RECORDINGS
www.dreamlandrecordings.com
STRING THEORY guitar compilation available now. AUD $16.00
All other releases AUD $11.00 Postage Paid. Pay Pal available. ]]>
looking for works within the following genres only please, at least initially:
Drone
Drone doom metal
Dark ambient
Experimental
Noise
Industrial/Death Industrial
For fuller details please email:
simonjay704 AT hotmail.com
I look forward to hearing from potential collaborators!
Regards
Simon Marshall-Jones|FracturedSpacesRecords
DREAMLAND RECORDINGS
www.dreamlandrecordings.com
STRING THEORY guitar compilation available now. AUD $16.00
All other releases AUD $11.00 Postage Paid. Pay Pal available.
]]>Supported by the Goldsmiths DIGITAL STUDIOS and the Goldsmiths GRADUATE
SCHOOL
6pm until 8pm, Seminar Rooms at Ben Pimlott Building (Ground Floor,
right), Goldsmiths, University of London, New Cross, SE14 6NW
FREE, ALL ARE WELCOME
** PLEASE NOTE THAT THE DATE FOR ELENA COLOGNI'S CLUB SESSION HAS BEEN
CHANGED FROM THE 28th of FEBRUARY TO THE 6th of MARCH **
--
*28 FEBRUARY with RAYMOND HARMON
:
Painting in Light: Experimental Film and the Advent of Improvisational
Cinema*
The traditional model for cinematic expression is as a controlled
environment moving forward in a linear direction. From its inception the
art of filmmaking has been dominated by a single form of chronological
development. Each film exists as a series of frames that are static at the
start of the film.
Improvisation, a language largely defined within the practice of music, is ]]>
Supported by the Goldsmiths DIGITAL STUDIOS and the Goldsmiths GRADUATE
SCHOOL
6pm until 8pm, Seminar Rooms at Ben Pimlott Building (Ground Floor,
right), Goldsmiths, University of London, New Cross, SE14 6NW
FREE, ALL ARE WELCOME
** PLEASE NOTE THAT THE DATE FOR ELENA COLOGNI'S CLUB SESSION HAS BEEN
CHANGED FROM THE 28th of FEBRUARY TO THE 6th of MARCH **
--
*28 FEBRUARY with RAYMOND HARMON
:
Painting in Light: Experimental Film and the Advent of Improvisational
Cinema*
The traditional model for cinematic expression is as a controlled
environment moving forward in a linear direction. From its inception the
art of filmmaking has been dominated by a single form of chronological
development. Each film exists as a series of frames that are static at the
start of the film.
Improvisation, a language largely defined within the practice of music, is
something that has slowly grown from impractical experimentation to a
living form of performance art over the past century.
Tracing the historic aspects of this new creative model this presentation
will cover the many parallels between diverse genres of musical
improvisation and the art of improvised cinema in the 21 century. From
paint on celluloid, to live lights shows through to contemporary VJ
culture "Painted in Light" explores the vast arena of the future of this
new paradigm of creative expression.
RAYMOND HARMON is a Chicago-based cross-genre media artist, filmmaker,
sound artist, and record producer, with a CV extending from performance
based 16mm and 8mm film to video circuit-bending and analog feedback
installations as well as sound and visual conceptual installations and
guerrilla media actions. Utilizing new media, web based content and
interactive architecture in coordination with public performance, graffiti
style ad bombing, and web based social engineering Harmon's work has
carved out an over arching form of contemporary media insurgency.
raymondharmon.com
--
*6 MARCH with ELENA COLOGNI
:
The Film As Document In (Of) Real Time*
A meta-linguistic performative experiment.
Key questions:
1. In my video live installations I investigate the perception of time
(psychological time ), non simultaneous artist and audience interchange in
liveness, and the production of the video document. Live recording,
pre-recording and their transmission, as overlapping layers of
representation of time, unfold in duration.
2. I am now starting to contextualising the recent work, which I believe
challenges the early Bergsonian differentiation between memory and
perception based on the assumption that the former is linked to the past
(representation) and the latter to the present (action) (as in latest
Deleuzean scholar Guerlac ’s book).
3. I also contribute to the debate on performance documentation in
parallel to recent Auslander’s publication : embedding the document (eg.:
video recording) in the event allows audience to witness its very
production, thus emphasising the document’s ‘performativity’ aspect.
ELENA COLOGNI is an art practitioner. Currently Research Fellow at York St
John University, her PhD ‘The Artist’s Performative Practice Within The
Anti-Oculatcentric Discourse’ is from Central Saint Martins College of Art
and Design (CSM), London. After the post-doc AHRC and CSM awarded project
'Present Memory and Liveness in delivery and reception of video
documentation during performance art events', she was at Glasgow Centre
for Contemporary Arts for a Creative Lab residency focusing on questions
of migrations, remoteness and transmission of information over time and
space. She is active in the debate on practice as research methodologies,
as well as the relationship between performance and new media. Her artwork
has been presented internationally.
--
*13 MARCH with ANNA HOWITT
:
The Empty Space Gallery*
The Empty Space Gallery exists to foster creativity, and encourage debate
about what ‘art’ is and what ‘artists’ are. It’s a novel way of
encouraging people to engage with this thing we call ‘art’ and what it
might be. Ultimately it is an experiment in ‘art’, ‘artists’, those that
believe in them and those that think they are. The Empty Space Gallery can
also be considered an anonymous art fair, where more established and
well-known artists share the same space and audience as unknown doodlers.
How does The Empty Space Gallery work?
Individuals, whether ‘artists’ or not, are invited to submit anything they
deem to be ‘art’, in any medium whatsoever. The purpose of the experiment
is to gain some insight into, not so much how work is created, but how it
is received, consumed, and engaged with. The aim is to uncover some of the
processes we employ in order to decide whether something is ‘art’ or not.
Once the ‘works’ are received they are catalogued and sealed in plain
white A4 envelopes. Only these envelopes are placed on display; no details
of the ‘artist’ are available at this time. Visitors to the gallery are
invited to pick, at random, any envelope they choose and own whatever they
find inside.
In addition, visitors are also invited to create an ‘artwork’ there and
then, for inclusion in the gallery, which is then passed on again to
another visitor.
ANNA HOWITT is artistic director of The Forward Company, an
interdisciplinary arts company based in Berkshire. She also is an arts
and literary reviewer. She finished her MA in Contemporary Arts at the
Manchester Metropolitan University in 2001 and has since had a residency
at the South Street Arts Centre in Reading (2003-4).
--
** PLEASE NOTE: KATE PULLINGER & CHRIS JOSEPH (whose Club event had to be
postponed for personal reasons) WILL BE KICKING OFF THE SUMMER TERM OF
CLUB EVENTS ON 24 APRIL **
::
*24 APRIL with KATE PULLINGER & CHRIS JOSEPH
:
Flight Paths: a networked book*
"I have finished my weekly supermarket shop, stocking up on provisions for
my three kids, my husband, our dog and our cat. I push the loaded trolley
across the car park, battling to keep its wonky wheels on track. I pop
open the boot of my car and then for some reason, I have no idea why, I
look up, into the clear blue autumnal sky. And I see him. It takes me a
long moment to figure out what I am looking at. He is falling from the
sky. A dark mass, growing larger quickly. I let go of the trolley and am
dimly aware that it is getting away from me but I can’t move, I am stuck
there in the middle of the supermarket car park, watching, as he hurtles
toward the earth. I have no idea how long it takes – a few seconds, an
entire lifetime – but I stand there holding my breath as the city goes
about its business around me until…
He crashes into the roof of my car."
The car park of Sainsbury’s supermarket in Richmond, southwest London,
lies directly beneath one of the main flight paths into Heathrow Airport.
Over the last decade, on at least five separate occasions, the bodies of
young men have fallen from the sky and landed on or near this car park.
All these men were stowaways on flights from the Indian subcontinent who
had believed that they could find a way into the cargo hold of an airplane
by climbing up into the airplane wheel shaft. No one can survive this
journey. “Flight Paths” seeks to explore what happens when lives collide –
the airplane stowaway and the fictional suburban London housewife, quoted
above. This project will tell their stories; it will be a work of
digital fiction, a networked book, created on and through the internet.
The project will include a web iteration that opens up the research
process to the outside world, inviting discussion of the large array of
issues the project touches on.
Questions raised by this project include: what are the possibilities for
new narrative forms? How do we “write to be seen” or “write to be heard”
when creating multimedia narratives, and can we imagine writing to be
smelled, tasted, felt? What are the effects of collective authorship
across multiple forms?
KATE PULLINGER works both in print and new media. Her most recent novels
include A Little Stranger (2006) and Weird Sister (1999). Her current
digital fiction projects include her collaboration with Chris Joseph
(babel) on 'Inanimate Alice', a multimedia episodic digital fiction and
'Venus Redemption', a game for female casual gamers. Pullinger is Reader
in Creative Writing and New Media at De Montfort University.
CHRIS JOSEPH is a digital writer and artist who has created solo and
collaborative work as babel. His past projects include 'Inanimate Alice'
(with Kate Pullinger), an award-winning series of multimedia stories; 'The
Breathing Wall' (with Kate Pullinger and Stefan Schemat), a digital novel;
and 'Animalamina', a collection of interactive multimedia poetry for
children. He is editor of the post-dada magazine and network 391.org, and
a founding member of The 404, a network of artists. He is currently
Digital Writer in Residence at De Montfort University, Leicester.
--
THE THURSDAY CLUB is an open forum discussion group for anyone interested
in the theories and practices of cross-disciplinarity, interactivity,
technologies and philosophies of the state-of-the-art in today’s (and
tomorrow’s) cultural landscape(s).
For more information email Maria X at drp01mc@gold.ac.uk
To find Goldsmiths check http://www.goldsmiths.ac.uk/find-us/
]]>Nam June Paik - Ryuichi Sakamoto; Replica, for keyboard Composed by Ryuichi Sakamoto
http://www.youtube.com/watch?v=RkjxG_k0VDo
http://www.spoems.com/tag_paik.html has a collection of his video works
]]>Nam June Paik - Ryuichi Sakamoto; Replica, for keyboard Composed by Ryuichi Sakamoto
http://www.youtube.com/watch?v=RkjxG_k0VDo
http://www.spoems.com/tag_paik.html has a collection of his video works
]]>