http://en.wikipedia.org/wiki/Katamari_Damacy
The game's plot concerns a diminutive prince on a mission to rebuild the stars, constellations, and Moon, which were accidentally destroyed by his father, the King of All Cosmos. This is achieved by rolling a magical, highly adhesive ball called a katamari around various locations, collecting increasingly larger objects, ranging from thumbtacks to people to mountains, until the ball has grown great enough to become a star.
real life re-enactment:
http://www.youtube.com/watch?v=qwsAA2p1kZY&feature=player_embedded
Keita Takahashi
first writes a paragraph in 5 mins, copies the last line and sents it to second participant. Second participant uses this line as the first line of his her paragraph, to be written in 5 mins. Second participant copies the last line of this paragraph and sends it to third participant. and so on.
participants have no physical contact. they can not see or hear each other in real life.
you do this by asking questions.
set a limited duration: 10 mins. set a limited amount of questions: 10 determine how to answer: all participants give their solutions at the same time, after which true identities are revealed.
Verbindingen / Jonctions #13
2,3,4 december http://constantvzw.org/vj13/
Online, Brussel, Madrid, Rotterdam, Londen, Barcelona, Bergen, Montreal, Berlijn, Bangalore, Stuttgart, Parijs, Ho Chi Min City, Sydney …
ONDERWERP V/J13 is een pleidooi voor het web als publiek forum. Is er na Hadopi, ACTA, de massale Googlommoratie van webservices nog sprake van zoiets als een publieke virtuele ruimte? Net neutraliteit? Spontane groei? Moeten we, na Facebook, Second life, Twitter, Youtube geloven dat 'sharing', 'social', 'friends' enkel eufemismen zijn voor datahandel, kapitaalconcentratie en monopolisme?
Centraal staan een aantal vragen rondom het delen van artistieke processen. Wat betekent het om een werk aan te bieden als een 'vrij' werk? Is het zoals de telekommunisten zeggen, nodig om de productiemiddelen te bezitten? Garandeert het inzetten van encryptie-instrumenten vrij dataverkeer?
Hoe deel je naast kennis, materiële zaken die nodig zijn om hardware onderdelen te produceren zoals een zeldzaam metaal of een machine, of menskracht? Moeten we kennis hebben van de beginselen van electriciteit om controle te krijgen over de electronische tools waar we mee werken? Wat zijn voorbeelden als het gaat om vormen van artistieke collaboratie: Vrije software? De vrije markt?
Is het wenselijk of zelfs maar mogelijk om je als virtuele burger, net-artiest, web-theoretica, cc-muzikant, netwerkconsument, immo-surfer afzijdig te houden van politieke bewegingen als die ingrijpen op basisprincipes als vrijheid van communicatie, informatievergaring, je privésfeer, anonimiteit ? En hoe deel je als net-neutraliteit ondersteunend artiest of activist in een politiek besluitvormingsproces als je niet het kapitaal hebt om een legertje lobbyisten aan het werk te houden? Doe je dat zoals Quadratuur du Net suggereert door je europese MP ter verantwoording te roepen?
FORMAT: exposé exposite expositie
De 13e editie van het festival zal zich afspelen op het internet. V/J13 is een tijdelijke online verbindingsplaats tussen een wereldwijd netwerk van kleinschalige meetings, tussen geïnteresseerden, lezinggevers, artiesten. De knooppunten in dit netwerk bieden onderdak aan een interventies, lezingen, concerten, screenings, workshops die via VJ13 in een programma bij elkaar gebracht worden.
De werken op de expo website werden in de loop van 2010 en 2011 voor VJ13 gemaakt. Vijf artiesten, ontwerpers, ontwikkelaars opdracht om een werk te maken waarvan het maakproces volledig vrij en deelbaar is. Zij het door code beschikbaar te stellen, middels interviews of door het produceren van navolgbare handleidingen. Al het werk, inclusief de resultaten van de processen worden in het publiek domein gepubliceerd.
http://www.lowlives.net/index.php?/contact/about/
Low Lives examines works that critically investigate, challenge, and extend the potential of performance practice presented live through online broadcasting networks such as Ustream. tv or Livestream.com. These networks provide a new alternative and efficient medium for presenting, viewing, and archiving performances. Low Lives is not simply about the presentation of performative gestures at a particular place and time but also about the transmission of these moments and what gets lost, conveyed, blurred, and reconfigured when utilizing this medium. Low Lives embraces works with a lo-fi aesthetic such as low pixel image and sound quality, contributing to a raw, D.I.Y. and sometimes voyeuristic quality in the transmission and reception of the work.
Now entering its third year, this international exhibition of live, networked performance-based works transmitted via the internet and projected in real time at multiple venues throughout the U.S. and around the world. Low Lives 3 promises to be the farthest reaching to date with over 20 presenting partners in the United States, Mexico, Spain, Trinidad & Tobago, Germany, India, Tanzania, Brazil and Japan.
Late nineties project in which a cyberplace is created for worldwide dispursed dancers to dace together.
http://muse.jhu.edu/journals/leonardo/v034/34.1knott.html
“World Wide Simultaneous Dance addressed two of the important questions of what has come to be called “Net Art”: “disembodied-ness” and “spacelessness/placelessness.” The idea that cyber-territory is disembodied was partially resolved when the image on the screen was that of real bodies dancing in real time and when in some cases viewers left their mice behind [End Page 15] to dance themselves. ”
“Every technology is developed and used in a cultural context that includes values ranging from exclusionist and proprietary to inclusionist and nonproprietary. In selecting an Internet technology as the “presenter” of World Wide Simultaneous Dance, I looked for a technology that was as inclusionist and non-proprietary as possible. The characteristics defining such a technology would define the World Wide Simultaneous Dance cyberplace itself and, thus, the experiences that dancers and audiences would share as they met in that cyberplace. ”
From the spectre list: the minimuseum is a small 7“ digital image frame holding the 'art of the 21 century'. The frame travels through nodes in a social network: the artist that participate in the museum network, who become responsible for curaion of the frame when they host it.
10 years JavaMuseum – means 10 years of the development of an art genre which actually never became one, although people are continuously talking about, art schools and universities offer courses in netart, and netart is said by to be dead since so many years by so many people.
huur een internetcafe vor een avond en je hebt de infrastructuur die nodig is om een net art show te doen.
Art made for - and only available on - the peer to peer networks. The original artwork is first shared by the artist until one other user has downloaded it. After that the artwork will be available for as long as other users share it. The original file and all the material used to create it are deleted by the artist. ”There’s no original”. A project from Swedish artist Anders Weberg started in 2006. P2P Art - The aesthetics of ephemeralityA
An online article of the NEWS BUREAU of the UNIVERSITY OF ILLINOIS referring to the study Information Technology-based Collaboration Framework for Preparing Against, Responding to and Recovering from Disasters Involving Critical Physical Infrastructures: collaboration between insects in case of emergency could help oranise networks in times of crisis
(research proposal) One of the most ignored, but urgent and vital challenges confronting society today is the vulnerability of urban areas to extreme events. This research initiative proposes the development of a general conceptual framework to improve Collaboration among the key actors that should be involved in Preparedness against, Response to and Recovery from disasters involving critical physical infrastructures (CP2R). These key actors are firefighters, police officers, medical personnel, experts, the original civil engineers and constructor who built the infrastructure, and IT components, including sensors and systems of sensors embedded in the critical physical infrastructure. The participants as well as the technology will interact using a set of collaboration patterns inspired in analogies from epidemiology and entomology within the context of a social network.
The vOICe Learning Edition « The vOICe Home Page « The vOICe Learning Edition
The main goal of The vOICe vision technology is to offer an equivalent of “raw” visual input to blind people, via complex visual sounds, thus leaving the recognition tasks to the human brain. However, complementary to that it would be useful to have options for automatic recognition through computer vision technology. This page challenges object recognition engine developers to demonstrate the applicability of computer vision on mobile devices in real-life situations. It is an open invitation - with an open interface - to deliver convincing demonstrations for use with The vOICe.
David Holmes heeft een collectie met open media samengesteld:
http://davidholmes.net/pages/open-media-directory
check voor publiek domein films.
Vicky Calahan is writer of Reclaiming the archive http://www.vickicallahan.com/vickicallahan.com/Reclaiming_the_Archive.html
http://feminism3pointo.blogspot.com/
Elder generation film theory feminists discussing among others Free Culture, the Make fair, the burning man, amateurism “that is a different world from the art world that is a world of ideas. It has its own seperate crowd and market.” “I have heard the same story over and over again, there were people who made Film and people who made video … ”
A Conversation with Helen De Michiel (Co-Director, NAMAC), “THE BEST AND WORST OF TIMES…”
As an artist and Co-Director of NAMAC, the National Alliance for Media Art + Culture, Helen De Michiel has been an active participant in ongoing conversations amongst diverse groups about the current state of media arts and the impact of digital technology on artists, arts practice, and culture.
True to the spirit of Helen’s own art work, when I asked to interview her about contemporary media she suggested instead a “dialogue.” We discussed a number of issues that make digital culture “the best and worst of times” for artists, activists, and concerned citizens: technological, aesthetic, and generational divides, new forms and definitions of creativity, the shifting roles of curators, copyright and fair use questions, and the issue of “holistic literacy.” We hope this inspires further conversations.
notion of the “trusted guide”: somebody who can be trusted to mediate, can make sense
Could be a candidate for a research comission; I like her (quite old school) networked performances involving multiple languages, places, translation, gazing eyes, webcams …
Look at this collaborative work with AGF: (remember her ?) http://bram.org/collaboration/index.php
And the recent exhibition at http gallery, London: http://www.http.uk.net/exhibitions/ifnotyounotme/index.shtml
Library Thing initiatief om: ”, a free, “humble,” modern, open-source, crowd-sourced replacement for the Dewey Decimal System.“
http://www.librarything.com/wiki/index.php/Open_Shelves_Classification
http://www.librarything.com/blogs/thingology/2008/07/build-the-open-shelves-classification/
The AV festival in Edinburg organises small scale meetings wher guests give talks to a small audience around the table. The talks are broadcasted on the net.
Jean Camp + Y.T. Chien: The Internet as Public Space: Concepts, Issues, and Implications in Public Policy
Neo liberal approach of public space as capsule containing commercial, private, public activities. Quote: “A regulatory regime that is too extreme may result in employee?s limiting employers to private areas on the Internet. This may result in a decrease in the legitimate use of public space. The corporate investment in the Internet has vastly increased its value by increasing the utility through information and service availability. Similarly the public square would be of little interest if it did not also house a marketplace, and were not surrounded by storefronts as well as government buildings. Spatial models offer a subtlety and complexity that are lacking in media models.”
http://www.utopic.nl/05links/03_Camp_internet.pdf
Cybering Democracy: Public Space and the Internet (Electronic Mediations) - Diana Saco
Not read yet, Ordered
Media Manifestos: On the Technological Transmission of Cultural Forms - Regis Debray
Not read yet, Ordered
Men, Masculinity, and the Media - Steve Craig
Not read yet, Ordered
Stein, Laura. “Speech Without Rights: The Status of Public Space on the Internet”
Paper presented at the annual meeting of the International Communication Association, TBA, Montreal, Quebec, Canada, May 22, 2008 Online <PDF>. 2010-11-16 <http://www.allacademic.com/meta/p228714_index.html>
Mark Weiser , The world is not a desktop
http://www.nextnature.net/2006/08/the-world-is-not-a-desktop/
Evaluatie Erik Kluytenberg Electrosmog festival
http://www.electrosmogfestival.net/2010/11/28/distance-versus-desire-clearing-the-electrosmog/
http://osvideo.constantvzw.org/reenacting-the-liberation-of-my-people/
http://www.archive.org/details/PortHuronProjectDocumentary
This is a 20 minute video that provides an overview of The Port Huron Project, a series of reenactments of protest speeches from the New Left movements of the Vietnam era, staged by New York artist Mark Tribe between 2006 and 2008. Each speech took place at the site of the original event, and was delivered by an actor or performance artist to an audience of invited guests and passers-by. Videos of these performances have been screened on campuses, exhibited in art spaces, and distributed online as open-source media. This video includes excerpts from all six speeches as well as documentation of installations and public exhibitions.
Laid off, en andere goede werken:
uit en grote hoeveelheid interviews ontstaat een collectief verhaal, door een keten van mensen te syncen op woorden
Fun idea, ending not great
http://www.archive.org/details/NewspeakTranslator-TutorialVideo
This short film explains work that is currently being undertaken internationally on a series of public domains calculators aiming to help people find out whether a given work is in the public domain in a given jurisdiction.
BREAKDOWN, a mashup of thousands of public domain samples, is the ageless tale of corrupt power-seekers perpetrating hideous deceptions on gullible masses. The New York Times called BREAKDOWN “an uproarious bricolage of alien-invasion panic, financial distress, military might and patriotic sentiment.”
“From March 1998 to April 1999, an independent documentary film crew followed a team of software engineers at Netscape as they lived through a watershed moment in the brief history of their company and the Internet.
David Winton's documentary covering the first release of Netscape source code in 1998, the foundation of the Mozilla project. In July 2009, Winton relicensed the film under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
open source film; rushes and annotations available,
The Machine That Changed the World is the longest, most comprehensive documentary about the history of computing ever produced, but since its release in 1992, it's become virtually extinct. Out of print and never released online, the only remaining copies are VHS tapes floating around school libraries or in the homes of fans who dubbed the original shows when they aired.
http://waxy.org/2008/06/the_machine_that_changed_the_world/
http://waxy.org/2008/06/the_machine_that_changed_the_world_the_world_at_your_fingertips/
The documentary is online in several parts:
http://www.lewrockwell.com/orig3/blumen3.html
http://www.filmsite.org/braz.html
The world of Brazil shows a totalitarian society in which freedom has been forfeited for a false promise of protection from terrorist attacks. Gilliam shows how the threat of terrorism is manipulated by the state as a means of political control over the population. The threat of terror is created by the internal security police in order to generate public acceptance of totalitarian police powers.
“this is the ministry of information retrieval, not “information disposal”
tip van an, mooie films over RFID en wifi signaal sterkte, zoek een betje op hun blog. http://www.nearfield.org/people
Touch is an inter-disciplinary project and connected to an array of international industries, projects and practitioners. Touch researches RFID through a practice-based interaction design approach. We are actively creating concepts, sketches and prototypes, and investigating how they manifest as products. These artefacts are part of an inter-related design and research process that helps us understand the complex layers of technology, design and research.
In the infamous series of 'Downfall' spoofs on YouTube:
One of the funnier ones in which Hitler phones ISP to complain that the connection is down