MachineMachine /stream - tagged with open-media en-us LifePress <![CDATA[DIGITAL FORM DISCUSSION]]>

To what extent do the material components (e.g. hardware, source code, network protocols) and properties (e.g. speed, malleability, erasability) of digital technology influence the methodologies one might employ to study it? Is there a specific “ethnographic toolkit” that is particularly well-suited for studying the digital form and related socio-cultural phenomena?

Wed, 11 Jul 2012 06:37:00 -0700
<![CDATA[Art in the Era of the Internet (and Why Open Education Matters)]]>

During the late 1990s, when the internet first boomed, we talked a lot about creative destruction — about how old businesses would collapse, making way for new ones to emerge. And, indeed, companies like Amazon,, and eBay changed the way we buy our books, computers and everyday items. Years later, we’re seeing new internet technologies changing the arts world. Kickstarter, a platform that uses crowdsourcing to fund creative projects, may eventually bring more funding to the arts than the NEA, providing support for countless new artists. Creative Commons and its liberating copyright regime already lets artists distribute their creative works to the broadest audience possible. And The Creators Project, a global arts initiative created by Intel and Vice, is redefining our concept of the art studio and art exhibition. That’s the story told by Art in the Era of the Internet, a video created by PBS’ Off Book web series.

Thu, 29 Mar 2012 01:35:38 -0700
<![CDATA[How Christian Marclay created “The Clock”]]>

“When I first started on this project, I thought it would become a public art piece,” Marclay said. “I thought, What a great thing, to be in a train station waiting for a train and being able to watch a movie. It would inform you what time it was, and at the same time entertain you. But I realized it was impossible—there’s lighting issues, sound issues, you have to hear the public-address system. And Grand Central, for example, closes for a few hours, late at night, when they clean up the place. Then there’s the occasional nudity and swearing. How do you show that at Grand Central? And then you start censoring yourself, and you can’t do it.” But there was a more important reason that the video needed to exert a tyrannical hold in a dark gallery. Shown amid other distractions, it became an ambient object: just another clock.

Sun, 18 Mar 2012 16:30:56 -0700
<![CDATA[How Do You Cite a Tweet in an Academic Paper?]]>

Begin the entry in the works-cited list with the author's real name and, in parentheses, user name, if both are known and they differ. If only the user name is known, give it alone.

Next provide the entire text of the tweet in quotation marks, without changing the capitalization. Conclude the entry with the date and time of the message and the medium of publication (Tweet). For example:

Athar, Sohaib (ReallyVirtual). "Helicopter hovering above Abbottabad at 1AM (is a rare event)." 1 May 2011, 3:58 p.m. Tweet.

The date and time of a message on Twitter reflect the reader's time zone. Readers in different time zones see different times and, possibly, dates on the same tweet. The date and time that were in effect for the writer of the tweet when it was transmitted are normally not known. Thus, the date and time displayed on Twitter are only approximate guides to the timing of a tweet.

Sun, 04 Mar 2012 10:05:41 -0800
<![CDATA[Our Emergent Digital Future]]>

What will the digital world look like in ten years?  The trends are already clear.

Capacities in bandwidth and storage will continue on their exponential path.  The explosion in the volume of information and number of devices will persist.  Our data will be linked and most likely be processed in qubits rather than bits.

However, trends tell us very little.  It’s discontinuities that drive history.  Everything seems fine and then boom!  E-commerce comes along, then search engines, social media, smart phones and on and on.  Much like the flood that set Noah on his journey, such events, although driven by trends, take us in completely new directions and create new orders.

We used to have massive mainframes, which were housed in a basement somewhere. Users could log on and, if they had booked some time, could use the computer and the output would show up on their screen or get sent to a printer.  Then came the PC revolution and you could do it all by yourself.  

Sun, 14 Aug 2011 04:32:30 -0700
<![CDATA[Digital Decay (2001): by Bruce Sterling]]>

"Entropy requires no maintenance. Entropy has its own poetry."

Wed, 10 Aug 2011 09:59:32 -0700
<![CDATA[Content-free prose: The latest threat to writing or the next big thing?]]>

There’s a new online threat to writing. Critics of the web like to blame email, texts, and chat for killing prose. Even blogs—present company included—don’t escape their wrath. But in fact the opposite is true: thanks to computers, writing is thriving. More people are writing more than ever, and this new wave of everyone’s-an-author bodes well for the future of writing, even if not all that makes its way online is interesting or high in quality.

But two new digital developments, ebook spam and content farms, now threaten the survival of writing as we know it.

Mon, 25 Jul 2011 02:46:50 -0700
<![CDATA[Content For Users on the Move]]>

What is a book, really? For that matter, what is an article, a record, or a movie? For each of these, I have a very clear picture in my mind that says more about when I came of age than about the content itself. When I think of books, my mind retrieves an image of my grandparents’ bookshelves, which I used to browse after school as a child. Records? I see the CD stacks of my teenage years, collected from local music shops and trading with friends. And somehow, thinking about movies still produces images of VHS tapes and memories of frustratedly fixing the tracking on my VCR. No doubt, future generations will have very different associations. (Or, more disturbingly, some readers of this column won’t even know what a VCR is. Just Google it.)

Words, music, and films are all content experiences that we’ve come to know just as much by their containers as by their substance.

Wed, 13 Jul 2011 02:35:42 -0700
<![CDATA[The Principle of Notworking Concepts in Critical Internet Culture]]>

Type Conference Paper

        Geert Lovink


        Hogeschool van Amsterdam

        24 Februari 2005


        Lector Interactieve Media in het Digitaal Publiek Domein

Instituut voor Interactieve Media

Wed, 13 Apr 2011 08:24:50 -0700
<![CDATA[Errors in Things and “The Friendly Medium”]]>

What is it about a particular media that makes it successful? Drawing a mini history from printing-press smudges to digital compression artefacts this lecture considers the value of error, chance and adaptation in contemporary media. Biological evolution unfolds through error, noise and mistake. Perhaps if we want to maximise the potential of media, of digital text and compressed file formats, we first need to determine their inherent redundancy. Or, more profoundly, to devise ways to maximise or even increase that redundancy. This presentation was designed and delivered as part of Coventry University, Media and Communication Department’s ‘Open Media‘ lecture series. Please browse the Open-Media /stream and related tags (in left column) for more material

(Audio recording of talk coming very soon)

Many thanks to Janneke Adema for inviting me to present this talk and for all her hard work with the series and podcast.

Wed, 16 Feb 2011 07:39:59 -0800
<![CDATA[Building Rome on a Cloudless Day (ECCV 2010)]]> ]]> Wed, 16 Feb 2011 07:38:41 -0800 <![CDATA[Christian Marclay : The Clock (BBC News)]]> ]]> Wed, 16 Feb 2011 07:38:23 -0800 <![CDATA[B.S.Johnson - Albert Angelo]]>

Albert Angelo is the second novel written by the experimental novelist B. S. Johnson (1933–1973). Published in 1964, the book achieved fame for having holes cut in several pages as a narrative technique. It is written in an unusual and pioneering style, frequently changing from first-person narrative to third-person commentary, and often descending into stream-of-consciousness interior monologue. Like all of Johnson's novels it is an auto-biographical work.

Wed, 16 Feb 2011 06:59:53 -0800
<![CDATA[Museum finds the only painting of the Antarctic (William Hodges)]]>

In preparing paintings for the exhibition, the head of oil painting conservation noticed usual things about some of them, prompting her to X-ray, among others, 'A view of Pickersgill Harbour, Dusky Bay'.

It was discovered that the rainforest gives way to a startlingly different view – of Antarctic icebergs in a rough sea. Clearly, Hodges had painted the Antarctic and then decided for whatever reason to paint over it – the only known 'oil painting' of the Antarctic.

Wed, 16 Feb 2011 06:58:06 -0800
<![CDATA[Open Media (lecture series schedule)]]>

The concept of openness is often employed as part of a radical critique of the closed-off worlds of what might be called ‘traditional media’. It is variously used to urge for the right to transparency, the ethics of sharing, the value of re-use and the benefits of connecting.

This series of research seminars will explore various aspects of openness. Special attention will be given to the benefits and drawbacks of openness, and to the many possibilities openness offers for the future of media production, use and critique.

Wed, 16 Feb 2011 06:54:36 -0800
<![CDATA[Alvin Lucier: I am Sitting in a Room]]>

"I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any sem- blance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physi- cal fact, but more as a way to smooth out any irregularities my speech might have."

Wed, 16 Feb 2011 06:48:11 -0800
<![CDATA[VIDEO ROOM 1000 COMPLETE MIX -- All 1000 videos seen in sequential order!]]> ]]> Thu, 27 Jan 2011 09:21:29 -0800 <![CDATA[compression series [little girl]]]> ]]> Thu, 27 Jan 2011 09:19:49 -0800 <![CDATA[Silver]]>

by Takeshi Murata

Mon, 17 Jan 2011 05:45:43 -0800
<![CDATA[The Novel is not under threat from technology]]>

One of the first things I did with my palm-sized glossy black pebble of the future was to download loads of free books using the app Stanza. I read The Island of Dr Moreau on a flight to Japan. I started reading War And Peace. Again. Then I downloaded an app which was a book by a writer who hadn’t been published conventionally. On his website, he revealed he’d had 14,000 downloads in three months. My eyes nearly fell out. It was the final prod I needed. I was going to make an app. It’s what Arthur would have wanted. My idea was to expand on a photography exhibition I’d put together in 2009 called Stills From The Unmade Film of a Half-Written Novel. The title says it all. I’d taken 20 short extracts of the novel I was writing, and still am writing, which is about time-travelling air conditioning salesmen trying to save the world in the 1960s, and made 20 images based on them as if they were production stills from a film. It was installed in Norwich Arts Centre for a month.

Mon, 10 Jan 2011 03:34:33 -0800