November 27, 2012
Turing Complete User by Olia Lialina


Turing Complete User is an interesting essay on the impact of transparent interface design/invisible technology by Olia Lialina which has just been posted through the nettime-l mailing list.

The following are the first two paragraphs:

Computers are getting invisible. They shrink and hide. They lurk under the skin and dissolve in the cloud. We observe the process like an eclipse of the sun, partly scared, partly overwhelmed. We divide into camps and fight about advantages and dangers of The Ubiquitous. But whatever side we take — we do acknowledge the significance of the moment.

With the disappearance of the computer, something else is silently becoming invisible as well — the User. Users are disappearing as both phenomena and term, and this development is either unnoticed or accepted as progress — an evolutionary step.

The full essay is online here:

Posted by: Garrett @ 6:29 pm
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November 11, 2012
Street Views Patchwork

Street Views Patchwork by Julien Levesque. A Google Maps Street View collage combining views of different and distant places. See also Netscapes.

Originally seen on Triangulation.

Posted by: Garrett @ 7:59 pm
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November 9, 2012
Schedule and Registration now online – Remote Encounters

The schedule and registration (early bird prices) for the networked performance conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance is now online.

Conference schedule:
Registration (early bird prices):

The conference will over its two day sessions and performance evening pull together a number of practitioners and academics who are working in a variety of exciting ways with networks in performance contexts. These will cover web based performance, streaming media, sonic practices, metaverses, custom networked electronics, dance and theatre; each exploring a wealth of topics and themes.

Full details about the conference are available below.


Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance

keywords: performance, networked, body, space, place, time, real, virtual


:: Description ::

Since the internet entered the public domain in the early 90′s there has been an explosion in artistic interest in its use as a means, site and context for creative practice. Much of this practice is performative in nature; ether originating from a performance background and using the internet as a new site and/or augmenting aspect of that practice or is a form of practice developed as direct response to the internet and becomes performative to some degree in its spectatorship.

It has been well established that the internet is not the first or only example of the use of a networked technology repurposed for creative practice. There is a clear time line that can be traced back through the practice of Roy Ascott and his coining of the term Telematic Art in the 1980′s to artist’s use of satellite networks, telephone and other telecommunication devices as each were invented. Seen in this respect the internet can be considered as one of many networked technologies that has enabled networked performance.

The internet is unique however in that it is not a singular network type that favours a particular form of media, broadcast or spectatorship. Most famously known as the network of networks it enables multiple protocols of which the world wide web’s http is just one, is multimedia in nature and encourages intertextual folding and layering of media, is multi-directional not simply a broadcast communication form, de-centralised in ownership and the majority of its technologies are openly accessible.

Remote Encounters, a two-day international conference with performance evening, aims to explore the use of networks as a means to enhance or create a wide variety of performance arts. How do networks as a site for performance provide opportunities for us as artists and performers? In particular how can we remotely collaborate, merge geographically separate places and times, reconfigure the space of performance and the relationship between artist and audience?

:: Conference information ::

Early bird fee (until January 1st 2013) – academic affiliated £80, non-affiliated £40
Late fee – academic affiliated £100, non-affiliated £50

Location: ATRiuM, Cardiff School of Creative & Cultural Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24 2FN.

Date: 11th – 12th of April 2013

Posted by: Garrett @ 7:30 pm
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