February 26, 2013
New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy

The most lucid and thorough short discussion/dismantling of The New Aesthetic I’ve seen to date is Patrick Lichty’s article, New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy, posted to Reality Augmented (and then Nettime) a few days ago. I’m posting the link here as it should be more widely read.

Like the author, I’m unconvinced of any newness in the The New Aesthetic, but it’s declaration is hardly unsurprising as we are continually living through new-, post- or even hyper- times. The range of ‘vision’ it encompases discussed by the author is in my opinion generously narrow. Depending on what you read about The New Aesthetic it is ether centred on computer vision and so has a history as Lichty states begining in the 60′s when imaging became a key part of both interface and feedback in computing, hence Cyber in the title (cybernetic system’s), or is centred on machine vision which has a much wider scope than computing and a history (when you think about it) that becomes very difficult to attribute a start to e.g. a zoetrope, microscope, telescope, celatone etc.

This list goes on and on and further and further back…

Posted by: Garrett @ 5:12 pm
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January 30, 2013
Metaverse Creativity (2.2) – A Metaverse Art Residency: ‘Garrett Lynch Yoshikaze “Up-in-the-air” Second Life Residency’

Metaverse Creativity, a journal on “creativity in user-defined online virtual worlds such as Second Life”, has just published an article of mine titled A Metaverse Art Residency: ‘Garrett Lynch Yoshikaze “Up-in-the-air” Second Life Residency’ in Volume 2, Issue 2. The article is about my 2011 Yoshikaze ‘Up-in-the-air’ residency at HUMlab and the following is the abstract:

This article discusses the artist Garrett Lynch’s residency in Second Life® at Yoshikaze ‘Up-in-the-air’, HUMLab, Umeå University in Sweden. The artist’s mixed-reality live performance and installation work in the ‘virtual’ world, part of a wider artistic practice on networks, focuses on the identity and role of the artist within an environment mediated by networked technology. The residency enabled the continuation of this practice and facilitated through the site of the residency the development of ideas of space and place as they relate to identity. Eleven works, predominantly performance based, were produced during the residency that explored the breadth of the Virtuality Continuum. Each investigated the boundary between the ‘virtual’ and the ‘real’ and how creative practice can be produced at their intersection. Techniques of juxtaposition, framing, layering, folding, combination and mixing were employed throughout. Works involved performance across multiple ‘real’ and ‘virtual’ spaces and used specifically built props and environments in-world, performance software for a number of computing and mobile devices and Web 2.0/Second Life mash-ups. A number of recurring themes emerged in the development of work, including liminality, new frontiers, augmented or mixed presence and vision, which formed thematic strands of research. It is these thematic strands, their development and use that form the structuring of this article.

More details on the issue here.

Posted by: Garrett @ 9:14 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: http://remote-encounters.tumblr.com/schedule
Registration (early bird prices): http://remote-encounters.tumblr.com/registration

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

URL: http://remote-encounters.tumblr.com/

:: 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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September 22, 2012
Extended deadline final call – Remote Encounters

Final call for paper and performance proposals for the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance, deadline 4pm, the 30th of September.

Please find the call online here:

Posted by: Garrett @ 1:04 pm
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September 6, 2012
Extended deadline 30/09/2012 – Remote Encounters

With proposals still coming in for the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance we have now extended the deadline until 4pm, the 30th of September. We have received some particularly strong proposals for both papers and performances however decisions on the final programme won’t be made until after September 30th. If you missed the deadline, were on holidays etc. and are interested in submitting a proposal now is your chance.

We are particularly keen to receive more paper proposals as we feel not all of the breadth and diversity that is networked performance is currently addressed in the proposals we have received. Papers that explore unusual interpretations of networked performance, emerging experimental practice, comparitive analysis of practice, an historical overview etc. are encouraged.

Please find the call online here:

Posted by: Garrett @ 11:43 am
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