Friday, November 22, 2013

[Yasmin_discussions] Human Ecosystems: De Certeau, Clèment, Casagrande and the Cultural Ecosystem of Rome

Dear *,

I would like to introduce to all of you one of our latest projects, which
is called Human Ecosystems.

http://www.artisopensource.net/projects/human-ecosystems.html

Here you can find a summary of the theoretical approach which forms the
base of the project:

http://www.artisopensource.net/2013/11/20/third-infoscape-de-certeau-clement-casagrande-smart-cities/

>From our point of view, it is an interesting chance to explore possible
forms of collaboration between arts and sciences, with artists defining
their role as social sensors; as creators of forms of representation; and
as creators of the dynamics for participation to the processes which bring
to transformation, pushing the boundaries of what is perceived as
"possible", in a pluralistic definition of the "future", which becomes a
collaborative, conversational performance.

This project has recently led to the formalization (and, soon, to the
creation) of the first Office for the Human Ecosystem in the city of Rome,
supported by the public City Administration.

It is an on-going process: we would love to know your thoughts about it.

All the best,
Salvatore

--
*Salvatore Iaconesi*

salvatore.iaconesi@artisopensource.net
skype: xdxdVSxdxd

*Art is Open Source*: http://www.artisopensource.net
*TED Fellow 2012*: http://fellows.ted.com/profiles/salvatore-iaconesi
*Eisenhower Fellow 2013*: http://www.efworld.org/

Contract Professor of Digital Design at La Sapienza University of Rome

Professor of Digital Design at ISIA Design Florence

Professor of Interaction Design at IED Istituto Europeo di Design
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Wednesday, November 13, 2013

[Yasmin_discussions] your yasmin moderator

yasminers

I am your yasmin moderator this week and look forward to your
news of events around the mediterranean and beyond !

Hopefully we can re energise the yasmin discussion- whats on
your mind ?

Roger Malina

-
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Friday, November 8, 2013

Re: [Yasmin_discussions] Drone Art , Persistent Surveillance and the DataSexual

Hi Roger,

Thank you for your response,

Currently working on a publication on the subject of Drones and art, and
currently interviewing different individuals & groups for it.

In respect of intimate science and data-sexuality. I'm not sure how to
approach this one (yet).

Although, I have been writing a lot about Donna Haraway's 'Situated
Knowledges', which I think is more relevant now than her Cyborg
Manifesto. her ideas around 'Situated Knowledges' has informed my
current chapter 'Hack Value', part of a larger study.

Extracts…

This study investigates contemporary art and cultural activism in terms
of Hack Value. It explores artworks, innovative projects and hacking
tendencies with and without technology. It argues that hacking has been
with us a long time before our use of computers. A characteristic all
hackers share whether it is legal or illegal is to break into or through
machined and walled up systems. […] They are all social and cultural
hacks against, closed, dominant and reigning systems. By examining
social and cultural hacks, technical and non-technical, and observing
the similarities shared to overturn existing concepts and established
modes of representation. We can ensemble a set of processes not specific
to technology alone, but towards a creative and ecological context that
informs a flexible, contemporary and trans-disciplinary art practice.

Haraway proposes a kind of critical subjectivity in the form of Situated
Knowledges. "We seek not the knowledges ruled by phallogocentrism
(nostalgia for the presence of the one true world) and disembodied
vision. We seek those ruled by partial sight and limited voice – not
partiality for it sown sake but, rather, for the sake of the connections
and the unexpected openings situated knowledges make possible. Situated
knowledges are about communities, not isolated individuals."(Haraway 1996)

Haraway's call for agency through Situated Knowledges sidesteps the
inescapable traditions of Western binarisms. Haraway offers us a glimpse
of how we can proceed whilst opening up multi-layered perspectives of
creative tactics to claim agency. This agency is similar to contemporary
forms of tactical media as it initiates playful and critical
inventiveness, hacking around blockages put in place by those in power.
The antics Haraway suggests to peer feminists in a male dominated world
of science is to enact playful roles of a witty agent, and like the
"Coyote or Trickster, […] we give up the mastery but keep searching for
fidelity, knowing all the while we will be hoodwinked."(Haraway 1991)

Anyway, thank you for your thoughts :-)

& wishing you well.

marc
> Marc
>
> thanks for your detailed response to sean's comments and the info on
> your movable borders project with drones- you make the statement:
>
> The intention is to investigate additional and fresh ways of looking and
>> thinking about life as artistic intervention. We try to somehow ensemble a
>> set of processes not specific to technology alone, but towards a creative
>> and ecological context that informs a flexible, contemporary and
>> trans-disciplinary art practice. It just so happens that technology is one
>> factor of many tools for all kinds of production as well as being a
>> globally, networked medium for surveillance in the age of Netopticon, a
>> neoliberal version of the Panopticon.
> i very much like this stance -which involves the kind of cultural appropriation
> and resulting redirection of science and technology which i have advocated
> in my 'intimate science' argument for art-science collaboration
>
> ah yes intimate science and data-sexuality !
>
> its also true that data is becoming so perceptually tangible that
> it opens new avenues for artistic practice n the information arts
> as steve wilson used to advocate it
>
> roger
>
>
>
> On Sun, Nov 3, 2013 at 7:14 PM, marc garrett
> <marc.garrett@furtherfield.org> wrote:
>> Hi Roger & all,
>>
>> Before responding to the other examples proposed for discussion on Drones.
>> For this post I think it may be useful to offer a context regarding our own
>> decisions to put on the 'Movable Borders: Here Come the Drones!' exhibition
>> at Furtherfield
>> (http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones)
>> Hopefully, it will add to what I'm sure will be a rich dialogue.
>>
>> Firstly, to answer Sean's question "The difficult balance between paranoia
>> and protest: the question is whether it is possible to make art by
>> communicating fear and shame;
>>
>> and whether it is possible to make art without taking fear and shame into
>> account."
>>
>> From our own position, it was about opening things up and bringing it down
>> to earth, amongst ourselves and whoever was interested in the subject also.
>> Before we had the show and the workshops 'Movable Borders: The Reposition
>> Matrix' Workshop, organised by Dave Young
>> (http://www.furtherfield.org/programmes/event/movable-borders-reposition-matrix-workshop),
>> Drone technology (to us) seemed as though it was primarily a strange
>> spectacle where there was an awful lot of information flying around in the
>> news and the internet - without much contextual discussion. In a way it was
>> about claiming agency or a connection with the subject of Drones, beyond the
>> constant effect of mediation interfering with the learning process of
>> knowing what it was all about.
>>
>> Thankfully, many visited the space to learn and see what artists and
>> amateurs were doing with Drones, as well as experiencing other aspects of
>> this of this technology. This included all kinds of information, films,
>> Youtube videos, diagrams, maps and discussions, with visitors, and of course
>> the workshop. It featured different levels of engagement. We did not want to
>> create a closed case where people were coerced by a dialectic as a dominant
>> framework at point of entry. It included fun items where we showed everyday
>> people making drones themselves, but we also had a serious side where we had
>> works and information that was dealing with the political, operational,
>> military, the business of Drone production about the different parts made
>> for Drones, distributed across different regions of the world.
>>
>> We are fortunate because we have consciously situated ourselves in a
>> building in a park (Finsbury Park). Where a high number of the visitors are
>> local passers by either walking their dogs, or are out for a walk with the
>> family, which also of course includes those actively coming to the space
>> already aware of what we do. The reason and motives of why you have a space
>> at all, is as important as the work being presented, whatever this may be.
>> Everything we do is based on emancipation and opening up things, unlocking
>> the blockages that culture, scarcity and hegemony closes down. "We must
>> allow all human creativity to be as free as free software" (Hans-Christoph
>> Steiner 2008)
>>
>> The intention is to investigate additional and fresh ways of looking and
>> thinking about life as artistic intervention. We try to somehow ensemble a
>> set of processes not specific to technology alone, but towards a creative
>> and ecological context that informs a flexible, contemporary and
>> trans-disciplinary art practice. It just so happens that technology is one
>> factor of many tools for all kinds of production as well as being a
>> globally, networked medium for surveillance in the age of Netopticon, a
>> neoliberal version of the Panopticon.
>>
>> Anyway, I'll stop here - much still to be discussed but I'm playing
>> badminton early tomorrow morning and I need my energy.
>>
>> Thank you all & wishing you well.
>>
>> marc
>>> b) The emergence of the social phenomenon of data-sexuality see
>>> for instance IEEE spectrum article on the phenomenon of people of
>>> obsessively self-track and accumulate all forms of data on themselves
>>> and make it public
>>> http://spectrum.ieee.org/at-work/test-and-measurement/meet-the-datasexual
>>> - a number of artists explored this in the 1990s anticipating a social
>>> phenomenon- clear the evolving ideas of privacy with public display of
>>> datasexuality shifts the location of shame
>>>
>>> roger
>>>
>>>
>>>
>>> Best
>>> Annick
>>>
>>>
>> A living - breathing - thriving networked neighbourhood -
>> proud of free culture - claiming it with others ;)
>>
>> Other reviews,articles,interviews
>> http://www.furtherfield.org/reviews.php
>>
>> Furtherfield – online arts community, platforms for creating, viewing,
>> discussing and learning about experimental practices at the
>> intersections of art, technology and social change.
>> http://www.furtherfield.org
>>
>> Furtherfield Gallery – Finsbury Park (London).
>> http://www.furtherfield.org/gallery
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>


--
--->

A living - breathing - thriving networked neighbourhood -
proud of free culture - claiming it with others ;)

Other reviews,articles,interviews
http://www.furtherfield.org/reviews.php

Furtherfield – online arts community, platforms for creating, viewing,
discussing and learning about experimental practices at the
intersections of art, technology and social change.
http://www.furtherfield.org

Furtherfield Gallery – Finsbury Park (London).
http://www.furtherfield.org/gallery

Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org

http://identi.ca/furtherfield
http://twitter.com/furtherfield

_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
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Tuesday, November 5, 2013

[Yasmin_discussions] Drone Art , Persistent Surveillance and the DataSexual

Marc

thanks for your detailed response to sean's comments and the info on
your movable borders project with drones- you make the statement:

The intention is to investigate additional and fresh ways of looking and
> thinking about life as artistic intervention. We try to somehow ensemble a
> set of processes not specific to technology alone, but towards a creative
> and ecological context that informs a flexible, contemporary and
> trans-disciplinary art practice. It just so happens that technology is one
> factor of many tools for all kinds of production as well as being a
> globally, networked medium for surveillance in the age of Netopticon, a
> neoliberal version of the Panopticon.

i very much like this stance -which involves the kind of cultural appropriation
and resulting redirection of science and technology which i have advocated
in my 'intimate science' argument for art-science collaboration

ah yes intimate science and data-sexuality !

its also true that data is becoming so perceptually tangible that
it opens new avenues for artistic practice n the information arts
as steve wilson used to advocate it

roger



On Sun, Nov 3, 2013 at 7:14 PM, marc garrett
<marc.garrett@furtherfield.org> wrote:
> Hi Roger & all,
>
> Before responding to the other examples proposed for discussion on Drones.
> For this post I think it may be useful to offer a context regarding our own
> decisions to put on the 'Movable Borders: Here Come the Drones!' exhibition
> at Furtherfield
> (http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones)
> Hopefully, it will add to what I'm sure will be a rich dialogue.
>
> Firstly, to answer Sean's question "The difficult balance between paranoia
> and protest: the question is whether it is possible to make art by
> communicating fear and shame;
>
> and whether it is possible to make art without taking fear and shame into
> account."
>
> From our own position, it was about opening things up and bringing it down
> to earth, amongst ourselves and whoever was interested in the subject also.
> Before we had the show and the workshops 'Movable Borders: The Reposition
> Matrix' Workshop, organised by Dave Young
> (http://www.furtherfield.org/programmes/event/movable-borders-reposition-matrix-workshop),
> Drone technology (to us) seemed as though it was primarily a strange
> spectacle where there was an awful lot of information flying around in the
> news and the internet - without much contextual discussion. In a way it was
> about claiming agency or a connection with the subject of Drones, beyond the
> constant effect of mediation interfering with the learning process of
> knowing what it was all about.
>
> Thankfully, many visited the space to learn and see what artists and
> amateurs were doing with Drones, as well as experiencing other aspects of
> this of this technology. This included all kinds of information, films,
> Youtube videos, diagrams, maps and discussions, with visitors, and of course
> the workshop. It featured different levels of engagement. We did not want to
> create a closed case where people were coerced by a dialectic as a dominant
> framework at point of entry. It included fun items where we showed everyday
> people making drones themselves, but we also had a serious side where we had
> works and information that was dealing with the political, operational,
> military, the business of Drone production about the different parts made
> for Drones, distributed across different regions of the world.
>
> We are fortunate because we have consciously situated ourselves in a
> building in a park (Finsbury Park). Where a high number of the visitors are
> local passers by either walking their dogs, or are out for a walk with the
> family, which also of course includes those actively coming to the space
> already aware of what we do. The reason and motives of why you have a space
> at all, is as important as the work being presented, whatever this may be.
> Everything we do is based on emancipation and opening up things, unlocking
> the blockages that culture, scarcity and hegemony closes down. "We must
> allow all human creativity to be as free as free software" (Hans-Christoph
> Steiner 2008)
>
> The intention is to investigate additional and fresh ways of looking and
> thinking about life as artistic intervention. We try to somehow ensemble a
> set of processes not specific to technology alone, but towards a creative
> and ecological context that informs a flexible, contemporary and
> trans-disciplinary art practice. It just so happens that technology is one
> factor of many tools for all kinds of production as well as being a
> globally, networked medium for surveillance in the age of Netopticon, a
> neoliberal version of the Panopticon.
>
> Anyway, I'll stop here - much still to be discussed but I'm playing
> badminton early tomorrow morning and I need my energy.
>
> Thank you all & wishing you well.
>
> marc
>>
>
>> b) The emergence of the social phenomenon of data-sexuality see
>> for instance IEEE spectrum article on the phenomenon of people of
>> obsessively self-track and accumulate all forms of data on themselves
>> and make it public
>> http://spectrum.ieee.org/at-work/test-and-measurement/meet-the-datasexual
>> - a number of artists explored this in the 1990s anticipating a social
>> phenomenon- clear the evolving ideas of privacy with public display of
>> datasexuality shifts the location of shame
>>
>> roger
>>
>>
>>
>> Best
>> Annick
>>
>>
>
> A living - breathing - thriving networked neighbourhood -
> proud of free culture - claiming it with others ;)
>
> Other reviews,articles,interviews
> http://www.furtherfield.org/reviews.php
>
> Furtherfield – online arts community, platforms for creating, viewing,
> discussing and learning about experimental practices at the
> intersections of art, technology and social change.
> http://www.furtherfield.org
>
> Furtherfield Gallery – Finsbury Park (London).
> http://www.furtherfield.org/gallery
>
> Netbehaviour - Networked Artists List Community.
> http://www.netbehaviour.org
>
> http://identi.ca/furtherfield
> http://twitter.com/furtherfield
>

_______________________________________________
Yasmin_discussions mailing list
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[Yasmin_discussions] Digital cameras and surveilling data

yasminers

there is also a discussion going on on the EMPYRE list
re surveillance-here is on of the posts

roger

-- Message: 1
Date: Sun, 3 Nov 2013 23:29:47 -0500
From: Renate Ferro <rtf9@cornell.edu>
To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
Subject: [-empyre-] posted for Helen Grace
Message-ID:
<CAA2fNoK2iUuyO+YQjadYAJe5_3Dx-VHmRoGKA8CtLSsgN98=WQ@mail.gmail.com>
Content-Type: text/plain; charset="big5"

Helen's post below got completely scrambled when it came to the mod site a
couple of days ago. It was meant for last month's discussion so my
apologies to Patrick, but I promised her I would post it for her. Thanks.
Renate

Digital cameras and surveilling data
I read today on the front page of the Taipei Times that NSA has been
intercepting Google & Yahoo traffic but assurances are given that US users
are OK really because NSA is only interested in foreign traffic and in
people who pose a threat to the US. Given that it appears almost everyone
foreign is potentially a threat, there is little comfort at all in the NSA
assurances for any of us who are not American. But in any case, I am not
so interested in the generally paranoid scenarios that have become the
dominant narrative of these discussions of the surveillance potential of
all the ubiquitous technology we now use.

So I'm especially interested in this discussion of digital cameras and
surveillance because in fact it seems we now somehow enjoy all the
attention and especially the grand visions and images that can be derived
from these possibilities. Most recently I?ve especially enjoyed the images
produced from the swooping up of huge quantities of Instagrams to produce
lovely beguiling images of the patterns of cities (since I?ve been working
on the patterns of cities, though without resorting to military-grade
methods - as admiring as I am about the possibilities such methods afford,
in spite of the worries we have).

http://phototrails.net/
http://firstmonday.org/ojs/index.php/fm/article/view/4711/3698

What interests me more is that a new feature of ubiquitous image-making has
been a kind of ?evasion of capture? by people in the taking of images ? at
least on the basis of analyzing a modest few thousand camera phone images
taken in Hong Kong in recent years. If our devices give us a lot of
software and algorithms to help us take ?better? pictures (face
recognition, smile detection etc) the fact is, from the data of our
research at least, the face doesn?t enter into the picture in two thirds of
cases. This is a very big change from earlier research on amateur
image-making in the US in the post-war period, where it?s been claimed
(Chalfen, 1987) that 90% of such images contained full-frontal portraits of
smiling people. (Only 10% of our images are of smiling faces; there are
more pictures of food than smiling people, at least from what we?ve
observed.)

So all the nice machinic capabilities, reflecting a universalist assumption
of family form & amateur interest may be simply unnecessary. But we pay
for them of course, in this cost-outsourcing phase of technological
development, adding to profits, cashing in on the generally
publically-funded (in university research) stage of surveillance technology
development after 9/11. This actually concerns me more than the fact that
my data is swept up by whoever might consider anonymous me to be a person
of interest.
----------------------------------------------------

Professor Helen Grace, ???
Associate, Department of Gender & Cultural Studies
Research Affiliate, Sydney College of the Arts,
University of Sydney

Founding Director
MA Programme in Visual Culture Studies
Chinese University of Hong Kong
_______________________________________________
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HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

Sunday, November 3, 2013

Re: [Yasmin_discussions] Drone Art , Persistent Surveillance and the DataSexual

Hi Roger & all,

Before responding to the other examples proposed for discussion on
Drones. For this post I think it may be useful to offer a context
regarding our own decisions to put on the 'Movable Borders: Here Come
the Drones!' exhibition at Furtherfield
(http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones)
Hopefully, it will add to what I'm sure will be a rich dialogue.

Firstly, to answer Sean's question "The difficult balance between
paranoia and protest: the question is whether it is possible to make art
by communicating fear and shame;
and whether it is possible to make art without taking fear and shame
into account."

From our own position, it was about opening things up and bringing it
down to earth, amongst ourselves and whoever was interested in the
subject also. Before we had the show and the workshops 'Movable Borders:
The Reposition Matrix' Workshop, organised by Dave Young
(http://www.furtherfield.org/programmes/event/movable-borders-reposition-matrix-workshop),
Drone technology (to us) seemed as though it was primarily a strange
spectacle where there was an awful lot of information flying around in
the news and the internet - without much contextual discussion. In a way
it was about claiming agency or a connection with the subject of Drones,
beyond the constant effect of mediation interfering with the learning
process of knowing what it was all about.

Thankfully, many visited the space to learn and see what artists and
amateurs were doing with Drones, as well as experiencing other aspects
of this of this technology. This included all kinds of information,
films, Youtube videos, diagrams, maps and discussions, with visitors,
and of course the workshop. It featured different levels of engagement.
We did not want to create a closed case where people were coerced by a
dialectic as a dominant framework at point of entry. It included fun
items where we showed everyday people making drones themselves, but we
also had a serious side where we had works and information that was
dealing with the political, operational, military, the business of Drone
production about the different parts made for Drones, distributed across
different regions of the world.

We are fortunate because we have consciously situated ourselves in a
building in a park (Finsbury Park). Where a high number of the visitors
are local passers by either walking their dogs, or are out for a walk
with the family, which also of course includes those actively coming to
the space already aware of what we do. The reason and motives of why you
have a space at all, is as important as the work being presented,
whatever this may be. Everything we do is based on emancipation and
opening up things, unlocking the blockages that culture, scarcity and
hegemony closes down. "We must allow all human creativity to be as free
as free software" (Hans-Christoph Steiner 2008)

The intention is to investigate additional and fresh ways of looking and
thinking about life as artistic intervention. We try to somehow ensemble
a set of processes not specific to technology alone, but towards a
creative and ecological context that informs a flexible, contemporary
and trans-disciplinary art practice. It just so happens that technology
is one factor of many tools for all kinds of production as well as being
a globally, networked medium for surveillance in the age of Netopticon,
a neoliberal version of the Panopticon.

Anyway, I'll stop here - much still to be discussed but I'm playing
badminton early tomorrow morning and I need my energy.

Thank you all & wishing you well.

marc
> Sean Annick
>
> I am moving this exchange from yasmin announcements
> to yasmin discussions=
>
> roger malina
>
>
>
> ok so the drone art discussion has expanded to a more
> general discussion of how art uses fear and shame as
> part of its deployment-beginning with religious art
>
> i guess i want to insist that drone art is indicative of
> a tipping point in a large practice of artists in surveillance
> art- some of marko peljham's projects certaibly connect to this
> as does the work of the artists sean referred to in the exhibition
> movable borders here come the drones
> http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones
> as well as george barber's
> http://waterside-contemporary.com/exhibitions/the-freestone-drone/
>
> but just to emphasise some of the new developments"
>
> a) the development of " persistent surveillance" systems
> ( see for instance the US military handbooks such as
> http://publicintelligence.net/usjfcom-persistent-surveillance/ )
>
> which now are seeking to "predict and prevent bad actions by people"-
>
> see IEEE spectrum article on Rules for the Digital Panopticon
> http://spectrum.ieee.org/computing/software/rules-for-the-digital-panopticon
>
> persisent suverveillance systems with built in anticipatory systems
> are now a booming business
>
> b) The emergence of the social phenomenon of data-sexuality see
> for instance IEEE spectrum article on the phenomenon of people of
> obsessively self-track and accumulate all forms of data on themselves
> and make it public
> http://spectrum.ieee.org/at-work/test-and-measurement/meet-the-datasexual
> - a number of artists explored this in the 1990s anticipating a social
> phenomenon- clear the evolving ideas of privacy with public display of
> datasexuality shifts the location of shame
>
> roger
>
>
>
> Hi All,
>
> Sean Cubitt wrote
>
>> The difficult balance between paranoia and protest: the question is
>> whether it is possible to make art by communicating fear and shame;
>> and whether it is possible to make art without taking fear and shame
>> into account.
>>
> Which is an excellent question.
>
> Making art by communicating fear and shame
> - I guess that a huge percentage of catholic (Christian) art
> of the past is precisely based on fear and shame (my
> knowledge of other religious art is too weak to say
> anything) and quite a lot is considered master pieces
> preserved in museums like Le Louvre, etc.
>
> Making art without taking fear and shame into account
> - Drones are unmaned planes. They are at the forefront of wars.
> But if we consider planes in general, some are military
> others civilians planes and I guess we can imagine a
> civilian, positive use of drones (not only killing people or
> for some kind of Big Brother Panopticon Surveillance).
> They could be used for scientific purposes, playfull
> worlwide events, auxiliairies to environmental issues, sky
> ballets, etc.
> And I guess, this civilian use is part of what Marko Peljhan
> has been doing and I guess this is what Oron Catts and the
> Field_Notes group from the Bio Art Society
> http://bioartsociety.fi/ have in mind. But it might be
> better to ask them !
>
> Best
> Annick
>
> from Sean Cubitt re drone art
>
> Professor of Film and Television at Goldsmiths, University of London
>
> two recent London shows:
> http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones
> and
> George Barber's parodic Freestone Drone (quite widely reviewed):
> http://waterside-contemporary.com/exhibitions/the-freestone-drone/
>
> The difficult balance between paranoia and protest: the question is
> whether it is possible to make art by communicating fear and shame;
> and whether it is possible to make art without taking fear and shame
> into account.
>
>
> roger malina
> _______________________________________________
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> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
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>
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Saturday, November 2, 2013

[Yasmin_discussions] Drone Art , Persistent Surveillance and the DataSexual

Sean Annick

I am moving this exchange from yasmin announcements
to yasmin discussions=

roger malina



ok so the drone art discussion has expanded to a more
general discussion of how art uses fear and shame as
part of its deployment-beginning with religious art

i guess i want to insist that drone art is indicative of
a tipping point in a large practice of artists in surveillance
art- some of marko peljham's projects certaibly connect to this
as does the work of the artists sean referred to in the exhibition
movable borders here come the drones
http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones
as well as george barber's
http://waterside-contemporary.com/exhibitions/the-freestone-drone/

but just to emphasise some of the new developments"

a) the development of " persistent surveillance" systems
( see for instance the US military handbooks such as
http://publicintelligence.net/usjfcom-persistent-surveillance/ )

which now are seeking to "predict and prevent bad actions by people"-

see IEEE spectrum article on Rules for the Digital Panopticon
http://spectrum.ieee.org/computing/software/rules-for-the-digital-panopticon

persisent suverveillance systems with built in anticipatory systems
are now a booming business

b) The emergence of the social phenomenon of data-sexuality see
for instance IEEE spectrum article on the phenomenon of people of
obsessively self-track and accumulate all forms of data on themselves
and make it public
http://spectrum.ieee.org/at-work/test-and-measurement/meet-the-datasexual
- a number of artists explored this in the 1990s anticipating a social
phenomenon- clear the evolving ideas of privacy with public display of
datasexuality shifts the location of shame

roger



Hi All,

Sean Cubitt wrote

> The difficult balance between paranoia and protest: the question is
> whether it is possible to make art by communicating fear and shame;
> and whether it is possible to make art without taking fear and shame
> into account.
>
Which is an excellent question.

Making art by communicating fear and shame
- I guess that a huge percentage of catholic (Christian) art
of the past is precisely based on fear and shame (my
knowledge of other religious art is too weak to say
anything) and quite a lot is considered master pieces
preserved in museums like Le Louvre, etc.

Making art without taking fear and shame into account
- Drones are unmaned planes. They are at the forefront of wars.
But if we consider planes in general, some are military
others civilians planes and I guess we can imagine a
civilian, positive use of drones (not only killing people or
for some kind of Big Brother Panopticon Surveillance).
They could be used for scientific purposes, playfull
worlwide events, auxiliairies to environmental issues, sky
ballets, etc.
And I guess, this civilian use is part of what Marko Peljhan
has been doing and I guess this is what Oron Catts and the
Field_Notes group from the Bio Art Society
http://bioartsociety.fi/ have in mind. But it might be
better to ask them !

Best
Annick

from Sean Cubitt re drone art

Professor of Film and Television at Goldsmiths, University of London

two recent London shows:
http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones
and
George Barber's parodic Freestone Drone (quite widely reviewed):
http://waterside-contemporary.com/exhibitions/the-freestone-drone/

The difficult balance between paranoia and protest: the question is
whether it is possible to make art by communicating fear and shame;
and whether it is possible to make art without taking fear and shame
into account.


roger malina
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HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.