ISP notes ☞ research, ☞ projects

>Chain reaction
    2016 (Richard Wright) ☞
Thematic Seminar - PZi

-Chain reaction
-Performanced Failure
-Constructive Instability


-Word linking, writing machine, haiku,
-Peer to peer network. Networking in general
-Social networking

    - () ☞

>Nudge Nudge
    Steve Rushton (2012) ☞
(Transfer notes from paper)

>Technologies of the Self

>Postscript on societies on control
    Deleuze (1992) ☞
(Transfer notes from paper)

>Universiteit van Nederland
    dr. Bart Schermer (2016) ☞

Early Sketch of Arpanets First Four Nodes
Netscape Navigator
Communications Decency Act
Telecommunications Act
Jon Postel
Network Solutions

Jon Postel:
Hield de nieuwe nodes bij van Internet die ontstonden, als telefoonboek. Werd uitbesteed aan Network Solutions, want werd te groot. 1998: Hij vertrouwde network solutions niet meer (niet koppelen aan een land, niet dat een land/network solutions geld kon verdienen aan het internet) liet iedereen naar zijn (database) verwijzen. "Hij was voor even de absolute baas op het internet" (hij wist waar alle computers waren, en niemand anders) (2 minuten voordat de overheid aan de lijn hing om controle terug te nemen, Jon werd ontslagen en overleed een paar maanden later) (website koppelen aan juiste server)

Landen hebben gewonnen
VS heeft meeste macht op internet: want macht over het "telefoonboek".
Macht: censuur
Internet is onlosmakelijk verbonden met de fysieke wereld door ISP/kabels/servers: daar is overheid aan de macht.
The internet doesn't forget.

>EXPLORA/Prometheus unbound (theater)
    Urland (2016) ☞

EXPLORER/Prometheus unbound is the centrepiece of ‘The Internet Trilogy’, a series on the rise, expansion and limitless promise of the internet. 1994. The year of the eruption of the World Wide Web. The promise. The point of no return. We are ON. We transcend to CYBERIA. Unbound. The time has come for us to seek new levels of reality.

The metamodernistic performance collective URLAND (Rotterdam) and CREW of pioneer/artist Eric Joris (Brussels) are making a RE-ENACTMENT of the initial promise of ’94. With CREW’s tools and knowledge of immersive technology the internauts dive into cyberspace and create a new reality. How are we dealing with this new freedom? How far can we transform the body and/or make it disappear? How does something concrete become something abstract, and vice versa? Where are we?

CREW /B.C. (before computer) and URLAND /A.C. (after computer) show us the wild possibilities and impossibilities of the internet and the interchangeability of IDEALS and worlds in a stormy remix of classic tragedy and electronic art. TUNE IN for the lovestory of Bridget and Deacon in virtual paradise. TURN ON the cyber-soap. BOOT UP. JACK IN. DROP OUT. EXPLORE.

>The Rise of the Network Society

>A Declaration of the Independence of Cyberspace
    John Perry Barlow (February 8, 1996) ☞

>The Sprawl
    Metahaven (2016) ☞
Unmediated reality, objective and truthfull, becomes harder and harder to find. A luxury.

Internet: reorganize distribution of propaganda.
Reality is interfaced
"Everything is propaganda"
- narration and distribution changes:
It's now all about undercutting and disrupting truth, while in earlier days it was about creating a new system of truth.

Cyberwarfare: unknown entity
Propaganda: top-down
Both assymetrical

Benjamin H. Bratton
Panoptic regime - Desinformation
- States become cloud platforms
- trollfarms
- wapenazation of software
"the harddrive of the great programmer is 3,500 GB (4TB)"
ISIS consuming M&Ms
Big-data apophenia

Peter Pomerasneu

>De Hoer van de Duivel

>Understanding Cyberspace Cartographies

>The Self in the age of Digital Exhibitionism
    Pleun Gremmen (2015) ☞
This essay caused a few question relating to the current state of media and aura. In the contemporary media landscape a medium is not only used to mediate between us and, or interact with, the information, but also to broadcast ourselves. This takes the 'simulation of the self', which Nichols is talking about in his essay, a step further as in that the simulation is not supposed to be 'the Other', but as much alike the self as possible. I'm questioning what happened to a persons aura, uniqueness and even value compared to previous times, before this narcissistic exhibitionism within among others social media. Your online self is a manipulated reproduction, but is it manipulated enough to convey value in itself or does it decrease value of the original. Does our online presence become a work on its own or is it still to much a version of the one work? In a very simple comparison: a technical reproduction of a work of art increases accessibility which has a great deal of positive effects, but also the negative one that the original always decreases in value. The need for putting effort into experiencing the work of art decreases when having already experienced its reproduction. At the end of Jos de Muls essay he looks to the future and wonders if the non-human characters of the new media we invented are going to be our successors in evolution of life. Is our online presence going to have more value than our offline one? Isn't this in many instances not already the case, where we present ourselves online to find jobs and husband/wives? To what extend can we separate ourselves from our online presence? The main question here would be, but maybe to save this for another time in another text, are we losing our own aura?

>The Work of Art in the Age of Digital Recombination
    Jos de Mul (2008) ☞
Jos de Mul (2008)
→ Walter Benjamin (1936)
“... mechanical reproduction.”

Describes three ages with all three different ways of valuing art.

Cult Value
Age of historical authenticity
first artworks originated in service of (religious) ritual function

aura: auratic work serves as interface between physical materiality and it’s meaningful history.
uniqueness in time and place
unique phenomenon of distance no matter how close the work may be

Exhibition Value
Age of mechanical reproduction
loss of aura
identical copies
easy acces
neither can be hailed as cultural progress nor doomed as cultural decline: simply a new way

Manipulation Value
Age of digital recombination
what is art
return of aura
versions of the work
political power in extend of openness for manipulation not only ditigitally recombined to be political but also reflective. reflect on the politics of manipulation.

databases: any collection of ordered items all media artworks share some basic
characteristics: add, browse, change, destroy
as soon as database play becomes a goal in itself, it becomes an autonomous work of art
Non-human character of the new medium we invented
Human beings might be first species that creates its own succesors in the evolutions of life and by doing so making itself redundant.
Alienation: seperation between medium and body
Nostalgia of Walter Benjamin to aura isn’t necessary

>Black Transparency
    Metahaven (2015) ☞
(Transfer notes from paper)

    Douglas Adams (1990) ☞
Television: commersialism.
"aren't you tired of the one-sidedness (linear), don't you want interaction" The internet as a servant. "is there anything I can do for you now?" "I am fully customizable" "Sorry the application agent has unexpectably quit"
Software agent (SIRI van vroeger)
"I know what you want" (Recommendations)


Vannever Bush (Franklin D Roosevelt science adviser. Atlantic Monthly. Microfilm: All the writings)
Doug Englebart (mouse, texteditor etc.)
Ted Nelson (Hypertext: writing should not be sequential.)
MIT MediaLab
Multimedia Lab (LA)
Robert Abel
Hans Peter Brandmo (Mycon: motion icon)

what you ask for is what you get
"meaningfull coinsedences"


Kublai Kahn

You can hear images.

Robert Winter, Robert Abel


Storage mechanism, indexing. Structure. Palm Sunday.
Vonnagut said that stories have shape that could be drawn on a graph:

B ------- E

(beginning, end, )
Searching by shape is a very powerfull tool.

Interpretation is everything


Multimedia Lab:
Tool to store experiences, to "speak with" people from past times. To have a as broad view as possible.

Computing environment: images and sound.
Defining the rules. Multiplicity of interwoven stories. Dont need to prepare the ideocincratic paths for users, they will find their own. Web created interactivity in watching by being able to skip and select what to watch. Query the transcript, search for words for more information.
"pointing device"


Artificial Intelligence:
Michael Wordan and
"computer created 'person'"

Virtual Reality:
"How do you know your not (in) a computer?"
"Surrounded by computer generated image. Computer generated hand, within the space with a glove. Pick up virtual objects."

Brad DeGraf: "it removes people from nature, from reality"

If people read the same book they share a virtual reality.



Put part of themselves into the story.


Didn't suspect social media
TV as crap. Network as some form as purity.

Hypertext is gone, except for within an application.
Go from page to page. Connect text to eachoter by making a weblink. Network of all sorts of text. Text never exists on their own, it always exist in a constellation. (Hyperlinks)

Foreground and background. Agents are now in background, but where meant to be on foreground. Paperclip in word. Smart software. Built inside the interface.

distinction between pure information, and the tool to navigate. The distinction is not there anymore. You cannot acces information directly anymore, only through the agent.

JK: All the things we've seen have been corrupted in a way.

From university utopia. Scale it up: you have to find a business model to keep it possible: advertisement.

Should we forse users to pay? Get money from advertisement.

AM: visual grammar

AM: Open data: Private and public institutions. Probe the population. Collect all data to freely search through. The more you can understand data you can predict it.

When you put something in a computer there is something magical that happens...


Internet Engeneering TaskForce (coming from "hyperland era" utopian view)

EVERY major decision of the physical layers.
Physical layer and application layer.
Bureau d'etude (mapping)
Manetta: Multiple internets
Internet exist to me as a concept.

Usenet network: prototypical network in 80s run by people on university networks.
We have to have business involved, cause we can't keep this.
Concious choice by the network itself

Not only arpanet, but 10 to 12 different ones.
Democratization of the internet

---> answer to question of a turning point --> Manetta

>How to do Art with Networks
    Rietveld, (2015) ☞
13:45-13:55 presentation by Robert Sakrowski

13:55-14:05 presentation by Anne Roquigny
WJ's (instead of VJ) playing with webbased software. Live-performances, live-conferences, live-presentations. Control of the mixers, you become a curator, make your playlist. There are three screens in the room with which we can interact. Browsing into a spectacle. Present internet art. A bit like a music production software. It becomes more intense than just showing internet content.

Manual mode: drag en drop content on the screen.
Waitinglist: for exhibition of online content for a longer period of time.
Internet is the hard disk, you don't need anything on your computer.

The idea of the content is to navigate, not to VJ or to mix on one screen.

(Michael: Relearn, three summers in constance, set of workshops.
Has a Pi and a OPENWRT TP-Link router with a network. "Internet is a place to reach information very quickly, but it's not an archive. Work disappears. How to continue to work digitally." Life spans/cycle is different for each project. Think about how to preserve/translate or throw away. For example dump the information in git. "solidifies the different kinds of formats of solidification I think)"

librarybox, collaborative libraryspace

14:35-15:00 presentation by Katrina Sluis
What happens when images and networks come together. Photography in Britain wasn't seen as an artform. Tate only started collecting photography in 2009. Photography in modern day, network culture, completely changed. Everybody is a photographer.

Cononanda Mishika:(?) Uses the internet as a camera
Sasha Pohlflepp: camera as network system, camera is networked, camera that takes other peoples photos
James Bridle: Dronestagram

Un plug:
Olia Lialina & Dragon Espenschied
Summer, Olia Lialina

15:30-15:40 presentation by Martine Neddam
Web editing software. Art on your screen: A place where you can freely play multiple video/audio on top of each other.

James Hudson, web development

Platform where people can register and use the tool:

15:40-15:50 presentation by Harm van den Dorpel
In my practice i made a lot of texts snippets and they needed a home. I wanted to make a sort of bucket instead of a portfolio. By consuming it (social media) structuring it slowly.

No distinction between content and navigation. (The content is the navigation). Only things that are giving attention to are propagated. That also prevents trolling.

The nature of your tool is going to influence your practice very much. The website is the primary experience.

16:20-16:30 presentation by Michael Murtaugh

16:30-17:00 presentation by Aymeric Mansoux
part 1: The Confusion
Is it networks online or offline, centralized or non-centralized, critical or ironical, network of people or machines, (etc.)
Pokemon minecraft.
network in a broader social economic sense. Not "how to do art within networks", but "how to make art in systems, of things being human and non-human" Power-struggle between different groups.
Michael Asher
copy-left - trying to distribute work under the terms of copy-left. copy-left net art.
Nam June Paik's interest in FORTRAN
Code brutalism ..."close to the metal"
As platforms become more popular, prevalent, the networked art / software art practices change.
Now taking place on platforms, not by artists on their own.
It needs to be clear what the "transaction is"...
What are the conditions?
Questions of ownership and power return again and again.
refusing to acknowledge the trasnaction is repeating the mistakes of the past.

Successful art work should work like a meme.

Documentation - all that is left is a documentation video. Media Art documentation - the same. The documentation is the work.
You are always in a relationship with the software you use.

"Remix culture"
The becoming of the artist critique. Since this discussion has moved to a place foreign for artists. The terms created within Silicon Valley.
Commodify us, our data our terms (furtherfield) => becomes actual product without critique (service to collect data and resell it)
Not an interesting position for artists... to be parodic or develop "crazy" ideas as a critical tactic, if they are just recuperated / turn into actual products.

Not do art with networks: but within

part 2: The Lottery
Someone in the audience got a Pi to put work on and pass on after a week.

>Draw me a Cloud #2
    notes ☞
Technological discussion is detatched from reality. Overtheorized.
WHAT ARE the concequences of my theory? How does it influence usage?

Disconnected. You can speak of disconnectivity: technically and emotionally, personally.

Grey area between us and "the machine" (the machine is the bureaucracy and the technology etc.) interface: is the gray area? Interface that reveals and hides information and connection.

Capitol of emotions
Emotion as an interface to the network.

(why always speak of THE network)

Human infrastructure.

Market of emotionst that are capitalized.
Image of big guy behind desk marketing emotions, making the decisions.
Social status is created constantly, for example when you buy a plane ticket.