Robert Hodgin, using Kinect and C++ framework Cinder:
More Kinect experiments at Robert's Vimeo channel.
Great stuff from our friends at Space Studios. They recorded Roy Ascott's talk from last week, and published it online...
Roy Ascott gave a talk about his work enlightening his theories of technology and consciousness on Saturday 25 June 2011.
Ascott's groundbreaking artwork used Cybernetics and technology as a means to explore systems and distributed authorship. He prefiguring Facebook by some 20 years and could say anticipated the impact of such systems on our political and sociological structures- think of the recent Twitter vs Super Injunction clash.
Strong bonds and shared emotions can produce great collective work, particularly if they also reference what makes a group tick: the bricolage, the experiences, and a shared history. Peckham's Garudio Studiage is a collective entity with considerable strength in personality, producing work with a wonderfully cheeky – some might say British – twinkle in the eye.
Its members were friends before they started working together. Anna Walsh and Laura Cave met at sixth-form college; Walsh met Chris Ratcliffe while studying for an MA at the Camberwell College of Arts; and Cave met Hannah Havana at the Royal College of Art. They ended up living in neighbouring houses, working together at a prop-making company, and then making their own work in a garage let for free by their landlord. Hannah Havana picks up the story. "the amazingly eccentric ageing Cypriot landlord and builder, called simply 'Jimmy'. He only dealt in cash and didn't seem to be able to read or write, but his kindness and special eye for a bargain and a quick fix was inspirational."
When money was tight, a free space was a great opportunity to build collaborative work; a screenbed once belonging to Tim Mara was purchased from an ex-RCA tutor. From there, the group with the play on the words "garage studio" started to take shape. However, a free space to work came with no heat or light, and some unforeseen additional caveats: "Jimmy kept his building materials there, and would often turn up with random things like giant sacks of sand, broken boilers and, one day, some cats. At one point we couldn't use the screenbed for two weeks, as a cat had kittens on it and screeched whenever we went near." In-kind payment was to help Jimmy with his own work, which allowed the rather different worlds of contemporary design and budget building materials to occur in the same day. As Hannah admits, "... we would never know if we would have to suddenly drop our work to help install some pipes in the local chip shop or give interior design advice for his latest renovation. This meeting of worlds and our relationship with him planted the seeds for our way of working that still exists today."
The way of working is defined by the relationships that have been building since their late teens that remains intrinsically part of Garudio Studiage's culture. "Friends before work" comes first, a philosophy extending to the group even going on holiday together. However, they work on products individually, bringing them together for shows and commercial commissions. It's an overt, a tangible sense of humour that is the thread throughout these individual works, as well as a cross-influence that comes from working individually but as part of an overall team. Their paid jobs that have included stints in advertising, fashion, and lectureships have helped to build an awareness and confidence in multi-disciplinary practice, allowing the group to build Garudio Studiage as something that Hannah calls "an outlet for creativity and enjoyment. We like to do as much as possible ourselves and this mix of skills really helps us to be able to reject conventional commercial approaches and try to be as true to our original aims as possible."
As Garudio Studiage started to take on commercial projects, it moved from Jimmy's space to Peckham's Copeland Industrial Estate, now the Bussey Building in the "Copeland Cultural Quarter". It still recalls the roots of cold garages, plumbing, and cats: "Anyone who has visited the space will be able to imagine the small transition from a broken garage to a modern day shanty town of artists, tradesmen and African Churches, not to mention spiders, mice, winged insects and a spectacular selection of 'Jimmy-like' staff. Needless to say we felt at home." Garudio Studiage now occupies two studio spaces in the building, and has grown into an organisation producing work for clients including Graham Norton, the ICA, Wieden + Kennedy, and Dazed and Confused. Their bedding into Peckham is clearly part of their character, as they are increasingly seen as being central to the growing art scene in and around Peckham, something to be shortly celebrated with their next show Nation of Shopkeepers at Peckham Space.
Not an ad, but a leaked internal video for Microsoft's Global Exchange event.
As BusinessInsider states, GApps users are able to turn ads off, so you do wonder what the message that MS is trying to give here, unless it's specifically for SME resellers trying to flog Hosted Exchange solutions to folks that may otherwise use standard email.
Anyway, the "Gmail man" tune is sure to become a mail alert sound before the end of the day. A small win for Microsoft there.
Silly season has officially arrived:
Belly dancing and medieval role play: civil servants' favourite websites
Civil servants are using Whitehall computers to make thousands of visits to websites about belly dancing, medieval role play, and cricket, according to new figures.
Our friends at The Media Briefing have published a piece from Neil Thackray on online ad models.
The natural instinct for a publisher is to put the content at the centre of product development thinking. Magazine publishers start their working day by thinking about how to make a better magazine and then work outwards from there. When they ask what their readers want, the answer can only be something that can be squeezed into a magazine delivery format.
Look at how many websites and even iPad apps are little more than facsimiles of the magazine, albeit with some extra bells and whistles.
When you last used a mobile phone to access any kind of data (you may even be using one now), how was your experience? Could you read your email without any glitches? Was your web browsing experience fuss-free? Did an app tell you what you needed to know about where you were, or where you wanted to be? And how was BBM – did your colleague's snippet of information turn out to be useful?
The chances are that any of these applications actually worked, and worked properly. In fact, when you consider the atmospheric conditions that they may have gone through – walking in cities covered in tall buildings, or working on a train, or in a spot of poor mobile coverage – then it's a minor miracle that right and meaningful data got through at all.
This is because digital communications rely on error correction. Whether it regards a mobile phone or a space probe, there is reliance on the part of both the sender and receiver, that the information has to be right and delivered as it was intended. In the case of both, there is liable to be some interference on the signal, so what is received is not necessarily what was sent. Correcting the problem is undertaken by adding extra information before the signal is transmitted.
Many of us know a little bit of how this works, with the tried-and-tested formula of the Parity Check. The binary transmission is split into chunks of seven. Before the signal is transmitted at the end of each group of 7, an additional bit is added in such a way that the total number of 1s in the new chunk of 8 is an even number. When the signal arrives, if there is an even number of 1s in the group of 8 then it looks to be more acceptable – more likely of being right – than if the number of 0s is an odd number. This makes the process of spotting mistakes fairly easy to automate, in a way that most of us now don't even see.
As the BBC's hugely successful iPlayer goes global through an iOS app offering "the best of the BBC's content" for £44 pa, closer to home, ITV are going to be charging UK viewers for ITV Player.
If the licence fee didn't exist, how much would you pay for BBC iPlayer? Would you pay £44 per year for it, as non-UK viewers will be doing?
How much would you pay for the ITV Player?
In June 2011, Virtual Futures returned to the University under the banner Virtual Futures 2.0'11. The event was organised by digital media artist, and current Warwick student, Luke Robert Mason, and the Knowledge Centre was on hand to video the talks and interview the speakers.
We have a video of performance artist Stelarc's talk, as well as audio from a range of the talks. Professor Kevin Warwick spoke about his experiments with cyborgs and Pat Cadigan looked at how far we have come since the original Virtual Futures conferences.
There are plenty of videos and podcasts available at the University of Warwick's site, including the aforementioned Pat Cadigan and Captain Cyborg, as well as Sue Thomas, Stelarc, and Andy Miah.
Anonymous and LulzSec have launched "OpPayPal", an operation to boycott PayPal, based on refusal to host an account for Wikileaks while it hosts accounts for many other organisations.
Dear PayPal, its customers, and our friends around the globe,
This is an official communiqué from Anonymous and Lulz Security in the name of AntiSec.
In recent weeks, we've found ourselves outraged at the FBI's willingness to arrest and threaten those who are involved in ethical, modern cyber operations. Law enforcement continues to push its ridiculous rules upon us - Anonymous "suspects" may face a fine of up to 500,000 USD with the addition of 15 years' jailtime, all for taking part in a historical activist movement. Many of the already-apprehended Anons are being charged with taking part in DDoS attacks against corrupt and greedy organizations, such as PayPal.
Anything which features "Imagine my surprise/shock" has to be good, as it is here with a post from Peter Bingle, Chairman of Bell Pottinger.
(...) Imagine then my shock this morning at receiving a letter informing me that my membership of Soho House and Shoreditch House was being revoked 'effective immediately.' The letter concludes: 'You will no longer have access as a member and we ask you refrain from entering any of our clubs for a period of six months.'
I looked at the letter in disbelief. What had caused this sad state of affairs? Have I been badly behaved? Have I been rude to any of the staff? Have I smashed up the place? No. My membership has been withdrawn because I have disregarded Soho House's 'casual dress code.' I have been banned for wearing a suit!
More than a bit reminiscent of (alright, VERY MUCH LIKE) Julian Oliver's work Artvertiser, this app kills ads in New York's Times Square and replaces them with art.
Many thanks to our friends at Furtherfield for the nudge about this. Skates on, as it closes tomorrow.
Life Online comprises our new permanent and temporary exhibition galleries devoted to exploring the history, social impact and future of the internet, which open in March 2012.
The inaugural exhibition to launch the new temporary exhibition space is entitled [Open Source]. This exhibition celebrates the internet's open source culture of sharing and collaboration, while examining current threats to net neutrality which could signify the end of the open nature of the internet as we know it.
Several newly commissioned artworks will be included in the [Open Source] exhibition. One of these brand new works will be an open commission and we are inviting UK-based artists to submit ideas based on the theme of the internet's open source culture of sharing and collaboration.
Anonymous has launched a campaign to destroy all copies of Norwegian serial killer Anders Behring Breivik's manifesto, which was published by him just before he started the tragic cycle of killings that took place late last week.
The manifesto reads:
As Anders Behring Breivik wants to use the cruel action of killing over 90 young people to promote his 1516-page manifesto, also with the help of the internet, Anonymous suggests following action:
Last weekend, we were asked to show two things at the V&A's Web Weekend: something related to Chromaroma, and a new thing. We were in excellent company: a lot of people who we know and love were also showing work or giving talks.
BBC R4, The Long View:
In the late 1950s The Manchester Guardian demonstrated its national ambition by dropping Manchester from its title. The Guardian wanted to establish itself as far more than a high-brow regional paper with a strong reputation for international coverage. And so, in 1961 the paper started to print in London. It wasn't a great success, furnishing parodists with acres of Gruaniad style material to parody while leaving ink all over the hands of the expanding Southern readership. But in 1964 the editorial headquarters followed the printing presses to the capital. Manchester and the north were in decline, yesterday's cities. To be a national paper the feeling was that you had to be based in London. Spool forward four decades and the BBC have taken an entirely different approach to being a national media organisation. The move of substantial programme making operations including Five Live and BBC 1 breakfast to Salford is a statement of intent. A new and exciting northern contribution to output, far greater than the old regional headquarters could ever manage, appears to be the way forward.
So do you achieve national coverage by going to London or by leaving London? The Long view examines whether the decisions are right and why they were made. It tells a story of the changing balance of the North South divide examines the relationship between how you cover the UK and where you are within it.
From Taste the rainbow of fruit flavours to... er... this:
We're not going to ever buy Skittles again after this, but it could have been much worse. It could have been the inside of an After Eight.
Anyway, it is not a real ad, but US campaign spec work from directing team Cousins.
This "In conversation with..." is a little different; it's with one person, and goes in-depth into a specific project. Betty Martins' Expindigital project is based on virtual ethnography, based on the processes and practices of human memory - remembering and forgetting, in the context of virtual space.
Another social network? What the hell do I need another social network for?
Though I can't help but admire their audacity at such a blatant attempt to take on Facebook.
When I first signed up to Google+, I was dubious of the blank profile sitting in front of me that still knew far too much about my life. So, I filled out my profile while learning of its complexity, which ironically, clarifies the social spectrum in a lot of ways for me, such as talking to people you want to talk to and seeing things from people that you want to see things from. Of course, I'm talking about the filtration system known as Circles; one of the many nice features of Google+.