Send announcements, press releases and text abstracts to editor@...

Category: History

The Worlds & Knowledges Otherwise Project Presents Volume 3, Dossier 1: Decolonizing the Digital/Digital Decolonization (III)

III. An/Other Digital World

Situated along variegated routes of contemporary “information” societies, the work of the artists and scholars included in this section constituted entangled sites of aesthetic, political, and economic arrangements across a range of digital media and Internet practices. These practices reconstruct relations of power in and through global media, and refigure the boundaries of that power, trespassing digital spaces or creating other spaces. They question normative codes, policies, and archives of the digital, while positing, and inhabiting, multiple digital worlds. These works contribute, as do all works in this dossier, to an/other digital thinking.

Read more

BOOK: A Computer in the Art Room by Catherine Mason, Reviewed by Molly Hankwitz

A Computer in the Art Room: The Origins of British Computer Arts: 1950-80
by Catherine Mason, Norfolk: JJG Publishing, 2008.

Reviewed by Molly Hankwitz

This book is a work of art history analyzing the many contributions made by British artists and scientists to the development of computer art in England and its simultaneous impact and origins internationally. Special attention is paid to the development of new arts curriculum and education for artists during the post-war period. Art is a political battlefield when it comes to how and what is taught. Remarkably the arrival of the personal computer and networked computing as well as associated equipment: plotters, printers, and the monitor – began having an impact on artists in the 1950s when it was perceived to be an instrument through which one could express oneself. With many color plates and a fine art approach to the research, Catherine Mason has drawn together a unique collection of some of the most well known British art groups and institutions to have influence upon cultural acceptance and arts education.

The relationship between The Independent Group and the Institute of Contemporary Art’s (ICA) forms the basis of much of the analysis, as the ICA was a meeting ground and support for the minds of the Independent Group. Lesser known, but keenly important artists such as Edward Ihnatowicz are written about in great detail, as well as their original works, the Senster, for example, and reactions to it, are described in great detail. Thus the text is a compelling portrayal of how important artists worked against the grain of longstanding, traditional arts education in the United Kingdom’s college degree system in order to push for new approaches and ideas. Cybernetics, computer science, robotics, telemetry, as well as ‘interactivity’, ‘participatory’ and ‘process-driven’ art forms are shown to be the intellectural mainstays of avant-garde ideas at the time and are discussed in depth. Great attention is placed upon the overlaps between college arts education, vocational education in polytechnics, ‘think tanks’, fine art departments and the forces shaping government support and reports upon them.

Edward Ihnatowicz working on his computer-controlled sculpture, The Senster, at University College, London c. 1970

Curiously, because fine arts schools such as the prestigious and elitist Royal College of Art were generally the last to accept any cross over between art and technology, while the polytechnics, largely focused upon vocational training and design, more readily hired artists to work in them. Hence, newer ideas were sometimes tested outside of London. Experimental exhibitions, however, generally pushed computer arts into the realm of the visible for the general public.Richard Hamiltons ‘Growth and Form’ and ‘Man, Motion and Machine’ as well as the Independent Groups ‘This is Tomorrow’, ‘Cybernetic Serendipity’ (1968) and numersos others, are discussed by Mason as having huge influence upon the critical art audience and in helping to publicize and lend authority to ideas. Mason cross references her research between the inventions of one artist and the influence had on others. Stephen Willats, Roy Ascot, IIhnatowicz, Lawrence Alloway, Lynda Brockbank, Noel Forster, Brian Eno (a student at Ipswich College), and especially Gustav Metzger, Victor Pasmore, Richard Hamilton, Storm Cornock and others are discussed. Thus, the rise of less restrictive and more experimental and process-oriented sensibilities — in contrast to the traditional methods brought about by allegiance to John Ruskin and William Morris– began to appear in fine arts programs throughout England from the early sixties onwards. Roy Ascott’s revolutionary ‘Groundwork’ foundation course introducted to Ealing and Ipswich colleges was had controversial influence.

The legendary Slade School of Fine Art Experimental Department (University College London) was among the first inter-disciplinary programs to prosper around the teaching of computer art. Because the introduction of computer technology to creative work usually centered around design applications, it was less common and understood in fine art programs of the time. The Slade deparment was experimental, but also highly successful. Hamilton, Eduardo Paolozzi, and William Turnbull as well as other members of the Independent Group had attended Slade in the 1940s and their reputations helped its experimental growth as an institution. From William Coldstream’s influence onward and including the appointment of Rudolf Wittkower and others into the faculty presents a curious case of collaboration between fine artists, arts councils, funders, and faculty. Moreover, the department developed when “it was clear that art was evolving alongside the social and political changes of the 1960s” (2008, 174) In 1969, Bernard Cohen, in particular, pushed for study in art and electronics and in 1970 the influential Computer Arts Society held ‘An Evening of Computer Art and Composition.’ (ibid, 175) which consisted mostly of performance based works of computer poetry, light/sound performance by John Lifton, choreographed ‘dance’ routines by computers by John Landsdown, and so forth. (ibid, 175). In 1970, Systems Group founder, Malcom Hughes created the first computer curriculum for Slade. His own work was influenced by the process-driven epistemology of Pasmore and used mathematical and generative concepts. Works cited from Slade’s department are drawings and machines of Stephen Scrivener, CAD drawings of Chris Briscoe created on the CRT at the Slade studio and many others. In 1977 Slade owned a ‘technology lab’consisting of a customized computer stacked with a teletype used for alpha-numeric input and output, a storage oscilloscope used for graphic output and the plotter built by Briscoe. (ibid, 181)

The apparent, driving force of Mason’s book is her interest in bringing to light the contributions of major players and thinkers, who along with like minded British scientists, engineers, funders and officials – at times influenced by work in the United States or Germany – were attempting to forge especially creative links between art, science and technology. Mason directs the reader to a wealth of information and background as to the role computers played in artmaking during the post-war period, including attitudes towards culture and machines, publications on similar ideas, as well as disparate strands of thought considered in regards to their use. The author manages an articulate history of art and education as well as offering substantial insight into how the role of the artist was in the midst of changing as a result of increasingly global, computerized culture. She shows how this extraordinarly early experimental work was often funded through collaboration with IBMs European offices, via appeals to international exhibitions, and was presented to the public at large. The book is a set of rarely published facts and ideas collected into one text; a vision, especially, of how British arts education was underpinned by various tensions and forces in the arts, and how these tensions had historic foundations. That a post-modern sensibility towards networks and machines was emerging is an understatement, yet the relationship of art, science and technology went back at least to Prince Albert’s designs for Albertopolis which combined arts and science museums along one ring road. The British Science museum as well as the V&A are residuals of his utopia.

Many of the ideas conceived during the decades of the sixties and seventies as a response to reactionary concepts – ideas of interactivity and connectivity, for example – are peculiarly visionary when laid aside theory and use of networked art today. Information and art, art and machines, have become increasingly indistinguishable and, indeed, perhaps overly alike. The book is very informative for those interested in the emergence of electronic media art in Great Britain and relationships between British art and its influence.

Mason, C. A Computer in the Art Room. Norfolk, 2008.
for more information:

TEXT: a minima:: Feature on Digital Transit

The following is a text about an exhibition at Medialab Madrid, by former curators and directors Karin Ohlenschläger and Luis Rico. It was originally published in a minima:: issue 15.

This PDF file is released in collaboration with a minima:: new media magazine, published in Spanish and English. For more information, please visit

Download the PDF in English and Spanish

The project Digital Transit sets out to examine the interconnections between art, science and technology, and the social dynamics that are generated around them. It passes through permeable spaces that provide productive interferences between imageries, concepts and different methods. Overall, it offers a transdisciplinary approach, which we understand as a means of interpreting, exploring and participating in the complex fabric of relationships that forms the basis of contemporary culture. Consequently, Digital Transit is a space for communication that links the current informatics and telecommunications technologies with the visual, sound and scenic arts, architecture and urbanism, science, education, civic participation and the environment.

Download the PDF in English and Spanish

First Monday Has Published the April 2009 (volume 14, number 4) Issue

The following papers are included in this month’s issue:

First Monday
Volume 14, Number 4 – 6 April 2009

Table of Contents

Beyond Google and evil: How policy makers, journalists and consumers
should talk differently about Google and privacy
by Chris Jay Hoofnagle

Broadband policy: Beyond privatization, competition and independent
by Larry Press

Signs of epistemic disruption: Transformations in the knowledge system of
the academic journal
by Bill Cope and Mary Kalantzis

Industries, artists, friends and fans: Marketing young adult fictions online
by Leonie Margaret Rutherford

Salvation or destruction: Metaphors of the Internet
by Rebecca Johnston

Privacy in the digital world: Towards international legislation
by Nour S. Al-Shakhouri and A. Mahmood

Time – Space Compression in Cyberspace Art, by Avi Rosen

Kazimir Malevich, “Black Square” (1923).

Time – Space Compression in Cyberspace Art, by Avi Rosen
Faculty of the Arts, the Art History department, Tel Aviv University

The term “time – space compression” was coined by David Harvey [1] in his book, “The Condition of Postmodernity” (1989). It refers to speed-up in the pace of life, while abolishing traditional spatial barriers.

The industrial revolution introduced the railroad and the telegraph line, paving the way for future changes in communications. It brought about the perceptual changes needed in early twentieth-century culture for the rise of the new media that captured communications: photography, cinema, radio and the telephone. The new “high-speed” technologies were the origins of the modern “annihilation of space and time” upon which nineteenth and twentieth-century perceptions of the real world depend. The train and railway system caused distortion in the traditional perspective and sight. This foreshortening of time and space, started by the train’s speed, caused display in immediate succession of panoramas and objects that in their original spatiality belonged to separate realms.
The accelerated viewer was able to perceive the discrete, as it rolls past the coach window indiscriminately; it was the beginning of the synthetic glance philosophy. J.M.W. Turner was one of the first artists implementing the time-space compression aspects. In ”Rain, Steam, and Speed The Great Western Railway” (1844) Oil painting, he confronted a “slow” ploughman in the field, with a high speed locomotive engine diagonally crossing while causing a whirlpool to the pastoral landscape.

J.M.W. Turner ”Rain, Steam, and Speed The Great Western Railway” (1844)
From: Wikimedia Commons

The overall impression is of compression and distortion caused by the Doppler Effect, as perceived by the artist positioned relative to the speeding locomotive, or on a ship’s mast at stormy sea, as Turner used to do for close experience of speed and nature forces. This phenomenon of nonlinear time and space sensation, together with industrial mass reproduction is a basis to the photographic and filmic vision and notion of montage, as well to the non linear geometry implemented by Impressionists like Édouard Manet in “Luncheon on the Grass” (1863). The male figures are dressed in Charles Baudelaire’s flâneur fashion. The background woman who wades in a stream is too large in comparison with the figures in the foreground; she seems to float. The overall impression is lack of depth, reinforced by the use of broad “photographic” light eliminating “natural“ shadows.
The mobile accelerated eye and consciousness that swiftly jumps from point to point will tend to focus on random details or to accumulate empathetic impressions of tactile sensations. Similar nonlinear multifocal techniques were implemented by Cubists such as Picasso, and Futurists such as Giacomo Balla who created a visual analysis of objects made simultaneously from different spatiotemporal points of view. The artist’s acceleration and omnipresence transformed the process of artistic creation to an almost religious significance because it involves restructuring of novel time and space, a penetration into reality itself.

The Supermatist Kazimir Malevich placed his “Black Square” (1923) canvas in the traditional position of a holy icon in Russian homes. The black square symbolized the death of traditional art and nature, deriving from Einstein’s new relativity theory, speed of transportation and means of communication. The implementation of mass production ready-mades like wallpaper or newspaper cuttings into art compositions, potentially enabled a wide consumption and presence of fine art.

Kazimir Malevich, “Black Square” (1923). (Image at the top) From: Wikimedia Commons

Artistic omnipresence caused by the compression of time- space leads to dramatic change in artistic conventions such as Walter Benjamin’s “aura”. Mass production of objects, instant spread and accessibility to all, made every myth instantly realizable. The telephone, photography, movies and even traditional painting inspired by the new technology cluster the most disparate data and images into one compressed new reality of annihilated in-between spaces, and finds its highest expression at the viewer- accelerated consciousness. When time-space is no longer experienced in Euclidian manner, the gap between original and reproduction vanishes, as everything rolls past the train’s coach window randomly. At the turn of the twentieth century Paul Valery predicted:

“Just as water, gas, and electricity are brought into our houses from far off to satisfy our need in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign.” [2].

This compression effect was intensified during the twentieth century by the electronic media technology. Marshall McLuhan described in “Understanding Media” (1964) the global compression by communication reality to shape a “global village”:

“After three thousand years of explosion, by means of fragmentary and mechanical technologies, the Western world is imploding. During the mechanical ages we had extended our bodies in space. Today, after more than a century of electric technology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned. Rapidly, we approach the final phase of the extensions of man – the technological simulation of consciousness, when the creative process of knowing will be collectively and corporately extended to the whole of human society, much as we have already extended our senses and our nerves by the various media.” (p. 19-20).

Pop Culture and Pop Art are reflections of the global spatiotemporal compression. Andy Warhol addressed in his art typical mass-produced commodities: soups, bottles of Coca Cola, and shoes together with icons of common consciousness that flood the media channels such as : the electric chair, Marilyn Monroe, Golda Meir, dollar bills, and more. Madonna’s, Jeff Koons’s and Warhol’s lifestyle and art, promoted them as products of the global media and as celebrities. Art became an intangible object of information and symbols consumed globally by “one-dimensional” subjects of “one-dimensional” global culture. The global culture consumption act is performed at commercial centers such as malls, amusement parks and air terminals linked to the global network of production, data and knowledge. The global net lifestyle is imperative to grow new organs, to expand the human sensorium and body to some new, as yet unimaginable, and perhaps ultimately impossible, dimensions (Jameson). The reflections of the traditional three-dimensional global space are converted to electronic digital information, displayed in real time on flat television and computer screens at home, control rooms, and huge outdoor electronic displays, in the style of New York’s Times Square, or Piccadilly Circus in London. Our vision, accelerated to the finite speed of light, guided by our consciousness, controls the happenings of the real world via electronic equipment, through making an instant “short circuit” between action and reaction. The three-dimensional linear physical world, experienced by the railway passenger, became an infinitely thin world of non-Euclidian electronic information, examined by infinitely attenuated TV viewer linked to TV networks of “digital highway”. Recent physical theories assert that the three-dimensional universe is nothing but a membrane in multidimensional space. The flat TV and computer displays, together with our retina and brain, are tiny segments of this torus-like cosmic topology.

Nam June Paik made the video “Buddha” (1976-78), that is a sculpture of Buddha sitting in a posture of meditation opposite a closed-circuit television image of him. The video creates endless body reflections by means of speed-of-light technology, and unites the TV image with the physical body. In his work “Buddha Reincarnated” (1994), Paik upgraded the earlier work with Buddha meditating opposite a computer screen.

Nam June Paik, “Buddha Reincarnated” (1994).

The meditation does not take place through a direct observation but through the electronic interface of a telephone, computer and modem. Buddha’s body is intertwined with electronic components that symbolize his incarnation to a cyborg that catches his compressed surroundings by means of his super-positioned electronic senses. The physical world and our bodies have undergone transformation and compression into data distributed in cyberspace. The span of human arms and consciousness is greatly expanded by means of electromagnetic waves of limitless transmission range. In 1900 Karl Schwarzschild described an infinite space that can be partitioned into cubes each containing an exact identical copy of our universe, containing peculiar connection properties so that if we leave any one cube through a side, then we immediately reenter it through the opposite side. This is actually the experience while watching a TV program or playing video or computer games.

The cyberspace surfer immersed in a Virtual Reality (VR) data sphere is equipped with VR headset including display, earphones, microphone, data suit and data gloves that connect him via computer to net hubs. His sensation is similar to the Scanning Electron Microscope operator who alters the tested matter by his sight and cognition. The surfer navigates within the electronic hyper-data that change while surfing. The surfer becomes an artist creating worlds and events, thanks to the responsive data sphere. The net surfer is anonymous, veiled by computer screen and headset hiding his identity, ethnic origin, age, and other characteristics that are no longer significant in cyberspace. His mind and senses are wholly isolated from the material world by means of electronic equipment; the physical environment has lost its past meaning. He remains alone; the other subjects, which accompanied him in the real world, become avatars. There is nobody besides himself; everything is data.

Jean Baudrillad argued that once one has passed beyond this point of detachment from the real, the process becomes irreversible [3]. We will no longer be able to find the objects and events that existed before the cyber immersion. We will not be able to find the history that had been before cyberspace. The original essence of art, the original concept of history have disappeared, all now is part of a real-time holistic data sphere inseparable from its models of perfection and simulation. The cyberspace compressed the time and space to a short circuit hyper-reality.

Cyberspace is more real than everyday life; computer games are more fascinating and alluring than the daily activities of school, work, sports or politics, and hyper-real theme parks like Disney World and VR environments are more attractive than actual geographical sites. The hyper-real symbolizes the death of the real, and the rebirth of holistic reality resurrected within a system of digital data. History, sociology, philosophy and art will never again be as before this point. We will no longer be able to know, ever, what art had been before it compressed itself in cyberspace. We will never again know what history had been before its aggregation in ultimate “MemEx”, the technical perfection of real-time holistic data memory.

The permanent interconnection between both virtual and empiric worlds introduces a new way of being and new ontological philosophy. Karl Popper’s theory of the three worlds is dramatically altered. Traditionally the classic world 3 of hypotheses can never influence directly the empirical world 1 of physical “objects” and vice versa. To achieve this, the mediation of subjective reality, human thoughts, feelings etc. of world 2 is necessary. Cyberspace alters that fact. For example, a surfer may use an on-line internet application that controls and displays a mutation of DNA material or integrated circuits embedded in biological cells. A theory of the function of these circuits finds the way to world 3. Sensors (world 1) transmit feedback data from the electro-biological cells. While the cyberspace is functioning, there is a real-time direct feedback of world 1, world 3 and world 2 (the surfer). The electro-biological cells are now part of surfer’s extended body and his nervous system. Within interconnected cyberspace, world 3 directly affects world 1, and world 2. Popper’s original discrete, linear relation of world 1, 2 and 3 becomes holistic real-time hyper-sphere. This ontological shift affects artistic quantities and qualities which originally defined the artistic object. Art work (world 1) can be controlled and altered by gadgets and real-time predictive software (world 3) causing art consumers to decide and act in the creative scene (world 2). These acts create a closed loop ‘duree’ of art, interconnecting the three worlds. The cyberspace can be comprehended as a container of Platonic ideas that symbolizes the Platonic triangles and tables that emerge from mathematical algorithms. The data can be manipulated, altered and copied by the demiurge (the surfer).

Eduardo Kac’s installation “Teleporting an Unknown State” (1994-2003) creates an experience of the cyberspace as a holistic life-supporting system. In a dark room, a pedestal with earth serves as a nursery for a single plant seed. Through a video projector suspended above and facing the pedestal, remote surfers transmit light via the Internet to enable the seed to photosynthesize and grow in the dark environment. Another piece by Kac “Genesis” (1998/99), is a transgenic art installation that explores the network relationship between technology, society, ethics, biology and myths. An “artist’s synthetic gene” was fabricated.

Eduardo Kac, “Genesis” (1998/99).

The gene contained a Morse- encoded verse from the biblical Book of Genesis. The verse reads: “Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth.” This verse implies humanity’s domination over nature. Morse code represents the dawn of the information age – the genesis of global time – space compression. The Genesis gene was incorporated into bacteria, which were shown in the gallery. Web surfers could control ultraviolet illumination in the gallery, causing biological mutations in the bacteria containing the Genesis verse. After successive manipulations, the DNA was decoded into Morse code, and into mutated verse in English. This art piece suggests a new holistic interactive data sphere where the ability to change the verse is a reciprocal symbolic gesture.

The cyberspace signals Roland Barthes’ “death of the author”, the disappearance of God and his hypostases—reason, science and law, while witnessing a fuzzy logic determination in holistic, time-space compressed cyberspace. Meaning and knowledge are not constant inherited values; rather, they gain new ‘duree’ of meaning while we are immersed in real-time in the data hyper-sphere.

The Cyberspace data sphere is an extended dimension (hyperbolic) of the global geography and the physical body, experienced by the surfer, cyber-flâneur. The computer is a suitable metaphoric vehicle for consuming electronically compressed cyber time-space. The cyber-flâneur passes through compressed data space-time populated with avatars and virtual objects. As Charles Baudelaire’s nineteenth century flâneur was a product of industrialization and modernity, a spectator of modern life in the rising urban sprawl, he is an upgraded product of New Media; the cyber- flâneur, an avatar – spectator of virtual data structures. He is an entity whose aim is to disappear in the time space of the digital city – a viewer who is everywhere and nowhere (superposition state) in possession of his anonymity. He is the one who experiences the fuzzy ontology of cyberspace (cyber-aura), an immediate time space where, as Paul Virilio argued “the moment of departure is compressed to that of arrival”. The flâneur’s ‘duree’ is an impression of endless movement captured by passing through the social space of modernity, and projected on his mind. Super positioned by electronic gadgets, anonymous cyber-flâneur motionlessly witnessing digital data bases through their natural propensity for omni spatiotemporal presence within the boundaries of cyberspace.

The evolution from being an artist-Flâneur in a slow world to a cyber Flâneur is a daily occurrence for most of us. For example, experiencing a series of paintings along the platform wall in a London Underground station, from a stationary train, has its banal outcome. The train passenger looking out of the window notices a single discrete frame of the series, and analyzes it according to traditional fixed semiotics. When the accelerating train leaves the platform, the series of frames advances creating a ‘duree’ of a filmstrip with a varied meaning. The impact of the Doppler Effect is noticed as in Turner’s paintings. While the passenger looks at his cellular phone display, or his Palm held computer, his sight and mind quantum jumps to a global superposition, via the singularity of net hubs.
The speed of the train leaving the platform released the passenger from the attraction of the old, slow discrete world dominated by a dichotomy between objects and subjects. The process of acceleration of the subject’s consciousness increased through radio and television broadcasts, nowadays reached its peak at cyberspace where it propagates at the finite speed of light. This fact led to a dramatic turning-point of the disappearance of the traditional author, artistic discrete object, and art consumer, and the birth of the cyber-aura witnessed by the cyber-flâneur. The meaning of cyber art and its cyber-aura according to traditional iconological and iconographical tools turned irrelevant. It is now valued according to a system of fuzzy logic, dealing with the concept of partial truth with values ranging between “completely true” and “completely false”. The cyber-flâneur embedded with digital gadgets can render the chaotic data of cyberspace meaningful, from traditional to a holistic point of view, while carrying out electronic reading mediated the by the central hub. That ability is similar to the physical phenomenon of the Bose-Einstein condensate of atoms of a substance uniting, at near-absolute zero temperature, to a unique “super atom” that sustains super-fluidity and acts in symbiotic harmony. The passenger/surfer is witnessing cyberspace as Pierre Teilhard de Chardin’s “noosphere”, the “sphere of human thought” as it grows towards a greater integration and unification, culminating in the Omega Point- the maximum level of complexity and consciousness to which the universe seems to be evolving. [4].

The cyberspace demonstrates Heidegger’s “thrownness”, and Dasein being, when one always finds oneself already in a certain spiritual and material, historically conditioned environment (data-sphere), in the extended world, in which the space and time of possibilities is always unlimited. The cyber data noosphere is the domain of ephemeral8’s “Bits of My Life” (BML 2008) video blog –“Impressions of a data Flâneur”. Ephemeral8 systematically employs his cell phone, to create a video documentation “backup” of his daily life occurrences.

Ephemeral8, “Bits of My Life” (BML 2008).

BML is his eternal “digital mummy” located in cyberspace superposition, ready and available for use by present and future generations. The videos are mostly as is, unedited, and directly uploaded from his cell phone to site. The Bits are the “meme” for further construction/deconstruction of net audiovisual mutual memory sequences consumed by other cyber-flâneurs. Google, YouTube and its partners become a giant hub, dominating cyber-culture, global networked economy, surfers’ language and behavior. The Cyberspace is an extension of ephemeral8’s foot, eye skin and nervous system positioned on torus-like topology. The hyper-sphere is the stage for ephemeral8’s “Digital Skin 2” video bricolage of his endless cyber voyages, embedding digital personal data as an extra data layer of Google Earth and Sky. His body and mind extension are part of holistic terrestrial and cosmic digital data strips produced the satellites and space telescopes. The three-dimensional universe contains discrete objects and subjects, imploded to an Orbifold, uniting cyberspace, physical space and cognitive space as digital data displayed on the computer monitor. The orbifold topology drastically transformed the traveling experience. Cyber Flâneur’s superposition existence positions him in no time on each location on the torus envelope. “Digital skin” is a cosmic virtual extension of Marcel Duchamp’s unfinished “Big Glass” piece, described in the videos’ sound track by Duchamp’s own voice, digitally compressed. The departure and arrival of locations on the art piece are compressed to a singularity.

The unification of Cyber Flâneur and cyber data sphere is the subject of an interactive network piece, “1 year performance video” (2004), by M. River & T. Whid. A live video stream of the two artists reveals their acts in two isolated cells. Every surfer entering the site witnesses the two artists according to his local time; for example, if the entrance to the site is in the morning hours the surfer will witness typical morning activities such as eating breakfast, exercising, reading the newspaper etc. Surfing late at night, will reveal the couple while sleeping.

M. River & T. Whid, “1 year performance video” (2004).

The network installation transfers the burden of closed cells detention from the artists to the surfer. The performance will be completed when the surfer finishes one year of accumulated participation, then he will gain a digital copy of the piece’s data base. The surfers do not know definitely whether the video stream is live, or recorded, or if the artists are real people or avatars. The server control program chooses the footage to be shown, according to the time of entrance, the number and frequency of previous transitions, and the duration of each video clip. The control ability designates the server computer, the network and the program as powerful Artificial Intelligence art creators, exactly like the two artists. The two cells containing the artists are identical in size, painted white, and lighted by neon. Even the contents of the rooms are identical: a wooden bed, clothes hangers, a shelf, chair, table, thermos for drinks, towel, and toiletries. The two rooms look as though they have a common virtual wall. There is an option for opening, in parallel, a number of windows of the work, and follow the artists in different situations at the same time. As the local time of the surfer’s computer changes, it thus affects the two artists’ activities, converting the surfer from passive spectator to an active director of the happenings on the screen. The surfer is situated in the center of the electronic Panopticon, while the computer screen serves as a peep-hole for the global data institution. The same is true for the two artists while using their laptops in their cells. The mind and gaze of the surfer activates the two artists, and vice versa. Without the actions and gaze of the surfers, the piece will not be realized. The observers and the observed become bits of data in hyperspace, condensing its bits to a super-atom, or holistic conscious entity.

In conclusion, throughout art history since the industrial revolution, artists have tried to perform time – space compression by means of their art. The artistic creation reveals the powers at work in the universe, and enables art consumers to be united. For that purpose artists used new philosophical ideas and accelerating technologies to extend their body and consciousness to a cosmic span.
The cyberspace epoch fulfilled this impulse by turning attention away from physical body extension, toward virtual structures of global digital data. In cyberspace artist and each surfer are privileged to transform their mind and physical body to cyber superposition. This revolution led to a radical change in the definition of artist, art object and art consumer. Reality has again become, as in the distant past, a mixture of the soul, dream, trance, and myth, together with the material tangibility of daily existence. The cyclic concept of time-space that dominated prehistoric culture, and were exchanged for logical, linear, Western concepts, returned to its mythological starting point. All are now particles of “pure artistic” sphere, gathering at the singularity of holistic consciousness in cyberspace hubs, the eternal habitat of art from now on.

[1] Harvey, David (1989). The Condition of Postmodernity. Blackwell, Mass.
[2] Paul, Valery (1991). “Pieces sur l’art, Paris conquete de l’ubiquite” in Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”. Hapoalim publishing Tel Aviv.
[3] Baudrillard, Jean (1992). “Pataphysics of Year 2000”. Originally published in French as part of Jean Baudrillard, L’Illusion de la fin: ou La greve des evenements, Galilee: Paris, 1992. Translated Charles Dudas, York University, Canada. (31.1.2007).
[4] Pierre, Teilhard de Chardin (2005). The Phenomenon of Man. Nimrod publishing. Tel Aviv.

Supercomputing to Help UC San Diego Researchers Visualize Cultural Patterns

Text source: Calit2

San Diego, Jan. 9, 2009 — High-performance computing and the humanities are connecting at the University of California, San Diego – with a little matchmaking help from the Department of Energy (DOE) and the National Endowment for the Humanities (NEH).
Lev Manovich

The two agencies have awarded 330,000 hours of time on DOE supercomputers to UC San Diego’s Software Studies Initiative ( to explore the full potential of cultural analytics in a project on “Visualizing Patterns in Databases of Cultural Images and Video.” The grant is one of three inaugural awards from a new Humanities High Performance Computing Program established jointly by DOE and NEH.

“Digitization of media collections, the development of Web 2.0 and the rapid growth of social media have created unique opportunities to study social and cultural processes in new ways,” said principal investigator Lev Manovich, who directs the Software Studies Initiative. “For the first time in human history, we have access to unprecedented amounts of data about people’s cultural behavior and preferences as well as cultural assets in digital form. This grant guarantees that we’ll be able to process that data and extract real meaning from all of that information.”

The Software Studies Initiative is a joint venture of the UCSD division of the California Institute for Telecommunications and Information Technology (Calit2) and the university’s Center for Research in Computing and the Arts (CRCA ).

The cultural data to be crunched by the DOE supercomputers include millions of images, paintings, professional photography, graphic design, and user-generated photos, as well as tens of thousands of videos, feature films, animations, anime music videos and user-generated videos. Examples of data sets to be processed include 200,000 images from, as well as 1500 feature films, 2,000 videogame previews and 1,000 video recordings of videogame play, all from

(All the cultural data is in the public domain, published under appropriate Creative Commons license, or is under publishing agreements that allow research and educational use.)

“This will allow us to compare how the proposed approach works with different types of data and also to communicate to different scholarly communities the idea of using high-performance computing for the analysis of visual and media data,” said Manovich. “We hope that our project will act as a catalyst encouraging more people to begin their own projects in turning visual data into knowledge.”

The Humanities High Performance Computing Program is a one-of-a-kind initiative that gives humanities researchers access to some of the world’s most powerful supercomputers in DOE’s National Energy Research Scientific Computing Center (NERSC) at Lawrence Berkeley National Laboratory. The program will also fund training time for the humanities researchers on the computers.

The UC San Diego project and two others – based at Tufts University and the University of Virginia – were selected after a highly competitive peer-review process led by the NEH’s Office of Digital Humanities.

“A connection between the humanities and high-performance computing communities had never been formally established until this collaboration between DOE and NEH,” said Katherine Yelick, NERSC Division Director. “The partnership allows us to realize the full potential of supercomputers to help us gain a better understanding of our world and history.”

For approximately three years, Manovich has been developing the broad framework for research in cultural analytics as part of the Software Studies Initiative. The framework uses interactive visualization, data mining and statistical data analysis for research, teaching and presentation of cultural artifacts, processes and flows. Another focus is on using the wealth of cultural information available on the Web to construct detailed and interactive spatio-temporal maps of contemporary global cultural patterns.

“I am very excited about this award because it allows us to undertake quantitative analysis of massive amounts of visual data,” explained Manovich.

Graduate students working on “visualizing cultural patterns” were funded last June with an award from the UC San Diego Chancellor’s Interdisciplinary Collaboratories grant program. Students from cognitive science, visual arts, communication as well as computer science and engineering each receive up to $15,000 in annual support under the program.

For the new project to run on DOE supercomputers, researchers will use a number of algorithms to extract image features and structure from the images and video. The resulting metadata will be analyzed using a variety of statistical techniques, including multivariate statistics methods such as factor analysis, cluster analysis, and multidimensional scaling. That statistical analysis and the original data sets will then be used to produce a number of highly detailed visualizations to reveal new patterns in the data.

All the outcomes of the project will be made freely available via a new Web portal, CultureVis (, set up by Software Studies Initiative.

Manovich is an expert in the theoretical and historical analysis of digital culture. His previous work will be used to determine which features of visual and media data should be analyzed. “Above all,” he noted, “we hope to direct our work towards discovery of new cultural patterns, which so far have not been described in the literature.”

Said NEH Chairman Bruce Cole: “Supercomputers have been a vital tool for science, contributing to numerous breakthroughs and discoveries. The Endowment is pleased to partner with DOE to now make these resources and opportunities available to humanities scholars as well, and we look forward to seeing how the same technology can further their work.”

In addition to UC San Diego’s cultural analytics project, two other groups were awarded time on the DOE supercomputers. The Perseus Digital Library Project, led by Gregory Crane of Tufts University , will use NERSC systems to measure how the meanings of words in Latin and Greek have changed over their lifetimes, and compare classic Greek and Latin texts with literary works written in the past 2,000 years. Separately, David Koller of the University of Virginia will use the high-performance computing to reconstruct ancient artifacts and architecture through processing and analysis of digitized 3D models of cultural heritage.

Text source: Calit2

BOOK: The Public Domain, by James Boyle

Available as a PDF file:

Our music, our culture, our science, and our economic welfare all depend on a delicate balance between those ideas that are controlled and those that are free, between intellectual property and the public domain. In The Public Domain: Enclosing the Commons of the Mind (Yale University Press) James Boyle introduces readers to the idea of the public domain and describes how it is being tragically eroded by our current copyright, patent, and trademark laws. In a series of fascinating case studies, Boyle explains why gene sequences, basic business ideas and pairs of musical notes are now owned, why jazz might be illegal if it were invented today, why most of 20th century culture is legally unavailable to us, and why today’s policies would probably have smothered the World Wide Web at its inception. Appropriately given its theme, the book will be sold commercially but also made available online for free under a Creative Commons license.

Read more at Public Domain

Boyle’s book is a clarion call. In the tradition of the environmental movement, which first invented and then sought to protect something called “the environment,” Boyle hopes that we can first understand and then protect the public domain – the ecological center of the “information environment.”

Software Takes Command, a New Book by Lev Manovich

November 20, 2008.
Please note that this version has not been proofread yet, and it is also missing illustrations.
Length: 82,071 Words (including footnotes).

Software Takes Command by Lev Manovich is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
Please notify me if you want to reprint any parts of the book.

One of the advantages of online distribution which I can control is that I don’t have to permanently fix the book’s contents. Like contemporary software and web services, the book can change as often as I like, with new “features” and “big fixes” added periodically. I plan to take advantage of these possibilities. From time to time, I will be adding new material and making changes and corrections to the text.

Check for the latest version of the book.

send to with the word “softbook” in the email header.

Propelled by Internet, Barack Obama Wins Presidency

Excerpt from Wired:

Barack Obama was elected the 44th president of the United States Tuesday night, crowning an improbable two-year climb that owes much of its success to his command of the internet as a fundraising and organizing tool.

Obama won 52 percent of the nation’s popular vote, and had a 338-163 advantage in electoral votes Wednesday morning, thanks to victories in several traditionally Republican states. The results are a stunning and hard-won victory for a candidate who began the race as a relative newcomer to the national political stage, and ended it as first African-American to win the White House.

“I was never the likeliest candidate for this office,” Obama said in an acceptance speech in Chicago Tuesday night. “We didn’t start with much money or many endorsements. Our campaign … was built by working men and women who dug into what little savings they had to give five dollars and ten dollars and twenty dollars to this cause.”

Both Obama and Republican rival John McCain relied on the net to bolster their campaigns. But Obama’s online success dwarfed his opponent’s, and proved key to his winning the presidency. Volunteers used Obama’s website to organize a thousand phone-banking events in the last week of the race — and 150,000 other campaign-related events over the course of the campaign. Supporters created more than 35,000 groups clumped by affinities like geographical proximity and shared pop-cultural interests. By the end of the campaign, chalked up some 1.5 million accounts. And Obama raised a record-breaking $600 million in contributions from more than three million people, many of whom donated through the web.

Read the entire article at Wired Magazine

CTheory Releases “City of Transformation, Paul Virilio in Obama’s America,” by Arthur and Marilouise Kroker

It is surely the fate of every engaged political theory to be overcome by the history that it thought it was only describing. So too, Paul Virilio. His writings have captured brilliantly these twilight times in which we live: _The Aesthetics of Disappearance_, _The Information Bomb_, _War and Cinema_, _Speed and Politics_ — less writing in the traditional sense than an uncanny shamanistic summoning forth of the demonology of speed which inscribes society. A prophet of the wired future, Paul Virilio’s thought always invokes the doubled meaning of apocalypse — cataclysm and remembrance.

Cataclysm because all his writings trace the history of the technological death- instinct moving at the speed of light. And remembrance because Virilio is that rarity in contemporary culture, a thinker whose ethical dissent marks the first glimmerings of a fateful implosion of that festival of seduction, facination, terror, and boredom we have come to know as digital culture. A self-described “atheist of technology,” his motto is “obey and resist.”

Read the entire article at CTheory: