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NEW-MEDIA-CURATING  March 2014

NEW-MEDIA-CURATING March 2014

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Subject:

Re: Can non-human entities perform?

From:

bronac ferran <[log in to unmask]>

Reply-To:

bronac ferran <[log in to unmask]>

Date:

Wed, 19 Mar 2014 23:28:34 +0000

Content-Type:

text/plain

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Reminded of all this by Steve Willats in a talk tonight at Raven Row Gallery
when he told us that in the early 60s at Ealing Art School he heard Gordon
Pask
giving a presentation to students; challenged by one that he was trying to
'make us into machines' Pask responded  'but you have got infinite
variables'.

..
B


On Monday, 17 March 2014, Paul Brown <[log in to unmask]> wrote:

> Without wishing to be seen stating the blatantly obvious but...
>
> Some discussion of 1st and 2nd order cybernetics might be appropriate here
> (and I'm not the best informed respondent).  Ranulph - are you lurking and
> care to comment?
>
> I think biosemiotics has already been discussed (sorry I'm not able to
> follow the discussion as closely as I would like)?
>
> Paul
>
>
> On 17 March 2014 14:53, Bronac Ferran <[log in to unmask]> wrote:
>
> > Andy Warhol was perhaps joking (or maybe not) when he said: 'I think
> > everybody should be a machine'. The thing about machines is that high
> > performance is often associated with them, the dictionary definition of
> > performance includes what machines do so perhaps this is all a redundant
> > discussion.
> >
> > B
> > Sent from my BlackBerry smartphone from Virgin Media
> >
> > -----Original Message-----
> > From:         Victoria Bradbury <[log in to unmask]>
> > Sender:       "Curating digital art - www.crumbweb.org" <
> > [log in to unmask]>
> > Date:         Mon, 17 Mar 2014 13:25:42
> > To: <[log in to unmask]>
> > Reply-To:     Victoria Bradbury <[log in to unmask]>
> > Subject: Re: [NEW-MEDIA-CURATING] [NEW-MEDIA-CURATING] Can non-human
> > entities perform?
> >
> > Hi List,
> >
> >
> > Thanks to all for weighing in on these recent questions (and please
> > continue!).  Roger, I agree that differentiating between living and
> > non-living is impossible, and I appreciate Jack's comment that those who
> do
> > separate the machine from the human may be more afraid of the development
> > of technology than those who don't.
> >
> >
> > So Jack brings up fear, an emotion, and affect, and this makes me wonder
> > about emotion and code.  GH says that non-human entities (machines?)
> can't
> > make art...
> >
> >
> >
> > But can "they" make a joke?  We know that code can invoke fear, but can
> it
> > make us laugh?  Jeff Crouse, who collaborates with respondent Stephanie
> > Rothenberg works with code and humour.  I would be interested to hear
> what
> > the list has to say about fear or humour in relation to code.
> >
> >
> >
> > LOL
> >
> > Victoria
> >
> >
> > On Mon, Mar 17, 2014 at 1:06 PM, G.H. Hovagimyan <[log in to unmask]> wrote:
> >
> > > On Mar 17, 2014, at 4:52 AM, roger malina <[log in to unmask]>
> wrote:
> > >
> > > >
> > > > in this frame- i want to argue that the codes of simulations do
> > 'perform'
> > > > and of course the whole field of artificial life art explores this (
> > the
> > > VIDA
> > > > competition is 15 years old this year- a teenager !
> > >
> > >
> > >
> > > Hi List & Roger,
> > > Taking a hint from you. Code is an extension of human thinking. It's
> like
> > > a score for a symphony.  The human mind that wrote the code may be
> > thought
> > > of as "the composer."  When a symphony is performed you have musicians
> > and
> > > you have the conductor.
> > > You also have the audience. The conductor listens to the way the
> > musicians
> > > perform the work and makes sure they are on tempo and on time. He/She
> > also
> > > can interpret the work according to the way in which He/She feels it
> > should
> > > be played.  There's another part to music an that is the live
> > performance.
> > > The audience focuses their hearing and seeing on different performers.
> > >  They feel the human effort to play the work. They understand and hear
> > the
> > > nuances and mannerisms of the players.  You might be able to write the
> > > algorythm to make all these subtle variations occur but the audience
> will
> > > simply say that sounds like a  performance.  They know the difference
> > > between live and simulation.  Jaron Lanier's book, Who Owns the Future
> > >  talk about how the human effort is the basis for translation software.
> > > This software is now available and it devalues the work of the
> > translators.
> > > It's putting them out of work. So the--
> ====
> Paul Brown - based in the UK March to May 2014
> http://www.paul-brown.com == http://www.brown-and-son.com
> UK Mobile +44 (0)794 104 8228
> Skype paul-g-brown
> ====
> Honorary Visiting Professor - Sussex University
> http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
> ====
>


-- 
Bronańč

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