[Yasmin_discussions] Whats on the Mind of the YASMIN art/science/technology community of practice ? disruptive media

John et YASMINERS

I admit i was wrong to bring in the word 'disruptive' into the discussion
launched by
william joel and picked up by paul fishwick- you are absolutely right that
the
term "disruptive" is now associated with a particular discourse tied to the
'ramping up' of consumption, and you are right ( as I also emphasised)
that the precursor activities of people like Robert Adrian X, Galloway and
Rabinowitz, Ascott and many others developed most of the concepts that
are now being commercialised

I recently came across https://blab.im/ which is in beta and is an
amazingly
streamlined platform for multi person performance with live audiences- and
the ability
to record with a click and re broadcast - paul sermon could have done
a four bedroom "telematic dreaming" performance with three clicks and !

so what is new is not the ideas or concepts that were developed by artists
decades ago, but the mass participation ( both active and passive) that
is now occuring- it is this that is perhaps 'disruptive"

there is a a certain growing discourse, which is part of the drivers of
current
interest in art-science-technology collaboration to > creativity> innovation
and voila- entrepreneurs and job creation- which feeds into your point.

as you point out:

"Perhaps something to be worried about if one is overly dependent on things
as they
are in ones daily (technological) 'Western' life. There will be an
increasing number
of instances when the management of change is absolutely beyond our
capacities:
these are the disruptions that we need to discern and prepare for rather
than paying
heed to Silicon Valley pseudo-gurus endeavoring to profit via 'managed'
pseudo-change."

this is of course one of the main points that Paul Virilio developed about
the 'fragility'
of the symbiotic human/technological society we are building- and on that
both
bernard stiegler and bruno latour are addressing in different ways

the word 'disruptive technology' i agree is associated with a certain line
of
argument promoted by companies and investors- and the arts and humanities
community brings to the table deep soul searching and the power of
proposition
about the values and ethics of the kind of society that is getting built-
what kinds
of jobs ? what kinds of symbiotic relationship between human society and
massive
deployment of technological systems - the work of artists working with
scientists
and engineers has the potential of creating other cultural imaginaries and
utopias !!

roger malina



---------- Forwarded message ----------
From: John Hopkins <jhopkins@neoscenes.net>
Date: Sat, Sep 19, 2015 at 1:38 PM
Subject: Re: [Yasmin_discussions] Whats on the Mind of the YASMIN
art/science/technology community of practice ? disruptive media
To: yasmin_discussions@estia.media.uoa.gr


Some musings on disruption:

what one might call disruptive media ?
>>
>
> Or next generation tv/radio. millions of user streamed channels.
> Live and on-demand.
>
> All of this implies that an individual can receive content without
>> ever using a "TV" or leaving their domicile. How will this impact
>> performance arts such as film, theater, dance, music? Will we see more
>> and more of a virtual audience presence at these "events", perhaps
>> leading to the "death" of the physical performance?
>>
>
> Or why not get an even BIGGER TV and watch/PARTICIPATE in live
> multi-location
> studio sessions as artists perform their new pieces or more informally,
> when
> the are rehearsing new material. Invite people into your multi-city live
> sessions.
>

But these kinds of projects have been done for more than 30 years (see
projects by Robert Adrian X who recently passed away, for example), 20 if
you count easily available consumer-level technologies (that I've got
experience with) -- for doing collaborative live-streamed multi-point
performance work. So I would suggest that it's not really disruptive in
that temporal sense. On the other hand, I find that few people take
advantage of such technologies with their experimental potential, and the
'field' of activity is still quite fringe. It would seem that most people
are involved with the so-called 'disruptive technologies' for a 'radical'
ramping-up of consumption if anything!

Disruption seems to be just another marketing ploy -- following the Red
Herring Magazine view of technological change that is simply another path
in the capitalist/consumption miasma that we are immersed within. Change is
a continuous process based on a system's ability to maintain its own level
of organization or not. I believe we are living in a time where the energy
necessary to maintain the level of social order that we are 'used to' is
simply no longer 'easily' available (energy is spread among more people on
the planet, and the 'West' no longer has a monopoly over consumption). This
situation yields more instances where a system's order will drop. True
disruption is therefore a sign of the increasing entropy of of our system.
Perhaps something to be worried about if one is overly dependent on things
as they are in ones daily (technological) 'Western' life. There will be an
increasing number of instances when the management of change is absolutely
beyond our capacities: these are the disruptions that we need to discern
and prepare for rather than paying heed to Silicon Valley pseudo-gurus
endeavoring to profit via 'managed' pseudo-change.

Cheers,
JOhn

--
++++++++++++++++++++++++++++++++++++++++++++++++++
Dr. John Hopkins, BSc, MFA, PhD
grounded on a granite batholith
twitter: @neoscenes
http://tech-no-mad.net/blog/
++++++++++++++++++++++++++++++++++++++++++++++++++
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Re: [Yasmin_discussions] the nature of code as a disrputive medium

Roger
I have not read Ascott's paper yet, but based on your review, I should.
My point was different — that the movement toward citizenry knowing about
"code" and "model" should have a democratizing effect. So, my point with
Processing was that the apparently minor default of "click here for the source
code" was a big deal for me— it was an explicit suggestion to share code, and thus
for more people to understand it as yet another language; a medium in which
to understand the world. Similar arguments can be made of the "code proselytizers"
such as Khan Academic and Code.Org. I fully endorse what they are doing—by
making the black box, a white box.
So, the issue is that what goes on inside the black box is a "medium of disruption"
since what goes on in there is becoming part of our language set in which we understand
the world.
-p

> On Sep 18, 2015, at 8:48 PM, roger malina <rmalina@alum.mit.edu> wrote:
>
> paul
>
> thanks for your pointing to your discussion on underlying code as a disruptive
> movement in art-science- picking up william joel's initial post
>
> I guess my question is what is different today than
> 10 years ago , pr 20 years ago- what is an emerging new art/science or
> art/technology trend
> in this area ?
>
> telecommunications and software have a long and distinguished history in our
> community- from rabinowitz and kit galloways' Electronic Cafe in 1984,
> to roy ascott's plissure du text=
>
> Leonardo published a special issue on art and interactive
> telecommunications back
> in 1991 Roy Ascott and Carl Eugene Loeffler, eds."Connectivity: Art
> and Interactive Telecommunications"
> LEONARDO 24:2, 1991
>
> I guess once answer is the dramatic increase of on line code
> developers - how many people write code
> today - and visionaries like roy hoped there would be a threshold at
> which planetary consciousness emerged-
> and certainly we now see large scale collective projects- and as you
> point out languages like processing enable
> code sharing in seamless ways
>
>
> here is what roy was saying then
>
> Roy Ascott sees our age as one that includes an art of interactivity,
> involving the human use of computerised communication and electronic
> telepresence. He believed this approach carries great potential and
> hope for our emergence into the next millennium as caring, cooperative
> and creative human beings…
> Connectivity: Art and Interactive Telecommunications
>
> Telematic systems have brought us to the edge of another virtual
> reality. The last one, conjured out of the thinking of the
> Enlightenment of the eighteenth century, presented a world of
> certainty and determinacy in which subject and object, mind and
> matter, art and science were all quite clearly defined, separated out
> and neatly categorised. That world is in many ways crumbling; we see
> now that it was not the world after all. It was a virtual
> world-necessary to com- bat superstition, sufficient in its
> mechanistic determinism to feed the dream of reason-but virtual
> nonetheless. This certainty and solidity seemed at the time to be the
> real thing. For centuries artists seemed to think so too. But "all
> that is solid melts into air." [1] The real was only virtual after
> all. Now we have a different paradox to deal with-actually to
> celebrate: the virtual is becoming real. With computer-mediated
> systems of perception, memory, intelligence and communication, we are
> redescribing and reconstructing the world; we inhabit increasingly
> what is essentially a dataspace, a telematic environment, a virtual
> reality.
>
> roger malina
>
>
> I hope I am not gate crashing with a response to the
>
> "What one might call disruptive media?"
>
> but what about media that is often hidden from view, but media
> nonetheless? I allude
> to it a bit in a recent blog post:
> http://creative-automata.com/2015/09/16/modeling-coding-for-understanding/
> <http://creative-automata.com/2015/09/16/modeling-coding-for-understanding/>
>
> In closed systems, this media may be known only to certain people. In
> open systems
> (open source software and hardware), the media are present in places
> like source forge
> and github, but increasingly in places like codepen, codio, jsbin, and
> jsfiddle (the javascript
> development environments).
>
> There is also Processing which has had a long following in the arts.
> One of the first things I noted
> about Processing was that it *automatically* put in a "link" to the
> source code. Imagine that! Sharing
> code by default with others. I also like the patch sharing and patch
> edit/presentation duality
> in Max/Msp.
>
> Systems theorists and software engineers may surface notions such as
> white box vs. black
> box.
>
> This type of media is running your lives.
>
> paul
>
>
>
> Paul Fishwick, PhD
> Chair, ACM SIGSIM
> Distinguished University Chair of Arts, Technology, and Emerging Communication
> Professor of Computer Science
> Director, Creative Automata Laboratory
> The University of Texas at Dallas
> Arts & Technology
> 800 West Campbell Road, AT10
> Richardson, TX 75080-3021
> Home: utdallas.edu/atec/fishwick <http://utdallas.edu/atec/fishwick>
> Blog: creative-automata.com <http://creative-automata.com/>
>
> _______________________________________________
> 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
>
> SBSCRIBE: 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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> TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
> If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Paul Fishwick, PhD
Chair, ACM SIGSIM
Distinguished University Chair of Arts, Technology, and Emerging Communication
Professor of Computer Science
Director, Creative Automata Laboratory
The University of Texas at Dallas
Arts & Technology
800 West Campbell Road, AT10
Richardson, TX 75080-3021
Home: utdallas.edu/atec/fishwick
Blog: creative-automata.com

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Re: [Yasmin_discussions] Whats on the Mind of the YASMIN art/science/technology community of practice ? disruptive media

Some musings on disruption:

>> what one might call disruptive media ?
>
> Or next generation tv/radio. millions of user streamed channels.
> Live and on-demand.
>
>> All of this implies that an individual can receive content without
>> ever using a "TV" or leaving their domicile. How will this impact
>> performance arts such as film, theater, dance, music? Will we see more
>> and more of a virtual audience presence at these "events", perhaps
>> leading to the "death" of the physical performance?
>
> Or why not get an even BIGGER TV and watch/PARTICIPATE in live multi-location
> studio sessions as artists perform their new pieces or more informally, when
> the are rehearsing new material. Invite people into your multi-city live sessions.

But these kinds of projects have been done for more than 30 years (see projects
by Robert Adrian X who recently passed away, for example), 20 if you count
easily available consumer-level technologies (that I've got experience with) --
for doing collaborative live-streamed multi-point performance work. So I would
suggest that it's not really disruptive in that temporal sense. On the other
hand, I find that few people take advantage of such technologies with their
experimental potential, and the 'field' of activity is still quite fringe. It
would seem that most people are involved with the so-called 'disruptive
technologies' for a 'radical' ramping-up of consumption if anything!

Disruption seems to be just another marketing ploy -- following the Red Herring
Magazine view of technological change that is simply another path in the
capitalist/consumption miasma that we are immersed within. Change is a
continuous process based on a system's ability to maintain its own level of
organization or not. I believe we are living in a time where the energy
necessary to maintain the level of social order that we are 'used to' is simply
no longer 'easily' available (energy is spread among more people on the planet,
and the 'West' no longer has a monopoly over consumption). This situation yields
more instances where a system's order will drop. True disruption is therefore a
sign of the increasing entropy of of our system. Perhaps something to be worried
about if one is overly dependent on things as they are in ones daily
(technological) 'Western' life. There will be an increasing number of instances
when the management of change is absolutely beyond our capacities: these are the
disruptions that we need to discern and prepare for rather than paying heed to
Silicon Valley pseudo-gurus endeavoring to profit via 'managed' pseudo-change.

Cheers,
JOhn

--
++++++++++++++++++++++++++++++++++++++++++++++++++
Dr. John Hopkins, BSc, MFA, PhD
grounded on a granite batholith
twitter: @neoscenes
http://tech-no-mad.net/blog/
++++++++++++++++++++++++++++++++++++++++++++++++++
_______________________________________________
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

SBSCRIBE: 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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TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

[Yasmin_discussions] the nature of code as a disrputive medium

paul

thanks for your pointing to your discussion on underlying code as a disruptive
movement in art-science- picking up william joel's initial post

I guess my question is what is different today than
10 years ago , pr 20 years ago- what is an emerging new art/science or
art/technology trend
in this area ?

telecommunications and software have a long and distinguished history in our
community- from rabinowitz and kit galloways' Electronic Cafe in 1984,
to roy ascott's plissure du text=

Leonardo published a special issue on art and interactive
telecommunications back
in 1991 Roy Ascott and Carl Eugene Loeffler, eds."Connectivity: Art
and Interactive Telecommunications"
LEONARDO 24:2, 1991

I guess once answer is the dramatic increase of on line code
developers - how many people write code
today - and visionaries like roy hoped there would be a threshold at
which planetary consciousness emerged-
and certainly we now see large scale collective projects- and as you
point out languages like processing enable
code sharing in seamless ways

here is what roy was saying then

Roy Ascott sees our age as one that includes an art of interactivity,
involving the human use of computerised communication and electronic
telepresence. He believed this approach carries great potential and
hope for our emergence into the next millennium as caring, cooperative
and creative human beings…
Connectivity: Art and Interactive Telecommunications

Telematic systems have brought us to the edge of another virtual
reality. The last one, conjured out of the thinking of the
Enlightenment of the eighteenth century, presented a world of
certainty and determinacy in which subject and object, mind and
matter, art and science were all quite clearly defined, separated out
and neatly categorised. That world is in many ways crumbling; we see
now that it was not the world after all. It was a virtual
world-necessary to com- bat superstition, sufficient in its
mechanistic determinism to feed the dream of reason-but virtual
nonetheless. This certainty and solidity seemed at the time to be the
real thing. For centuries artists seemed to think so too. But "all
that is solid melts into air." [1] The real was only virtual after
all. Now we have a different paradox to deal with-actually to
celebrate: the virtual is becoming real. With computer-mediated
systems of perception, memory, intelligence and communication, we are
redescribing and reconstructing the world; we inhabit increasingly
what is essentially a dataspace, a telematic environment, a virtual
reality.

roger malina

I hope I am not gate crashing with a response to the

"What one might call disruptive media?"

but what about media that is often hidden from view, but media
nonetheless? I allude
to it a bit in a recent blog post:
http://creative-automata.com/2015/09/16/modeling-coding-for-understanding/
<http://creative-automata.com/2015/09/16/modeling-coding-for-understanding/>

In closed systems, this media may be known only to certain people. In
open systems
(open source software and hardware), the media are present in places
like source forge
and github, but increasingly in places like codepen, codio, jsbin, and
jsfiddle (the javascript
development environments).

There is also Processing which has had a long following in the arts.
One of the first things I noted
about Processing was that it *automatically* put in a "link" to the
source code. Imagine that! Sharing
code by default with others. I also like the patch sharing and patch
edit/presentation duality
in Max/Msp.

Systems theorists and software engineers may surface notions such as
white box vs. black
box.

This type of media is running your lives.

paul

Paul Fishwick, PhD
Chair, ACM SIGSIM
Distinguished University Chair of Arts, Technology, and Emerging Communication
Professor of Computer Science
Director, Creative Automata Laboratory
The University of Texas at Dallas
Arts & Technology
800 West Campbell Road, AT10
Richardson, TX 75080-3021
Home: utdallas.edu/atec/fishwick <http://utdallas.edu/atec/fishwick>
Blog: creative-automata.com <http://creative-automata.com/>

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

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[Yasmin_discussions] International Affairs and Political Science is an Emerging Trend in art science ?

Yasminers

We now have several radar topics under discussion on this list, at the
risk of complicating
this asynchronous discussion here is another one, that seems relevant
given the refugee
humanitarian crisi in the mediterranean

roger malina

Do you agree that International Affairs and Political Science is an
Emerging Trend in art science ? Do you have other examples ?

Roger Malina

Art Science Technology, International Affairs and Political Science an
Emerging Trend ?

Roger Malina, University of Texas at Dallas and Leonardo Publications,
MIT Press.

Submitted to the SEAD study group snapshot update:

The art science technology community has a long history of socially
engaged practice in a variety of forms from public art initiatives, to
web art activism and engagement with ethical and societal issues from
the environment to bio-art. In recent years a number of emerging
actors from within political science and humanities disciplines have
emerged, from social anthropologists to diplomats, economists, social
scientist to disaster management experts. What is a new trend is the
increasing involvement from professionals and researchers from within
the political sciences in art-science activities. These initiatives re
contextualized socially engaged art within the disciplines that engage
with political and social organization.

Examples include:

The activities of Bernard Stiegler and Ars
Industrialishttp://www.arsindustrialis.org/ a political and cultural
group. An example of their approach is initiative launched by De
Philippe Aigrain and five other officials by announcing that in the
current period – which is also the preparatory climate conference
organized by the UN in Paris from 30 November to 12 December this year
– we would open a discussion on the future of Greece in Europe and the
future of Europe in the world, opening new perspectives for Europe.

The work of Bruno Latour at Science Po in Paris
http://www.medialab.sciences-po.fr/

The médialab at Sciences Po was founded in 2009 as a center of
research and practice that connects the social sciences with new
digital tools with the goal of bringing together a set of knowledge
and capacities necessary for the development of a digital humanities.
With its technical and methodological expertise, the médialab has
become an essential partner in digitally-focused research projects in
the human and social sciences. As the day-to-day activity of people
and institutions becomes more and more oriented toward the web, the
fact that the traces of these activities are easily recoverable using
simple digital techniques offers a powerful field of observation for
researchers in the social sciences.

The Balance Un Balance series of conferences have been co sponsored by
the the Red Cross/Red Crescent Climate Centre, with the participation
at the recent conference at Arizona State University of Pablo Suarez,
the Associate Director for Research and Innovation at theRed Cross Red
Crescent Climate Centre,

See for instance Breaking Paradigms: Electronic Arts & Humanitarian
Actions Ricardo Dal Farra:

http://www.balance-unbalance2015.org/wp-content/uploads/2015/01/Dal-Farra_Ricardo_BunB2014.pdf

The International Studies Association has recently established the
STAIR initiative ( Science, Technology, Arts and International
Relations) :

http://www.isanet.org/ISA/Sections/STAIR

Their statement of purpose indicates:

This newly chartered section recognizes that science, technology, and
art are at the core of global politics. They shape much of the
everyday reality of international security, statecraft, development,
design of critical global infrastructures, approaches to social
justice, and the practices of global governance. Science, technology
and art (i.e., in the form of creativity, the arts, architecture and
design) permeate international affairs in the form of material
elements and networks, technical instruments, systems of knowledge and
scientific practices. Yet, they also challenge existing conceptual
approaches and prompt us to step beyond IR canons to seek
inter-disciplinary collaborations. Through this new section we
generate the space for international Relations (IR) as a discipline
and field to engage these matters through productive intellectual
research conversations with existing subsections as well as other
disciplines. Our intention is that this will facilitate theoretical
understandings of how we go about creating, assessing, and
deliberating scientific, technological and artistic design and their
impact on the shifts of contemporary world order. To use a
methodological metaphor, if science, technology and art are held
constant in most IR models, STAIR aims to make them variable!

International Law: The Legal Medium Conference in 2015, brought
together leading artists and thinkers at Yale Law School to engage in
a series of panels, presentations and performances about how artists
use law as material in their work.http://www.thelegalmedium.com/

Amar Bakshi: Anartist who previously worked as a diplomat and
journalist. Bakshi created a multimedia series for the Washington Post
called How the World Sees America. He also worked as Special Assistant
to the U.S. Ambassador to the United Nations and as managing editor of
CNN.com's premier international analysis. At CNN, Amar created and
hosted a live online show called Uncommon Ground, which connected
people from around the world who would never otherwise meet.
AmarBakshi.com.

The Anti-Atlas Project , led by anthropologist Cedric Parizot has
involved customs experts,civil servants, political scientists . For
instance the theme of Managing International Migration? Visa Policies,
Politics, and Practice workshop to be held 28 September 2015 at the
University of Oxford, UK. Their Anti-Atlas manifesto
(http://www.antiatlas.net/en/towards-an-antiatlas-of-borders/ )
states: At the beginning of the 21st Century, the functions of State
borders have changed. Borders do not just contain but also overflow
spaces, districts and jurisdictions. Borders are losing their linear
aspects and are becoming more mobile and more diffuse in order to
adapt to globalisation. Actors managing border control have also
substantially multiplied. In addition to states, new stakeholders such
as agencies, corporations, and NGOs have emerged as actors of border
management. The ways in which people's mobility is controlled are more
and more diversified and differentiated. People have to pass through
multiple networks and identification devices. All these mutations have
to be analyzed in detail, using a wide range of modes of expression
and critical too, The group has a broad art-science practice involving
scientific research, art exhibitions and working groups with
stakeholders from governments, agencies, corporations, and NGOs.

The Bank of England has engaged artist Martin John Callanan, who will
be working at the Bank over twelve months on a series of conceptual
art projects. Mr Callanan's work – funded by the Leverhulme Trust and
University College London – will reflect aspects of central banking,
economics, finance and data.

http://www.bankofengland.co.uk/publications/Pages/news/2015/057.aspx

Do readers have other projects that belong in this list ?

Submitted in response to: https://seadnetwork.wordpress.com/

CALL FOR 5 YEAR UPDATES

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[Yasmin_discussions] Models & Code as Disruptive Media

I hope I am not gate crashing with a response to the

"What one might call disruptive media?"

but what about media that is often hidden from view, but media nonetheless? I allude
to it a bit in a recent blog post: http://creative-automata.com/2015/09/16/modeling-coding-for-understanding/ <http://creative-automata.com/2015/09/16/modeling-coding-for-understanding/>

In closed systems, this media may be known only to certain people. In open systems
(open source software and hardware), the media are present in places like source forge
and github, but increasingly in places like codepen, codio, jsbin, and jsfiddle (the javascript
development environments).

There is also Processing which has had a long following in the arts. One of the first things I noted
about Processing was that it *automatically* put in a "link" to the source code. Imagine that! Sharing
code by default with others. I also like the patch sharing and patch edit/presentation duality
in Max/Msp.

Systems theorists and software engineers may surface notions such as white box vs. black
box.

This type of media is running your lives.

paul

Paul Fishwick, PhD
Chair, ACM SIGSIM
Distinguished University Chair of Arts, Technology, and Emerging Communication
Professor of Computer Science
Director, Creative Automata Laboratory
The University of Texas at Dallas
Arts & Technology
800 West Campbell Road, AT10
Richardson, TX 75080-3021
Home: utdallas.edu/atec/fishwick <http://utdallas.edu/atec/fishwick>
Blog: creative-automata.com <http://creative-automata.com/>

> On Sep 17, 2015, at 10:37 PM, Kenneth Fields <kfields@ucalgary.ca> wrote:
>
> Hi,
>
>> what one might call disruptive media ?
>
> Or next generation tv/radio. millions of user streamed channels.
> Live and on-demand.
>
>> All of this implies that an individual can receive content without
>> ever using a "TV" or leaving their domicile. How will this impact
>> performance arts such as film, theater, dance, music? Will we see more
>> and more of a virtual audience presence at these "events", perhaps
>> leading to the "death" of the physical performance?
>
> Or why not get an even BIGGER TV and watch/PARTICIPATE in live multi-location
> studio sessions as artists perform their new pieces or more informally, when
> the are rehearsing new material. Invite people into your multi-city live sessions.
>
> Live audiences can MERGE into larger multi-location networks/nodes -
> as live dj sets are mixed/synced around the globe. Symphony halls can combine
> their morning and night suites depending on their timezones. A signal can be
> passed from Beijing to NY, and through RIO to Copenhagen and back to Beijing.
>
> We're not done with broadcasting, but it doesn't have to be limited to one to many,
> it should be P2P2M.
>
> In Beijing I've been working on Artsmesh, a protool to manage p2p media streams
> (uncompressed multichannel audio, video and open sound control) - and then to youtube live.
> It requires a new type of presence engineering as users are
> enabled to construct complex routing paths with their peers around the globe.
> This is network spatialization.
>
> It has been experimented with in universities over the last few years on ipv6 1 gig
> networks. But enter google fibre and we are on our way.
>
> Today Beijing (CCOM) and Hong Kong (HKAPA) are doing a concert -
> I believe it is the opening of their new "innovation lab."
> AND we're saving carbon by doing it on the net.
>
> Happy to discuss in more detail with all over skype/hangouts (sorry for the plug),
> Ken
>
>
> Kenneth Fields, Ph.D.
> Professor Computer Music
> SYNEME LAB: Telemusic
> CEMC - China Electronic Music Center
> Central Conservatory of Music
> 43 BaoJia Street
> Beijing 100031 China,
>
> Email: ken.fields@gmail.com
> http://syneme.ccom.edu.cn <http://syneme.ccom.edu.cn/>
> http://artsmesh.com <http://artsmesh.com/>
>
> skype/hangouts: ken.fields
>
>
>
>
>> On Sep 18, 2015, at 10:23 AM, roger malina <rmalina@alum.mit.edu> wrote:
>>
>> Bill
>>
>> thanks for your radar point about the transformation of the performance arts
>> by live and distributed streaming/ what one might call disruptive media ?
>>
>> at the end of this email I attach a radar point submitted by Sonya
>> Landy Sheridan
>> who is one of the amazing pioneers of our community: http://www.sonart.org/
>> among other things she founded and ran the Generative Systems Program
>> at The Art Institute of Chicago 1970-1980
>> at a time when fax art ( remember that) was transformative !
>>
>> any one have thoughts on these issues ?
>>
>> sonya's facebook group is at
>> https://www.facebook.com/Generative-Systems-Workshop-and-Archive-184066178298089/timeline/
>>
>> roger malina
>>
>> From: William Joel <joelw@wcsu.edu>
>>
>> What's on mind? What has my internal radar picked up on?
>>
>> Well, one "thing" I've been watching is the convergence of various
>> electronically delivered media. Consider how non-stations, such as
>> Hulu and Netflix, are now "broadcasting" shows they've produced,
>> rather than content from other media. Also, how various broadcast and
>> cable stations now have a web presence. In addition, services such as
>> Livestream allow us to "attend" a performance from the comfort of ...
>> well ... nearly anywhere.
>>
>> All of this implies that an individual can receive content without
>> ever using a "TV" or leaving their domicile. How will this impact
>> performance arts such as film, theater, dance, music? Will we see more
>> and more of a virtual audience presence at these "events", perhaps
>> leading to the "death" of the physical performance?
>>
>> Anyway, you asked. ;-)
>>
>> Bill Joel
>>
>
> _______________________________________________
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>
> Yasmin URL: http://www.media.uoa.gr/yasmin
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Re: [Yasmin_discussions] Whats on the Mind of the YASMIN art/science/technology community of practice ? disruptive media

Hi,

> what one might call disruptive media ?

Or next generation tv/radio. millions of user streamed channels.
Live and on-demand.

> All of this implies that an individual can receive content without
> ever using a "TV" or leaving their domicile. How will this impact
> performance arts such as film, theater, dance, music? Will we see more
> and more of a virtual audience presence at these "events", perhaps
> leading to the "death" of the physical performance?

Or why not get an even BIGGER TV and watch/PARTICIPATE in live multi-location
studio sessions as artists perform their new pieces or more informally, when
the are rehearsing new material. Invite people into your multi-city live sessions.

Live audiences can MERGE into larger multi-location networks/nodes -
as live dj sets are mixed/synced around the globe. Symphony halls can combine
their morning and night suites depending on their timezones. A signal can be
passed from Beijing to NY, and through RIO to Copenhagen and back to Beijing.

We're not done with broadcasting, but it doesn't have to be limited to one to many,
it should be P2P2M.

In Beijing I've been working on Artsmesh, a protool to manage p2p media streams
(uncompressed multichannel audio, video and open sound control) - and then to youtube live.
It requires a new type of presence engineering as users are
enabled to construct complex routing paths with their peers around the globe.
This is network spatialization.

It has been experimented with in universities over the last few years on ipv6 1 gig
networks. But enter google fibre and we are on our way.

Today Beijing (CCOM) and Hong Kong (HKAPA) are doing a concert -
I believe it is the opening of their new "innovation lab."
AND we're saving carbon by doing it on the net.

Happy to discuss in more detail with all over skype/hangouts (sorry for the plug),
Ken

Kenneth Fields, Ph.D.
Professor Computer Music
SYNEME LAB: Telemusic
CEMC - China Electronic Music Center
Central Conservatory of Music
43 BaoJia Street
Beijing 100031 China,

Email: ken.fields@gmail.com
http://syneme.ccom.edu.cn <http://syneme.ccom.edu.cn/>
http://artsmesh.com <http://artsmesh.com/>

skype/hangouts: ken.fields

> On Sep 18, 2015, at 10:23 AM, roger malina <rmalina@alum.mit.edu> wrote:
>
> Bill
>
> thanks for your radar point about the transformation of the performance arts
> by live and distributed streaming/ what one might call disruptive media ?
>
> at the end of this email I attach a radar point submitted by Sonya
> Landy Sheridan
> who is one of the amazing pioneers of our community: http://www.sonart.org/
> among other things she founded and ran the Generative Systems Program
> at The Art Institute of Chicago 1970-1980
> at a time when fax art ( remember that) was transformative !
>
> any one have thoughts on these issues ?
>
> sonya's facebook group is at
> https://www.facebook.com/Generative-Systems-Workshop-and-Archive-184066178298089/timeline/
>
> roger malina
>
> From: William Joel <joelw@wcsu.edu>
>
> What's on mind? What has my internal radar picked up on?
>
> Well, one "thing" I've been watching is the convergence of various
> electronically delivered media. Consider how non-stations, such as
> Hulu and Netflix, are now "broadcasting" shows they've produced,
> rather than content from other media. Also, how various broadcast and
> cable stations now have a web presence. In addition, services such as
> Livestream allow us to "attend" a performance from the comfort of ...
> well ... nearly anywhere.
>
> All of this implies that an individual can receive content without
> ever using a "TV" or leaving their domicile. How will this impact
> performance arts such as film, theater, dance, music? Will we see more
> and more of a virtual audience presence at these "events", perhaps
> leading to the "death" of the physical performance?
>
> Anyway, you asked. ;-)
>
> Bill Joel
>

_______________________________________________
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

SBSCRIBE: 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").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/