"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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