I am in Corfu with Katerina where our internet access is somewhat sporadic.
So, if you do not hear back from us, please do not hold it against us. We
will try to follow the discussion and try to contribute whenever possible.
I will be back home on June 1st. Soi hopefully after that I will be around
much more, as will Katerina when she gets back home on the 30th.
much love from Corfu
Elif
On Sun, May 21, 2017 at 8:03 AM, Ziva Ljubec <ziva.ljubec@gmail.com> wrote:
> Katerina,
>
> certainly, the concept of innovation is the religion of today's economy.
> Economy is a tricky game. When faced with red numbers and limited resources
> – we tricked ourselves into borrowing from the future. We promised
> unprecedented abundance to repay our debts sometime later and for the
> equations of economy to hold, we must eventually deliver something,
> something "else," something "new." Of course the game is too complex to
> just stop it. But perhaps there are other tricks to get us out of trouble.
> What you propose is very interesting and very close to what I had in mind
> when mentioning interdependency between heritage and innovation. As you
> cleverly noticed it is renovation of ideas rather than innovation that
> technological progress provides. The question is thus: can bringing the
> terms innovation and heritage closer together do the trick?
>
> As goes with innovation, culture is just as over-used and abused term, and
> a dangerous game to play on top of playing economy. A well-established
> cultural heritage of one people, for instance, includes the rules of
> control and domination over another people that managed to overshadow,
> overtake and erase cultural heritage of others. Is human intelligence
> mature enough to face the "cultural issues" or should we ask artificial
> intelligence? Again, as you noticed, we cannot simply switch on the button
> of impartiality. The "raw data" is hard to excavate but perhaps the
> abundance of "big data" might do the trick approximately. Do we have
> another choice?
>
> Živa Ljubec
>
>
> On Sat, May 20, 2017 at 4:40 PM, Katreina Karoussos <kkaroussos@gmail.com>
> wrote:
>
> > Ziva,
> >
> > Impartial digital neural sets is actually an excellent way of dealing
> with
> > cultural assets.
> > In this manner we are taking culture as an animated organism. To be
> > animated though we shall look at its appetite, that is, the primary force
> > of its dynamics. In any other case, i think that the neural sets will
> still
> > behave in the common hierarchical organizational structure.
> > I don't think that we should take it as "raw data" because the appetite
> is
> > something inherent to us and all of the data are available to us evenly,
> > the important thing is what we are choosing to project.
> >
> > Katerina Karoussos
> >
> > > On 18 May 2017, at 23:05, Ziva Ljubec <ziva.ljubec@gmail.com> wrote:
> > >
> > > Katerina,
> > >
> > >
> > > indeed, a critical stance towards historical and geographical
> approaches
> > to
> > > cultural heritage is always valuable. Both tangible and intangible
> > heritage
> > > has been, as you point out, processed in different ways for different
> > > political and economic motives and no mode of preservation and
> > presentation
> > > of the heritage can be taken for granted. Precisely for this reason I
> > think
> > > a hypothetical discussion of moving from unavoidably prejudiced human
> > > neural nets to hypothetically impartial digital neural nets might be in
> > > place. With almost unlimited computational resources, what would
> > computers
> > > make out of it all? To what degree can we restrain the human bias is,
> as
> > > you have noticed, an important issue to consider. Even defining the
> area
> > > can be troublesome, let alone the artefacts. The naturally given
> concept
> > of
> > > Mediterranean rim, the shores of the basin filled with Mediterranean
> sea,
> > > might start changing with changes in the global climate – which
> > coordinates
> > > are included and which excluded? Cultural concepts as well go naturally
> > > with their context and converting them into a digital form does not
> > > encompass the complete picture in "high definition." If we were to feed
> > the
> > > model with the "raw" data – what would constitute "raw" at this very
> > > moment? The heritage that was already digitized and uploaded from all
> > > possible sources or the analogue data from carefully selected
> > institutional
> > > sources? Running the model for a week, a month, a year, …, its data set
> > > constantly increasing, its neurons ceaselessly forming new connections,
> > > would it provide us with clues that we could relate to or with
> > alternative
> > > views, alien viewpoints of culture we considered familiar.
> > >
> > >
> > > Ziva Ljubec
> > >
> > > On Tue, May 16, 2017 at 5:40 PM, Pier Luigi Capucci <plc@noemalab.org>
> > > wrote:
> > >
> > >> Dear all,
> > >>
> > >> among the Yasmin invited respondents to the art*science Leonardo 50
> > >> discussion there is also Elena Giulia Rossi. Many thanks to Elena
> Giulia
> > >> for joining us!
> > >>
> > >> Elena Giulia Rossi - rossi.elenagiulia@gmail.com <mailto:
> > >> rossi.elenagiulia@gmail.com> (Italy)
> > >> Elena Giulia Rossi lives and works in Rome. Her research and
> experience
> > >> have been addressing contemporary art and its relation with
> technology.
> > >> Oscillating between tradition and modernity, and under a
> > >> socio-anthropological perspective. With a degree in History of Art
> from
> > the
> > >> University of Roma La Sapienza (1999), she gained a MA in Arts
> > >> Administration from The School of The Art Institute of Chicago (2002).
> > She
> > >> has been collaborating with different galleries and institutions in
> > Italy
> > >> and abroad, such as the MAXXI Museum (Rome, 2003-2012), P.S.1
> > Contemporary
> > >> Art Center (New York 2001); The Renaissance Society at The University
> of
> > >> Chicago (2002); the Joan Flasch Artists' Book Collection at The School
> > of
> > >> The Art Institute of Chicago (2002), and Studio Stefania Miscetti
> (Rome
> > >> 2004-2005). She has been writing regularly for catalogues and
> magazines.
> > >> She is the author of Archeonet (Lalli: Siena, 2003), and the editor of
> > >> Eduardo Kac: Move 36 (Filigranes Éditions: Paris, 2005). She currently
> > >> teaches Net Art and Theory of Multimedia Art at the Accademia di Belle
> > Arti
> > >> in Rome and she is founder and editorial director of the
> > multidisciplinary
> > >> platform Arshake (www.arshake).
> > >>
> > >> Thank you in advance,
> > >>
> > >> Pier Luigi
> > >> --
> > >> Pier Luigi Capucci
> > >> via Rovigo, 8
> > >> 48016 Milano Marittima (RA)
> > >> ITALY
> > >> Tel.: +39 (0) 544 976156
> > >> Mobile: +39 348 3889844
> > >> e-mail: plc@noemalab.org
> > >> web: http://capucci.org
> > >> skype: plcapucci
> > >>
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