Constant Association for Art and Media: an interdisciplinary arts-lab
"Constant works in-between media and art and is interested in the culture and ethics of the World Wide Web. The artistic practice of Constant is inspired by the way that technological infrastructures, data-exchange and software determine our daily life. Free software, copyright alternatives and (cyber)feminism are important threads running through the activities of Constant.
Constant organizes workshops, print-parties, walks and 'Verbindingen/Jonctions'-meetings on a regular basis for a public that's into experiments, discussions and all kinds of exchanges."
(Constant)
CONTRIBUTOR
Simon PerkinsSHARE
Le Minitel Bye Bye on 30 June 2012
"Après 30 ans d’existence, le Minitel s’apprête à tirer sa révérence. Les plus jeunes ne verront même pas de quoi il est question, mais ceux qui étaient au collège ou au lycée dans les années 90 s’en rappelleront peut-être pour avoir recherché dessus leurs résultats aux examens du brevet ou du bac. Le Minitel, ou l’ancêtre d’internet ! Invention 100 % française, le 1er réseau dans l’histoire des télécommunications à permettre la “connexion de terminaux permettant la visualisation de données informatiques” disparaîtra le 30 Juin 2012, et avec lui la machine à l’origine du fameux “36-15″. Définitivement la fin d’une époque.
After 30 years of existence, the Minitel is preparing to take its final bow. The youngest will not even see what it is about, but those who were in college or high school in the 90s will remember perhaps have looked over their test scores. The Minitel, or the ancestor of the Internet ! 100% French invention, the first network in the history of telecommunications to allow ”terminal connection to visualization of computer data” will draw his bow on June 30, 2012, and with it the machine behind the famous “36 - 15 “. Definitely the end of an era."
(Vincent Laserson, 31 May 2012, De Jeunes Gens Modernes)
CONTRIBUTOR
Simon PerkinsSHARE
Towards a Performative Aesthetics of Interactivity
"I identify a two-decade period - roughly speaking 1985-2005 - as the pioneering experimental period of (computer based) interactive art. Crucial to the understanding of work in this period is the blindingly rapid development of the technological context. At the beginning of the period the graphical user interface was a novelty, the internet barely existed, the web was a decade away, interactivity was an intriguing concept. The production of acceptably high resolution illusionistic digital pictures (still frames) was an active research area and a megabyte of RAM was something luxurious.
The period neatly brackets the emergence of most of the major technological milestones which now undergird digital culture and ubiquitous computing: WYSIWYG, digital multimedia, hypermedia, virtual reality, the internet, the world wide web, digital video, real-time graphics, digital 3D, mobile telephony, GPS, Bluetooth and other mobile and wireless communication systems. It was a period of rapid technological change, euphoria and hype."
(Simon Penny, 2011)
Simon Penny (2011). "Towards a Performative Aesthetics of Interactivity", Fibreculture Journal, issue 19 2011: Ubiquity.
Fig.1 Sniff and Performative Ecologies were included in Emergence, a show of Artificial Life Art curated by Simon Penny and David Familian at the Beall Center for Art and Technology, University of California Irvine, December 2009 – April 2010. Regrettably Performative Ecologies did not function as designed during the exhibition.
CONTRIBUTOR
Simon PerkinsSHARE
From professional journalists to journalists for a day, a weekend, or a cause
"At the beginning of the 21st century, the World Wide Web changed the business and information distribution model for all media.
No longer were printing presses and transmission towers the only means of communication. A laptop and a broadband hookup did the same work, thank-you.
Journalists for a day, a weekend, or a cause began to supplant journalists at desks, with their pensions and a boss.
The audience formerly known as newspaper readers and television viewers awoke to the freedom of connectivity in a digital age. Virtual communities and international communities of interest transcended geographic communities and the sense of place.
In a flash, media expectations, models and roles all changed."
(Chris Peck, Peggy Holman, and Stephen Silha, 30 April 2008, Journalism that Matters)
Fig.1 Sherrin Bennett (2008) 'Value Network Maps: The Old News Story', Journalism that Matters.
Fig.2 Sherrin Bennett (2008) 'Value Network Maps: An Emerging News Ecology', Journalism that Matters.
CONTRIBUTOR
Simon PerkinsSHARE
