"The year is 1974, and Arthur C. Clarke is standing inside one of those cavernous computer centers that held the massive machines of the day. ...
He doesn't call it the internet. But he says that even before the dawn of the twenty–first century, the boy's home will include a computer console – something much smaller than those massive machines humming in the background in 1974 – that provides 'all the information he needs for his everyday life: his bank statements, his theater reservations, all the information you need over the course of living in a complex modern society.' ...
'They will make it possible to live really anywhere we like. Any businessman, any executive, could live almost anywhere on Earth and still do his business through a device like this,' he says. 'It means we won't be stuck in cities. We'll live out in the country or wherever we please and still carry on complete interactions with other human beings as well as computers.' Our cities haven't exactly shrunk. But we're certainly able to connect with each other from wherever we might be."
(Cade Metz , March 2013, Wired.com)
"This article studies an interesting Internet phenomenon known as Human Flesh Search which illustrates the far-reaching impacts of the Internet that is less documented. Due to its huge threat on individual privacy, human flesh search has introduced huge controversy and invited heated debate in China. This paper reviews its growth, explores the impetuses, identifies the distinctions from the alternative search engines, and summarizes the benefits and drawbacks. Furthermore, the paper develops a systematic review of the prior literature in human flesh search by surveying major sources such as academic journals, national and international conferences, and public and private databases. Finally, the paper identifies five research gaps in the literature and offers an initial interpretation and analysis of these remaining research issues. Human flesh search is still growing and the current study helps the computing field learn the past and present of this emerging phenomenon and properly manage its future development."
(Rui Chen and Sushil Sharma, 2011)
Rui Chen and Sushil Sharma (2011). Journal of Information Privacy and Security, Volume 7, Issue 1, 2011, pages 50-71.
"The term affective consumption refers to the use of a good to achieve an affective goal of either entering a positively valenced affective state, or leaving a negatively valenced one. Affective goals may be achieved using either an instant gratification strategy or a delayed gratification strategy."
(W. Edward Roth)
W. Edward Roth (2001) ,"Consuming to Achieve Affective Goals: a Framework For Analysis With Application", in NA - Advances in Consumer Research Volume 28, eds. Mary C. Gilly and Joan Meyers-Levy, Valdosta, GA : Association for Consumer Research, Pages: 217.
"Free Range is an Old Truman Brewery special project set up by Tamsin O'Hanlon to provide new creative graduates with the opportunity to showcase their work on an international level. Since its inception in 2001, Free Range has become the number one platform and launch pad for the next crop of creatives to showcase their work to both public and industry. Attracting visitor numbers to rival the largest art events, the annual Free Range exhibitions present the work of thousands of art, design students in several distinct categories including: fashion, art, graphics, photography and interior design."
"Organised by committees in every major city in NZ under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant–garde sound art from around the world to New Zealand.
As a turning cog in a thriving local audio art culture, Altmusic has, since 2001, offered a concentrated gathering point where New Zealand's audio art and experimental music scenes can cross wires with those from other centres (and other peripheries). At the same time Altmusic gives audiences the opportunity to share space with audio artists at the very pinnacle of their field, and previous years have seen programmes of performers who tour rarely and are highly regarded around the world.
Altmusic is listening with an eclectic breadth across a range of sonic trajectories, with programmes including artists investigating the embodied nature of performance and the place of live media within sound culture and some of the world's most respected pioneers of electronic music.
Altmusic does not offer a unifying framework, into which a genre ('sound art' 'noise' etc) is neatly packed, rather it attempts to disclose an–often clamorous – discursive space, in which ongoing debate as to what comprises an innovative art of sound can be publicly articulated. Aligned to such utterance is the experiential listening space which is the ground where sound art thrives, and where you, as listener, are given a chance, via the live context, to re–imagine spectatorship as participation."
(Sally Ann McIntyre)