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"Eden Replica" [mp3 removed]
Update: Extended and remixed.
Conversation re: Ownership of the Web and its Data
from here via here:
Burak Arikan:One way not to be swallowed up is to make your site not very user friendly, keep your day job, and to be really honest about what you think (just a suggestion).
You've probably following the recent news about the small scale social web 2.0 companies being acquired by giant corporations (e.g., StumbleUpon acquired by Ebay, Feedburner acquired by Google). Feedburner tracks your blog's RSS feed statistics and shows the number of subscribers momentarily, daily, weekly, monthly, and yearly. Now all your data is changing hands, from Feedburner to Google.
Feedburner puts a notice in their sign in interface saying that you have a right to opt-out, delete your data. If you take no action by June 15, 2007 (9 days as of today), the rights to your data will transfer from FeedBurner to Google.
I wonder how you feel about it?
I think this is an important moment to pay attention to how inhumane the data ownership laws in USA: One who aggregates data owns it.
GOOGLE now owns Blogger, Writely, Dodgeball, Feedburner, YouTube, and Picasa. EBay took over Stumbleupon and Skype. YAHOO snatched up Facebook, Del.icio.us, WebJay, Jumpcut, Upcoming.org, and Oddpost.
Mr. Murdoch's NEWS CORP acquired MySpace, the video and photo-sharing site PhotoBucket and the media mash up site Flektor. It goes without saying that they already own Fox News and Fox TV, and a few good old publishing houses like Harper Collins, Daily Telgraph, The Times, New York Daily Post, The Sun, and The Australian.
Fox Interactive bought Photobucket, which is well-liked on MySpace. NewsCorp's effort is to make services on MySpace proprietary. This means that in the future, MySpacers, will not be able to plug in third party services. The goal is to create, popularize, and monetize in-house applications and then close the door to the wealth of the sociable web. Murdoch clearly does not get the sociable web as this direction will go at the expense of the teens on MySpace.
Ebay's acquisition of Stumbleupon, the web browser plug-in that allows its users to discover and rate web pages, is driven by a different impulse. Ownership of the company means access to the 2.5 million strong community using it and will help eBay to gain more exposure for their web pages, which will lead to more transactions. [...]
Burak asks if we should call it quits; good bye, Feedburner? No. How much of a chance is there for essentialist alternatives in a post-autonomy world? Today's small startup (i.e. http://www.feedwhip.com/) will be in the pocket of one media giant or the other by next month. [...]
The Art Guys, Disco Saw, 2007, 23 x 30 x 26 cm, circular saw, mirror tiles, lights, motor
from their exhibition at Galleri Andersson Sandstrom, Umea, Sweden, June 2 – August 17, 2007
Film recommendation of the month: Alejandro Jodorowsky's The Holy Mountain (1973). Still haven't seen his El Topo (unless multiple viewings of Greaser's Palace counts) but it just moved up my list. Mountain is the ultimate artist's movie--a staggering amount of work went into sets, costumes and props that are seen briefly and never again. Contentwise it fits the Alfred Jarry transgressive mold--much nudity, violence and swipes at church pieties. But it also parodies new age seekers of wisdom--the characters who announce their occupations and planets ("My planet is Uranus" etc) in a series of brilliant mini-biographies that are the heart of the movie. Their goal is to ascend the Holy Mountain with their mysterious guide The Alchemist (played by Jodorowsky) and displace the Nine Immortals--cowled figures sitting at a table like figures from Dali's Last Supper. The first 20 minutes or so of the movie presents a completely plotless succession of absurdist activities and tableaux, such as the "Toad and Chameleon theatre" featuring those critters dressed as soldiers and clerics, flipping around a tabletop in a chaotic "holy war." The rest veers between Bunuel (and occasionally Monty Python) surrealism and a kind of "60s swingers" vibe of polymorphous sexual antics, constantly changing course and subverting itself. Completely refreshing, and very likely something that could only have been made in the early '70s, before religious scolds of every denomination achieved a stranglehold on our discourse.
Slipstream fiction - bibliography; Bruce Sterling's original essay coining the term (and list of representative novels).
These are books which [science fiction] readers recommend to friends: "This isn't SF, but it sure ain't mainstream and I think you might like it, okay?" It's every man his own marketer, when it comes to slipstream.John Clute prefers the term "Fabulist," which sounds more like the known "Magic Realism," whereas I believe Sterling was really thinking his way around an unidentified genre.
My photos of JODI's installation Composite Club at vertexList. The exhibit closes today--go if you can! Efrain Calderon Jr explains the art here; in a nutshell, it repurposes a game-related video camera (coupled with motion recognition software) called an "Eyetoy," designed to turn a child into a human joystick or data glove. As the kid moves head, arms, and torso, the camera reads the motion and a videogame makes countermoves, keeping the child physically active and away from the Doritos bag. Instead of kids, JODI has aimed the Eyetoy on films ranging from cyberpunk classics to Sophia Loren/Marcello Mastroianni romances. The movements of those films trigger video game actions, which are simultaneously layered over the films. Yes, this means you can watch Darth Vader play an anime ping pong player, but such one-to-one matchups happen only intermittently. (The bottom photo, a moving projection on the gallery wall, shows the various formal attributes the camera reads while the movie plays--screen position, light/dark values, etc. The top two are screenshots of "games" in progress.)
JODI (Dirk Paesmans and Joan Heemskerk) are the most painter-like artists working with computers and video today. Imagine Robert Rauschenberg using such tools at the time he did his "combines"--his work was called Neo-Dada and bridged Abstract Expressionism and Pop and that's essentially what JODI does now, with their densely layered amalgam of Japanese videogame weirdness and cult film cinematography, dissolving and mutating before your eyes. The conceit of the "the movie playing the game" isn't always comprehensible in these clips but for me this is a feature, not a bug. Art isn't about rubbing one ordered system up against another to get a third, but rather achieving an energized chaos that reveals something about the initial ordered systems, a la a Burroughs cut up. This revelatory randomness launches Composite Club beyond the pat realm of XYZ new media art. The artists use software like an auto-destructing Jean Tinguely painting machine and let chance processes do the work. They then discerningly edit motion captures of game play to make "best of" DVDs. The results are stunning--as good as anything you'll see in the galleries these days.
An earlier discussion, on why JODI isn't showing with one of the Manhattan cyber-galleries, is here.
"sketchy" version of something posted earlier
"Junebug" [mp3 removed]
...have been having a congenial back and forth with a friend about whether the songs I post are music--he prefers "sound objects" because the structure is so clear. They are that, a little--I like transparency and think grid-based music software should sound like what it is and not some quantized, artificially natural thing. But I think they're music in the sense that techno music is music and have gotten more interested in structure since I first started posting. (Changing motifs makes the original motif sound better when you come back to it--what a concept.)