experiments in motion :

abandoned technologies : a lonely construct acts as a sensor, receiving inputs from an invisible source, air and wind activate its function . do these unseen forces intervene? if so, in what? are we complicit? what do we do with the things we leave behind? the things we have ignored? the objects which have been infected, lost their function? ( # )

a critical self analysis of process, intent and outcomes ...

Capturing images from the interface intrigued me and the possibilities that came from those investigations led me to think more about digital corruption/debris and the loss of clarity and intent; of the role of the artist as voyeur and documenter/observer and the possibilities that the screen provides, to not only extend and alter reality, but to also act as a catalyst for dissent and a vehicle for transporting change. // These moving images serve as a platform for further explorations into the interface and the unseen. They require further inquiry and they raise more questions than providing any tangible answers. The space that resides between intent and action, code and cortex is complex and within there lies a mass of unknown and untested possibilities which pass us by without a register or a trace.

preliminary research ::

A Scalable Image Processing Framework for Gigapixel Mars and Other Celestial Body Images, Mark W. Powell, Ryan A. Rossi† and Khawaja Shams, Jet Propulsion Laboratory, California Institute of Technology, {Mark.W.Powell, Ryan.A.Rossi, Khawaja.S.Shams}@ jpl.nasa.gov : http://ryanrossi.com/papers/SIPF-Mars-JPL-IEEE.pdf ( | )

Scalable Pixel-based Visual Interfaces: Challenges and Solutions. Mike Sips, J¨orn Schneidewind, Daniel A. Keim1, Heidrun Schumann2 1{sips,schneide,keim}@dbvis.inf.uni-konstanz.de, University of Konstanz 2 schumann@informatik.uni-rostock.de, University of Rostock . Germany https://kops.ub.uni-konstanz.de/xmlui/bitstream/handle/urn:nbn:de:bsz:352-opus-69112/Scalable_Pixel_based_Visual_Interfaces.pdf?sequence=1

IDL Reference Guide: IDL Direct Graphics Devices http://northstar-www.dartmouth.edu/doc/idl/html_6.2/Devices_with_Scalable_Pixels.html

Toolglass and Magic Lenses: The See Through Interface – Eric A. Bier, Maureen C. Stone, Ken Pier, William Buxton†, Tony D. DeRose‡, Xerox PARC, 3333 Coyote Hill Road, Palo Alto, CA 94304 †University of Toronto, ‡University of Washington : http://dl.acm.org/citation.cfm?id=166126

Association for Computing Machinery, Inc. (ACM). / CHI '95 Proceedings : http://www.sigchi.org/chi95/proceedings/top.html

to appropriate ::

  In a recent post by Justine Giles on her MFA blog, Rhurbard Pyjamas, Giles includes a TEDxKC video of the writer and artist Austin Kleon’s talk Steal like an Artist graciously thanking Tanya Eccelston, visiting scholar at Whitecliffe College of Arts and Design for the link. In the video Kleon describes his methods of research and the role that collecting and appropriating play in his creative process.

In contrast, the artist Aleksandra Mir describes in an interview with Lars Bang Larsen how the title of her work Hello came about. Mir tells the story of a student, named Happy, who she knew at art school who would greet arbitrary people as they went through the doors with a simple hello. Twenty five years later she thinks of Happy’s performance and says “it would be hard not to give him some credit for my work with Hello” (Mir, 2013).

These two examples probably sit at opposite ends of the spectrum in terms of ‘stealing ideas’ but none-the-less they highlight the significance of appropriation to artists in the creative process. I have always had a delicate relationship with appropriating. Somehow I felt like I may be cheating or not being true to my sense of originality by stealing; not from the original author or source, but in a strange way, from myself. It felt like some sort of moral and ethical defeatist paradigm. What I have come to realise is that I have been denying myself the full process of exploration and the irrefutable need to reference not only my past experiences, cultural or otherwise, but also those moments and creative outputs that have influenced me the most through the work of others.

This awakening to the real intent of appropriation is also exemplified by the filmmaker and director Jim Jarmusch. In a recent article in the New Zealand Listener, Alexander Bisley talks with Jarmusch about his recent movie Only Lovers Left Alive. Jarmuch’s approach to the creative process is one of contemplative instinct, referencing historical characters and exotic locations. Jarmusch describes the process in his latest offering to the cinematic world as a “kind of grope around in the dark” (Jarmusch, as cited in Bisley, 2014, p. 38). Bisely closes the piece with an extract from Rule #5 of Jarmusch’s ‘Golden Rules’, a reflective insight into his working process. Here I have included the extended quote:

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to”. (Jarmusch, 2004)

In an age of FOLLOW’s, LIKE’s, SHARES’s and TWEET’s, the appropriation and dissemination of information has become part of a common culture. What once was an intellectual reflection on the uniqueness of individuality today it is an instinctual reflex instigated through an interface that encourages personal disclosure and cultivates a dichotomy of idiosyncratic homogenization. As the digital space become both a mimesis of everyday life and an environment with its own existence, more and more it becomes a space that requires comment and reflection.

References:

Jarmusch, J. (2004). Jim Jarmusch’s 5 golden rules (or non-rules) of moviemaking. Retrieved from http://www.moviemaker.com/articles-directing/jim-jarmusch-5-golden-rules-of-moviemaking/

Bisely, A. (2014, May 3-9). Bloodied, but alive. New Zealand Listener, 243(3860), 38-39.

Mir, A. (2013). Hello: In conversation with Lars Bang Larsen. In Lars Bang Larsen (ED.), Networks: Documents of contemporary art. (pp. 86-88). London, England: Whitechapel Gallery.

pause / reflect ::

It is generally accepted that a perceived negative experience is what holds the most weight; those contradictory thoughts that challenge an intent and question a result. In turn, this conflict might then take up residence in the realm of memory and as it is analysed, categorised and positioned within a framework of reference, it begins to expose itself to reveal its true intent. This disclosure can take ideas beyond the opaque which helps to initiate a continuum that compliments a practice and expands thought. These observations can also be the spark that propels ideas forward, in new directions. These challenges form part of a network which constantly relies on the surge of cause and effect, the connection of inputs and outputs, flows of information and flows of existence. These relations can be perceived as being organic, technological, ecological, economic, or relational and they can be placed just about anywhere within a systems of taxonomy; they are the threads, the nodes, the elements, the modules, the constituent parts of a whole.

As the artist becomes a scientist, the filmmaker a painter, the collector a writer, the student an educator, the performer an observer, the sculptor a dancer, the actor an activist, or the conductor a musician, ad infinitum, artists can learn to enrich their practice with the knowledge that nothing is static and all things are forever intertwined. This process of self-knowing allows them to inform every project they take on and feed the need for a line of enquiry which is dedicated and focused and allows for a convergence of ideas through a process of synthesis.

Synthesis is a way of thinking and doing, of providing a vision, in which an idea or a thing, imagined or real, is seen as a coherent whole; often consisting of parts, from which thought can be developed, action can be rejected or taken, and the thing made, assembled, or constructed; either as a new creation or activity or as a duplicate or substitute of known substances. (Hall, 1997, p.18)

In 1993 I worked with the author, philosopher (although he would not consider himself one) and engineer, Carl W. Hall. His book The Age of Synthesis – A Treatise and Sourcebook would become a significant piece of writing for me. This work confirmed a myriad of thoughts which had been muddling around in my mind. It helped validate my position in relation to the shift that I believe humanity needs in order to move forward in an intelligent, thoughtful and purposeful way.

References:

Hall, C. W. (1997, Summer). The age of synthesis. The Bent of Tau Beta Pi, 17-19. Retrieved from http://www.tbp.org/pubs/Features/Su97Hall.pdf

Rabih Mroué

the pixelated revolution <#>

Rabih Mroué is an actor, director, playwright and a TDR Contributing Editor. In 1990 he began putting on his own plays, performances, and videos. Continuously searching for new and contemporary relations among all the different elements and languages of the theatre art forms, Mroué questions the definitions of theatre and the relationship between space and form of the performance and, consequently, questions how the performer relates with the audience.

[youtube http://www.youtube.com/watch?v=6Ys7IpfqHLo]

His works deal with the issues that have been swept under the table in the current political climate of Lebanon. He draws much-needed attention to the broader political and economic contexts by means of a semi-documentary theatre….

Retrieved from: http://www.sfeir-semler.com/gallery-artists/rabih-mroue/

images:

Grandfather, Father and Son, 2010, Galerie Sfeir-Semler, Hamburg - installation view

Noiseless, 2006-2008 video, colour, mute, 4:40 min, Edition of 5 + 1 ap

The Fall of a Hair, 2012 Part 1: The Pixelated Revolution

I the undersigned, 2006, 2 channel monitor screening, sound, colour, 3:52 min., Edition of 5 + 1 a.p.

Other videos :: artort.tv - d13 - Rabih Mroué – The Pixelated Revolution : http://vimeo.com/44123255 (in german)

The scalable pixel. v.2

Within these complex interrelated interactions the image is mediated by our screens, where it is no more than a ‘front-end’ abstraction of its ordinal ‘back-end’ persona. Where “the real is produced from miniaturized units, from matrices, memory banks and command models”4 and the manufacturing of perception is shaped by human hands in order to broker the socialisation of images

. connections with digital objects allows us to extend our presence into a new dimension, an encounter of occurrence and phenomena. It enables us to replicate our existence and to generate a continuum that exists well beyond the animate; an electronic mimesis, a genus of digital procreation ... // here images represent a type of 'de-coding' invoking a sense of decomposition like a corrupted glitch or a digital aberration. They express the invisible or unseen, those moments and places where activity is present and intent is purposeful but we are unable to understand their mechanisms or true outcomes ... // ready-made and found objects act as an initial reflection on the over consumption of objects in society. Some of these objects have been abandoned and superseded by newer technologies and I have re-purposed them to express the analogous nature of humanity.

4. Baudrillard, J. (1983). Simulations: The precession of simulacra.

Daniel Canogar

  http://vimeo.com/90873466

bitforms galley ::

Daniel Canogar uses discarded electronic materials in his photography, video, sculpture and installations, which construct portraits of a society and an age. Finding inspiration in the archeology of new media, Canogar brings the dead back to life, revealing their contained secrets.

Retreived from: http://www.bitforms.com/artists/canogar/about

post hoc : //

Following are some notes from meeting with David Cowlard at Whitecliffe Parkyn Library 2014.03.17.

• Co-lab collaborate with sensor tech. / contact ‘g’ :: Consider unseen spaces more / eg fm modular activated by human form :: Look at more contemporary issues/technologies. Eg missing plane/tracking etc :: Possibly move away from analogue perception / or ‘objects’ / inhabit digital space :: Watch ‘Our daily Bread’ movie of mechanization of food manufacturing :: Big data. Guardian blog. Further exploration needed :: Consider my role as artist and outcomes. / journo? / commentator? / documentary? :: Adam Westwood :: Zeega.com / animated gifs video had no searchable data where gifs DO. :: Jessie Shapin :: New American suburb x ? / Doug Rickard :: Michael Wolfe :: Jstore :: Be more open to sharing ideas :: Be less defined in outcomes :: Allow for exploration / new path ways

Earlier thoughts and further thoughts

project very much in progress... Capturing stills from video footage of attacks from CCTVs. Photographed video from web » photographed screen of camera with phone » digital corruption » voyeur

* Relating to thoughts about data loss in jpeg files. Also the auto destructive art of Gustav Metzger, digital corruption through use : the artist as voyeur / more research to do

Covert: the artist as voyeur

Carolyn McKay – University of Sydney, Australia. carolyn.mckay@sydney.edu.au

Abstract

An engagement with the aesthetics, rhetorics and methodologies of surveillance presents a canvas on which visual artists can critique, subvert or just play with emergent technologies. This paper probes artistic methodologies that implicate surveillance and the ethical tensions of appropriating the surveilled lives of strangers for creative pursuits.

Retrieved from: http://library.queensu.ca/ojs/index.php/surveillance-and-society/article/view/covert

Variations: collects events from around the world / public information / transparency ? who polices the cctv and dissemination of info. Note sharing links!

error 404 :: exploratory 'sketches' investigating imagery related to individual, technology and interface ....

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recent   ( :: )

• the interface / connections / events / the screen / media / pop-culture >> Jack Burnham : shift from object to system // Rahaman and Tan : shift from object to experience

• the self / re-configures / Patricia Piccinini / perception >> artist as voyeur // digital procreation

• the unseen / transparency vs privacy / schleiren photography / shadowgrams / EMF / Brin

• data culture / tracking / surveillance / tools / objects / red-dot theory / movement / consumerism

RIP Stuart Hall

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Stuart Hall (3 February 1932 – 10 February 2014). "Stuart Hall, a beloved cultural theorist and political activist whose work reached so many people across so many borders, died Monday in London (February 10, 2014), at the age of 82" (Retrieved from http://www.massreview.org/node/329). John Akomfrah is described by Sukhdev Sandhu from The Guardian newspaper as "widely recognised as one of Britain's most expansive and intellectually rewarding film-makers" (Sandhu, 2012). In a recent video on the frieze videowebsite, Akomfrah talks about his latest project which is based around the activist and cultural theorist, Stuart Hall. Stuart Hall was discussed not long ago by Noel Ivanoff, Head of Department Fine Arts at Whitecliffe College of Arts and Design during a MFA seminar talk in January 2014. Ivanoff uses Hall's theories on representation and the media to highlight the role or implications it can have for the artists and encourages artists to think about a 'new' interpretation of representation, outlined by Hall, which can express itself within contemporary society.

Stuart Hall describes “representation as [is] the way in which meaning is somehow given to the things which are depicted through the images or whatever it is, on screens or the words on a page, which stand for what we’re talking about” (Hall as cited in Jhally, 1997). But ‘meaning’ works in a multiplicity of intricate ways and an “image can have many different meanings and [that] there is no guarantee that images will work in the way we think they will” (Jhally, 1997). Central to Hall’s argument is the notion that power and knowledge is controlled by media and the dissemination of these media-driven images corrupts our understanding of reality and truth (Jhally, 1997). With this in mind Hall asks us to reconsider the role of representation and goes on to say that:

representation is constitutive of the event. It enters into the constitution of the object that we are talking about. It is part of the object itself; it is constitutive of it. It is one of its conditions of existence, and therefore representation is not outside the event, not after the event, but within the event itself; it is constitutive of it. (Hall as cited in Jhally, 1997)

Sut Jhally, Professor of Communication at the University of Massachusetts, founder and Executive Director of the Media Education Foundation and Producer and Director of the video Stuart Hall: Representation and the Media sums up Halls thinking by stating that:

Hall understands that communication is always linked with power and that those groups who wield power in a society influence what gets represented through the media. Hall wants to hold both these ideas: that messages work in complex ways, and that they are always connected with the way that power operates in any society, together at the same time. He examines our everyday world where knowledge and power intersect. (Jhally, 1997)

Jhally concludes in his introduction by saying that Hall “insists on the role that intellectual work can play in helping to regain control of an image dominated world that has drifted beyond the democratic reach of ordinary people” (Jhally, 1997).

In the video below, John Akomfrah talks about the multiple identities, the image and the influences that Stuart Hall represented based on a well known paragraph written by Hall which states that "identities are created at the crossroad of historical moments, events and psychic activity... at some crossroads between the personal and the political" (Hall as cited in Akomfrah, 2014).

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John Akomfrah: On essays, identities and Stuart Hall

The award-winning filmmaker discusses the origins of the Black Audio Film collective, his recent project exploring the life and times of cultural theorist Stuart Hall and the 'pariah space’ of the film essay on television and in the art gallery. Retrieved from: http://video.frieze.com/film/john-akomfrah-essays-identities-and-stuart-hall/

References:

Akomfrah, J. (2014). John Akomfrah: On essays, identities and Stuart Hall. Retrieved from: http://video.frieze.com/film/john-akomfrah-essays-identities-and-stuart-hall/

Jhally, S. (1997) Stuart Hall: Representation and the Media. Media Education Foundation Transcripts. MEF, Northhampton, MA. Retrieved from http://www.mediaed.org/assets/products/409/transcript_409.pdf

Sandhu, S. (2012, February 20). John Akomfrah: Migration and memory. The Guardian. Retrieved from http://www.theguardian.com/film/2012/jan/20/john-akomfrah-migration-memory

Christian Boltanski

Since 1958 Christian Boltanski, a self-taught French sculptor, painter, photographer and film makers, has been exploring the notion of memory and its relationship not only with himself but how it relates to others as a cultural signifier through objects, found, assembled or purposely manufactured. His works explore the psychological and emotional affect where the “reconstruction of the past” (Franzke, 2009), presents him with material that evokes the human struggle for survival and represents “flashbacks to segments of time and life that blurred memory with invention” (Franzke, 2009).

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Although the materials and objects seem as if they have been ‘brought’ with the subjects he depicts, they nonetheless have been constructed, acquired, distorted, weathered and distressed intentionally by Boltanski. Through this process of reinterpreting objects he places them in our minds-eye as historical entities which “evoke(s) our tenuous connection to a tragic past” (Marcoci, 2000). His works resemble shrines and memorials common with religious remembrance sites and his use of lights to illuminate his subjects remind us of a halo or a soft flickering-light, possibly a candle which we all know will eventually burn-out.

He has recently shifted back to film making and his latest project entitled Storage Memory, invites viewers or participants to observe his documentation of his experiences as a continuous evolving self-portrait via a subscription on the internet. For more information: http://www.christian-boltanski.com/

References

Franzke, A. (2009). Grove Art Online. Oxford University Press. Retrieved from http://www.moma.org/collection/artist.php?artist_id=649

Marcoci, R. (2000). MoMA2000: Open Ends (1960–2000). Audio program excerpt. Retrieved form http://www.moma.org/collection/object.php?object_id=80857

Images courtesy of Phaidon: http://www.phaidon.com/store/art/christian-boltanski-9780714836584/ and the Unicorn Bookshop, Warkworth: http://www.unicornbookshop.co.nz

Daan Roosegaarde

Daan Roosegaarde creates interactive projects which blurs the line between art, technology and sense. His team of designers and engineers develop their own bespoke technology and his works encourages users and viewers to interact with the pieces. This interactivity is as much part of the works as is the visual aesthetic and the potential of commercialization is never too far from his intent.  His studio resembles a science lab where his team experiment, observe and investigate and is where "the studio creates interactive designs that explore the dynamic relation between people, technology and space." Retrieved from http://www.studioroosegaarde.net/info/profile/.

Artist and innovator Daan Roosegaarde (1979) is internationally known for creating social designs that explore the relation between people, technology and space. His Studio Roosegaarde is the social design lab with his team of designers and engineers based in the Netherlands and Shanghai.

http://vimeo.com/50980092

With projects ranging from fashion to architecture his interactive designs such as Dune, Intimacy and Smart Highway are tactile high-tech environments in which viewer and space become one. This connection, established between ideology and technology, results in what Roosegaarde calls 'techno-poetry'. Retrieved from http://www.studioroosegaarde.net/info/about-daan/

http://www.studioroosegaarde.net/video/dutch-profile-daan-roosegaarde/

Images :

Dune - 2006-2012. Specifications : Modular system of length 100 cm, width 50 cm, variable heights. Hundreds of fibers, LEDs, sensors, speakers, interactive software and electronics; variable up to 400 meters.

Intimacy - 2010-2011. Specifications :  ʻBlackʼ and ʻWhiteʼ dresses, length 100cm, width 40 cm. Smart foils, wireless technologies, electronics, LEDs, copper and other media.

Flow - 2007-2013. Specifications :  Modular system of several meters with hundreds of ventilators, aluminum, sensors, electronics, software and other media.

Esther Shalev-Gerz

Esther Shalev-Gerz states "All my work is based on the potentiality of trust" (Shalev-Gerz, 2013). Her projects often express the narrative of a time forgotten which she then reinterprets as slices of time in the present. She has described the importance of memory in her works as an integral aspect of her site specific installations. The relationship between object and environment is how those moments are defined. Individuals who occupy the space in the past talk about their experience and their relationship with not only the physical space but the intent of the space and their interaction with others who use those same spaces.

Though we rarely speak of trust in relation to art, a work of art may well be the ultimate expression of trust. It is as if we trust, for instance, that some inked piece of paper or painted canvas will receive us and speak truly about our world and its own. It is this space of trust that enables dialogue to unfold. Dialogue is a group of people freely reaching a place and verbally exchanging thoughts in a present and immediate way whilst listening, not only to others but also to themselves with others, then coming together and exchanging again, and after having left, coming together yet again. Such gathering is never spontaneous; still, it must be proposed. (Esther Shalev-Gerz, The Trust Gap (2013). Retrieved from • / http://art-agenda.com/shows/art-and-theory-new-publications-by-esther-shalev-gerz/

“I do think all art springs out from an invitation, real or imaginary” (Esther Shalev-Gerz, 2010).

http://youtu.be/LP77WlRppAg

Artist's talk with Esther Shalev-Gerz at the Morris and Helen Belkin Art Gallery, January 12, 2013.

http://youtu.be/e_DXgVEMfvQ

The Artwork as an Act of Memory

For over 20 years her work has focused on interventions and projects in public space, taking the form of collaboration and exchange with the audience. Her installations and photographic work raise questions on group memory and its interaction with personal history and souvenir. In these commemorative monuments, installations, video and photographic works, questions about history are posed, and its relationship with collective memory is explored and investigated. Esther Shalev-Gerz: The Artwork as an Act of Memory. 2001 by: Contemporary Past. Retrieved from: http://vimeo.com/27525041

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Esther Shalev-Gerz: The Artwork as an Act of Memory from Contemporary Past on Vimeo.

Resources / images :

http://www.shalev-gerz.net/

Cover image: DAEDAL(US), 2003. Intervention and Installation. Dublin, Ireland. Still image projections variable dimensions. 15 colour photographs - 65 cm x 53 cm. 15 diasec-mounted colour photographs – 108 cm x 80 cm.

INSEPARABLE ANGELS: AN IMAGINARY HOUSE FOR WALTER BENJAMIN, 2000. Installation. Collection of the Wanås Foundation, Knislinge, Sweden. 1 Double-faced clock - 60 cm. Double-seated chair – 82 cm x 65 cm x 43 cm.

BOOKS INHALED BY THE SKY, 1998. Video Projection - 14 mn.

Online resources :

[image] http://art.uts.edu.au/index.php/exhibitions/trace-recordings/

Online galleries, curated projects, digital books and interactive spaces not only allow individuals and groups to bring their observations, their ideas and concerns to a wider audience but it re-defines our concepts around physical spaces and how we engage with them which challenges our traditional notions of the gallery and museum. The digital space allows for a more contemplative approach, it allows viewers to re-visit a space, galvanises cultural expansion and broadens our sphere of understanding.

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Trace Recordings

http://www.tracerecordings.net/

From the DNA left on chewed gum to top-secret NSA listening stations, this exhibitioncasts an artistic light on the scale and sophistication of surveillance technologies,question their lack of transparency and asks what power we have as individuals withinthem. From data tracking to drones, Trace Recordings presents work by eleven artistswho use a wide variety of media and ideas to critically and at times playfully addressthese issues. • Retrieved from: http://www.tracerecordings.net/About

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At the edge of art

http://at-the-edge-of-art.com/index.php

Desktop computer technology and the Internet have opened up new possibilities for artistic creation, distribution, and appreciation. But in addition to projects that might conventionally be described as new-media art, there is now a wide spectrum of work—unclassified until this book—by practitioners not normally thought of as "artists." • Retrieved from:  http://amzn.com/0500238227

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Portraiture in the digital age

http://www.dlux.org.au/face2face/index.htm

Welcome to Face to Face, an Asialink and d/Lux/MediaArts touring exhibition where you are invited to explore the work of fourteen Australian artists who provide a unique and engaging perspective on how digital technologies are reshaping our understanding and experience of contemporary identity. Covering a variety of media from digital photography to video and interactive installation, you are encouraged to investigate these questions and form your own opinions. • Retrieved from: http://www.dlux.org.au/face2face/foreword.htm

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Adam Harvey

http://ahprojects.com/

Adam Harvey is an artist, designer, and programmer in New York. His work explores the intersection of privacy, computer vision, and fashion. His ongoing project, CV Dazzle, is an attempt to create hair styles, makeup, and clothing that thwart face recognition software.  • Retrieved from: http://makematics.com/research/viola-jones/

Additional references / interviews : http://makematics.com/ • / http://www.reuters.com/video/2010/05/13/camouflage-gets-hi-tech-makeovervideoId=86047446&feedType=VideoRSS&feedName=Technology&videoChannel=6 • / The anti paparazzi device: http://youtu.be/CDc-H9ZzfpI • / DNA Spoofing: DIY Counter-Surveillance: http://vimeo.com/auremoser/dnaspoof

marking time with memories

[image] Laurent Millet - Translucent Mould of Me, Piezography, 40x50cm, 2013.

Abstract memory: organisation and categorisation as a form of memory / computer terminology  contact points (  – cloud storage . who monitors . polices the system . censorship. Digital - the scalable pixel .

"Memory Studies examines the social, cultural, cognitive, political and technological shifts affecting how, what and why individuals, groups and societies remember, and forget. Despite the epistemological and causal significance attributed to memory in the study of such questions as the formation of personal and public identity, culture and politics, and social communities, there remains dramatic divergence on the basic concepts and methods of the area."

First visiting Fellow Prof John Sutton, of the Warwick Centre for Memory Studies, delivers the inaugural lecture launched by Prof Susan Bassnett, Pro Vice Chancellor, University of Warwick.

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