I am a fan of Kate Compton, creator of Tracery, here she is, last year, talking about the poetics of bots.
This looks really interesting…
From the Verso blog, a piece by Sarah Brouillette on Kazuo Ishiguro as Nobel laureate and the ‘literary industry’.
The Remains of the Day is one of Jeff Bezos’s favourite books. He claims it is the foundation of his “regret-minimization framework” and helped him to find the courage to start Amazon. If he has noticed that the novel is about how class subordination ruins people’s lives, he hasn’t said so. The heart of the novel is the protagonist’s — and before him, his father’s — dependence on waged work. The story traces the process by which we begin to lose the ability to separate ourselves from our professional roles. It was published in 1989, and its concern with the subsumption of life by work was clearly occasioned in part by the circulation of images of the 1980s corporate crunch, with all those people working so much they forgot how to “really live.” It also denounces the British imperial project’s dependence on classed relationships: how much of the empire’s daily operation depended on people feeling that they didn’t have a right to object to their employers’ imperatives, or better, couldn’t fathom how to find another source of wealth that would allow them to say no?
Bezos wants new Amazon employees to do what Stevens never does: live life to the fullest, seize the day. He means that they should do all this at work, of course. Or, more accurately, he can assume there is no distinction for those he hires: work is life, life is work. Real leisure will just make them better employees, as will the feeling that they are pursuing their passions in all things. Bezos is glad to think that what Ishiguro’s novel fears has come to pass: the person and person-performing-at-work are now one. His use of the novel as a corporate management tool proves how easily a “follow your heart” mantra can be recuperated. Bezos isn’t reading Ishiguro right, of course. The novel concludes with a lament about precisely such recuperation. Stevens has been reading too much into Miss Kenton’s (now Mrs. Benn’s) letter; she won’t come back to Darlington Hall with him, and the love story is over. So, he plans to return to work, the only difference being that he will now practice “bantering,” which his new American employer would enjoy. This bantering for him symbolizes de-sublimation, freedom from constraint — a certain “human warmth,” he calls it, which he now admits he lacks. It is precisely by operationalizing the injunction to “enjoy life” that he will be able to keep working. It’s a tragic ending.
Thanks to dmf for sharing this. Roy Ascott was a formative influence for me, via Mike Phillips & Chris Speed and the CAiiA+STAR (Centre for Advanced Inquiry in Interactive Arts [Wales] and Science, Technology + Arts Research [Plymouth]) crew, some of whom constituted the institute for Digital Art & Technology at Plymouth which ran the Bachelors course I took, the wonderful BSc MediaLab Arts (for a flavour see this characteristically [1990s] low-res video of a student show). I still have a copy of a Reframing Consciousness book on my shelf that I ‘borrowed’ from Mike in about 2001… and I basically became a geographer because of Chris, especially his piece Spacelapse.
Image credit: Mike Duggan.
At the RGS-IBG Annual International Conference 2017, co-originator of the Museum of Contemporary Commodities (MoCC) Paula Crutchlow and I staged a conversation with Mikayla the MoCC guide, a hacked ‘My Cayla Doll’. This was part of two sessions that capped off the presence of MoCC at the RGS-IBG and was performed alongside a range of other provocations on the theme(s) of ‘data-place-trade-value’. The doll was only mildly disobedient and it was fun to be able to show the subversion of an object of commercial surveillance in a playful way. Below is the visuals that displayed during the conversation, with additional sound…
For more, please do go and read Paula’s excellent blogpost about Mikayla on the MoCC website.
Next week, in advance of the RGS-IBG annual conference, the Museum of Contemporary Commodities (MoCC) will join the other museums in South Kensington on Exhibition Rd. MoCC is the brainchild of artist-activist-researcher Paula Crutchlow and promises to build on the provocative and inspiring work undertaken as part of the project over the last three years. I strongly encourage anyone in London next week to pop into the Royal Geographical Society to take a look.
I’m very privileged to be on Paula’s PhD committee. This is fantastic work – even if you cannot make it to Exhibition Rd, please do look at the MoCC website.
MoCC was co-founded by artist-researcher Paula Crutchlow from Blind Ditch and Geographer Ian Cook from followthethings.com and University of Exeter. The project is being developed in partnership with Furtherfieldand a growing number of artists, academics, technologists and members of the public.
Our early prototypes and events have been kindly supported by All Change Arts, Islington Turkish, Kurdish and Cypriot Women’s Group, Islington Council, Exeter City Council, Art Week Exeter, Exeter Scrapstore, Exeter Phoenix, Exeter CVS, St Sidwells Community Centre, Exeter Library, Art Week Exeter. With many thanks to the Royal Geographical Society (with the Institute of British Geographers) for their support with this 2017 exhibition. MoCC is funded by Arts Council England, University of Exeter and the Economic and Social Science Research Council.
The Musée de la Civilisation in Quebec have a exhibition about ancient ‘doubles’ or ‘twins’, as part of which you can submit your photo and a program will match your face with images of statues in the collection.
It’s been in the press and, of course, is ‘just a bit of fun’, but its also sort of interesting to submit images and try and work out how the pattern matching is working – it’s not all that obvious! There’s probably something smart to say about ‘algorithms’ here, but I’ve not had enough sleep… check it out for yourself: Mon Sosie Ã€ 2000 Ans.
Here’s me and Battataï:
Thanks to Max Dovey for the tip on this…
This seems interesting as a sort of provocation about what Blockchain says/asks about ownership perhaps, although I’m not overly convinced by the gimmick of changing words such that the readers unravel, or “explode” the book… I wonder whether The Raw Shark Texts or These Pages Fall Like Ash might be a deeper or maybe I mean more nuanced take on such things… however, I haven’t explored this enough yet and it’s good to see Google doing something like this (I think?!)
Here’s a snip from googler tea uglow’s medium post about this…
It’s a book. On your phone. Well, on the internet. Anyone can read it. It’s 20 pages long. Each page has 128 words, and there are 100 of the ‘books’ that can be ‘owned’ . And no way to see a book that isn’t one of those 100. Each book is unique, with personal dedications, and an accumulation of owners, (not to mention a decreasing number of words) as it is passed on. So it is both a book and an cumulative expression of the erosion of the self and of being rewritten and misunderstood. That is echoed in the narrative: the story is fluid, the transition confusing, the purpose unclear. The book gradually falls apart in more ways than one. It is also kinda geeky.
With: Andreas Broeckmann, Esther Leslie, Sascha Pohflepp
Moderated by Yvonne Volkart
“The concept of machines generally describes an assemblage of parts assigned to an overall function, designed by a human. Yet, the entwined histories of science, technology, and art are filled with ideas about nature functioning like machines, and of visions where machines become “natural” and organic. These two paths seem to merge as machines increasingly communicate autonomously and operate in fields beyond human perception and influence. Can we devise new perspectives for understanding the elemental machines that now seem to operate contingently within hybrid techno-ecologies like the forces of nature? What are the new aesthetic and political affordances or subjectivities involved in the process of technology becoming environmental?”