Algorithm, Architecture, Art, Automata, Biological Computation, Chaos, Code, Cybernetics, Drawing machine, History, Interface, Kinetic, Light, Logic, Maker, Man/Machine, Mathematics, Neural Networks, PDF, Social intelligence, Society, Tactical Media

Cybernetic Serendipity the Computer and the Arts – (1968)

Exhibition catalogue. Edited by Jasia Reichardt (Studio International Special Issue, London. 1968)

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Anthropology, Art, Capitalism, Code, Commons, Economy, Ethics, History, Interface, Media, Memory, PDF, philosophy, Social intelligence, Society, Tactical Media

Kittler Friedrich : Gramophone Film Typewriter

“Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media—including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators—Gramophone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines.”

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Materiality of Information Technology and Electronic Waste

‘The digital realm is an avant-garde to the extent that it is driven by perpetual innovation and perpetual destruction. The built-in obsolescence of digital culture, the endless trashing of last year’s model, the spendthrift throwing away of batteries and mobile phones and monitors and mice . . . and all the heavy metals, all the toxins, sent off to some god-forsaken Chinese recycling village . . . that is the digital avant- garde’ (Cubitt, non-dated)

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History of Computer Art : Cybernetic Sculptures

“In 1968 artists and musicians like Stephen Antonakos, Terry Riley, Charles Ross and Robert Whitman realised installations producing light and sound events for the exhibition “The Magic Theatre”. James Seawright constructed “Electronic Peristyle” 37: an uncommon work for an uncommon exhibition. He installed “power supplies” in a base under a sphere. The sphere was made of transparent plastic and contained 12 photocells. A “cylindrical metal box” with 12 “light beam projectors” was mounted underneath the “plastic sphere”. The electronics in this vertical structure with round segments “was either digital (the earliest family of Motorola RTL logic chips)” or it contained “conventional analog transistor circuits.” These electronics controlled the generation of sounds by “electronic synthesizer modules”. These modules were developed by Robert Moog. He integrated his analog equipment in Seawright´s installation.”

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Robot Ethnography

“Rather, the point of anthropology is typically to locate a people who are typically strange and foreign to us, and then relate the way in which those people live, showing not only how they are different from us but also how they are the same. In doing so, we learn not only about others, but also ourselves. So in that framework, I tend to agree with the critics who say that only way to give a vitalistic account of a robot society is by projecting too many human qualities onto the non-human. What is then left is a non-vitalistic ethnography: an account of a culture devoid of life. Like with Latour and agency, once we show that life is not a necessary criterion for this thing called culture, then the fun really begins — and you can see why lots of people would oppose this.”

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Urban frogs use drains as mating megaphones

“This is perhaps the first study to show that an animal preferentially uses human-made structures to potentially enhance the sounds of its vocal communication signals,” says Mark Bee, a biologist at the University of Minnesota, Twin Cities, in St Paul. “These males could be taking advantage of the enhanced acoustics in drainage ditches to outdo their competition.”

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Sholpo, Russian sound Art Histories and Generation Z

“Graphical (Drawn) Sound is a technology of synthesizing sound from light that was developed in Soviet Russia in 1929 as a consequence of the newly invented sound-on-film technology, which made possible access to the sound as a trace in a form that could be studied and manipulated. It also opened up the way for a systematic analysis of these traces such that they could be used to produce any sound at will. The laboratories that were soon created became the first-ever prototypes of the future centres for computer music. While most inventors of electronic musical instruments were developing tools for performers, the majority of methods and instruments based on Graphical Sound techniques were created for composers. Similar to modern computer music techniques, the composer could produce the final synthesized soundtrack without need for any performers or intermediates. At exactly the same time similar efforts were being undertaken in Germany by Rudolf Pfenninger in Munich and, somewhat later, by Oscar Fischinger in Berlin. Among the researchers working with Graphical Sound after World War II were the famous filmmaker Norman McLaren (Canada) and the composer and inventor Daphne Oram (UK)”

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