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Dan O'Hara on Skeuomorphs, JG Ballard, Transhumanism, and the "eradication of individual identity" Through Technology


A skeumorph is "a derivative object that retains ornamental design cues to a structure that was necessary in the original." Dan O'Hara, lecturer in English and American Literature at the University of Cologne, and editor of the forthcoming book Extreme Metaphors: Selected Interviews with J. G. Ballard, 1967–2008, (co-edited with Simon Sellars, London: Fourth Estate, 2012), studies skeumorphism. Transcript from a Knowledge Centre livechat conversation with Dr. O'Hara:

How does skeumorphism relate to the ideas of post- and trans-humanism? Do you think our bodies will once become skeumorphs?

Certainly Stelarc does! And Orlan, the French performance artist who has plastic surgery under local anaesthetic, suggests that we're already skeuomorphic.

Is the human appendix a skeuomorph?

Already so many parts of our bodies aren't biologically necessary. Yes. Though the appendix isn't ornamental... But hair, nails, pierced nipples, all get used to express a style. In the same way as, in evolution, we have exaption: the repurposing of an obsolete function.

Dan, would you mind telling us how your work with JG Ballard intersects with that of skeuomorphs?

Sure. I see Ballard as the key author, philosopher even, of the age of technology. He's always managed to live five minutes into everyone else's futures, and has focused on the way our natural world has increasingly become a technologized domain we don't fully understand. So skeuomorphs, as a kind of 'memory' capacity of artefacts, can show us the processes that guide the evolution of the forms of technology. And I feel that Ballard affirms the moral necessity of this kind of understanding.

Does that suggest to you that we are already skeuomorphs? All, mind and body?

No, we're not. There are many linguistic skeuomorphs: take for example on line 'newspapers'. Which is more ...

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Artists' eBooks Unbound: An Interview with James Bridle


James Bridle, a publisher based in London, is a member of a rising class of digital futurists that fuse multiple professional experiences—for him, a university degree in Computer Science and Artificial Intelligence with an organic interest in literature—to form a dynamic public-facing practice. “Essentially, when any new technology comes along, I try to force literature into it in some way,” he wrote during our recent email exchange.

The Iraq War: A History of Wikipedia Changelogs (2010)

Bridle runs the conference gamut from book fairs and South by Southwest to the UNESCO World Forum on Cultural Industries in Lombardia, Italy, where he lectured just weeks ago. His presentations are documented on another website devoted to technology and so-called book futurism, http://booktwo.org/, where he posts a series of essays and updates on his myriad projects. The Frankfurt School is an obvious inspirational go-to, given the titles of his posts and projects: Walter Benjamin's Aura: Open Bookmarks and the form of the eBook (2010), The Author of Everything (2011), and Robot Flâneur (2011). Bridle’s better-known efforts include The Iraq War: A History of Wikipedia Changelogs (2010) a twelve-volume set that chronicles, in print, every change made to the Wikipedia article on the Iraq War; Bookkake (2008) is a digital and print-on-demand publishing system for erotic literature, while bkkeepr (2008) and Open Bookmarks (2010) help users track and share their reading experiences through Twitter and social bookmarking.

Artists' eBooks Screenshot

The Iraq War: A History of Wikipedia Changelogs segues elegantly from the digital to the object worlds; the books qualify the data, physically. I see a different, yet equally compelling set of relational possibilities in the project I chose to focus on for our interview—one that I now know Bridle considers a failure (his words; not mine!): Artists' eBooks is, as its title suggests, a digital imprint designed to provide an experimental publishing platform for writers and artists. In the conversation that follows, we discussed the shifting nature of the reading experience from print to screen, and its implications for the book-as-medium...

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The New Aesthetic


The label reads: =if(Label=”“,”RMA”,”?”)

This is an Excel function. It also would work in Microsoft Access. The factory is using Excel or Access to store all the logos for the different jeans they make and then print them onto leather. This is what happens when there is a bug in their software. (broken counterfeit jeans on Flickr.)

Why do we enjoy 8-bit, glitch, and other technological imagery revealing the seams of its construction? "For a while now, I’ve been collecting images and things that seem to approach a new aesthetic of the future, which sounds more portentous than I mean. What I mean is that we’ve got frustrated with the NASA extropianism space-future, the failure of jetpacks, and we need to see the technologies we actually have with a new wonder." says James Bridle about his tumblr, The New Aesthetic. "It’s an aesthetic born of the grain of seeing/computation... the viewpoint of that other next nature, the robot-readable world," comments Matt Jones at BERG.

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Storytelling: An Interview With Nicholas Felton



Nicholas Felton spends much of his time thinking about data, charts and our daily routines. He is the author of several Personal Annual Reports that collate countless measurements into a rich assortment of graphs and maps reflecting the year’s activities. He is the co-founder of Daytum.com, a site for counting and communicating daily data, and a member of the product design team at Facebook. His work has been profiled in publications including the Wall Street Journal, Wired and Creative Review.

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Untitled (Standards) (2009) - Michael Guidetti


Watercolor on canvas with animated digital projection; Approx 3 hour loop [VIDEO]

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Grafikdemo (2004) - Niklas Roy



Grafikdemo is a physical wireframe model of a teapot inside a Commodore CBM cabinet. The model can be rotated by pushing keys on the keyboard. Sophisticated lighting of the model makes it hard for the viewer to distinguish whether he sees a real digital model or a fake computer screen. Grafikdemo explores the transition between reality and representation in a playful way.

-- FROM THE ARTIST'S STATEMENT

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How Large is an Atom of Music? A Tour through Today’s Spectral Music and Software at UCSD


Well, the short answer is .093 seconds. That’s about the shortest amount of time mathematicians need to generate a full analysis of a sound’s component frequencies.

On an even smaller scale, computers typically store sound information in 44100 samples per second. This makes up the typical waveform view of sound that most are accustomed to seeing. However, each sample only gives information about amplitude (or volume), which is a pale portrait of sound. Sound in the physical world is essentially an unfolding of waves over time. Therefore, when translating from physical to digital, frequency information over time is essential to give a meaningful atomic definition of any sound.

A waveform view plots time vs. amplitude. A spectrogram plots frequency vs. time with color representing amplitude

Armed with the calculus technique of the Fast Fourier transform, mathematicians typically take the amplitude values from a mere .093 seconds of sound and draw a complete audio portrait. This portrait consists of the volumes of each component frequency that makes up a complex sound.

Thus, the Fourier transform is the key tool for spectralists, a loosely related group of composers and scientists whose goal is to analyze and resynthesize sound using sound’s most basic digital elements. Spectralists literally rip apart sound into its tiniest grains and develop diverse strategies to reconfigure those microsounds into a new sound barely resembling its original form. Between the two poles of granular analysis and synthesis, musicians have only begun to chart a new world of expression.

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Required Reading: After the Screen: Array Aesthetics and Transmateriality by Mitchell Whitelaw


1. Glowing Rectangles

For all the diversity of the contemporary media ecology - network, broadcast, games, mobile - one technical form is entirely dominant. Screens are everywhere, at every scale, in every context. As well as the archetypal "big" and "small" screens of cinema and television we are now familiar with pocket- and book-sized screens, public screens as advertising or signage, urban screens at architectural scales. As satirical news site The Onion observes, we "spend the vast majority of each day staring at, interacting with, and deriving satisfaction from glowing rectangles."

Formally and technically these screens vary - in size and aspect ratio, display technology, spatiotemporal limits, and so on. They are united however in two basic attributes, which are something like the contract of the screen. First, the screen operates as a mediating substrate for its content - the screen itself recedes in favor of its hosted image. The screen is self-effacing (though never of course absent or invisible). This tendency is clearly evident in screen design and technology; we prize screens that are slight and bright - those that best make themselves disappear. Apple's "Retina" display technology claims to have passed an important perceptual threshold of self-effacement, attaining a spatial density so high that individual pixels are indistinguishable to the naked eye (below - image Bryan Jones).


The second key attribute of contemporary digital screens is their tendency to generality. The self-effacing substrate of the screen is increasingly a general-purpose substrate - unlinked to any specific content type; equally capable of displaying anything - text, image, web site, video, or word-processor. This attribute is coupled of course to the generality of networked computing; since the era of multimedia the computer screen has led the way in modeling itself as a container for anything (just as the computer models itself a "machine for anything"). The past decade has simply seen this general-purpose container proliferate across scales and contexts, ushering us into the era of glowing rectangles.

However over the past decade in design and the media arts, a wave of practice has appeared which as this paper will argue, resists the dominance of the glowing rectangle. Given the near-total cultural saturation of the screen, this is unsurprising, given the ongoing cultural dance of fringe and mainstream in which this practice participates. This is not simply a story of resistance however. In proposing and describing two particular strains of "post-screen" practice, this paper aims firstly to outline the shared terms of their relationship with the screen, and in the process develop a more detailed sense of these conceptual devices of generality, outlined above, and its opposite, specificity. Secondly, and more briefly, it outlines a theorisation of this practice, invoking transmateriality, an account of the paradoxical materiality of (especially digital) media, and Gumbrecht's notion of presence.

-- EXCERPT FROM "AFTER THE SCREEN: ARRAY AESTHETICS AND TRANSMATERIALITY" BY MITCHELL WHITELAW

[Note: Whitelaw explored some of the ideas in this paper previously in his "Right Here, Right Now - HC Gilje's Networks of Specificity" republished in Rhizome News on December 20, 2009]

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carnal fury .com (2011) - Rafaël Rozendaal





Commissioned by Kunsteverein Wiesbaden
Coding by Reinier Feijen

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MeLookingAtMe.com (2010) - Angelo Plessas


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