Marc Garrett interviews Scott Kildall and Nathaniel Stern about their project 'Tweets in Space'. A networked performance event — which beams Twitter messages to a nearby exoplanet that might support human-like, biological life. Anyone with an Internet connection can Tweet with the hashtag #tweetsinspace during the performance time, and their messages will be included in their shotgun blast to the stars.
Claire Bishop's new essay Digital Divide, asks why the contemporary mainstream Artworld has, for the most part, continued to disavow any critical dialogue with the 'endlessly disposable, rapidly mutable ephemera of the virtual age'. While the questions Bishop poses are welcome and expertly framed for the mainstream art world, Robert Jackson argues that her call for confrontation has no relevance, when measured up to the sphere of "new media art" (Bishop's words) which is in a more advanced stage of critique with its messy materials.
"I advocate a more 'non-relational' approach that does not deny the transformative effects of new media in terms of community, but thinks of it more in terms of hospitality to the other." Marc Garrett interviews Charlie Gere on Digital Culture in the Twenty-first Century with reference to two of his books, Digital Culture (2002) and Community without Community in Digital Culture (2012). Gere is a Professor of Media Theory and History in the Lancaster Institute for Contemporary Arts, Lancaster University.
Though the term ‘lab’ conjures the image of a fairly sanitised environment optimised for scientific experiments and populated by people in white coats, media labs – centres for creative experimentation – are quite different. At their most basic, they are spaces – mostly physical but sometimes also virtual – for sharing technological resources like computers, software and even perhaps highly expensive 3D printers; offering training; and supporting the types of collaborative research that do not easily reside elsewhere.
Lawrence Bird interviews Michel Bauwens, one of the foremost thinkers on the peer-to-peer phenomenon. Belgian-born and currently resident in Chiang-Mai, Thailand, he is founder of the Foundation for P2P Alternatives.
DeLappe's virtual re-creation of Mahatma Ghandi's Salt March to Dandi is part installation part performance art. His historical re-enactment reveals how virtual space is navigated from real space rather than the politics of Ghandi's protest against British salt tax in 1930, utilizing real space, a blog, and images on Flickr.
Ellie Harrison highlights concerns for the future of humanity and the future of art, focusing on 2 central texts: Bourriaud's Altermodern Manifesto and a faux encyclopedia entry from the future which retrospectively defines 'the Age of Stupid' released as promotional material for Franny Armstrong's film.
Michael Szpakowski reviews the online collaboration between Danish architect and video maker Sam Renseiw and British artist and composer Philip Sanderson. Building on a format excavated from the pioneer years of cinema in the 19th century and repurposed for the 21st, Lumière and Son is packed with networked playfulness and wit and, perhaps unexpectedly for something that is so much fun, a profound humanity.
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