sábado, dezembro 31, 2016

"If it is taken to be a solution of how to educate Generation Z and the others which will follow,..."

“If it is taken to be a solution of how to educate Generation Z and the others which will follow, then we are mistaking a painkiller for a cure. The real headache is not the how. Since the late eighties we have become enthusiastic about MOOs (text-based online virtual reality systems for multiple users connected at the same time), literary hypertexts, glove-and-goggle VR (virtual realities), HyperCard, Second Life, and now MOOCs (massive open online courses). More fashions and further acronyms will certainly follow. Yet the real headache is the what. (…) There is no clear and fixed answer to the educational what-question in hyperhistorical societies. Not only because we have never been here before, but also because, as in the past, the answer still depends on the answer to another question: what education is for.”

- Floridi, Luciano. The Fourth Revolution: How the infosphere is reshaping human reality. Oxford: Oxford University Press, 2014. (via carvalhais)
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terça-feira, dezembro 06, 2016

landproject: How does it feel to share an interface with eyes...


How does it feel to share an interface with eyes closed and no talking?

I felt light, as if I were in a field of light, changing, living light, not with human beings, and probably because that frightened me I tried to visualize you both, to imagine, how, where you were, I tried to make something I could understand of what I felt. As if you were familiar to me - I never met you, but still, apparently you became reassuring, close. (…) Dissolved I felt. Maybe even empty. Certainly destabilized. – Annie Abrahams @e-stranger

This is where I feel that this is not about being mindful, or meditating and rather about sensing and embodying and being present. And in this state of being present we may feel connected to others or we may not– if we are not, then what happens in that isolation? – Lisa Parra @parralis

The “silence” gave space to the sounds of animals, objects and machines. Close to the end I felt that had actually entered the space that us three were sharing together with others. (…) By closing our eyes we’re stripped to just ‘being’, following the rules of not speaking and not looking we are left in a place of communitary lonesomeness that continues to define our everyday world of infinite information and surveillance. – Daniel Pinheiro @daniel-pinheiro

Distant Feeling(s) #3 is part of the encounters between Annie Abrahams, Lisa Parra and Daniel Pinheiro. The 15minutes experiment took place online and was exhibited as part of Visions in the Nunnery. Participants were invited to join either at The Nunnery gallery (London) or remotely using the conference meeting software zoom.us.

As the world grows into a larger networked system, allowing ourselves to share a moment of intimacy with strangers is becoming less probable as we find ourselves immersed in a culture where the sense of time is shifting towards an invisible fastness. It was about acknowledging that system, that fabric, the technological nervous system that became present through the silence of those participating. 

Being in space means to establish diverse relationships with the things that surround our bodies. - Deleuze

As distributed digital entities we become part of an intertwined body that is whole by combining different parts of our extended selves. Telematic culture means, in short, that we do not think, see, or feel in isolation (Roy Ascott) and therefore this electronic communion is built out of the relationships that are established when we are ‘together’ and this ‘togetherness’ comes out of a suspension of disbelief*, that in this digital sphere can be the capacity extending proprioception itself – the way that we recognize and position ourselves within this context.

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domingo, dezembro 04, 2016


The essence of the interface is its potential flexibility; it can accept and deliver images both fixed and in movement, sounds constructed, synthesised, or sampled, texts written and spoken. It can be heat sensitive, body responsive, environmentally aware. It can respond to the tapping of feet, the dancer’s arabesque, the direction of a viewer’s gaze. It not only articulates a physical environment with movement, sound, or light; it is an environment, an arena of dataspace in which a distributed art of the human/computer symbiosis can be acted out, the issue of its cybernetic content.

Roy Ascott (1989)

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