Today almost every aspect of life for which data exists can be rendered as a network. Financial data, social networks, biological ecologies: all are visualized in links and nodes, lines connecting dots. A network visualization of a corporate infrastructure could look remarkably similar to that of a terrorist organization. In An Aesthesia of Networks, Anna Munster argues that this uniformity has flattened our experience of networks as active and relational processes and assemblages. She counters the “network anaesthesia” that results from this pervasive mimesis by reinserting the question of experience, or aesthesia, into networked culture and aesthetics.
Rather than asking how humans experience computers and networks, Munster asks how networksexperience—what operations they perform and undergo to change and produce new forms of experience. Drawing on William James’s radical empiricism, she asserts that networked experience is assembled first and foremost through relations, which make up its most immediately sensed and perceived aspect. Munster critically considers a range of contemporary artistic and cultural practices that engage with network technologies and techniques, including databases and data mining, the domination of search in online activity, and the proliferation of viral media through YouTube. These practices—from artists who “undermine” data to musicians and VJs who use intranetworked audio and video software environments—are concerned with the relationality at the core of today’s network experience.
(above: #oneseccond by Philipp Adrian - A connection between 5522 people all across the world that have been active on Twitter within the timeframe of one
Bettina Frankham's insight:
basil.js is a scripting library that has been developed at the Visual Communication Institute at The Basel School of Design during the last nine months and is now made public as open-source. Based on the principles of “Processing”, basil.js allows designers and artists to individually expand the possibilities of Adobe InDesign in order to create complex projects in data visualization and generative design.
It is one of our main goals to expand the methodologies of design and to educate our students in developing a set of individual, unique styles and aesthetics. While Adobe InDesign on the one hand is offering a valuable set of pre-defined, common solutions for layout and design problems, a programming language on the other hand allows for questioning the set of available methods and for extending it by creating new tools.
Matt Pearson (aka zenbullets) explains why he created the app thom, based on Aaron Koblin and James Frost's
Bettina Frankham's insight:
The author talks about "feeling sorryor a chunk of data. The point cloud that time had forgot, it’s value dimmed by the glare of subsequent advances. This code that was so generously open sourced had been presented to a world that didn’t really appreciate it."
Media rescusitated by being remembered and reworked.
Is there something in this about what apps are doing? That there is a process of mining, reinterpreting and making available revivified ideas in a drive to feed the economy of smart phone use. The app and contemporary models of cultural production and consumption.
As gearheads go, Brendan Chilcutt's a pretty sentimental guy, and not just because he signs his correspondence with 'love.' In January, 2012, he founded the Museum of Endangered Sounds to keep outmoded technology's most iconic noises from vanishing...
"David OReilly is a 3D animator’s 3D animator. Embracing a stripped-back aesthetic that foregrounds the very processes of animation, OReilly—whose past short films include award-winning titles "The External World" (2011) and "Please Say Something" (2009)—is recognized as much for his astute grasp of dark, abstract comedy as for his unique approach to visual design. Drawing on glitch aesthetics, underground Japanese Manga and the most parasitic of Internet memes, OReilly forges original compositions from the debris of contemporary culture.
On April 1, Cartoon Network aired an episode of primetime television seriesAdventure Time that was written and directed by OReilly. Entitled “A Glitch is a Glitch,” the episode tells the story of a villain who creates a computer virus to delete all of the other characters in the show, with the exception of his love interest. The other characters must weed out and destroy this glitch in the system."
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