In their study, “Credibility Ranking of Tweets during High Impact Events,” authors Aditi Gupta and Ponnurangam Kumaraguru “analyzed the credibility of information in corresponding to fourteen high impact news events of 2011 around the globe.” According to their analysis, “30% of total tweets about an event contained situational information about the event while 14% was spam.” In addition, about 17% of total tweets contained situational awareness information that was credible. Full paper available
Software was a seminal exhibition of software art curated byJack Burnham for the Jewish Museum in Brooklyn,1970 and the Smithsonian Institution, Washington, 1970-71. The show put together computers and conceptual artists, linking them through the idea of software as a process or a program to be carried out by a machine or, why not, by the audience based on "instruction lines" formulated by the artist
Participating artists: Vito Acconci, David Antin, Architecture Group Machine M.I.T., John Baldessari, Robert Barry, Linda Berris, Donald Burgy, Paul Conly, Agnes Denes, Robert Duncan Enzmann, Carl Fernbach-Flarsheim, John Godyear, Hans Haacke, Douglas Huebler, Joseph Kosuth, Nam June Paik, Alex Razdow, Sonia Sheridan, Evander D. Schley, Theodosius Victoria, Laurence Weiner.
The ARPANET Dialogues is a serial project by Bassam El Baroni, Jeremy Beaudry and Nav Haq.
In the period between 1975 and 1979, the Agency convened a rare series of conversations between an eccentric cast of characters representing a wide range of perspectives within the contemporary social, political, and cultural milieu. The ARPANET Dialogues is a serial document which archives these conversations. Even more unusual perhaps was the specific circumstances of the conversation: taking advantage of recent developments in telecommunications technology, the conversation was conducted via an instant messaging application networked by computers plugged into ARPANET, the United States Department of Defense’s experimental computer network. All participants in the conversation were given special access to terminals connected to ARPANET, many of them located in US military installations or DOD-sponsored research institutions around the world. Excerpts from each session will be published as they become available.
In the late nineties and during the first decade of this century the term “new media art” became the established label for that broad range of artistic practices that includes works that are created, or in some way deal with, new media technologies.
On the first of January, 2008, I promised you a book about the things I saw happening at the intersection of emerging networked information technologies with urban place. Well. It has been a long long time coming, the book has inevitably evolved from my initial conception of it, and there’s still a great deal of work to be done. But I’m now in a position to at least let you know, in a fair amount of detail, just what The City Is Here For You To Use argues
Big data is not new. It has existed for ages and can be attributed even to the initial years of computing. However, one might do well to consider why is there an increased buzz around this now.
The answer is quite simple: Significant advances that have been brought about by x86 hardware have actually helped in bringing computing power to the masses. However, with new technologies, cloud computing has extended this power. Now, users have extended perimeters, while still being able to control costs effectively...
The Vilém Flusser seminar took place in 2004 and was a cooperation between MECAD, Barcelona, and the _Vilém_Flusser_Archive. Presented was a text selection of Flusser’s writings on art. The seminar included also a presentation by Silvia Wagnermaier and a reflection text on Flusser’s theory by Siegfried Zielinski. via @monoskop
Kurt Schwitters: Godfather of Modern Text Art : Schwitters, influenced by Ferdinand de Saussurre (d. 1913) whose work focused on the relationship of sound to written language and tension between name and object (as illustrated by Magritte in 1928), worked in a multitude of genres including typography (see Merz, below), collage and painting. He also worked with performance pieces and poems that took the form of graphic scores. I don’t mean to imply I understand the entirely of his work, I’m stealing part of this while I better learn the larger picture of what he created. However, I do know this: Kurt Schwitters was the first to give equal weight to both artist material and text then exploring what this implied. ...
Via Jacques Urbanska
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