What's New on the 56 Topics Olivier Nerot Follows?

Je viens de terminer le mixage d'une petite carte postale (pas spécialement réaliste) de ma semaine en Ardèche. Je la soumets à vos oreilles.

«Participatory art is all the rage these days, an ever-expanding category and, increasingly, a means for museums to signal their hipness to the younger, broader audiences they so desperately want to attract. Nothing says accessible like something you interact with physically.

Such art comes in many guises. It can range from relatively domestic tasks, like cooking a meal, to intricate trompe l’oeil environments that replicate or exaggerate huge chunks of reality. Somewhere in between are essentially abstract structures that sometimes involve the use of lights or mirrors, or sometimes jungle-gym-like arrangements that you navigate one way or another, walking under or through, or climbing over, perhaps pausing to sit or lie down.

Often borrowing from science, design or architecture, they might be described as fun-house formalism. It’s not all bad, but a lot of it is fairly mindless.

You could probably trace its origins partly to Richard Serra’s disorienting torqued ellipses of steel of the ’90s. Among the most extreme and certainly the least time-consuming recent iterations are Carsten Höller’s slide-through tubes. One of the most successful is Anish Kapoor’s giant, extravagantly reflective, biomorphic stainless-steel sculpture, nicknamed “The Bean,” in Millennium Park in Chicago.

Tomás Saraceno’s “Cloud City” is a particularly prominent example of fun-house formalism...» - Roberta Smith

Part I was Ethan Zuckerman's piece about "The Tweetbomb and the Ethics of Attention." http://doalchemy.org/2012/05/the-ethics-of-attention-part-2-bots-for-civic-engagement/ ; -- Howard

"Ethan had written previously about “the fierce battle for attention” when covering journalistic integrity and Foxconn; the tweetbomb story, meanwhile, focuses on emergent practices around gaming attention in social media platforms (modern infrastructures for communication), away from the usual norms situated around attention in news-sharing ecosystems.

These practices relate to what Ethan calls “attention philanthropy”: if you can’t move content yourself, see if you can motivate an attention-privileged individual to do it for you.

The problem is that attention is an issue of scale: how do you get the attention of everyone?. Social capital becomes a literal currency; we exchange the value embedded in networks in an attention economy. There are a number of assumptions underlying traditional mass media technologies, like radio and television: broadcast, primetime, the mass audience; but with the internet (like with cable and satellite radio), attention is splintered, across a multitude of channels, streams, feeds."

Cognitive systems research has predominantly been guided by the historical distinction between emotion and cognition, and has focused its efforts on modelling the “cognitive” aspects of behaviour. While this initially meant modelling only the control system of cognitive creatures, with the advent of “embodied” cognitive science this expanded to also modelling the interactions between the control system and the external environment. What did not seem to change with this embodiment revolution, however, was the attitude towards affect and emotion in cognitive science. This paper argues that cognitive systems research is now beginning to integrate these aspects of natural cognitive systems into cognitive science proper, not in virtue of traditional “embodied cognitive science”, which focuses predominantly on the body’s gross morphology, but rather in virtue of research into the interoceptive, organismic basis of natural cognitive systems.

In a new effort to halt bloodshed in Syria, President Obama will push for the departure of President Bashar al-Assad under a proposal modeled on the transition in Yemen.

NodeJS & Express: get URL image and refresh ALL linked screen Use NodeJS and Express web framework to implement a very cool effect: in the webpage, user inputs a URL to upload a image when subm...

Sensus Beta #1 & #2 détourne un usage du quotidien pour inciter le visiteur à prendre le temps de l'écoute. Utilisant le flashcode comme médium technologique, l'œuvre pourvoit une place oubliée : la dimension humaine au profit d'un élan consommateur. Oubliée ? Cela dépendra de l'agissement de chacun face au texte de la Déclaration universelle des droits de l'Homme.

Klaus Fruchtnis conçoit ses œuvres comme des espaces cartographiques en fusion dont il étudie la voie et l'évolution. Il aime à mettre en doute l'image, son origine et son incidence sur le monde actuel.

Project exhibited at Le Grand Cordel MJC & Bouillants #4, Rennes, France
March-May 2012