Updated: 28.06.2004; 16:38:43.
a_i_d
::: alternative internet documentation / archive information documentation :::
        

Freitag, 25. Juni 2004

-citat-

Cultural Theory & Data-Based Art is a cross-disciplinary course that integrates ideas from data-based computer programming for the Internet, photography, painting, literature, biology, film studies, and cultural theory.

The goal of this course is to prepare the next generation of artists who will be functioning in a computer-mediated culture. It will empower them with the necessary technical, theoretical and historical understanding to meaningfully contribute to the development of new aspects of emerging digital media. In particular, this course contributes to the development of critical approaches to traditional concepts of the database in cultural production. One of the most important developments of the 20th century has been the introduction of the database into our everyday lives, from financial management to inventory processes. In recent years our daily lives became increasingly framed by state databases and life itself is genetically mapped. Jacques Derrida suggests that new technologies do not only change the process of analysis but also the very nature of the knowledge that we retrieve. The organization that organizes and reorganizes its own data, its own memory, its own archive reorganizes itself and inscribes its identity.
Since the 1960's computers were a medium for the storage of data. But it was not until the late 1990's that technologies such as MySql developed which allowed for the introduction of more experimental data-based art projects to the public sphere of the Internet. Initially, artists like George Legrady (Anecdoted Archive from the Cold War, 1994) experimented with the database on the level of archival representation using classical metaphors such as the museum, the archive, or the diary. More recent works have evolved into more experimental idiosyncratic ways of accessing database structures. Audiences access web-based narratives via keywords with the meta-dating becoming a crucial part of the creative process. The search becomes a central part of the interaction with the piece.
In data-based art often randomly collected data are juxtaposed and take on meaning similar to the collage technique employed by the Russian filmmaker Dziga Vertov and the American William Griffith. Going beyond interface design- data-based works can address questions and possibilities in relation to the ever-present apparatus of surveillance and control.
Keywords:
participatory online cultures, human rights, access, data knitting, power, interfaces, participation, archiving, meta data counter-memory, visualization, interactivity, mapping, city, copyright, data clustering, data combination, activism, social network architectures.

The course encourages open source technology solutions such as Php and MySql.

-/citat-

siehe auch: ---> http://critical-netcultures.net/

siehe auch: ---> Trebor Scholz


a_i_d [S/A ]---> id-e-7342 / id-e-28
:: Netzkultur ::

9:46:47 PM    comment []  trackback []

a_i_d [S/A ]---> id-e-7342 / id-e-28
:: Netzkultur ::

7:00:09 PM    comment []  trackback []

-citat-

Curriculum Studies, Volume 7, Number 3, 1999 467

Literacies and Libraries: archives and cybraries

ALLAN LUKE & CUSHLA KAPITZKE University of Queensland, Brisbane, Australia

ABSTRACT

As spatial repositories of the selective traditions of dominant and marginalised, residual and emergent cultures, libraries remain key elements in the educational production and reproduction of knowledge and power. As institutions fundamental to the project of modernity, as working shrines for those canonical texts of modernity – the dictionary and the encyclopaedia – libraries are sites par excellence for applications of the new literacies. This article aims to redress their omission from the literature on literacy and education. Following a critique of current definitions of information literacy, we argue for a critical information literacy for navigation through textual and ideological complexity and, diversity, ambiguity and multiplicity.

-/citat-

a_i_d [S/A ]---> id-e-7342 / id-e-701 / id-e-2 / id-e-868
:: Bücher / Literatur ::

5:38:26 PM    comment []  trackback []

-citat-

Introduction

     The traces of power in the network society are equally located in the architecture of bricks and mortar and the architecture of information, the discursive practices that constitute the coding of network topologies. This paper examines the discourse of computer programming through Eric Raymond's ethnographical account of the Open Source software developmental model. Raymond's Open Source software manifesto, "The Cathedral and the Bazaar" (hereafter, "CatB"), the infamous text that inspired Netscape to release the source code for its Web browser in 1998 in an attempt to compete with Microsoft's Internet Explorer, differentiates Open Source software development, which is figured as nonlinear and self-organizing, from Closed Source, which is represented as hierarchical and authoritarian. The Open Source model has been characterized by some as representing a liberatory politics for the information age. Open Source, as represented in the work of Raymond, is a tactical political philosophy whose central architectural metaphors--the bazaar, and its supplementary term, the cathedral--share theoretical homologies with anarchistic poststructuralist statements by Michel Foucault, Gilles Deleuze, Lebbeus Woods, and Hakim Bey. The intent of this essay is to examine points of generative convergence between the history and philosophy of software development and certain proponents of poststructuralist thought. In doing so, I wish to initiate a cultural analysis of the historically situated discourse that shapes software development, the texts and practices that inform the coding of the architecture of information. Raymond's bazaar shares theoretical homologies with Deleuze's modulations, Woods's freespaces and heterarchic societies, and Bey's Temporary Autonomous Zone, but it is in the figure of the programmer especially that the intersecting discourses of electronic and concrete spaces converge and the inescapably cultural base of technology emerges.1 The bazaar programmer loses the distinction of "developer" and becomes a "co-developer," dissolving the categorical distinction between those who code and those for whom there is a Code.

-/citat-

 a_i_d [S/A ]---> id-e-849 / id-e-7342 / id-e-7341 / id-e-4159
:: Netzkultur ::


5:19:37 PM    comment []  trackback []

© Copyleft 2004 Axel Diederich.
 
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fachinformation zu
NETZ: ~kultur, ~kunst
MEDIEN: gegenöffentlichkeit
NSB: alternative: ~bewegung, ~zeitschriften, ~archive, neue soziale bewegungen, widerstand, graue literatur
ARBEIT: arbeiterbewegung, linke, ökonomie
WISSEN: free information, open source, open content, public domain, freie software, freies wissen
THEORIE: medien~, kultur~, informations~, geschichts~, wissens~, netz~
WISSENSCHAFT: archive, bibliotheken, dokumentation, information
ARCHIVE: archive von unten

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