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== Vilém FLUSSER ==
== 2017 ==
[https://www.youtube.com/watch?v=lyfOcAAcoH8 '''Talking at the Osnabrück, European Media Art Festival, 1988''']
[[User:Eastwood/research writing/ThesisProposal | ''Thesis Proposal : Draft'']]
 
[[User:Eastwood/research writing/textonmethod | ''Text on Methods'']]
 
=== Media Object ===
1500 words
 
[[User:Eastwood/research writing/mediaobject | ''Media Object'']]
 
* Specificity of object
* What is it interfacing/mediating
* Why you pick the object
* How does it relate to self directed work/research
 
=== REFERENCES ===
 
[https://www.youtube.com/watch?v=RgsyWKgmaSA Scholarly Communication Lecture Series- Johanna Drucker]
 
Personal > Specificity
 
Paul Mason : Post Capitalism
 
Medium Specificity
 
[https://en.wikipedia.org/wiki/N._Katherine_Hayles N. Katherine Hayles]:
* Writing machines
* How we became posthuman
* My Mother was a Computer
 
Patchwork Girl
 
== Text on Method 2 ==
 
Abstract : Bibliography : Citations : More on selfreflection please says Steve
James Galloway : The Interface Effect
Flusser (complexities)
Henri Bergson : Instinct, Intelligence and Intuition
Felix Guattari : The Three Ecologies
 
[https://www.amazon.com/ANT-FARM-LIVING-ARCHIVE-7/dp/8496954242 ANT FARM: Living Archive 7]
Francis McKee : The Third Eye Centre (video archive) Director of CCA Glasgow
 
[http://stephenwillats.com/ Stephen Willats]
[http://stephenwillats.com/ Control Magazine]
 
=== Previous Project ===
 
Tetra Gamma Circulaire 3 was a collaborative work between De Player and the Experimental Publishing unit at the Piet Zwart Institute.
 
The core theme of the publication was the investigation on the idea of "score". What is a score's function, historically, and how it could be interpreted today.
 
I drew on previous experience with music performance, theory and composition, and decided to continue to explore themes that I had previously been investigating - primarily improvisation.
 
My piece, Euclid, is an improvisational instrument that aimed to explore musical improvisational exploration. It is designed to have no obvious technological interface so as to allow the player to explore the musical possibilities, and not be influenced by any mechanics of its operation. The music produced by this instrument are based upon Euclidian rhythms, a mathematical system that generate traditional musical patterns. Rather than a noise instrument, the musicality encourages continuous compositional exploration and creates a dialogue between performer and instrument.
 
The instrument is controlled via a series of touch conductive points. These points work very differently depending on the environmental, and individual conductivity of the player. The instrument therefore has been designed to adjust and learn from the player as the performance progresses. In turn the performer must learn the unique situationally affected intricacies of the instrument, as well as their own affects, allowing for very different performances of the instrument each time.
 
The end result was an interactive, improvisational, chaotic music machine. Its score, a mash of software and numbers, humanly unintelligible, and musically irreproducible.
 
=== Interfacing the Law ===
 
In preparation for the third special issue, I have wanted to find a relevant topic that interests me. After our preliminary meeting with Femke Snelting, previous topics of interest have resurfaced.
 
At the core of our project we are discussing freedom of knowledge, and it as a basic human right. Despite this being seemingly obvious, it becomes more apparent that the complexity of systems have abstracted this right away from individuals. Law and capitalism has convoluted the pathway to knowledge and designated it a luxury for the select.
 
In this project I plan to explore open-source non-centralised systems of knowledge sharing, and curation that liberate these objects not only in their access, but from their original contexts and forms. My colleague Giulia and I will be working with a pre-existing archive situated at the Poortgebouw, which in itself is an anthology of free-thought, collaboration and resistance. Our challenge is to digitise the collection, and create a non-linear interface into this resource. Extending from this, the project hopes to expand into a collaborative knowledge archiving, and generation tool.
 
=== Inter-Project Similarities ===
 
Overcoming technical or systematic constraints when creating interfaces is a challenge no matter the medium or context. In both projects the exercise in creating functionally complex interface that expand a user/creator's access to a subject is often impeded by one of the two aforementioned problems.
 
It seems that in both projects, the task of circumnavigating this issue is important to me. Using methodologies and ideologies encouraged in our day to day learning, the possibility of this seems attainable if not without its challenges. The artificial distance created through complex legal and economic systems from knowledge, or the distance created by "user friendly" services like google, that dis-empower us through convenience are one in the same battle.
 
In challenging these interfaces allow us evermore agency when engaging with them, and in my work, allows me to understand and communicate my projects in interesting ways.
 
=== Inter-Projects Differences ===
 
Music has always had, for me, a difficulty to allow for critical reflection on the world it exists in. More often than not it is solely emotional expression as expressed by an individual or group. In the case of my chaotic musical machine for De Player, this is also true. Until starting our latest project (Interfacing the Law), the challenge of interface seemed only a technical hurdle to overcome. It is obvious to me now, that the question of interface is much more complex, and that Euclid was my first encounter with this.
 
It is now interesting to look back and realise that it was not simply a challenge of building a technically, and conceptually functional object within limited constraints, but the introduction into how interfaces influence intent, are affected themselves by context and can be a feedback as well as an input.
 
To continue with notions of improvisation, play, and exploration will be an interesting challenge that I hope to investigate during our next project. Building an interface that allows for chance discovery and creation within the knowledge base of the Porte Gebouw's archive, will speak to the re-contextualising, and re-formatting of this predefined data set. Although it will not be a preformative act, the improvisational motivations can still be applied here.
 
=== Help ===
 
Difficulty to understand and apply conceptual ideas into my work is something that I frequently experience. I want to make it my goal to enhance my critical reading, writing and research methods. I want to do this more, and seek critical responses to this. Steve and Florian are both primary resources to further this. Expanded from this, Giulia has suggested (and I agree) that this difficulty may exist because i do not have specific topics that I am interested in. Honing my "hobbies" into tangible research will be my immediate project.
 
As part of this I investigate further methodologies and ideologies employed by OSP and Constant, as their method and conceptual motivations seem inherently intertwined. As much as I have been aware of the conceptual framework they situate themselves in (i.e. Open-Source tools and philosophies), up until my knowledge of their organisation, its application has been difficult to imagine. This inspires me to start employing their tools and get to know their work better.
 
=== ''>>> FUTURE >>>'' ===
 
The future holds research much reading, writing, research which I hope will lead to projects. I plan to continue my work on improvisation, and try and expand this to games, play and learning. I want to try and make more musical/preformative projects as well as printed works around this theme. I would also like to research ways that it has or can be used as a creative methodology for production, learning and teaching.
 
The other topic I wish to investigate more thoroughly is environmental philosophy, and seek to read some works of Timothy Morton about Post Human Ecology. Environmental issues are a core part of my life, but I have never taken the time to apply any creative or conceptual thought. Philosophical texts on the Environment have piqued my academic interest in this area but feel that often they are far separated from the practicalities of life, and are not always pragmatic motivators for change. I would like to start openly asking questions on these topics and generate some works in this area.
 
== Text on Method 1 ==
 
=== Previous Project ===
 
An improvised generative musical instrument.
 
For trimester 2 project with dePlayer, we investigated the idea of a "score". What a score has been; and how it could be interpreted today.
 
As the project was with a well established experimental music institution many of us took to making musical representations of this idea. [what do you mean, which idea? the re-interpretation of the score?]
 
From having previous experience with music performance, theory and composition, I decided to continue to explore themes that I had previously been investigating. This primarily being improvisation.
 
My challenge was to somehow combine technology and musical creativity without there being an apparent interface. I also wanted to there to be "traditional" musical qualities to the instrument, rather than it being a noise instrument. [what do you mean with musical creativity? creativity means improvisation?]
 
My project was successful in some areas but my fundamental goals of avoiding an explicit mechanical interface did not totally succeed. While the instrument did generate relatively musical sounds; it was either not apparent whether my interaction was making intentional changes. [don't think that you should underline the non-successful work on the interface. Other people perceived this effort that you're describing. no worries :) ]
 
The end result was a problematic, generative, chaotic improvisation machine. Its score, a mash of software and numbers, humanly unintelligible, and musically irreproducible. [like it!!!]
 
=== Interfacing the Law ===
 
In preparation for the third special issue, I have wanted to find a relevant topic that interests me. After our preliminary meeting with Femke Snelting, previous topics of interest have resurfaced.
 
The freedom of knowledge, and it as a basic human right seems an obvious thing. But the complexity of systems have abstracted this right away from individuals. Law and economy/capitalism has convoluted the pathway to knowledge and designated it as a luxury for the select. [I think you should expand this point.. as it is the sort of core of our project]
 
It is a theme that the ideas of structural complexity vs functional complexity reappears. [explain further... where is the structural vs functional complexity within the topic of interfacing the law?]
 
=== Inter-Project Similarities ===
 
Creating interfaces to creativity is a difficult thing to attain. Whether this be due to technical or systematic constraints.
[what do you mean by interfacing creativity?]
 
Creating functionally complex systems that expand a user/creator's view on the world is often impeded by one of the two aforementioned problems.
 
[I get this now a bit better, but till think you should explain it in a more simple way...]
 
It seems that in both projects, the task of circumnavigating this issue is important to me. Using methodologies and ideologies encouraged in our day to day learning, the possibility of this seems attainable if not without its challenges.
 
It is these challenges however that allow us evermore agency when engaging with, or pushing back against these systems.
 
[expaaand!!! it is very interesting but i think you're over-complicating your self. I think you should redefine the meaning of creativity (you mean, creative-agency in a sense of subjectivity or interpretation? you should definitely read "Six Memos for The Next Millenium book of Calvino", my favourite book yes, chapter "Visibility"]
 
=== Inter-Projects Differences ===
 
Music has always had, for me, a difficulty to allow for critical reflection on the world it exists in. [why? expand this point]
 
More often than not it is pure emotional expression as expressed by an individual or group. [isn't everything a combination between individual expression/wonder and context. I don't agree on this point. Nothing is "pure"]
 
In the case of my chaotic musical machine for dePlayer, it is this fact that placed it apart from the rest of our work and research at Piet Zwart. [I don't understand why you're placing your work outside the research and works (of who??) at the piet zwart. Of course it is related!! other thing: stop being over-critical to your self]
 
The excitement was not as intense for me in the production due to its lack of relevant conceptual relationships to the outside world. This current project of interfacing the law is a welcome return to more challenging conceptual ideas.
 
What was interesting during the dePlayer project, was the challenge of building a technically, and conceptually functional object within limited constraints. These skills will be applicable to future projects.
 
[I like it, you see, you just described which was the core of the DePlayer work, which was of course based on a concept!]
 
=== Help ===
 
Difficulty to understand and apply conceptual ideas into my work is something that I frequently experience. I want to make it my goal to enhance my critical reading, writing and research methods. I want to do this more, and seek critical responses to this. Steve and Florian are both primary resources to further this.
 
[fair enough, but so which are the things you want to research? start to think about this and stop repeating you have difficulties in that]
 
Further I want to know more about the methodologies and ideologies employed by OSP and Constant, as their method and conceptual motivations seem inherently intertwined. As much as I have been aware of the conceptual framework they situate themselves in (i.e. Open-Source tools and philosophies), its application has been difficult to imagine. [what do you mean? that you like their conceptual basis but the works are a bit difficult to understand?]
 
=== ''>>> FUTURE >>>'' ===
 
In the future I hope to make more physical work with strong conceptual foundations. U hope to be able to do this collaboratively with differently skilled, but equally motivated peers. furthermore I would like to make work that neither depends upon closed, proprietary systems and in turn critique their existence and affect they have on different parts of our society. [i think it is a bit too abstract, i like it, but you should close up your interests on a more defined subject]
 
I hope that these qualities will be applicable to my Passports Project. [cool!!! try to talk about the similarities between the research on this object and the urge you seem to have to critique existent states of things]
 
It will an exciting experiment to see how my skills develop, technically, conceptually and ideologically. [yess it is!]
 
== Passports Essay ==
[[User:Eastwood/research writing/Passports|Passports Writing]]
 
=== Passport Research Notes ===
 
'''Suggestions from peers''' :
[https://en.wikipedia.org/wiki/Velvet_Revolution Czech Republic : Velvet Revolution] - When the Czech republic separated from Slovakia. Side notes read "Progressive" and "Manacle"
 
Whare are general passport application processes. The case where it was easier and cheaper to change your name by depol, get a new passport than to purchase a new ticket with Ryanair.
 
Suggestion to create a subjective archive of my family movement. Look at my family's history in relationship to world history specifically in regards to mobility and national diplomacies.
 
''Infinite Citizenship'' : Giuditta Vendrame
 
''Identity and Control'' : Harrison C. White
 
=== Extended Border Control Privileges ===
[https://www.eff.org/deeplinks/2016/12/law-enforcement-uses-border-search-exception-fourth-amendment-loophole eff.org article on the loophole], [https://www.eff.org/deeplinks/2016/12/law-enforcement-uses-border-search-exception-fourth-amendment-loophole an example of the overextension affected on a NASA scientist] who was part of the [https://www.cbp.gov/travel/trusted-traveler-programs/global-entry Global Entry] programme.
 
=== Nation Exclusivity ===
https://www.theguardian.com/commentisfree/2017/feb/16/migrants-scapegoats-ukip-compelling-stories-win-over-xenophobes
 
=== Alien's Act ===
https://www.amnesty.org/en/latest/news/2017/01/slovenia-amendments-to-aliens-act-denies-protection-to-refugees/
http://www.refworld.org/docid/4c407cbd2.html
 
=== Migration ===
https://www.theguardian.com/world/2017/mar/01/left-afghanistan-family-of-nine-arrived-uk-family-of-two
 
== Essay Research Suggestions 2 ==
Max: I have been reading a short introduction to Foucault. It is relevant because we talk about control and disciplinary society in this class. Thought it would be handy to look at these in terms of passports. His life is very interesting he didn’t want to be tied down to one definition; opens up to reading F’s life from different perspectives. Archeologist of knowledge. Rather than looking at what a work says and placing it in its context you situate it in its time in order to understand the concepts. [discourse] The technology of language, interpreting it in our time in terms of just the words of that are written  […unpack].
This is interesting in relation to the mobility and passport project; identity, classification;
Historical thing:
What have you done since last time?
Text: reading F Book, also had a follow up group meeting.
Would like to finish the book, re-read it; go back to the history of passports and visas. Take it from a personal place, where I am allowed passage within the work; for my family down 3 generations; to map out their journey. At the time; my gp’s movement during the war; and my greatgarnadp’s escaped the Russian revolution.
Seeing what it would have been like for my grandfather to change his nationality.
[Karina] You could update this […] in Holland…
Where will you be: writing something down: questions I want to address.
Outside:
 
coding and playing music: both with varying degrees of success. Hopefully with the sound project. Euclidian time – translated into 1 & 0s [explains]. Then you play it like . Euclidian rhythms are currently popular and from these patterns you get polyrhythms, which come from human culture. One can generate African rhythms, for instance.  This could be (possibly) performed for DePlayer project. Like the idea of improvising music, to make the score in parallel or after the fact.
 
CONTROL and DISCIPLINE SOCIETY : https://libcom.org/library/postscript-on-the-societies-of-control-gilles-deleuze
 
== Essay Research Suggestions 1 ==
https://pad.bleu255.com/p/rwrm_notes_06-01-17


=== POST-HISTORICAL STRUCTURAL TRADITION ===
started of with passports and identity
evolved into idea of national identity, mobility
institutionalised


Our current form of literacy is no longer sufficient to communicate current concepts concerning our world. To more precisely reflect on our world we are not solely able to explain it with language, neither written or spoken. To understand the world, we are no longer able to rely solely on words, it is necessary to calculate the world.
Passports, indentity  which evolved into the idea of national identity, mobility,  


Vilém Flusser suggests that the only way we are able to reflect on our current existence is through synthetic images. He describes the language of science and mathematics is a visual language of thought through numbers, giving the example of the number two as the representation of a couple or pair. From this he goes on to suggest that the most appropriate tool to facilitate this realisation of synthetic images is through computing. At the time of this interview Flusser claimed that he had not yet seen any examples of this and suggests that we do not know how to yet manipulate the technology.
need to find history of passports
phylosophy of identity. movement through World of the family.
Political environment.


Flusser explains that before the alphabet images were used to represent the world. Images served to represent non linear mythical thought, a projection of understanding upon the world tied into past present and future. At the invention of the alphabet this non-linear representation of the world gave way to a linear, historically causal and critical method. Now linear, historical thought has been disrupted by a calculative method of thinking, which Flusser likes to call a systemic or structural way of thinking.
need to look at a personal point of view
look at family and their movement


Our current revolution can be likened to the revolution that gave us the origin to history. One that returns to a non-linear, image based narrative, that likens to a pre-historical way of thinking. We are now in the process of developing a post-historical structural way of thinking.
what information is needed
case study on 'nationally diverse' family


Historically the philosophy of image cast a mostly negative opinion of 'the image'. Greek and Jewish (Christian) philosophy and thought considered images either only a copy or simulation of thought and so we have been conditioned to distrust images. However now images should be considered articulations of thought, not mere copies by projection or models. Flusser calls for a  new conversation around images.
where do you come from?
is it relevant to make that destinction?


=== STRUCTURAL v FUNCTIONAL COMPLEXITY ===
Trump Tolling
http://everysecondcounts.eu/


Systems can be considered complex in 2 ways. Systems with structural complexity and systems with functional complexity. Structurally complex systems are ones that are complex in their construction, or operation but not in their interaction or output. Functionally complex systems are systems can be used in many different ways or has a functional nuance without necessarily being structurally complex.  
Taiye Selasi: Don't ask where I'm from, ask where I'm a local
https://www.ted.com/talks/taiye_selasi_don_t_ask_where_i_m_from_ask_where_i_m_a_local?utm_source=tedcomshare&utm_medium=referral&utm_campaign=tedspread


Flusser gives the comparison between TV (structurally complex) and Chess (functionally complex). The television a technologically complex electronic device that decodes data into visual moving image and sound that is broadcast live to the viewer, is very simple to interact with or manipulate within its set parameters. Chess, a game made up of solely physical objects can be played 100 different ways and have many different outcomes.  
dna test momondo
https://www.momondo.nl/letsopenourworld/
Is your DNA a more genuine distinction of your "nationalities". Is ethnicity related to nationality. Is culture related to nationality?


As things are being designed more structurally complex without being necessarily functionally complex leads us to become intellectually, aesthetically and ethical less active or even able. It is Flussers analysis that it is not the fault of the systems themselves, but rather the responsibility on the users of the systems to find functional complexity in structurally complex systems.
Ethnocentrism


The importance in doing this is because functionally complex systems encourage creative thought (arguably a calculative way to look at our world) whereas structurally complex systems currently allow us to stagnate in thought.
Overview Effect - seeing the world from outer space
https://vimeo.com/55073825


== Citizen Lobby ==
The Space Between Us
'''Leif Thomas Olsen'''
http://www.imdb.com/title/tt3922818/


http://meson.press/books/citizen-lobby/
Why a passport identity exists? which are the reasons they exists? do they identify us?


<blockquote>''Blurb :'' The Internet holds endless opportunities for exchange and dialogue and the promise of developing a better democratic model. Day-to-day politics are largely driven by economic lobbies in the interest of what Habermas calls their &quot;generalised particularism&quot;, the threat to take jobs and tax revenues elsewhere. Citizens’ influence over politicians is twofold: they are asked for their input in elections, referenda, online consultations and surveys, and citizens can initiate issues where they see political action needed. Yet these “participative forces,” including NGOs, street rallies and charities, regularly fail to reach the ears of elected politicians as effectively as those of well-funded corporate lobbies. Also, this type of voluntary engagement often falls short of presenting the kind of reasoned challenges to the incumbents—by the electorate—that Habermas’ communicative action aimed at.
Can you look at yourself / your personality and find something 'typically' Australian, South African, Belgian?
How family culture can get into your identity?


A more powerful model would therefore organise the efforts of the electorate in a way that both generates those reasoned arguments, which, as Habermas quite correctly pointed out differ from mere opinions, and delivers them to the elected politicians in a manner they can neither refuse nor ignore. This is what the Citizen Lobby intends to do.
Italian travelled to Argentina. He felt at home there because of similar culture (many Italians there)
</blockquote>


=== The Framework ===
What defines a culture?
'''From Parliamentary democracy to the Citizen Lobby'''


==== UN Annual Assembly ====
Language
Olsen introduces the main concepts of the ''Citizen Lobby'' and discusses the shortcomings of democratic systems as they stand today in an ''Internet Age''. in March 2013 the UN held the 128th Annual Assembly and covered ''&quot;The Use of media, including social media, to enhance citizen engagement and democracy&quot;''. Clear points were covered across many different methods, or goals to be considered when talking about citizen engagement with the [western] democratic system. A particular focus was on ''social media'' and the bridging qualities this has between citizens and their representatives. In this way citizens would not only have a closer relationship with their representative government, but also be able to monitor and contribute directly to the decision making process.
How does language shape cultural identity?
It's also a specific tool. In some countries it's easier to explain food, weather, nature, technology


==== The Lobby ====
What was the reason we started having passports?
Our current [western] democratic model heavily relies on a ''lobby''. That currently is predominantly controlled by what is considered ''&quot;corporate citizens&quot;'' rather than ''&quot;private citizens&quot;''. There is a power imbalance between those who can influence governmental actions, and those who cannot. [https://en.wikipedia.org/wiki/Colin_Crouch '''Colin Crouch'''] writes in his book [https://en.wikipedia.org/wiki/Post-democracy '''Post-Democracy'''] that current democratic policy development favours economic stability rather than the considerations of its citizens.
History of passports


Businesses have more actionable/quantifiable losses and gains compared with non-commercial lobbies. A commercially based lobby is far more powerful to invest money into a governmental representative as they can project commercial gain. Likewise they can influence representatives to make policy decisions as there are quantifiable results to the economy which does affect citizens.
History of the visa - started in 1958


Furthermore, the push towards Internet based engagement, is one that also favours the commercial lobby. The concept of ''&quot;reputation management&quot;'' in where businesses can voice views and opinions through highly visible, and reputable channels, allows them to engage in policy change through their own ''citizenship''. Where your average blogger, with much the same tools available to them, has far less voice to create change. The access to money and technology, to which the ''corporate citizen'' has far better access to ''&quot;risks hollowing out the democratic aspects of our current political systems&quot;''. Olsen also points out ''&quot;that this is not only well known, but also well planned&quot;''.
Costs of visas
Compare difficulties / process of getting a visa
Look into reasons why you do / do not need a visa
Poland doesn't need a visa to China because they think Poland is still communistic


Countries with a more recent democratic history also run into the issue of more traditional citizen divides. Political parties that identify on segregating criteria such as racial, religious or tribal clusters, generally favour policy making in consideration to loyalty risks rather than political factors. Euro-Americans consider that this is not a factor in their more developed democracies. However this is absolutely not the case. Where segregation of tribe-like clusters are avoided, other divides are politically identified. Not considering for the moment &quot;anti-immigration&quot; parties, the clusters for developed democracies are those of economic and/or educational basis.
Immigration and Naturalisation Service (IND)
https://ind.nl


Some of the problems that we face can, to some degree, be resolved with coalitoin style government widely found in South East Asian countries. Citizens feel more represented as there are larger coalitions representing their interests directly. However this segregation can also cause issues as democracy tries to be an inclusive system, incorporating all voters regardless of their &quot;tribe&quot;. As mentioned earlier, segregating criteria is making its way into European democracy via ''anti-immigration'' parties, and in the US defined by economic segregation, where the right to speculate on fellow citizens' misery (health insurances and foreclosures) is split amongst parties.
== Facebook Tracking ==
http://dataselfie.it/#/


==== Glocal democracy ====
== 2016 ==
=== Essay ===


While we use a century old system that has only recently been updated in favour of economic interest, we are forever plagued with ever growing structural problems. Serious reflection must be given to finding a solution to these issues, so as to make solely symbolic changes.
[[User:Eastwood/research writing/Essay|Essay : The Silver Bullet]]


The word ''Glocal'' comes from the blending of the words ''Local'' and ''Global''. It was first used by Japanese rice farmers who needed to adapt rice strains to grow in their local environment, and then later picked up by Japanese business to refer to products tailored to distinct local requirements.
=== Reading Notes ===
Collection of notes on things I'm reading/read.


Olsen makes the distinction that ''local'' and ''global'' are not antonyms of each other relating to space, but rather &quot;represent a range of complementary meanings&quot; and provides us with a table of examples (below).
[[User:Eastwood/research writing/Citizen Lobby|Citizen Lobby : Olsen]]


=== Vilém FLUSSER ===
[https://www.youtube.com/watch?v=lyfOcAAcoH8 '''Talking at the Osnabrück, European Media Art Festival, 1988''']


{| class="wikitable"
==== POST-HISTORICAL STRUCTURAL TRADITION ====
! '''Local'''
! '''Global'''
|-
| Civic space
| Public Space
|-
| Culturam communities
| Politics
|-
| Geographical communities
| Markets
|-
| Individuals
| Collectives
|-
| Present traditions
| Future Trends
|-
| Here and There
| Anywhere
|-
| Now and Then
| Anytime
|-
| '''''Meta Local'''''


Ideas, opinions, trends and /or behaviour that are based on ''local'' premises. These can be shared because of cultural belonging, or nationalism, shared by non-locals who emigrated or fled, or a minority equity/belonging of some sort. Lifestyles based on religious affiliation that may establish everyday premises/behaviour that differ from those of neighbours with other faiths - but fall in line with people across the globe who have the same faith.
Our current form of literacy is no longer sufficient to communicate current concepts concerning our world. To more precisely reflect on our world we are not solely able to explain it with language, neither written or spoken. To understand the world, we are no longer able to rely solely on words, it is necessary to calculate the world.


Some examples of ''meta-local communities'' are Diasporas, urban poor, SMEs (&lt; ???) and [http://lgbtqia.ucdavis.edu/educated/glossary.html LGBTQIA].  
Vilém Flusser suggests that the only way we are able to reflect on our current existence is through synthetic images. He describes the language of science and mathematics is a visual language of thought through numbers, giving the example of the number two as the representation of a couple or pair. From this he goes on to suggest that the most appropriate tool to facilitate this realisation of synthetic images is through computing. At the time of this interview Flusser claimed that he had not yet seen any examples of this and suggests that we do not know how to yet manipulate the technology.
| '''''Meta Global'''''


Influences that lie beyond the interaction of global physical/human/economic.ecological community. Such influences include human relationships to spiritual, eternal or supernatural forces, placing such relationships ''beyond'' the concern of the globalisation debate as it is typically delineated (socio-economic development playing out in the physical/human/ecological sphere).
Flusser explains that before the alphabet images were used to represent the world. Images served to represent non linear mythical thought, a projection of understanding upon the world tied into past present and future. At the invention of the alphabet this non-linear representation of the world gave way to a linear, historically causal and critical method. Now linear, historical thought has been disrupted by a calculative method of thinking, which Flusser likes to call a systemic or structural way of thinking.


By adding this ''meta'' level it becomes possible to engage in glocal interaction without involving these kinds of meta-global concerns in this already complex debate.
Our current revolution can be likened to the revolution that gave us the origin to history. One that returns to a non-linear, image based narrative, that likens to a pre-historical way of thinking. We are now in the process of developing a post-historical structural way of thinking.  
|-
|}


Historically the philosophy of image cast a mostly negative opinion of 'the image'. Greek and Jewish (Christian) philosophy and thought considered images either only a copy or simulation of thought and so we have been conditioned to distrust images. However now images should be considered articulations of thought, not mere copies by projection or models. Flusser calls for a  new conversation around images.


An interesting expansion on the idea of ''meta-local'' is offered by [https://www.uis.edu/politicalscience/faculty/gilman-opalsky/ Richard Gilman-Opalsky] who is regularly referenced throughout this chapter (book?).
==== STRUCTURAL v FUNCTIONAL COMPLEXITY ====


<blockquote>Indigenous Mayans in Mexico were quite surprised in the 1990s to discover their robust common ground and the profound resonance of their claims with environmentalists, feminists, gays, lesbians, and precarious and rebellious people everywhere - theirs was a commonality of being on the ''losing side of power, where power is defined by and for capital'' ([https://1000littlehammers.files.wordpress.com/2010/02/gilman-opalsky_spectac_capitalism_debord.pdf Spectacular Capitalism: Guy Debord and the Practice of Radical], 2011, p116)
Systems can be considered complex in 2 ways. Systems with structural complexity and systems with functional complexity. Structurally complex systems are ones that are complex in their construction, or operation but not in their interaction or output. Functionally complex systems are systems can be used in many different ways or has a functional nuance without necessarily being structurally complex.  
</blockquote>


Then ''meta-locals'' include a much wider spread of citizens despite the fact that they are not necessarily inhabiting ''local'' space. This then excludes them from having a representation in the ruling majority or system.
Flusser gives the comparison between TV (structurally complex) and Chess (functionally complex). The television a technologically complex electronic device that decodes data into visual moving image and sound that is broadcast live to the viewer, is very simple to interact with or manipulate within its set parameters. Chess, a game made up of solely physical objects can be played 100 different ways and have many different outcomes.  


The next problem that arises is one of ''trust''. Charles Tilly noted that trust across the world from Europe to younger developing countries, are experiencing a decline in trust in their ruling bodies, and goes to say that places democracy at considerable risk (Encarnacion, 2006, p149). Natalia Pohorila and Yuriy Taran agree with this and open their article entitled ''High Expectations and Disappointing Reality'' stating ''&quot;High expectations of the political elite run parallel with disappointment and distrust of politicians&quot;'' (2005). This diminishing trust calls for more grass roots action and participation in policy-making. The ratio of '''Trust : Control''' is a fine balance that needs to be leveled.
As things are being designed more structurally complex without being necessarily functionally complex leads us to become intellectually, aesthetically and ethical less active or even able. It is Flussers analysis that it is not the fault of the systems themselves, but rather the responsibility on the users of the systems to find functional complexity in structurally complex systems.


Finally the plight of democracy itself, that of ''Inclusion''. European governments have openly acknowledged that efforts to develop multicultural societies within our current systems have failed. Both [http://www.aljazeera.com/news/europe/2010/10/20101016202120286735.html Angela Merkel] and [http://www.aljazeera.com/news/europe/2011/02/2011255620810460.html David Cameron] have been recorded accepting this fact (Aljazeera 2010 &amp; 2011). This directly results in further segregation and an already reference failing of ''cluster politics''. Now too there is an increase on political rhetoric that encourages ''exclusion'' which further emphasises the need for ''participative democracy'' and thus what Olsen is suggesting - the Citizen Lobby.
The importance in doing this is because functionally complex systems encourage creative thought (arguably a calculative way to look at our world) whereas structurally complex systems currently allow us to stagnate in thought.

Latest revision as of 15:09, 20 September 2017

2017

Thesis Proposal : Draft

Text on Methods

Media Object

1500 words

Media Object

  • Specificity of object
  • What is it interfacing/mediating
  • Why you pick the object
  • How does it relate to self directed work/research

REFERENCES

Scholarly Communication Lecture Series- Johanna Drucker

Personal > Specificity

Paul Mason : Post Capitalism

Medium Specificity

N. Katherine Hayles:

  • Writing machines
  • How we became posthuman
  • My Mother was a Computer

Patchwork Girl

Text on Method 2

Abstract : Bibliography : Citations : More on selfreflection please says Steve James Galloway : The Interface Effect Flusser (complexities) Henri Bergson : Instinct, Intelligence and Intuition Felix Guattari : The Three Ecologies

ANT FARM: Living Archive 7 Francis McKee : The Third Eye Centre (video archive) Director of CCA Glasgow

Stephen Willats Control Magazine

Previous Project

Tetra Gamma Circulaire 3 was a collaborative work between De Player and the Experimental Publishing unit at the Piet Zwart Institute.

The core theme of the publication was the investigation on the idea of "score". What is a score's function, historically, and how it could be interpreted today.

I drew on previous experience with music performance, theory and composition, and decided to continue to explore themes that I had previously been investigating - primarily improvisation.

My piece, Euclid, is an improvisational instrument that aimed to explore musical improvisational exploration. It is designed to have no obvious technological interface so as to allow the player to explore the musical possibilities, and not be influenced by any mechanics of its operation. The music produced by this instrument are based upon Euclidian rhythms, a mathematical system that generate traditional musical patterns. Rather than a noise instrument, the musicality encourages continuous compositional exploration and creates a dialogue between performer and instrument.

The instrument is controlled via a series of touch conductive points. These points work very differently depending on the environmental, and individual conductivity of the player. The instrument therefore has been designed to adjust and learn from the player as the performance progresses. In turn the performer must learn the unique situationally affected intricacies of the instrument, as well as their own affects, allowing for very different performances of the instrument each time.

The end result was an interactive, improvisational, chaotic music machine. Its score, a mash of software and numbers, humanly unintelligible, and musically irreproducible.

Interfacing the Law

In preparation for the third special issue, I have wanted to find a relevant topic that interests me. After our preliminary meeting with Femke Snelting, previous topics of interest have resurfaced.

At the core of our project we are discussing freedom of knowledge, and it as a basic human right. Despite this being seemingly obvious, it becomes more apparent that the complexity of systems have abstracted this right away from individuals. Law and capitalism has convoluted the pathway to knowledge and designated it a luxury for the select.

In this project I plan to explore open-source non-centralised systems of knowledge sharing, and curation that liberate these objects not only in their access, but from their original contexts and forms. My colleague Giulia and I will be working with a pre-existing archive situated at the Poortgebouw, which in itself is an anthology of free-thought, collaboration and resistance. Our challenge is to digitise the collection, and create a non-linear interface into this resource. Extending from this, the project hopes to expand into a collaborative knowledge archiving, and generation tool.

Inter-Project Similarities

Overcoming technical or systematic constraints when creating interfaces is a challenge no matter the medium or context. In both projects the exercise in creating functionally complex interface that expand a user/creator's access to a subject is often impeded by one of the two aforementioned problems.

It seems that in both projects, the task of circumnavigating this issue is important to me. Using methodologies and ideologies encouraged in our day to day learning, the possibility of this seems attainable if not without its challenges. The artificial distance created through complex legal and economic systems from knowledge, or the distance created by "user friendly" services like google, that dis-empower us through convenience are one in the same battle.

In challenging these interfaces allow us evermore agency when engaging with them, and in my work, allows me to understand and communicate my projects in interesting ways.

Inter-Projects Differences

Music has always had, for me, a difficulty to allow for critical reflection on the world it exists in. More often than not it is solely emotional expression as expressed by an individual or group. In the case of my chaotic musical machine for De Player, this is also true. Until starting our latest project (Interfacing the Law), the challenge of interface seemed only a technical hurdle to overcome. It is obvious to me now, that the question of interface is much more complex, and that Euclid was my first encounter with this.

It is now interesting to look back and realise that it was not simply a challenge of building a technically, and conceptually functional object within limited constraints, but the introduction into how interfaces influence intent, are affected themselves by context and can be a feedback as well as an input.

To continue with notions of improvisation, play, and exploration will be an interesting challenge that I hope to investigate during our next project. Building an interface that allows for chance discovery and creation within the knowledge base of the Porte Gebouw's archive, will speak to the re-contextualising, and re-formatting of this predefined data set. Although it will not be a preformative act, the improvisational motivations can still be applied here.

Help

Difficulty to understand and apply conceptual ideas into my work is something that I frequently experience. I want to make it my goal to enhance my critical reading, writing and research methods. I want to do this more, and seek critical responses to this. Steve and Florian are both primary resources to further this. Expanded from this, Giulia has suggested (and I agree) that this difficulty may exist because i do not have specific topics that I am interested in. Honing my "hobbies" into tangible research will be my immediate project.

As part of this I investigate further methodologies and ideologies employed by OSP and Constant, as their method and conceptual motivations seem inherently intertwined. As much as I have been aware of the conceptual framework they situate themselves in (i.e. Open-Source tools and philosophies), up until my knowledge of their organisation, its application has been difficult to imagine. This inspires me to start employing their tools and get to know their work better.

>>> FUTURE >>>

The future holds research much reading, writing, research which I hope will lead to projects. I plan to continue my work on improvisation, and try and expand this to games, play and learning. I want to try and make more musical/preformative projects as well as printed works around this theme. I would also like to research ways that it has or can be used as a creative methodology for production, learning and teaching.

The other topic I wish to investigate more thoroughly is environmental philosophy, and seek to read some works of Timothy Morton about Post Human Ecology. Environmental issues are a core part of my life, but I have never taken the time to apply any creative or conceptual thought. Philosophical texts on the Environment have piqued my academic interest in this area but feel that often they are far separated from the practicalities of life, and are not always pragmatic motivators for change. I would like to start openly asking questions on these topics and generate some works in this area.

Text on Method 1

Previous Project

An improvised generative musical instrument.

For trimester 2 project with dePlayer, we investigated the idea of a "score". What a score has been; and how it could be interpreted today.

As the project was with a well established experimental music institution many of us took to making musical representations of this idea. [what do you mean, which idea? the re-interpretation of the score?]

From having previous experience with music performance, theory and composition, I decided to continue to explore themes that I had previously been investigating. This primarily being improvisation.

My challenge was to somehow combine technology and musical creativity without there being an apparent interface. I also wanted to there to be "traditional" musical qualities to the instrument, rather than it being a noise instrument. [what do you mean with musical creativity? creativity means improvisation?]

My project was successful in some areas but my fundamental goals of avoiding an explicit mechanical interface did not totally succeed. While the instrument did generate relatively musical sounds; it was either not apparent whether my interaction was making intentional changes. [don't think that you should underline the non-successful work on the interface. Other people perceived this effort that you're describing. no worries :) ]

The end result was a problematic, generative, chaotic improvisation machine. Its score, a mash of software and numbers, humanly unintelligible, and musically irreproducible. [like it!!!]

Interfacing the Law

In preparation for the third special issue, I have wanted to find a relevant topic that interests me. After our preliminary meeting with Femke Snelting, previous topics of interest have resurfaced.

The freedom of knowledge, and it as a basic human right seems an obvious thing. But the complexity of systems have abstracted this right away from individuals. Law and economy/capitalism has convoluted the pathway to knowledge and designated it as a luxury for the select. [I think you should expand this point.. as it is the sort of core of our project]

It is a theme that the ideas of structural complexity vs functional complexity reappears. [explain further... where is the structural vs functional complexity within the topic of interfacing the law?]

Inter-Project Similarities

Creating interfaces to creativity is a difficult thing to attain. Whether this be due to technical or systematic constraints. [what do you mean by interfacing creativity?]

Creating functionally complex systems that expand a user/creator's view on the world is often impeded by one of the two aforementioned problems.

[I get this now a bit better, but till think you should explain it in a more simple way...]

It seems that in both projects, the task of circumnavigating this issue is important to me. Using methodologies and ideologies encouraged in our day to day learning, the possibility of this seems attainable if not without its challenges.

It is these challenges however that allow us evermore agency when engaging with, or pushing back against these systems.

[expaaand!!! it is very interesting but i think you're over-complicating your self. I think you should redefine the meaning of creativity (you mean, creative-agency in a sense of subjectivity or interpretation? you should definitely read "Six Memos for The Next Millenium book of Calvino", my favourite book yes, chapter "Visibility"]

Inter-Projects Differences

Music has always had, for me, a difficulty to allow for critical reflection on the world it exists in. [why? expand this point]

More often than not it is pure emotional expression as expressed by an individual or group. [isn't everything a combination between individual expression/wonder and context. I don't agree on this point. Nothing is "pure"]

In the case of my chaotic musical machine for dePlayer, it is this fact that placed it apart from the rest of our work and research at Piet Zwart. [I don't understand why you're placing your work outside the research and works (of who??) at the piet zwart. Of course it is related!! other thing: stop being over-critical to your self]

The excitement was not as intense for me in the production due to its lack of relevant conceptual relationships to the outside world. This current project of interfacing the law is a welcome return to more challenging conceptual ideas.

What was interesting during the dePlayer project, was the challenge of building a technically, and conceptually functional object within limited constraints. These skills will be applicable to future projects.

[I like it, you see, you just described which was the core of the DePlayer work, which was of course based on a concept!]

Help

Difficulty to understand and apply conceptual ideas into my work is something that I frequently experience. I want to make it my goal to enhance my critical reading, writing and research methods. I want to do this more, and seek critical responses to this. Steve and Florian are both primary resources to further this.

[fair enough, but so which are the things you want to research? start to think about this and stop repeating you have difficulties in that]

Further I want to know more about the methodologies and ideologies employed by OSP and Constant, as their method and conceptual motivations seem inherently intertwined. As much as I have been aware of the conceptual framework they situate themselves in (i.e. Open-Source tools and philosophies), its application has been difficult to imagine. [what do you mean? that you like their conceptual basis but the works are a bit difficult to understand?]

>>> FUTURE >>>

In the future I hope to make more physical work with strong conceptual foundations. U hope to be able to do this collaboratively with differently skilled, but equally motivated peers. furthermore I would like to make work that neither depends upon closed, proprietary systems and in turn critique their existence and affect they have on different parts of our society. [i think it is a bit too abstract, i like it, but you should close up your interests on a more defined subject]

I hope that these qualities will be applicable to my Passports Project. [cool!!! try to talk about the similarities between the research on this object and the urge you seem to have to critique existent states of things]

It will an exciting experiment to see how my skills develop, technically, conceptually and ideologically. [yess it is!]

Passports Essay

Passports Writing

Passport Research Notes

Suggestions from peers : Czech Republic : Velvet Revolution - When the Czech republic separated from Slovakia. Side notes read "Progressive" and "Manacle"

Whare are general passport application processes. The case where it was easier and cheaper to change your name by depol, get a new passport than to purchase a new ticket with Ryanair.

Suggestion to create a subjective archive of my family movement. Look at my family's history in relationship to world history specifically in regards to mobility and national diplomacies.

Infinite Citizenship : Giuditta Vendrame

Identity and Control : Harrison C. White

Extended Border Control Privileges

eff.org article on the loophole, an example of the overextension affected on a NASA scientist who was part of the Global Entry programme.

Nation Exclusivity

https://www.theguardian.com/commentisfree/2017/feb/16/migrants-scapegoats-ukip-compelling-stories-win-over-xenophobes

Alien's Act

https://www.amnesty.org/en/latest/news/2017/01/slovenia-amendments-to-aliens-act-denies-protection-to-refugees/ http://www.refworld.org/docid/4c407cbd2.html

Migration

https://www.theguardian.com/world/2017/mar/01/left-afghanistan-family-of-nine-arrived-uk-family-of-two

Essay Research Suggestions 2

Max: I have been reading a short introduction to Foucault. It is relevant because we talk about control and disciplinary society in this class. Thought it would be handy to look at these in terms of passports. His life is very interesting he didn’t want to be tied down to one definition; opens up to reading F’s life from different perspectives. Archeologist of knowledge. Rather than looking at what a work says and placing it in its context you situate it in its time in order to understand the concepts. [discourse] The technology of language, interpreting it in our time in terms of just the words of that are written […unpack]. This is interesting in relation to the mobility and passport project; identity, classification; Historical thing:

What have you done since last time?

Text: reading F Book, also had a follow up group meeting. Would like to finish the book, re-read it; go back to the history of passports and visas. Take it from a personal place, where I am allowed passage within the work; for my family down 3 generations; to map out their journey. At the time; my gp’s movement during the war; and my greatgarnadp’s escaped the Russian revolution. Seeing what it would have been like for my grandfather to change his nationality. [Karina] You could update this […] in Holland… Where will you be: writing something down: questions I want to address.

Outside:

coding and playing music: both with varying degrees of success. Hopefully with the sound project. Euclidian time – translated into 1 & 0s [explains]. Then you play it like . Euclidian rhythms are currently popular and from these patterns you get polyrhythms, which come from human culture. One can generate African rhythms, for instance. This could be (possibly) performed for DePlayer project. Like the idea of improvising music, to make the score in parallel or after the fact. 

CONTROL and DISCIPLINE SOCIETY : https://libcom.org/library/postscript-on-the-societies-of-control-gilles-deleuze

Essay Research Suggestions 1

https://pad.bleu255.com/p/rwrm_notes_06-01-17

started of with passports and identity evolved into idea of national identity, mobility institutionalised

Passports, indentity which evolved into the idea of national identity, mobility,

need to find history of passports phylosophy of identity. movement through World of the family. Political environment.

need to look at a personal point of view look at family and their movement

what information is needed case study on 'nationally diverse' family

where do you come from? is it relevant to make that destinction?

Trump Tolling http://everysecondcounts.eu/

Taiye Selasi: Don't ask where I'm from, ask where I'm a local https://www.ted.com/talks/taiye_selasi_don_t_ask_where_i_m_from_ask_where_i_m_a_local?utm_source=tedcomshare&utm_medium=referral&utm_campaign=tedspread

dna test momondo https://www.momondo.nl/letsopenourworld/ Is your DNA a more genuine distinction of your "nationalities". Is ethnicity related to nationality. Is culture related to nationality?

Ethnocentrism

Overview Effect - seeing the world from outer space https://vimeo.com/55073825

The Space Between Us http://www.imdb.com/title/tt3922818/

Why a passport identity exists? which are the reasons they exists? do they identify us?

Can you look at yourself / your personality and find something 'typically' Australian, South African, Belgian? How family culture can get into your identity?

Italian travelled to Argentina. He felt at home there because of similar culture (many Italians there)

What defines a culture?

Language How does language shape cultural identity? It's also a specific tool. In some countries it's easier to explain food, weather, nature, technology

What was the reason we started having passports? History of passports

History of the visa - started in 1958

Costs of visas Compare difficulties / process of getting a visa Look into reasons why you do / do not need a visa Poland doesn't need a visa to China because they think Poland is still communistic

Immigration and Naturalisation Service (IND) https://ind.nl

Facebook Tracking

http://dataselfie.it/#/

2016

Essay

Essay : The Silver Bullet

Reading Notes

Collection of notes on things I'm reading/read.

Citizen Lobby : Olsen

Vilém FLUSSER

Talking at the Osnabrück, European Media Art Festival, 1988

POST-HISTORICAL STRUCTURAL TRADITION

Our current form of literacy is no longer sufficient to communicate current concepts concerning our world. To more precisely reflect on our world we are not solely able to explain it with language, neither written or spoken. To understand the world, we are no longer able to rely solely on words, it is necessary to calculate the world.

Vilém Flusser suggests that the only way we are able to reflect on our current existence is through synthetic images. He describes the language of science and mathematics is a visual language of thought through numbers, giving the example of the number two as the representation of a couple or pair. From this he goes on to suggest that the most appropriate tool to facilitate this realisation of synthetic images is through computing. At the time of this interview Flusser claimed that he had not yet seen any examples of this and suggests that we do not know how to yet manipulate the technology.

Flusser explains that before the alphabet images were used to represent the world. Images served to represent non linear mythical thought, a projection of understanding upon the world tied into past present and future. At the invention of the alphabet this non-linear representation of the world gave way to a linear, historically causal and critical method. Now linear, historical thought has been disrupted by a calculative method of thinking, which Flusser likes to call a systemic or structural way of thinking.

Our current revolution can be likened to the revolution that gave us the origin to history. One that returns to a non-linear, image based narrative, that likens to a pre-historical way of thinking. We are now in the process of developing a post-historical structural way of thinking.

Historically the philosophy of image cast a mostly negative opinion of 'the image'. Greek and Jewish (Christian) philosophy and thought considered images either only a copy or simulation of thought and so we have been conditioned to distrust images. However now images should be considered articulations of thought, not mere copies by projection or models. Flusser calls for a new conversation around images.

STRUCTURAL v FUNCTIONAL COMPLEXITY

Systems can be considered complex in 2 ways. Systems with structural complexity and systems with functional complexity. Structurally complex systems are ones that are complex in their construction, or operation but not in their interaction or output. Functionally complex systems are systems can be used in many different ways or has a functional nuance without necessarily being structurally complex.

Flusser gives the comparison between TV (structurally complex) and Chess (functionally complex). The television a technologically complex electronic device that decodes data into visual moving image and sound that is broadcast live to the viewer, is very simple to interact with or manipulate within its set parameters. Chess, a game made up of solely physical objects can be played 100 different ways and have many different outcomes.

As things are being designed more structurally complex without being necessarily functionally complex leads us to become intellectually, aesthetically and ethical less active or even able. It is Flussers analysis that it is not the fault of the systems themselves, but rather the responsibility on the users of the systems to find functional complexity in structurally complex systems.

The importance in doing this is because functionally complex systems encourage creative thought (arguably a calculative way to look at our world) whereas structurally complex systems currently allow us to stagnate in thought.

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