Thursday 31-01: Protocols

30s_womens_etiquette_8
Ce jeudi, nous commençons avec une conférence sur les différents protocoles conditionnent The Networked Social; une performance d’une heure entre Barcelone et Bruxelles. How to greet, TCP/IP, The Internet as a network of networks, Skype vs. Microsoft and The politics of protocols in Net Neutrality.

Ensuite, un atelier autour le Hypertext Transfer Protocol (http), avec Wendy Van Wynsberghe. Be ready to perform your favourite status code.

Wendy est membre de Constant, elle est curieuse de tout sorte de matière électronique, le textile, le son, open hardware, en utilisant uniquement des logiciels libres.

Adresse: Constant Variable, Rue Gallaitstraat 80 (Schaerbeek)
Tram 94 (stop: Liedts; 25 min. de Louise)
http://variable.constantvzw.org/define/index.php/Route

La session va commencer a 9h précis et va exceptionnellement durée jusqu’à 13:00. Make sure you arrive on time; coffee will be served.

A Look Inside

Heath Bunting, The Status project (2008)

Heath Bunting, The Status project (2008)

Ultrasonic, Wendy Van Wynsberghe (2010)

Ultrasonic, Wendy Van Wynsberghe (2011)

A Look Inside (“The Art of Surveillance”)
22-O1-2013 > 03-02-2013 @ De Markten | Oude Graanmarkt 5, Brussel
Open from Tue > Su: 12:00 > 18:00

With: Stanza (GB), Sylvain Vriens (NL), Manu Luksh (GB), Front404 (NL), Bureau d’Etudes (FR), Heath Bunting (GB), Ief Spincemaille (BE), Bart Dewolf (BE), Wendy Van Weynsberghe (BE), Briko2K (BE), Dawamesk, (BE), Alex Mayo & Robotic Works (BE), Bob De Groof (BE), Heardryers (BE) and BRTNY (BE).

Networked Social Cinema: Program

Hippies from hell (Ine Poppe, 2002) 19:26-23:25
Hippies from Hell are a group of hackers, techies, artists, writers and puzzlers. In the eighties they published hacker magazine Hacktic and in 1993 they started the first Dutch Internet-provider, xs4all, thus opening the Internet for the general public. Apart from this they throw wild parties and organize open-air hacker festivals, using the Internet as their social platform. On their mailing list they discuss almost every aspect of our technology infested society. The Dutch hackers, as the hippies were called initially, are a special group within the international hacker movement, which they helped create for a large part.
In the film artists play with hardware, young hippies hack their school-calculators, lock pickers open locks without a key: hacking is not just fooling around with technology, it is an attitude, an activity, a verb.

North By North West (Alfred Hitchcock, 1959)

Vital Statistics of a Citizen, Simply Obtained (Martha Rosler, 1977) 18:03-40:06
This chilling tape, “operatically” conceived, but neither a musical nor a documentary, probes the objectification of women and others in a technological/bureaucratic society. At its core is a long, continuous shot that reveals the part-by-part measurement and evaluation of a woman by a white-coated male examiner and a chorus of three women assistants. How do we come to see ourselves as objects? How do fragmentation and comparison assist in social control? This ordeal of scrutiny thinly alludes to a monumentally protracted episode of Truth or Consequences. The final sequence presents re-framed government photos of women being measured, accompanied by a voiceover litany of “crimes against women.” Rosler’s distanced depiction of the systematic, institutionalized “science” of measurement and classification is meant to recall the oppressive tactics of the armed forces or concentration camps, and to underscore the internalization of standards that determine the meaning of women’s being.

Faceless (Manu Luksch, 2007) Trailer
In a society under the reformed ‘Real-Time’ Calendar, without history nor future, everybody is faceless. A woman panics when she wakes up one day with a face. With the help of the Spectral Children she slowly finds out more about the lost power and history of the human face and begins the search for its future. FACELESS was produced under the rules of the ‘Manifesto for CCTV Filmmakers’. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as the omnipresent existing video surveillance (CCTV) is already in operation. “RealTime orients the life of every citizen. Eating, resting, going to work, getting married – every act is tied to RealTime. And every act leaves a trace of data – a footprint in the snow of noise…”

My Fair Lady

I Love Alaska (Lernert Engelberts + Sander Plug, 2009) Episode 1 and 2
August 4, 2006, the personal search queries of 650,000 AOL (America Online) users accidentally ended up on the Internet, for all to see. These search queries were entered in AOL’s search engine over a three-month period. After three days AOL realized their blunder and removed the data from their site, but the sensitive private data had already leaked to several other sites. I love Alaska tells the story of one of those AOL users. We get to know a religious middle-aged woman from Houston, Texas, who spends her days at home behind her TV and computer. Her unique style of phrasing combined with her putting her ideas, convictions and obsessions into AOL’s search engine, turn her personal story into a disconcerting novel of sorts.

How I got Here

Dutch Design ’90s
Hard Werken, Jan van Toorn, Wild Plakken, Anthon Beeke
ver-med-005154-d

Net/trust
Alexei Shulgin: Refresh (1996)
http://redsun.cs.msu.su/wwwart/refresh.htm
http://www.nettime.org/Lists-Archives/nettime-l-9610/msg00000.html

De Geuzen
A foundation for multi-visual research
http://www.geuzen.org/current/DIY/accessories/research.html
http://www.geuzen.org/female_icons/?p=584

Piet Zwart Institute
Media Design = Networked Media?
http://pzwart.wdka.nl/media-design/ (off line!)
http://pzwart.wdka.nl/networked-media

Constant
http://constantvzw.org
Digitales 2003 @ Interface3
http://constantvzw.org/bending/Technobiographies/Track%206.wav

Angry Women (Annie Abrahams, 2011)
http://vimeo.com/33492100

“It really didn’t make any sense to cut into them, that would take away a very essential part: the process of dealing with this situation of No Exit, of voluntarily being trapped in a grid with 7 other ladies that one hardly knew. In the beginning I had difficulties accepting these videoarchives because I saw how much they depended on our hazardous trying to interact, to be present in this universe of alone togetherness. Besides I didn’t like my own presence. As in other webperformances I felt trapped and revealed myself not as I would have liked to be revealed. But now I begin to accept this (again) as its qualities and I do like the very different dynamics in the two versions. These performances raise many questions as for instance possible language and cultural differences, that I would like to explore further but for now I would first like to organise an Angry Men performance and I will try to improve the performance interface.” Annie Abrahams email 3/01/2012.

OSP
Open Source Designers meet Open Source Developers (since 2006)
http://osp.constantvzw.org/foundry/
http://libregraphicsmeeting.org/2013/
http://lgru.net

Git/SVN
Beautiful meritocracy: Code Swarm (Michael Ogawa, 2006)
http://vimeo.com/1093745
http://git.constantvzw.org vs http://ospwork.constantvzw.org

Who’s who
For Vlaams Theater instituut, with Michael Murtaugh
What counts as a relationship?
http://whoswho.vti.be/

Thursday 17-01: Networked Social Cinema

The introduction to The Networked Social continues on Thursday with an early-morning screening of artworks, videos and films. Some already listed here.

Vital Statistics of a Citizen, Simply Obtained (Martha Rosler, 1977)

Vital Statistics of a Citizen, Simply Obtained (Martha Rosler, 1977)

“My name is Barack Obama and I’m the guy who got Mark to wear a jacket and tie.”

“My name is Barack Obama and I’m the guy who got Mark to wear a jacket and tie.”

Faceless (Manu Luksch, 2007)

Faceless (Manu Luksch, 2007)