Art and technology

If the 21st century is to understood in terms of the proliferation of interface and image exchange platforms and if predominate forms of media only attempt to reconcile and navigate these technologies, theoretical examinations of these platforms aimed at understanding their aesthetics and effects have become imperative. Utilizing an understanding of cognitive technology from Marcelo Dascal, understandings of networks, protocol and control developed by Alexander R Galloway, and a theory of modern technogenesis by Katherine Hayles, this paper maps out emerging aesthetic forms in art and visual production as a result of the preponderance of computer interface in contemporary modes of communication. It examines the function and form of hypertext and protocol as they relate to visual culture. This work examines film and other visual forms with an eye to cognitive development in order to uncover the visual manifestation of networks as well as the systems of control that are embedded within.

This course surveys the development of theater architectures, stage spaces and technologies from the ancient world through the 21 st century. The course satisfies the interdisciplinary college option. The survey will be contextualized in terms of prevailing social conditions and performance styles.

This thesis studies a specific relationship between matter and form which can no longer be related to stability, solidity and objectuality, as it has been traditionally interpreted. To this aim, it firstly explores the plurivocity in the concepts of 'matter' and 'artistic material'; and secondly it examines a case study about water as a material presence in contemporary art. Over the course of the study, certain issues arise, such as the problematic use of notions like form, information and memory in the specific context of the artwork .

The  methodological lines of this thesis are an alternative approach to the artwork technical and material system, this understood as a synergistic and complex structure of symbolic, technological and imaginative relations. This methodology focuses on the evolution of the technical and technological thinking in the 20th century, establishing the connection between past and current uses of media and materials. Based on the principle of transversality, this study contributes to the expansion of the Third Culture by visualizing the dialogical relationship between art, science, technology and aesthetics. Thus, its starting point is the states of water (solid, liquid, and gas) as well as the technical and conceptual operations associated with this specific material. A selection of 258 artists or working groups and more than 500 works have been gathered along diverse actional and conceptual tendencies of water in its three states.

Archeology, technological thinking, anthropology, and material imagination are the key epistemological elements used to reflect on the encounter between the so-called traditional art mediums and new media in the 20th century —or from a broader perspective, between both the deterministic-mechanistic and the systemic-cybernetic currents of thought. In this context, water provides a paradoxical and exemplary temporal connectivity.

Resumen
La presente investigación tiene por objeto definir una zona muy poco tratada dentro de la historia del arte, en la que la relación entre materia y forma deja de poder aprehenderse como un fenómeno vinculado a los sentidos de estabilidad, solidez y objetualidad tal como se ha interpretado tradicionalmente. Para ello explora la plurivocidad de los sentidos de `materia´ y `material artístico´, confrontando esta perspectiva con el estudio del agua como presencia material en el arte contemporáneo, de lo que se derivan una serie de problemáticas respecto a los conceptos de forma, información, y por extensión memoria de la obra de arte.

Paralelamente se dibujan las líneas metodológicas de la semántica material como alternativa de aproximación al sistema técnico-material de la obra de arte, entendiendo éste como una estructura sinérgica y compleja de relaciones simbólicas, tecnológicas e imaginativas. La metodología propuesta pretende incidir en la evolución del pensamiento técnico y tecnológico del siglo XX, estableciendo puntos de conexión entre el uso actual de los medios y materiales artísticos, y sus antecedentes. Partiendo de la transversalidad, esta investigación se propone en última instancia contribuir a la expansión de la tercera cultura visibilizando las relaciones dialógicas entre creación artística, ciencia, tecnología y estética. Su puesta en práctica toma como punto de partida el agua en todos sus estados y las operaciones técnico-conceptuales asociadas a este material concreto. Una selección constituida por 258 artistas o grupos de trabajo y más de quinientas obras han sido recogidas en torno a las tendencias accionales y conceptuales del agua en sus estados sólido, líquido y gaseoso.

En definitiva, arqueología y antropología del pensamiento tecnológico e imaginación material son los elementos epistemológicos clave utilizados para reflexionar acerca de las cuestiones que definen el encuentro en el siglo XX entre los medios artísticos llamados tradicionales y los new media −o en un plano más amplio entre el pensamiento determinista-mecanicista y el sistémico-cibernético−, vehiculizadas por la paradójica conectividad temporal que ofrece el agua.

La investigación en el campo de las técnicas y materiales en el arte contemporáneo requiere la aplicación de nuevas metodologías transdisciplinares que permitan obtener una perspectiva renovada sobre los contenidos que entraña la amplia experimentación artística desarrollada en esta dirección durante el siglo  XX. El cambio de paradigma de la física y el progreso tecnológico han dado lugar a un caudal de nuevas narrativas posibles en las que se ha visto alterado profundamente el sentido tradicional de nociones como las de
materia
o
memoria
en el arte. La presencia material del agua en el arte de la segunda mitad del siglo  XX como objeto de estudio, nos permite proponer una metodología que revisa dichos conceptos a través del análisis de los planos imaginativo y técnico-operativo, así como afrontar los problemas que plantea a nivel teórico una estética de lo fluido.

Referencia completa:
MOÑIVAS, Esther. “Narrativas fluidas. El agua como presencia material en las artes plásticas contemporáneas” en: Dept. Història de l'Art i CEHA-Comité Español de Historiadores del Arte (coords.). CEHA, XVII Congrés Nacional d´História de l´art. Art i Memóri. [Actas]. Granada: Editorial Atrio, 2012, pp. 249-263.

This paper claims that the spirited debates about game narratives in the game industry and academia have not seen much progress due to their being too stuck in classical notions of narrative developed for non-ergodic media such as film or literature. The argument forwarded here is, therefore, that we need to reconceptualize our notion of narrative considerably in order for the concept to be productive in the context of games. This reconceptualization needs to take into account the cybernetic nature of games and thus factor in the experiential dimension of the human as well as the formal properties of the game.

The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are composite objects produced by painters and tailors with differing intents, skills and training. Iconographic specifications, regional and doctrinal differences in style, changes in form from harsh treatment and altered mountings all complicate the issue. 2008

Selon la perspective suivie dans cet ouvrage, le spectateur est actuellement en train d'acquérir de nouvelles capacités de suivi et d'absorption de l'image en mouvement. Depuis une quinzaine d'années, les créateurs de l'iconosphère avancent sur le chemin de la complexification et de la multiplication des moyens narratifs visuels. Cette démarche est préparée non seulement par des expérimentations artistiques historiques mais avant tout par l'accoutumance des populations urbanisées à l'immersion dans l'iconographie dynamique, par la prolifération des sources d'information imagée, par les pratiques interactives tels le zapping télévisuel, la consultation d'Internet, l'imagerie de la téléphonie mobile, ainsi que par la médiatisation iconique de la conduite de véhicules et d'engins. Ces nouvelles manières de consommer l'image et le son dynamisent les nouvelles créations multi-supports et feront bientôt disparaître la salle obscure à projection plate et unique ainsi que les appareils monoécraniques. Nous proposons dans cet ouvrage une étude bilingue franco-anglaise quasi-exhaustive du phénomène, ancrée dans l'épistémologie des sciences cognitives, apportant des éclaircissements théoriques conjugués aux analyses des oeuvres récentes et anciennes, et étayée par les considérations et les témoignages d'artistes.

After almost a decade of post-war reconstruction, from the 1950s to the early 1970s Italy went through a period of deep economic growth, usually referred to as the Italian economic miracle or boom, during which the country evolved from a relatively poor, rural nation to global industrial power. However, as it happened in many other western countries, what started out as a utopian phase of progress, turned out to be in fact a moment of drastic changes in human behavior and social life, brought by the mass migration from the countryside to metropolitan areas, the informatization of labor, the mass diffusion of television, and the birth of electronic culture. The countercultural movement of the 1960s, as well as several avant-garde artists associated with the movements of Arte Povera and Radical Architecture, exposed the dystopian consequences of the economic boom. Seen in retrospect, what was at stake for them was that electronic technology was eliciting the automation of life.

This paper aims to explore the ambiguous technophilic dimension that surrounded electronic technology in Italy during the 1960s, as it emerged from two cinematic works that epitomized two antithetical positions: Elea Classe 9000 (1960) directed by Nelo Risi and Supersurface: An Alternative Model for Life on the Earth (1972) by Superstudio. The former is a 32-minute 35 mm documentary produced by Italian typewriters and computers manufacturer Olivetti to promote the company’s early computer series Elea 9000 designed by visionary architect and designer Ettore Sottsass. Directed by Risi, the film featured illustrations by graphic designer Giovanni Pintori and a soundtrack by experimental composer Luciano Berio, renowned pioneer of electronic music. The latter is a 10-minute 35 mm film by Florence-based Radical Architecture collective Superstudio on the occasion of their participation in the landmark exhibition Italy: the New Domestic Landscape, curated by Emilio Ambasz at the Museum of Modern Art in New York in 1972.

O Encontro DAT – Design, Arte e Tecnologia, do Programa de Pós-Graduação em Design toda Universidade Anhembi Morumbi (UAM), tem por meta reunir pensadores de universidades nacionais e internacionais com
foco específico nos setores culturais e tecnológicos criativos que desenvolvam pesquisas, projetos, ideias, inovação e atividades empreendedoras. Explora o potencial de diluir as fronteiras entre design, arte
e tecnologia com referência específica para discutir a criatividade em design e tecnologia – examinando como a tecnologia digital é abordada pelos artistas e designers. O encontro busca também contribuir com discussões e
reflexões sobre como o Design e a Arte moldaram e moldam os valores, as estruturas sociais, as comunicações, o pensamento e a cultura. Envolve designers e artistas com seus trabalhos criativos, teóricos e práticos, para que apresentem novas perspectivas e  permitam entender mais sobre suas habilidades, processos, motivações e relacionamento com o mundo,
considerando a diversidade e a interdisciplinaridade destes trabalhos.

zeszyty artystyczne / nr 22 do robotów, jak i ich projektowaniem. Robotyzacja przestrzeni społecznej stanowi zatem wyzwanie zarówno dla technonauki i sztuki -jako dwóch dyscyplin, które dysponują narzędziami, by poprzez projektowanie na nie twórczo odpowiedzieć, dostarczając narzędzi nie tylko do realizacji technologicznej -ale także praktyki społeczno-naukowo-artystycznej. Nauka w perspektywie projektowania robotów to technonauka 2 -abstrahuję tutaj od robotyki teoretycznej jako teorii idealnie działających układów, które nie mogą zostać stworzone w laboratorium (robot jako idealna maszyna). Roboty społeczne (sociable robots) są tyle konkretne technologicznie, ile funkcjonujące społecznie na płaszczyźnie ideacyjnej. Właśnie na przecięciu tych dwóch tendencji krzyżują się dziedziny takie, jak sztuka i technonauka w ciągłej mediacji procesu projektowaniarobot społeczny jest zaprogramowany i zaprojektowany do podejmowania interakcji z człowiekiem 3 . Roboty wchodzą także do społeczeństwa jako protezy związków międzyludzkich. Jako przykład można wymienić roboty-opiekunów, roboty-gadżety, roboty-zwierzęta, wreszcie gadżety, które mają coraz więcej funkcji, takie jak na przykład roboty do przytulania (Sense-Roid). Większość robotów, których używamy, jest w jakimś sensie społeczna, nawet robot kuchenny bowiem posiada interfejs służący do interakcji z użytkownikiem, podobnie jak systemy sterowania domem -ze znajdującymi się w nim urządzeniami elektronicznymi. Robot przemysłowy może także pełnić funkcję społeczną jako element kognitywnego krajobrazu danej przestrzeni. Projektowanie robotów społecznych musi zatem sprostać wyzwaniu robotyzacji jako takiemu, wprowadzając roboty do przestrzeni społecznej.

La preocupación por la identidad cultural en el diálogoentre lo vernáculo y lo extranjerizante, lejos de seruna cuestión clausurada en los programas artísticose historiográficos del siglo XX, plantea desafíos quese renuevan en la agenda multiculturalista del arteglobal. El presente trabajo retoma esta problemáticapara el terreno, aún poco indagado, del arte low-tech.Como parte de una etapa de investigación todavíaexploratoria, se ensaya una estrategia de lecturaheterocrónica del campo, con el fin de rescataralgunas fibras temporales (vinculadas a un imaginariotécnico-científico local de larga data) que tienen elpotencial de organizar una perspectiva localizadadel fenómeno. El objetivo es ampliar el horizontedesviacional con el que generalmente se caracterizanlas estrategias estéticas low-tech, para descubrir enellas la presencia de memorias descentradas.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

"What is currently being done by art and design researchers and educators to engage learners in the pursuit of visual and media literacy? This paper looked specifically at visual arts education and related fields to determine what trends, motivations and criticisms exist  that either encourage or dissuade scholars from taking up or promoting visual literacy. Several prominent themes were found under the banner of ‘Visual Literacy’  that are discussed in detail; The Rise in Visual Information and Consumption, The Inseparability of Visual Literacy and Popular Visual Culture, The Importance of Learning to Deconstruct our Visual World and The Role of Technologies and New Media. The major themes are then followed by further discussion on The Benefits of Visual literacy as well as implications for future study.
"

My book, Digital Prohibition: Piracy and Authorship in New Media Art, was published by Continuum International Publishers (named the top academic press in Britain this year) in 2012. It starts from the premise that the new changes in copyright law are functioning as a new Prohibition, that is to say as something that it so unpopular, so untenable and so unenforceable that it is only a matter of time before public backlash destroys the current corporate monopoly on creativity. This is the first book to discuss the global politics of creative work and emergent models of authorship in a digital age. The book examines the creation of new media forms by artists and groups who use technology to challenge established models of creation. It starts from the premise that creativity is no longer a useful concept in an age of data glut and perfect copies; instead we must now think of creative practice as a kind of creative critique that repurposes existing materials in order to explore the nature of media and how they affect us. It does this through three different aesthetic approaches: interruption (stoppage and repetition), disturbance (critique and event), and capture/leakage (performance and documentation). The book is wide-ranging in its definition of authorship, exploring methods as diverse as sampling, mashups, hacktivism, machinima, social media, tactical media, productive mistranslation, and digital anthropophagy. It includes extensive research in Asia (Japan, Indonesia, Thailand, India, and especially China and Pakistan) to see how and what creative practices flourish when they are not fettered by copyright regulations.

This paper provides a conceptual augmentation of the notion of responsibility offered by Roth. This augmentation is predicated on the idea that Being is grounded in actions (or answerable deeds) that contribute to the unfolding collective sociocultural practices stretching from the past to the present and carrying the past in them while also incurring changes for the future. To advance this position, I consider a merger of Bakhtin's and Vygotsky's ideas that allows for a productive integration of the ethical (the 'ought') into the most basic description of human development and learning.

Caos->Sonoscop http://jmb.sonoscop.net Teleinformática, música y mentalidad creadora "What was the origin of radio? Of course it is not new. It existed long before it has invented. It existed whenever there were invisible voices: in the wind, in the thunder, in the dream. Listening back through history, we find that it was the original communication system by which the gods spoke to humanity." R. Murray Schafer Preguntarse acerca de la influencia que la tecnología pueda tener en la mentalidad de la creación implica preguntarse acerca del pasado y del futuro de la creación. No es posible separar el desarrollo tecnológico del desarrollo de la creación, porque tanto la tecnología como la creación son actividades que caracterizan marcadamente al ser humano. En cierta medida, todo hombre crea y usa para ello la tecnología que encuentra a su alcance, a veces incluso como una caja negra, sin comprenderla verdaderamente. Recursivamente, uno de los productos distinguidos del proceso de creación es la tecnología.

je voudrais montrer que cerre dernière -l-) est autant une pzmme de discorde que, du moins dans l'un des sens que I'on peut lui prêtet une forme particulière de discordance associée à une histoire, que cerre dernière soit effectivement vécue par un sujet, ou qu elle fasse l'objet d'une représentation fictionnelle donnant naissance à une expérience esthétique orientée vers un dénouement incertain. En fait, la première affirmation ne m'engage pas à grand-chose. Elle s'impose même comme une évidence si I'on considère la pluralité des sens qui s'attachent à la notion d'intrigue, du moins quand on s'autorise à regarder au-delà du consensus confortable et tromPeur qui risque toujours de s'établir à I'intérieur d'une communauté de chercheurs.

Kondor was an apostle of flying: a group of about hundred works in the oeuvre deals with a certain topic from the long history of flight and flying machines. From ornithopters, which imitated the flight of birds, and the figure of Louis Blériot, who was the first to cross the English Channel, to the landing on the Moon, he created a wide range of works that reflected on the beautiful and frightening idea of conquering gravity. The study argues that there were three substantially different approaches, and they can be mapped onto three roughly consequent periods of Kondor’s career: (1) Images of tradition: in the early period, flight was associated with mythological stories, the history of flight, and the history of art (for example, works related to Icarus, Leonardo, or Blériot). (2) Images of destruction: from around the mid-1960s, Kondor  began to depict horrifying accidents and frightening machines. In the second, middle phase of his art, destruction prevailed in flight-related themes. Not independently from his childhood experiences, these works are dominated by war catastrophes, flight accidents, and military aircraft. (3) Images of construction: in parallel with the rapid development of astronautics and airliner’s technology, the last phase of Kondor’s art became more constructive. He produced small airplane models, created photo series using these models, and illustrated science fiction. These artworks were influenced by the new, flight-related visual language found in contemporary popular media.

Q: Revolutionary ideas can be proposed through art and design. Compare and contrast two revolutionary creative works, one from the 20 th century and one from the 21 st century. How has the context contributed to the approach, medium and presentation of the works? " Art cannot change the world, but it can contribute to changing the consciousness and drives of the men and women who could, " states Marcuse (1977). A critique of revolutionary architectural design in both the Cold War and present day eras can be seen to reveal a homogenised thematic thread. This being that as technology continues to advance, our world becomes increasingly uninhabitable-an effect that may be felt both ecologically and existentially. The technological revolutions of the 20 th and 21 st centuries have greatly informed and influenced the approach, medium and presentation of art, and more specifically, architectural design. The 20 th century was an era of unprecedented technological expansion, and the effect of this cultural upheaval can be regarded as the catalyst for shifts in societal values and anxieties. The Viennese multidisciplinary group Haus Rucker Co. (1967-1992) were known for their pneumatic spatial forms that attempted to examine the contextual impact of nuclear warfare and the threat of imminent annihilation during the Cold War period.

Devices promising to manage stress, sleep disorders and give relief from “exhausting” daily life are nothing new. Pinhole glasses with black perforated lenses, also known as stenopeic glasses, have been sold since the1950s with claims to improve eyesight and“relax tired eyes.” More advanced devices entered the market following the growing amount of data and digitalization. […] But tools like these don’t belong exclusively to the realm of gadgetry. There is, in fact,a parallel history of devices designed to“relieve” overactive minds, a history made less of products than dystopian design projects, sound compositions, and multimedia environments conceived since the 1960s by artists and designers speculating on the lysergicproperties of technology.

Sgraffito as a decorative element of the exterior of 14th and 15th century Florentine buildings has long been known, although seldom granted much attention. The present dissertation, therefore, examines the phenomenon of sgraffito, a technique in which motifs are scratched into smoothened or whitewashed plaster. These decorations can be found as wall decorations on public and semi-public buildings, religious structures, and private dwellings. For the period in question 34 buildings with sgraffito decorations—preserved or otherwise accounted for—could be identified. They have been compiled into a catalogue of the objects under investigation in this study; their documentary value is assessed in a separate chapter. Since many of the sgraffito renderings have only been preserved fragmentarily, extensively restored, or reconstructed, the question of their testimonial value must be treated with caution. The chapter about the history of the technique explores its invention and further development. Scrutiny of the characteristics of the earliest known examples allows the origins of the sgraffito technique—unclear until today—to be traced back to stone work designs and masonry joints. Furthermore, the material suggests a dating of the adoption of grey coloring to the mid-quattrocento, connecting it with the design of the Palazzo Medici’s inner courtyard. The chapter on technology addresses how artists and artisans executed the decorations before and after the Palazzo Medici. Written sources and, most importantly, close study of the decorated objects are the foundation for a reconstruction of the technique in its different stages, taking materials, tools and the time taken to execute these steps into account. The fact that sgraffito decorations were used on both public and private buildings of importance suggests that they were intended to give the buildings a cachet of distinction. The chapter on the significance of sgraffito decorations examines which buildings were so decorated, and investigates who gave the work in commission and what their social standing was. The success of the inexpensive and uncomplicated wall decorations was owed above all to their inherent pictorial character, as the chapter Architektur/Bild argues on the basis of the first and simplest motif—the ashlar. The final chapter compiles examples of the technique’s dissemination from Florence. In particular Rome and Pienza, where many examples of sgraffito have survived, are key locations in this context.
Andreas Huth
Florentiner Sgraffito-Dekorationen des 14. und 15. Jahrhunderts Erfindung, Technologie, Bedeutung
Abstract (Deutsch)
Die vorliegende Arbeit untersucht mit den Florentiner Sgraffito-Dekorationen des 14. und 15. Jahrhunderts eine in der Forschung seit langem bekannte, aber wenig erforschte Form der Außengestaltung von Bauwerken. Mit Sgraffito wird eine Technik bezeichnet, bei der in die geglättete oder geweißte Oberfläche eines Putzes Motive eingeritzt werden. Sgraffito-Dekorationen sind an öffentlichen/halb-öffentlichen Bauwerken, Gebäuden in religiösem Kontext und privaten Wohnbauten zu finden. Für die Arbeit wurden für den Untersuchungszeitraum insgesamt 34 Bauwerke ermittelt und in einem Katalog erfasst. Die erhaltenen und nachweisbaren Sgraffito-Dekorationen bilden das Untersuchungsmaterial, dessen dokumentarischer Wert im einleitenden Kapitel diskutiert wird, da viele der Wandgestaltungen nur fragmentarisch, stark restauriert oder als Rekonstruktionen überliefert sind. Ein Kapitel zur Geschichte nimmt die Erfindung und die weitere Entwicklung der Technik in den Focus. Mit Blick auf die Charakteristika der frühesten bekannten Dekorationen wird die bislang unbekannte Herkunft der Sgraffito-Technik aus Formen der Mauerwerks- und Fugengestaltung erklärt. Darüber hinaus kann der Zeitpunkt der Einführung der Grau-Färbung auf Mitte des Quattrocento eingegrenzt und mit dem Innenhof des Palazzo Medici verbunden werden. Wie Handwerker und Künstler Sgraffito-Dekorationen vor und nach den Palazzo Medici ausführten, behandelt ein Kapitel zur Technologie. Auf Basis von schriftlichen Quellen, vor allem aber Beobachtungen an den Objekten wird hier die Technik in ihren Einzelschritten und unter Berücksichtigung der verwendeten Materialien und Werkzeuge sowie der Ausführungszeit rekonstruiert. Der Einsatz von Sgraffito-Dekorationen für bedeutende öffentliche und private Gebäude erlaubt die Annahme, dass es sich bei ihnen um eine besondere Form der Aus- und Kennzeichnung der Bauwerke handelt. Ein Kapitel zur Bedeutung der Sgraffito-Dekorationen fragt, welche Gebäude verziert wurden, wer die AuftraggeberInnen waren und welchen gesellschaftlichen Status sie besaßen. Der Erfolg der kostengünstigen und technisch wenig aufwändigen Wanddekoration verdankt sich vor allem ihrem bildlichen Charakter, wie das Kapitel ‚Architektur/Bild‘ anhand der Quaderung als dem ersten und einfachsten Motiv zu zeigen versucht. Das letzte Kapitel versammelt Beispiele für die von Florenz ausgehende Verbreitung der Sgraffito-Dekorationen. Hierbei kommt vor allem Rom und Pienza eine Schlüsselstellung zu, wo sich zudem zahlreiche Bauwerke mit Sgraffito-Gestaltungen erhalten haben.

"My inquiry will focus on an attempt to locate an ethos of music education. Because I acknowledge that the ethos of a society must logically precede a study of ethics (Ryan, 1972, p. 291, Miller, 1974, p. 309), and given the dramatic changes over the past 30 years in the ways that we create, record, store, access, and perform music, much of my exploration will be positioned in an examination of music and new digital media in the 21st century and how it is used by countless adolescents. Thus, in the development of my line of rhetoric I will (1) begin with basic Aristotelian (1984, 1999) notions of art making, artistic activity, and ethos, (2) discuss the relationship between téchne and technology, and (3) téchne and logo, (4) briefly describe the phenomenon of music making in the digitally enriched 21st century, (5) attempt to discover an ethos of music and music education in the 21st century, and (6) based on the possible discovery of an ethos, determine the ethical outcomes regarding curriculum and pedagogy in music education.

I argue that that the profession has not been responsible in the ways that we have constructed an ethos—any notion of ethos—over the past 80 years, in music education textbooks, music curricula, research, and position documents, and in the ways that we (re)present reasons for why music belongs in the schools. Our profession seems to be grasping at straws in our advocacy for ‘justification’ and ‘academic positioning,’ while we may merely need to identify the individuals and communities of people whose lives have been changed by their experiences with music and enlist them to help us (re)define and refine our role not only in education but in society. At best, we may have an ethos that is antiquated and not related to 21st century youth, and most catastrophically, no sensibility regarding the music identity of the majority of youth in digitally enabled nations. It seems that we possess no center, no unified voice, no sense of music of the 21st century, and no sense of “knowing our market” (see Rideout et al, 2010). We need to (re)elaborate what is perceived as ‘music activity,’ in and out of schools and in structured and unstructured learning situations (Gouzouasis & Bakan, 2011). Moreover, we are not speaking to the very people who can understand the need for music education in the schools—the youth of today, who will become the creators and consumers of music and policy makers of tomorrow. Thus, this paper questions how we can create an ethos of music education for our profession without including the individuals who are being ‘educated’ by our notions of music education—our youth themselves.
"

Trying to understand contemporary populism throughout the lens of Arendt can help us recognise general challenges of modern society that have not disappeared from the stage of post-war European and American history; yet, it would be a mistake to argue that the rise of right-wing populism is characterised by a ‘totalitarianisation’ of the polity. Rather, contemporary right-wing populism is reluctant towards totalitarian understandings while attempting to fit into the ideological hegemony of liberal democracy. Indeed, one might argue that right-wing populists attempt to ‘detotalitarianise’ liberal-democracy, e.g. make the liberal-democrat values flexible so to gain power readily.

The Pacific Northwest is home to a highly innovative, creative, and entrepreneurial community with unique requirements for educational resources, collaboration opportunities, and work and living spaces. In order to better understand this community of technology creatives at the intersection of art and technology we distributed a questionnaire, requesting information about current creative uses of technology, existing studio and work spaces, and preferences and needs to advance creative goals. We found that this community is largely comprised of individuals who had careers in technology, but were pursuing artistic interests. They were particularly interested in knowledge sharing and collaborative opportunities, with many expressing an interest in shared or membership based incubation spaces for access to other people. They reported that time was more a constraint than financial limitations. Based on our study results, we provide recommendations for the development of resources in the Pacific Northwest to help meet these needs.

This work deals with the use of self-player pianos - Class of automatic musical instruments - and their technical evolution and the acquis in perforated rolls of paper that containings the digital records for the instrument. Also evaluates the dimension of its use by composers and performers at the beginning of modernity and points to the musical preferences of pianists interpreters who can be seen from the cataloging of rolls for these instruments. Reinforces the conviction of relational intimacy between music and technology. [Text in Portuguese]

Bogdanov, “kurucu ve yaratıcı” bir evrensel bilim olarak önerdiği tektolojiyi dünya işçi sınıfının ve devrimin hizmetine sunmak istemiş, ama (kısa süren Proletkült ve erken Sovyet avangardı deneyleri sayılmazsa) teorilerinin pratiğe geçtiğini görememişti. Wiener ise komünizmi demokratik toplum karşısındaki en büyük iki tehditten biri olarak görüyordu; hevesle benimsenip uygulanan “hümanist” bilimi de, sonradan kendisinin tüm engelleme girişimlerine rağmen, verdiği isme yaraşır bir seyir izleyecekti – kybernētēs: yöneten.

O presente estudo trata da contemporânea discussão a
respeito do status de arte concedido a jogos eletrônicos
(para todos os efeitos tratados neste trabalho como games) no âmbito da crítica de arte, especialmente a partir da aquisição de 14 games para o acervo do MoMA de Nova York. Pretende elencar uma série de argumentos utilizados por ambas as correntes do debate e, a partir disto, contribuir para o embasamento da reflexão a respeito do tema. Além disso, apresenta casos de games que subvertem as definições cunhadas para o termo, tanto sob o título de
gameart quanto em títulos comerciais.

"Excerpt from the Introduction:

Tech-noir films are about technology perceived as a destructive and dystopian force that threatens every aspect of our reality. They often expose the temporal nature of concepts of identity and society: rather than being fixed aspects of a permanent and indestructible “nature,” these concepts, like nature itself, are shown as mere parts of a larger simulacrum that is subject to change, exploitation, and even annihilation. Yet, even as tech-noir films present the mirror that reveals us to be as expendable and replaceable as any consumer product, they simultaneously affirm conventional beliefs and values – as do all popular genres."

This book focuses on the artistic process, creativity and collaboration, and personal approaches to creation and ideation, in making digital and electronic technology-based art. Less interested in the outcome itself – the artefact, artwork or performance – contributors instead highlight the emotional, intellectual, intuitive, instinctive and step-by-step creation dimensions. They aim to shine a light on digital and electronic art practice, involving coding, electronic gadgetry and technology mixed with other forms of more established media, to uncover the practice-as-research processes required, as well as the collaborative aspects of art and technology practice.

This is a preview of the book including the first chapter.

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