[NetBehaviour] 10 things this says about the world today

[James Morris]

aHR0cHM6Ly9pLmltZ3VyLmNvbS9oZkNxbHdRLnBuZw==
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[NetBehaviour] Rocky Mountain Juniper Music and Unrequited Video, 2019

[Alan Sondheim]

Happy Holidays!

- Alan


Rocky Mountain Juniper Music and Unrequited Video, 2019

http://www.alansondheim.org/quarantine.jpg into the past
http://www.alansondheim.org/juniper4.mp3 a short excursion
http://www.alansondheim.org/quarantine2.jpg and no way out


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Re: [NetBehaviour] practice-based PhD thesis in art: From interaction to post-participation: the disappearing role of the active participant

[marc.garrett via NetBehaviour]

Hi Varvara,

Much thanks for sharing to the list - will read ;-)

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On Wednesday, 26 December 2018 23:45, Varvara Guljajeva via NetBehaviour 
 wrote:

> Dear readers,
>
> I have recently successfully depended my PhD dissertation at Estonian Academy 
> of Arts and thought to share the digital version of it, since topic might be 
> interesting for this mailing list audience.
>
> Title: [From interaction to post-participation: the disappearing role of the 
> active 
> participant](https://eka.entu.ee/shared/429088/GsqzlotFPrFi1tdtAmVX1Wo8cxFWi4iQjntDJcO4n0mE5NAx8K8pef9V3AC9k3lB)
> Supervisors: dr Raivo Kelomees (Estonian Academy of Arts) and dr Pau Waelder 
> (The Open University of Catalonia)
>
> Pre-reviewers: Prof dr Christa Sommerer (Interface Cultures, The University 
> of Art and Design Linz) and Prof dr Moises Mañas Carbonell (Faculty of Fine 
> Arts, Polytechnic University of Valencia)
>
> Opponent: Prof dr Christa Sommerer (Interface Cultures, The University of Art 
> and Design Linz)
>
> The practice-based dissertation analyses and contextualises passive audience 
> interaction through the lens of post-participation. Research explores the 
> shift from active to passive participation in interactive art. By exploring 
> interactive art history and the discourse of identity within the field, this 
> dissertation investigates how artworks that demonstrate no audience 
> involvement, but still incorporate an internal system interaction with a data 
> source, are addressed. In other words, the research tracks down the interest 
> shift from human-machine to system-to-system interaction, and explores the 
> reasons behind this.
>
> In this thesis, a differentiation is made between direct and indirect 
> post-participation. Hence, the selected artworks are analysed from the 
> perspective of concept, direct or indirect post-participation components, and 
> realisation. In addition, related artworks by other artists are introduced 
> and discussed under each subcategory of post-participation.
>
> In the end, the dissertation contributes to the evolution of interactive art, 
> by analysing and contextualising passive audience participation in the form 
> of post-participation. Author argues that the concept of post-participation 
> helps to address the shift from an active to a passive spectator in the 
> complex age of dataveillance, an age in which humans are continuously 
> tracked, traced, monitored and surveilled without our consent.
>
> Please find the PhD thesis 
> [here](https://eka.entu.ee/shared/429088/GsqzlotFPrFi1tdtAmVX1Wo8cxFWi4iQjntDJcO4n0mE5NAx8K8pef9V3AC9k3lB).
>
> best regards,
>
> Varvara Guljajeva, PhD___
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Re: [NetBehaviour] soon post-2018 participation

[Ruth Catlow via NetBehaviour]

Thanks for sharing your work with us Varvara.

I love that you are furious Michael.

And this post made me think all kinds of things.

One of which is just how much the people subscribed to this email
discussion list - real and imagined - influence my thinking by the things
they do AND don't do.

This list operates as a clearing in the woodlands of my mind. And my eye is
always half on it.

It contains the memories of many gatherings and co-creative happenings, and
it may again.

I have all kinds of feelings about the overtaking of our common spaces...

Let's make new ones and better protect them.

Happy Auld Year

See you on the other side ✨

Ruth

On Mon, Dec 31, 2018 at 10:16 AM Michael Szpakowski 
wrote:

> Yes again without the benefit of actually having *looked* at the thesis (
> sorry) this I know. Once upon a time I (and a lot of other people) made
> online artworks that were interactive in sometimes quite interesting ways
> or, in my case, generative. Very few of these now work because the software
> used to realise them posed a threat to the net’s principle current uses of
> selling stuff and harvesting data the better to sell stuff. I don’t
> particularly feel I want to reflect on this in a neutral , academic,  way
> as if it’s simply a given. I feel furious and cheated - as with so many
> features of today’s world human values are made subordinate to capital. I’m
> with Marx... ‘the point is to change it’ . HNY to all! michael
> Sent from Yahoo Mail for iPhone 
>
> On Sunday, December 30, 2018, 8:05 pm, Edward Picot via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
> Johannes and Varvara,
>
> I've only glanced through the thesis, and I must admit that my first
> reaction to the term 'post-participation' was rather a world-weary one.
> 'Oh, here we go, another one of these coinages'. But actually, I think it's
> quite a useful term: from what I can gather, Varvara uses it to suggest the
> involuntary participation in 'metadata aggregation' and 'datavaillance' to
> which we are all now subject after our voluntary interactions have taken
> place. You buy something on Amazon, or post something on Facebook, or make
> some searches on Google - that's the voluntary bit - but after you've
> completed those actions and forgotten about them, the information-traces
> you leave behind are still being harvested, manipulated and reused in the
> post-participation zone of the technosphere. And Varvara's thesis, as far
> as I can make out, is attempting to show the ways in which digital art is
> beginning to engage with/mimic those automated procedures.
>
> Edward
>
> On 30/12/2018 17:50, Johannes Birringer wrote:
>
> Greetings, and best wishes for a creative
> and hopefully peaceful year to you all out there;
>
>
> and thanks Varvara for sharing with us your interesting research,
> i have not been able to read anything yet from your thesis
> but wondered whether these terms now used, or proposed,
> post-digital, or post-participatory, are helpful, or in what sense they
> are helpful or possibly politically misleading, since one might argue we 
> neither live
> in a post digital era nor do not 'participate' any longer or have any
> impact or feedback energy regarding anything (system-to-system interaction 
> only?) -
> technical and political control system can certainly be interfered with, have 
> you
> watched the gilet jaunes in France?  Perhaps you only address interactive 
> art, but
> even there I wonder whether you would go as far as considering human 
> relations to
> AI or machinic systems as being without any consequences?
>
> with regards
> Johannes Birringer
>
> 
>
> Dear readers,
>
> I have recently successfully depended my PhD dissertation at Estonian Academy 
> of Arts and thought to share the digital version of it, since topic might be 
> interesting for this mailing list audience.
>
> Title: From interaction to post-participation: the disappearing role of the 
> active 
> participant
>  
> 
> Supervisors: dr Raivo Kelomees (Estonian Academy of Arts) and dr Pau Waelder 
> (The Open University of Catalonia)
>
> Pre-reviewers: Prof dr Christa Sommerer (Interface Cultures, The University 
> of Art and Design Linz) and Prof dr Moises Mañas Carbonell (Faculty of Fine 
> Arts, Polytechnic University of Valencia)
>
> Opponent: Prof dr Christa Sommerer (Interface Cultures, The University of Art 
> and Design Linz)
>
> The practice-based dissertation analyses and contextualises passive audience 
> interaction through the lens of post-participation. Research explores the 
> shift from active to passive participation in interactive art. By exploring 
> interactive art history and the discourse of identity within the field, this 

Re: [NetBehaviour] soon post-2018 participation

[Michael Szpakowski]

* principal :)

  From: Michael Szpakowski 
 To: NetBehaviour for networked distributed creativity 
 
Cc: Edward Picot 
 Sent: Monday, December 31, 2018 10:16 AM
 Subject: Re: [NetBehaviour] soon post-2018 participation
   
Yes again without the benefit of actually having *looked* at the thesis ( 
sorry) this I know. Once upon a time I (and a lot of other people) made online 
artworks that were interactive in sometimes quite interesting ways or, in my 
case, generative. Very few of these now work because the software used to 
realise them posed a threat to the net’s principle current uses of selling 
stuff and harvesting data the better to sell stuff. I don’t particularly feel I 
want to reflect on this in a neutral , academic,  way as if it’s simply a 
given. I feel furious and cheated - as with so many features of today’s world 
human values are made subordinate to capital. I’m with Marx... ‘the point is to 
change it’ . HNY to all! michael 
Sent from Yahoo Mail for iPhone

On Sunday, December 30, 2018, 8:05 pm, Edward Picot via NetBehaviour 
 wrote:
 Johannes and Varvara, 
  I've only glanced through the thesis, and I must admit that my first reaction 
to the term 'post-participation' was rather a world-weary one. 'Oh, here we go, 
another one of these coinages'. But actually, I think it's quite a useful term: 
from what I can gather, Varvara uses it to suggest the involuntary 
participation in 'metadata aggregation' and 'datavaillance' to which we are all 
now subject after our voluntary interactions have taken place. You buy 
something on Amazon, or post something on Facebook, or make some searches on 
Google - that's the voluntary bit - but after you've completed those actions 
and forgotten about them, the information-traces you leave behind are still 
being harvested, manipulated and reused in the post-participation zone of the 
technosphere. And Varvara's thesis, as far as I can make out, is attempting to 
show the ways in which digital art is beginning to engage with/mimic those 
automated procedures. 
  Edward
  
  On 30/12/2018 17:50, Johannes Birringer wrote:
  
 Greetings, and best wishes for a creative
and hopefully peaceful year to you all out there;


and thanks Varvara for sharing with us your interesting research,
i have not been able to read anything yet from your thesis
but wondered whether these terms now used, or proposed,
post-digital, or post-participatory, are helpful, or in what sense they
are helpful or possibly politically misleading, since one might argue we 
neither live
in a post digital era nor do not 'participate' any longer or have any
impact or feedback energy regarding anything (system-to-system interaction 
only?) -
technical and political control system can certainly be interfered with, have 
you
watched the gilet jaunes in France?  Perhaps you only address interactive art, 
but
even there I wonder whether you would go as far as considering human relations 
to
AI or machinic systems as being without any consequences?

with regards
Johannes Birringer



Dear readers,

I have recently successfully depended my PhD dissertation at Estonian Academy 
of Arts and thought to share the digital version of it, since topic might be 
interesting for this mailing list audience.

Title: From interaction to post-participation: the disappearing role of the 
active 
participant
Supervisors: dr Raivo Kelomees (Estonian Academy of Arts) and dr Pau Waelder 
(The Open University of Catalonia)

Pre-reviewers: Prof dr Christa Sommerer (Interface Cultures, The University of 
Art and Design Linz) and Prof dr Moises Mañas Carbonell (Faculty of Fine Arts, 
Polytechnic University of Valencia)

Opponent: Prof dr Christa Sommerer (Interface Cultures, The University of Art 
and Design Linz)

The practice-based dissertation analyses and contextualises passive audience 
interaction through the lens of post-participation. Research explores the shift 
from active to passive participation in interactive art. By exploring 
interactive art history and the discourse of identity within the field, this 
dissertation investigates how artworks that demonstrate no audience 
involvement, but still incorporate an internal system interaction with a data 
source, are addressed. In other words, the research tracks down the interest 
shift from human-machine to system-to-system interaction, and explores the 
reasons behind this.

In this thesis, a differentiation is made between direct and indirect 
post-participation. Hence, the selected artworks are analysed from the 
perspective of concept, direct or indirect post-participation components, and 
realisation. In addition, related artworks by other artists are introduced and 
discussed under each subcategory of post-participation.

In the end, the dissertation contributes to the evolution of interactive art, 
by analysing and 

Re: [NetBehaviour] soon post-2018 participation

[Michael Szpakowski]

Yes again without the benefit of actually having *looked* at the thesis ( 
sorry) this I know. Once upon a time I (and a lot of other people) made online 
artworks that were interactive in sometimes quite interesting ways or, in my 
case, generative. Very few of these now work because the software used to 
realise them posed a threat to the net’s principle current uses of selling 
stuff and harvesting data the better to sell stuff. I don’t particularly feel I 
want to reflect on this in a neutral , academic,  way as if it’s simply a 
given. I feel furious and cheated - as with so many features of today’s world 
human values are made subordinate to capital. I’m with Marx... ‘the point is to 
change it’ . HNY to all! michael 
Sent from Yahoo Mail for iPhone


On Sunday, December 30, 2018, 8:05 pm, Edward Picot via NetBehaviour 
 wrote:

 Johannes and Varvara, 
  I've only glanced through the thesis, and I must admit that my first reaction 
to the term 'post-participation' was rather a world-weary one. 'Oh, here we go, 
another one of these coinages'. But actually, I think it's quite a useful term: 
from what I can gather, Varvara uses it to suggest the involuntary 
participation in 'metadata aggregation' and 'datavaillance' to which we are all 
now subject after our voluntary interactions have taken place. You buy 
something on Amazon, or post something on Facebook, or make some searches on 
Google - that's the voluntary bit - but after you've completed those actions 
and forgotten about them, the information-traces you leave behind are still 
being harvested, manipulated and reused in the post-participation zone of the 
technosphere. And Varvara's thesis, as far as I can make out, is attempting to 
show the ways in which digital art is beginning to engage with/mimic those 
automated procedures. 
  Edward
  
  On 30/12/2018 17:50, Johannes Birringer wrote:
  
 Greetings, and best wishes for a creative
and hopefully peaceful year to you all out there;


and thanks Varvara for sharing with us your interesting research,
i have not been able to read anything yet from your thesis
but wondered whether these terms now used, or proposed,
post-digital, or post-participatory, are helpful, or in what sense they
are helpful or possibly politically misleading, since one might argue we 
neither live
in a post digital era nor do not 'participate' any longer or have any
impact or feedback energy regarding anything (system-to-system interaction 
only?) -
technical and political control system can certainly be interfered with, have 
you
watched the gilet jaunes in France?  Perhaps you only address interactive art, 
but
even there I wonder whether you would go as far as considering human relations 
to
AI or machinic systems as being without any consequences?

with regards
Johannes Birringer



Dear readers,

I have recently successfully depended my PhD dissertation at Estonian Academy 
of Arts and thought to share the digital version of it, since topic might be 
interesting for this mailing list audience.

Title: From interaction to post-participation: the disappearing role of the 
active 
participant
Supervisors: dr Raivo Kelomees (Estonian Academy of Arts) and dr Pau Waelder 
(The Open University of Catalonia)

Pre-reviewers: Prof dr Christa Sommerer (Interface Cultures, The University of 
Art and Design Linz) and Prof dr Moises Mañas Carbonell (Faculty of Fine Arts, 
Polytechnic University of Valencia)

Opponent: Prof dr Christa Sommerer (Interface Cultures, The University of Art 
and Design Linz)

The practice-based dissertation analyses and contextualises passive audience 
interaction through the lens of post-participation. Research explores the shift 
from active to passive participation in interactive art. By exploring 
interactive art history and the discourse of identity within the field, this 
dissertation investigates how artworks that demonstrate no audience 
involvement, but still incorporate an internal system interaction with a data 
source, are addressed. In other words, the research tracks down the interest 
shift from human-machine to system-to-system interaction, and explores the 
reasons behind this.

In this thesis, a differentiation is made between direct and indirect 
post-participation. Hence, the selected artworks are analysed from the 
perspective of concept, direct or indirect post-participation components, and 
realisation. In addition, related artworks by other artists are introduced and 
discussed under each subcategory of post-participation.

In the end, the dissertation contributes to the evolution of interactive art, 
by analysing and contextualising passive audience participation in the form of 
post-participation. Author argues that the concept of post-participation helps 
to address the shift from an active to a passive spectator in the complex age 
of d