Re: [NetBehaviour] OOQ – Object-Oriented-Questions.

[Yann Le Guennec]

very confusing...

about the relation (or not) between Object Oriented Philosophy & Object 
Oriented Programming

http://www.bogost.com/blog/objectoriented_p.shtml





Le 30/12/2011 18:50, Rob Myers a écrit :
> On 30/12/11 17:10, Simon Biggs wrote:
>> The programming dimension seems to be at the heart of the argument.
>
> There are various different versions of OOP:
>
> https://en.wikipedia.org/wiki/Object-oriented_programming
>
> In particular, multimethod-based OOP doesn't require that objects own or
> contain the actions that can be performed upon them:
>
> https://en.wikipedia.org/wiki/Multimethod
>
> And there are more modern programming paradigms than OOP:
>
> https://en.wikipedia.org/wiki/Programming_paradigms
>
> OOP is certainly still current in programming, but there are other
> programming paradigms that mesh better with the philosophy of
> mathematics at least.
>
> - Rob.
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Re: [NetBehaviour] OOQ – Object-Oriented-Questions.

[Yann Le Guennec]

hello,

yep, not sure OOP¨has something to do with OOP




“Object-Oriented Philosophy”

This term is my own coinage, dating to 1999. (If anyone used the phrase 
earlier than that, I was unaware of it but would be happy to credit it 
if it is brought to my attention.)

(...)

In short, object-oriented philosophy involves a fairly general set of 
minimal standards that leaves a good bit of room for personal variation. 
You can agree with Whitehead rather than me and still be an 
object-oriented philosopher. My own version has not just one, but two 
basic principles:

1. Individual entities of various different scales (not just tiny quarks 
and electrons) are the ultimate stuff of the cosmos.

2. These entities are never exhausted by any of their relations or even 
by their sum of all possible relations. Objects withdraw from relation.




http://doctorzamalek2.wordpress.com/2010/07/23/brief-srooo-tutorial/





Le 30/12/2011 13:31, Simon Biggs a écrit :
> People are not black-boxes. We are not simple (or even complex)
> instances of a class of some kind. OOP's is a very powerful means for
> creating meaning and action in machines and artificial systems but as
> a metaphor for human beingness it seems too neat to account for the
> complexity and multi-valent connectivity that exists between us. We
> are messy creatures without clear boundaries to individuate us. Our
> definition is probably less about things (or objects) than dynamic
> relations as flux.
>
> best
>
> Simon
>
>
> On 30 Dec 2011, at 12:12, Richard Wright wrote:
>
>> "Things, not Objects" - Bruno Latour
>>
>>
>>
>>>
>>> From: marc garrett Date: 29
>>> December 2011 12:08:56 GMT To: NetBehaviour for networked
>>> distributed creativity Subject:
>>> [NetBehaviour] OOQ – Object-Oriented-Questions. Reply-To:
>>> NetBehaviour for networked distributed
>>> creativity
>>>
>>>
>>> OOQ – Object-Oriented-Questions.
>>>
>>> Jussi Parikka
>>>
>>> I can’t claim that I know too much about object oriented
>>> philosophy. It’s often more about my friends or colleagues
>>> talking about it, enthusiastically for or against. Indeed, I have
>>> been one of those who has at best followed some of the arguments
>>> but not really dipped too deeply into the debates – which from
>>> early on, formed around specific persons, specific arguments, and
>>> a specific way of interacting.
>>>
>>> Hence, let me just be naïve for a second, and think aloud a
>>> couple of questions:
>>>
>>> -  I wonder if there is a problem with the notion of object in
>>> the sense that it still implies paradoxically quite a
>>> correlationist, or lets say, human-centred view to the world; is
>>> not the talk of “object” something that summons an image of
>>> perceptible, clearly lined, even stable entity – something that
>>> to human eyes could be thought of as the normal mode of
>>> perception. We see objects in the world. Humans, benches, buses,
>>> cats, trashcans, gloves, computers, images, and so forth. But
>>> what would a cat, bench, bus, trashcan, or a computer “see”, or
>>> sense?
>>>
>>> more...
>>> http://jussiparikka.net/2011/12/21/ooq-object-oriented-questions/
>>>
>>>
>>>
>>>
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>>
>> ___ NetBehaviour
>> mailing list NetBehaviour@netbehaviour.org
>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> Simon Biggs si...@littlepig.org.uk http://www.littlepig.org.uk/
> @SimonBiggsUK skype: simonbiggsuk
>
> s.bi...@ed.ac.uk Edinburgh College of Art, University of Edinburgh
> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
> http://www.movingtargets.co.uk/
>
>
>
>
>
>
>
>
> ___ NetBehaviour mailing
> list NetBehaviour@netbehaviour.org
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Re: [NetBehaviour] Something of a forgotten space II

[Yann Le Guennec]

hi Marc,

you're welcome :) does your desktop download the picture from network at 
regular interval or did you save a picture on your hard drive ?

Le 13/11/2011 15:39, marc garrett a écrit :
> thanks Yann,
>
> I think I have just found a new background image for my desktop :-)
>
> marc
>> evolutive online picture
>>
>> http://www.yannleguennec.com/w/ph/15/image.php
>>
>>
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>>
>
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[NetBehaviour] Something of a forgotten space II

[Yann Le Guennec]

evolutive online picture

http://www.yannleguennec.com/w/ph/15/image.php


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[NetBehaviour] Distributed Exhibition Project

[Yann Le Guennec]

The Distributed Exhibition Project aims to explore the global framework 
curently available for online networked art. It's a participative 
project based on online spectators contributions.


http://www.yannleguennec.com/dep/





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[NetBehaviour] help us rebuild a map of the world

[Yann Le Guennec]

Hello, dear NetBehaviourists,


RT @ylg11: Help us rebuild a map of the world (RT as far as u can ;) : 
http://www.yannleguennec.com/w/ph/13/image3.php


asynchronized ? , ?
http://www.yannleguennec.com/w/ph/13/


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[NetBehaviour] Cumulative grid 4

[Yann Le Guennec]

Cumulative grid 4
online variable picture,
JPEG, 1 280px x 720px,
2011

http://www.yannleguennec.com/w/gc/04/



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[NetBehaviour] website + statement updates

[Yann Le Guennec]

My current artistic research explores the relationship between space and
time of places and space and time of information, or how our perceptions
of one and another are transformed through these relationships. This
research takes the shape of online digital pictures, photographs changed
by programs on the web at the time of their consultation. The nature of
these programs and variables defines fields of variations, image matrix
in which unfold unstable images.

Online devices for production of images are at the intersection of the
perceived environment and data traffic on digital communication
networks. The images reflect changes in perception brought about by
technological change that accompanies a possible reconsideration of the
nature of space and time. The images become the place of interference
and interaction between the local and the remote, past and future, the
abstract and the concrete, the virtual and the actual, real and
fictional, presence and absence.

http://www.yannleguennec.com/
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Re: [NetBehaviour] bug report about furtherfield.org

[Yann Le Guennec]

POC




Le 29/01/2011 23:14, Yann Le Guennec a écrit :
> troubles with accentuated (accented?) latin  characters
>
>
> http://www.furtherfield.org/netbehaviour/rectangle-central-0
>
>
> what follows will not be imported from the netbehaviour list to the new
> furtherfield website :
>
>
> é à è
>
>
>
>
> hello world
>
> this is a test
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[NetBehaviour] bug report about furtherfield.org

[Yann Le Guennec]

troubles with accentuated (accented?) latin  characters


http://www.furtherfield.org/netbehaviour/rectangle-central-0


what follows will not be imported from the netbehaviour list to the new 
furtherfield website :


é à è




hello world

this is a test
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Re: [NetBehaviour] Rectangle central

[Yann Le Guennec]

some comments from FB about : http://www.ur1.ca/30r9x

#
Heidi Ting if somewhat its a real structure!

#
Yann Le Guennec Yes Heidi! thanks for your comment. We can look at this 
picture for what it is : the result and archive of a networked process 
(something in the past), but also for what it could be : a project for a 
concrete and variable structure (something in the future) ...that's what 
i try to say in this statement : 
http://www.yannleguennec.com/elements/en/demarche

#
Heidi Ting yes and that makes it sails across different dimensions. from 
real place- to a digital documentation- networked edition- back to the 
real place with variable structure. Wonderful works!

#
Yann Le Guennec thanks

Le 26/01/2011 18:25, Yann Le Guennec a écrit :
> Rectangle central - Cap de la Chèvre - janvier 2011
>
> Add a picture : http://www.yannleguennec.com/w/rc/01/image.php
>
> Dynamic archive : http://www.yannleguennec.com/w/rc/01/archive.php
>
>
> Best,
> Yann
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[NetBehaviour] Rectangle central

[Yann Le Guennec]

Rectangle central - Cap de la Chèvre - janvier 2011

Add a picture : http://www.yannleguennec.com/w/rc/01/image.php

Dynamic archive : http://www.yannleguennec.com/w/rc/01/archive.php


Best,
Yann
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Re: [NetBehaviour] black cross is made with your IP address

[Yann Le Guennec]

+ source code for those who like that (PHP)


http://www.yannleguennec.com/w/crx/01/image.php.txt




Le 05/12/2010 21:51, Yann Le Guennec a écrit :
> (black cross is made with your IP address)
>
>
> Add your IP : http://www.yannleguennec.com/w/crx/01/image.php
>
> Dynamic archive : http://www.yannleguennec.com/w/crx/01/archive.php
>
>
>
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[NetBehaviour] black cross is made with your IP address

[Yann Le Guennec]

(black cross is made with your IP address)


Add your IP : http://www.yannleguennec.com/w/crx/01/image.php

Dynamic archive : http://www.yannleguennec.com/w/crx/01/archive.php



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[NetBehaviour] Inhabited Landscape VII (Psycho-machine x2)

[Yann Le Guennec]

http://www.yannleguennec.com/w/ph/07/image.php
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Re: [NetBehaviour] Simon Biggs a revisionist of his own history?

[Yann Le Guennec]

It's an effect of "recombinant archive" principles ;-)
http://www.mail-archive.com/emp...@lists.cofa.unsw.edu.au/msg02333.html


Le 12/11/2010 02:01, Simone Bigger a écrit :
>
>
>
> is Simon Biggs a revisionist of his own history?
>
> The website http://www.littlepig.org.uk/ has the claim "at this site since
> 1994".
> Yet this domain appears to have been registered no earlier than May 2001
> (see Nominet UK).
>
> If we go wayback
> http://web.archive.org/web/*sa_/http://littlepig.org.uk
> that date tallies.
> But, we also find in 2001 that claim was "since 1995".
>
> the plot thickens. wonder whats going on here then??? is this  just
> an elaborate cover for a shamefully poor website???
>
>
>
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[NetBehaviour] learning back

[Yann Le Guennec]

"Greetings across the electronic frontier

Howie B: For me, it's all a case of handshaking. It's got to be 
everybody being more social. I think that's what music's about: being 
social, people in the same room communicating. I think that's what's got 
to happen. Technology's there, you either use it or not: it doesn't 
matter. It's just got to be more social."


http://music.hyperreal.org/artists/brian_eno/interviews/wire96b.html#cultural


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Re: [NetBehaviour] Help host and join the virtual sit-in in solidarity with october7th actions for education!

[Yann Le Guennec]

ETOY is back ?


;-)


well, jokes appart, it's difficult for me today to believe that we need 
to fight the dead system with the dead arms of the dead system... but on 
another side, it's always pleasant to count yourself...

cheers,
yann


Le 07/10/2010 00:35, micha cárdenas a écrit :
> zip file for #oct7 virtual sit-in is here: http://is.gd/fOxdG download
> pdf, rename to tgz, unzip and mirror! and share your url!
>
> /Virtual Sit-In for October 7th Day of Action for Public
> Education///
>
> In solidarity with the October 7th Day of Action for Public Education
> we call for a virtual sit-in of the websites of the Office of the
> President of the University of California and the UC Regents. This
> virtual sit-in will take place for all of October 7th, from 12:00AM
> the night before to 11:59PM the night of.
>
> *We need hosting for this action. Please contact any of us if you can
> provide hosting for the html files for the action.*
>
> Recent actions taken on March 4th by students, faculty, staff and
> allies around the world were joined online by a virtual sit-in. The
> swift and violent response to the virtual sit-in from the UC
> administration and police against Ricardo Dominguez only reveal the
> effectiveness of the action and must be seen as part of a larger
> strategy of the criminalization of resistance including the arrest of
> hundreds of faculty, students and staff around the world who are
> struggling to redefine what the future of education will be. The UC
> continues to make efforts to expand the
> prison-military-university-industrial complex in the face of demands,
> occupations, strikes and blockades by those willing to put their
> bodies, physically and digitally, on the line for a better future for
> education.
>
> By organizing this action, in the tradition of ECD as a distributed
> tactic as performed by the Electrohippies, the Federation of Random
> Action and the borderlands Hacklab, we are demonstrating that the
> hydra has a million heads and Yudof, the Regents and their police
> cannot stop Electronic Civil Disobedience by putting their boot on the
> neck of one man. A virtual sit-in is a mass action by thousands of
> people and we will not be stopped.
>
> More virtual strikes can be expected until:
>
> * The budget cuts across the UC system are turned back
> * Those laid off in the past year are rehired
> * Charges are dropped and investigations ended against all of those
> arrested for struggling for the future of their education
>
> Join the actions in the streets, the campuses and the university
> buildings if you can. If you want to join the virtual sit-in, go here
> for a list of urls:
>
> http://www.indybay.org/newsitems/2010/10/01/18660447.php?show_comments=1
>
> http://october7thecd.wordpress.com
>
> If you have any questions about this e-action contact:
>
> (alphabetical)
>
> Zach Blas, zachb...@gmail.com
> Xandre Borghetti
> Micha Cárdenas, azdelsl...@gmail.com
> Elizabeth Chaney, chane...@gmail.com
> Holly Eskew, h.es...@sbcglobal.net
> John Falchi, pacerj...@sbcglobal.net
> Autumn Hays, autumnh...@ymail.com
> Lindsay brandon hunter, lindsaybran...@gmail.com
> Linzi Juliano
> Rashne Limki
> Bradley Litwin
> Benjamin Lotan, benjaminlo...@gmail.com
> Luis Martin-Cabrera
> Elle Mehrmand, ellemehrm...@gmail.com
> Courtney Ryan, crdra...@gmail.com
> Lisa Sloan, lisaasl...@gmail.com
>
> If you would like to help organize the action and be added to the list
> of organizers, email us.
>
> --
> micha cárdenas
>
> Co-Author, Trans Desire / Affective Cyborgs, Atropos Press, http://is.gd/daO00
> Lecturer, Visual Arts Department, University of California, San Diego
> Lecturer, Critical Gender Studies Program, University of California, San Diego
> Artist/Researcher, UCSD School of Medicine
> Artist/Theorist, bang.lab, http://bang.calit2.net
>
> blog: http://transreal.org
>
> gpg: http://is.gd/ebWx9
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[NetBehaviour] Time compression

[Yann Le Guennec]

Hi Alan and netbehaviourists,

it appears that somethings coming from you is appearing in this work :

http://www.ur1.ca/1rrad


dated from 2008, found back on a CD, screenshoted and actualized online 
in my personnal recombinant progressive archive , made to think about 
future realizations -


-> time compression


best,
yann





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Re: [NetBehaviour] Brigitte Bardot 'Contact' 1968.

[Yann Le Guennec]

sorry, i'm not registered,and will never be (2 facebook ... and other 
closed systems)




Le 19/09/2010 18:49, Franck Ancel a écrit :
> See there a Schöffer's Prism picture on FB taken by me last month in Paris
> during a visit in his house!
>
> http://www.facebook.com/photo.php?pid=6731664&id=740230930&ref=fbx_album
>
>
>
>
> 2010/9/19 marc garrett
>
>> Brigitte Bardot 'Contact' 1968.
>>
>> ‎"Contact" a cybernetic retro-futuristic video clip from 1968 Musique
>> Serge Gainsbourg featuring Brigitte Bardot in a Paco Rabanne dress and
>> surrounded by cinetic sculptures by Nicolas Schöffer.
>>
>>
>> http://www.dailymotion.com/video/xj023_brigitte-bardot-y-contact-y-1968_music
>>
>> marc
>>
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>
>
>
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Re: [NetBehaviour] Macro

[Yann Le Guennec]

kiss your lips


Le 07/09/2010 00:17, Alan Sondheim a écrit :
>
>
> I REALLY admire people who know Lisp; I've tried to do things with it but
> beyond car cdr etc have been completely lost! - Alan
>
> On Mon, 6 Sep 2010, Rob Myers wrote:
>
>> On 09/06/2010 09:24 PM, Alan Sondheim wrote:
>>>
>>> Macro
>>
>> [robmy...@workstation ~]$ sbcl
>> This is SBCL 1.0.38-2.fc13, an implementation of ANSI Common Lisp.
>> More information about SBCL is available at.
>>
>> SBCL is free software, provided as is, with absolutely no warranty.
>> It is mostly in the public domain; some portions are provided under
>> BSD-style licenses.  See the CREDITS and COPYING files in the
>> distribution for more information.
>>
>> * (defmacro art ()
>>  `'alan-sondheim)
>>
>> ART
>>
>> * (art)
>>
>> ALAN-SONDHEIM
>>
>> *
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>>
>
>
> ==
> email archive: http://sondheim.rupamsunyata.org/
> webpage http://www.alansondheim.org
> music archive: http://www.espdisk.com/alansondheim/
> ==
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[NetBehaviour] rising sea level

[Yann Le Guennec]

urban structure reconfigured by the flow (of data)
architecture of errors (HTTP/404)
rising sea level (undefined)

http://www.yannleguennec.com/elements/en/elevation-du-niveau-de-la-mer-1

/

structure urbaine reconfigurée par les flux (de données)
architecture des erreurs (HTTP/404)
élévation du niveau de la mer (indéfinie)

http://www.yannleguennec.com/elements/fr/elevation-du-niveau-de-la-mer-1
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[NetBehaviour] new works

[Yann Le Guennec]

http://www.yannleguennec.com/elements/en/incidence-pyramidale-1
http://www.yannleguennec.com/elements/en/incidence-pyramidale-2




cheers,
yann
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[NetBehaviour] Streams of errors

[Yann Le Guennec]

Streams of errors serie uses 1024 most recent HTTP/404 errors which 
occur on my website. Each IP address provoking an error is converted 
into a vertical line composed with 4 segments. All lines are juxtaposed 
horizontaly from left to right. Picture is reloaded every minute.

http://www.yannleguennec.com/?serie=4

+

Another version uses 1280 most recent HTTP/404 errors in order to 
produce HD video.

Example:
Stream of errors III - La Mayenne - 4 hours of 404 Errors
http://www.vimeo.com/13060341


-- 

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[NetBehaviour] hello 404

[Yann Le Guennec]

http://www.yannleguennec.com/w/pe/06/




codebreaker a écrit :
> nuttynetbehaviorandherdiscipleswwwritingtypinggg
> 
> goingnotknowingglimpsescaughtintopsychesthrucodeBREAKING
> 
> thatiscorrectnoneedforspacesanymorethisismucheasieronthetyperandthereadermustevolvesoweallcanpullmewithyouovertheabysstothelandoftextualcommunicationandihopeiremainhuman
> CODEBREAKER
> http://www.it-all.com/blog/index.php?seed=197&iControl=4
> by CODEBREAKER   2010-06-25 22:50:12>
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Re: [NetBehaviour] Adventures of a Networked Explorer.

[Yann Le Guennec]

> A living, breathing, thriving networked neighbourhood…
> 
> We are on Twitter
> 
> http://twitter.com/furtherfield


sorry, but i don't have enough mail accounts to create a new twitter 
account, so, if i want to create a new twitter account , i have to 
create a new mail account with ... eg ... googlemail asking for ... a 
new name and  new what ? new IP ? and so on... What does it mean ? 
this whole system is mainly a *data retention system*, unable to adapt 
itself to human behavior, pure shit, (yes, like in the intestine, when 
nothing can go out...)
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[NetBehaviour] twitter or identi

[Yann Le Guennec]

you should switch from twitter.com/furtherfield to identi.ca/furtherfield


dont ask me why

+
--y



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Re: [NetBehaviour] Philosophy students and staff suspended

[Yann Le Guennec]

how do you call LMD in your country ? Bologna saucisse?

//



Simon Biggs a écrit :
> I¹m an ex-Middlesex lecturer as well. It was always a fairly brutal and
> instrumentalist place. However, what is currently happening takes the
> biscuit. I would not be surprised if this triggers some more radical action
> against the executive.
> 
> Best
> 
> Simon
> 
> 
> Simon Biggs
> 
> s.bi...@eca.ac.uk  si...@littlepig.org.uk  Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
> 
> 
> 
> From: Rob Myers 
> Reply-To: NetBehaviour for networked distributed creativity
> 
> Date: Sat, 22 May 2010 17:43:17 +0100
> To: 
> Subject: Re: [NetBehaviour] Philosophy students and staff suspended
> 
> -BEGIN PGP SIGNED MESSAGE-
> Hash: SHA1
> 
> On 05/22/2010 04:40 PM, marc garrett wrote:
>> Philosophy students and staff suspended
>>
>> Posted on 21 May 2010 by aletheiaticverse
>> http://savemdxphil.com/2010/05/21/philosophy-students-and-staff-suspended/
>>
>> Some Middlesex University Philosophy students, along with Philosophy
>> professors Peter Osborne and Peter Hallward, were suspended from the
>> University this afternoon.
> 
> That's terrible.
> 
> The philosophy dept. have shown and continue to show far more business
> acumen than the thought leaders (sic) who are trying to purge them for
> not being cretino-corporate enough.
> 
> I'm a former MDX student and lecturer. I wonder how all this will be
> reported in the pointless glossy news sheet I get sent by the university
> every so often?
> 
> - - Rob.
> -BEGIN PGP SIGNATURE-
> Version: GnuPG v1.4.10 (GNU/Linux)
> Comment: Using GnuPG with Fedora - http://enigmail.mozdev.org/
> 
> iEYEARECAAYFAkv4CaQACgkQCZbRMCZZBfaP6wCfTZpnZiSVpf+O4cr9+prMS5on
> EgAAniInw7bLXauQpcVFqaE8GWZz9Gpb
> =4NCD
> -END PGP SIGNATURE-
> ___
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> 
> 
> Edinburgh College of Art (eca) is a charity registered in Scotland, number 
> SC009201
> 
> 
> 
> 
> 
> 
> 
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[NetBehaviour] a point on the wall + a point on the net // print the book

[Yann Le Guennec]

http://www.yannleguennec.com/topologies/cercle-trouve-au-mur-2/pdf.php

Yann Le Guennec a écrit :
> are you points on the net ?
> 
> http://www.yannleguennec.com/topologies/cercle-trouve-au-mur-2/
> 
>
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[NetBehaviour] [Fwd: Re: [-empyre-] Process as paradigm]

[Yann Le Guennec]

Hello dear Empyreans (and NetBehaviorists),

systems are open;
entropy is a mistake;
boundaries are in the mind (of the 'modelizer'= someone making a model);
every process is part of n systems;
quantum physics is a biface (http://en.wikipedia.org/wiki/Biface);
we build tools we need, to prove what we think;
we use tools someone built (some day), to prove what we thought (some day);

but ... i would still like to know what is this: a 'generative image';

http://www.laboralcentrodearte.org/en/714-catalogue (PDF p: 55)

Do you mean a picture can generate something, or, an image is
necessarily a mind projection ? in the future (unforeseen) ?


best,
yann




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Re: [NetBehaviour] a point on the wall + a point on the net

[Yann Le Guennec]

are you points on the net ?

http://www.yannleguennec.com/topologies/cercle-trouve-au-mur-2/



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[NetBehaviour] a point on the wall + a point on the net

[Yann Le Guennec]

http://www.yannleguennec.com/topologies/cercle-trouve-au-mur-2/archives/67.18.5.140.jpg
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Re: [NetBehaviour] Lets social bookmark!

[Yann Le Guennec]

Aileen Derieg a écrit :

> But didn't someone (Rob?) recently ask about non-commercial 
> alternatives? I was very disappointed that delicious was sold to Yahoo 
> at the time, but I still find it useful.

it's for example possible for a community to use its own app based on:

http://sourceforge.net/projects/semanticscuttle/


best,
yann


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Re: [NetBehaviour] lostwithiel restormel mist

[Yann Le Guennec]

there's an ocean behind h-line
http://www.yannleguennec.com/works/h-lines/02/archive/71.243.172.252.jpg

+++

Yann Le Guennec a écrit :
> ++
> 
> http://www.yannleguennec.com/works/h-lines/01/
> http://www.yannleguennec.com/works/h-lines/02/
> http://www.yannleguennec.com/works/h-lines/03/
> http://www.yannleguennec.com/works/h-lines/04/
> http://www.yannleguennec.com/works/h-lines/05/
> 
> 
> 
> 
> James Morris a écrit :
>> ka...@debian:~/jwm4/sc/rlw$ for FILE in `ls -1`; do echo
>> "http://jwm-art.net/art/image/${FILE}";; done
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080676.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080683.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080688.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080694.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080704.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080705.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080711.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080716.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080731.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080734.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080746.jpg
>> http://jwm-art.net/art/image/restormel_lostwithiel_P1080749.jpg
>> ka...@debian:~/jwm4/sc/rlw$
>>
>> hills, mist, castle, mist, walk, mist, mist, mist, castle mist, moss,
>>
>> mist, mist,
>>
>> laptop mist, rugby six nations mist at bbc dot co dot uk dot mist, england
>> mist, eat out mist, hotel mist, bash mist, compose mist, ssh mist, scp
>> mist, long walk mist, ache mist, tired mist, censored mist, mist mist, lad
>> mist, automation mist, klug mist, audio missed, programmin,g missed,
>> broadband missed, missed not much mist. linux mist, ready to rip someone's
>> head off mist, where are the teabags mist, too much mist mist mist mist
>> mist mist mist mist mist mist mist mist, no not at all, mist don't bother
>> me does it, mist, not really mist, mist mist mist mist ain't all bad mist,
>> camera battery dead mist
>>
>>
>>
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Re: [NetBehaviour] lostwithiel restormel mist

[Yann Le Guennec]

++

http://www.yannleguennec.com/works/h-lines/01/
http://www.yannleguennec.com/works/h-lines/02/
http://www.yannleguennec.com/works/h-lines/03/
http://www.yannleguennec.com/works/h-lines/04/
http://www.yannleguennec.com/works/h-lines/05/




James Morris a écrit :
> ka...@debian:~/jwm4/sc/rlw$ for FILE in `ls -1`; do echo
> "http://jwm-art.net/art/image/${FILE}";; done
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080676.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080683.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080688.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080694.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080704.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080705.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080711.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080716.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080731.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080734.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080746.jpg
> http://jwm-art.net/art/image/restormel_lostwithiel_P1080749.jpg
> ka...@debian:~/jwm4/sc/rlw$
> 
> hills, mist, castle, mist, walk, mist, mist, mist, castle mist, moss,
> 
> mist, mist,
> 
> laptop mist, rugby six nations mist at bbc dot co dot uk dot mist, england
> mist, eat out mist, hotel mist, bash mist, compose mist, ssh mist, scp
> mist, long walk mist, ache mist, tired mist, censored mist, mist mist, lad
> mist, automation mist, klug mist, audio missed, programmin,g missed,
> broadband missed, missed not much mist. linux mist, ready to rip someone's
> head off mist, where are the teabags mist, too much mist mist mist mist
> mist mist mist mist mist mist mist mist, no not at all, mist don't bother
> me does it, mist, not really mist, mist mist mist mist ain't all bad mist,
> camera battery dead mist
> 
> 
> 
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Re: [NetBehaviour] About Networked Painting

[Yann Le Guennec]

Hi Curt,

I think you're absolutely right, and i will use the terms "networked 
picture". i don't really need to use the word "painting", i finally 
think it's more interesting to keep eventual references to painting more 
in the background. So here is my new short statement:

" My work is about distances and convergences between the analog and the 
digital, between the virtual and the actual, between abstraction and 
instantiation processes. I make networked pictures. They are composed 
and produced online by networked devices. All devices are built on 
almost the same model: visual sensors (eg: photography, stills from 
video) are taking pictures in an environment, these pictures are then 
transformed by online softwares and finally they are shown to the 
spectator. Variations in this main model allow each device to address 
more specific problematics in the field of networked pictures. "

Thanks everyone for this fruitful thread.

best,
yann



Curt Cloninger a écrit :
> Hi Yann,
> 
> My question still stands regarding what is gained and what is lost by 
> using the term "painting" to describe this work. [As Alan points out, 
> the terms "gain" and "loss" are problematic/subjective (as all terms 
> are), but that doesn't mean they are pragmatically useless or 
> critically irrelevant, particularly when posed to you as a practicing 
> artist.] In your description of the work below, you use the word 
> "picture" rather than painting. I think you are right to use the word 
> picture rather than painting -- these "pictures" seem better 
> understood as digital photographs (modified algorithmically according 
> to network input). So what is gained and what is lost by calling them 
> "networked paintings" as opposed to something like "networked 
> photographs?"
> 
> +++
> 
> Just by way of comparison, here is a great project of what might be 
> termed "generative drawing":
> http://noemata.net/time().mt_rand/gallery.php
> artist statement here:
> http://noemata.net/time().mt_rand/gallery.php?i=text
> create your own "drawings" here:
> http://noemata.net/time().mt_rand/larding.php
> curate and sell your own drawings (and the  drawings of others) here:
> http://noemata.net/time().mt_rand/curator.php
> 
> Regarding the above work, technically...
> There is an amount of source material created by the "artist" (a 
> database of scanned analog doodles).
> There is a generative environment with parameters established by the "artist."
> The "user" is allowed to input certain variables into that environment.
> The result is a "collaborative" piece of work which is purposefully 
> situated within an online "economy."
> 
> The project above is fruitfully approached from a critical 
> perspective as "drawing," but the artist also draws attention (by the 
> term "larding") to Oulipo poetry and (by the title "time().mt_rand"), 
> to computer time-stamping procedures. To me, the para-art language 
> that the artist uses to contextualize this piece of work foregrounds 
> salient, relevant aspects of the work, both in terms of the "art 
> history" of drawing and the contemporary new media "theory" of 
> computational, networked, interactive art (not to mention issues of 
> curation, web 2.0 rebloggability as a form of curation, salability of 
> the art object, online economies, "originality" of the artist, 
> "uniqueness" of the art object). In other words, the language that 
> the artist uses to talk about the work is very much aware of what the 
> work itself is doing in the world (on+off-line). More is gained than 
> is lost by this kind of para-art language.
> 
> +++
> 
> My critique is not of your work. Your project itself interestingly 
> foregrounds the "unique/original" reception of a "single" piece of 
> work, by encoding elements of that unique reception into the 
> "singular" piece of work itself. It is very much related to 
> Benjamin's observations regarding the difference between viewing a 
> unique/original auratic object (be it a panting or a stationary 
> sculpture) and viewing a mechanically reproduced object (be it a 
> print, an analog photograph, a movie, a video, a digital photograph). 
> My hesitance is with your use of the word "painting" in the language 
> of your artist statment. Given the work you are describing, that word 
> "painting" seems too underdetermined and vague. It stakes too broad a 
> claim. It opens up all sorts of tangential cans of worms (flatness, 
> brushstroke, materials, abstraction vs. figuration, "subjectivity" of 
> the artists eye vs. "objectivity" of the camera lens, etc.)  that the 
> work itself is not (yet) opening up. Undoubtedly "painting" is useful 
> in other contexts to desecribe other pieces of new media work (some 
> of Mark Napier's work comes to mind as very "painterly" in terms of 
> his treatment of code and in terms of the texture of his resultant 
> visuals). But "painting" as applied to this work seems to lose more 
> 

[NetBehaviour] About Networked Painting

[Yann Le Guennec]

(well, i try another reply strategy in order to allow this post to go
through the list, let's test...)


In reply to Curt Cloninger :
http://www.netbehaviour.org/pipermail/netbehaviour/20100316/014853.html

Yes, that's for me a very important point to address. In several works
(1) i use the IP address of the spectator to compose the picture, so the
picture is unique according to this spectator. The picture takes place
only where the spectator is looking at it. From this point of view
(reception, uniqueness of the picture), it seems that it has more
to do with painting than with photography or algorithmic generative art.

This is conceptually ok if i don't save generated pictures and show them
to others. It's a another possibility, but it changes the relation
between the spectator and the picture, and as a consequence, the nature
of the picture. 'Networked painting' is a way to explore this
relational/interaction space between users/spectators and pictures.


(1) examples:
http://www.yannleguennec.com/works/laval-bridge/
http://www.yannleguennec.com/works/found-shape-on-the-ground/square/01/

best,
yann
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Re: [NetBehaviour] test

[Yann Le Guennec]

Hi Marc,

the test is ok, but i'm repeatidly trying to send another mail that does 
not go through the list, i don't get any error msg on my side, and it's 
a complete mystery... did you add a kind of anti-spam filter working on 
mail content or something like that since last spam attack ?


marc garrett a écrit :
> Hi Yann,
> 
> it works :-)
> 
> marc
>> test
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>>   
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[NetBehaviour] test

[Yann Le Guennec]

test
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Re: [NetBehaviour] A statement

[Yann Le Guennec]

I completely agree with your contribution. We are playing with semantic 
fields referring to some classical art practices, and doing so, we are 
trying to see and understand what can be art today, how can it be 
reshaped by networked practices. I hope, and think, it's still an open 
field. We are jumping around the lazy brown (refers to XX century 
explosion of arts forms ;-)

http://en.wikipedia.org/wiki/The_quick_brown_fox_jumps_over_the_lazy_dog


Corrado Morgana a écrit :
> All convenient metaphors. Software appropriates useful terms, from Photoshop
> to Flash to Maya we have Canvas, Stage, sculpt , extrude etc.. etc... We
> draw and paint because that is the suitable metaphor based on an interface
> that communicates it's technicity in the most lean and efficient manner
> 
> If we discuss something coming from a discourse of image making then it's
> practically impossible to avoid such language. Unless we enter the realm of
> computational image making where process is important and we can talk about
> algorithmic, computational and network issues. Platform studies
> (http://platformstudies.com/ ) for an extreme example anyone?
> 
> To fully enable a digital discourse we should be using terms like rasterise,
> vectorise, state change and compute. There are practictioners and
> commentators who do. I have no problem with either discourse and have
> dabbled in both software and painterly linguistic camps.
> 
> Digital art is also a contentious term. Artists who use digital
> technologies, claiming to be digital artists without any reference or
> acknowledgement however small, be it critical or explicit, that their work
> actually engages with digital discourse who merely adopt software as a
> transparent tool is an issue. Remembering the amount of applications from
> traditional video artists to a significant Media Arts festival a few years
> ago; of course they could be part of it, they were all digital artists
> because they use Final Cut Pro.
> 
> I'm not saying anyone on this list fits these categories but we are in a
> pluralistic and dialogic arena. Terms are interchangeable and useful when
> necessary.
> 
> Best
> 
> C
> 
> -Original Message-
> From: netbehaviour-boun...@netbehaviour.org
> [mailto:netbehaviour-boun...@netbehaviour.org] On Behalf Of Yann Le Guennec
> Sent: 15 March 2010 5:51 PM
> To: NetBehaviour for networked distributed creativity
> Subject: Re: [NetBehaviour] A statement
> 
> So according to what you've been told, the good one (terminology) would 
> be a digital one, using terminology specific to technology (coding, 
> networks,...) ?
> 
> What i see in the way you use words , and in your work, is a convergence 
> between painting and cinema (as references to themselves), and this 
> convergence occurs in digital networks. Maybe that's what we are 
> talking/writing about: the space and time where we live.
> 
> There's something occuring at a greater scale, outside and in the 
> artworld, it's the need for a flat screen on the wall to put some 
> pictures. That's also what painting is about, not the screen, but the 
> need for it. According to our vision of history, it was already there in 
> Lascaux (for example)
> 
> http://cyberechos.creteil.iufm.fr/cyber1/histoire/lascaux/Lascaux.jpg
> 
> 
> Jim Andrews a écrit :
>> Concerning dbCinema, I've been told that my use of the terms 'brush'
>> and 'nib' and 'canvas' are inappropriate. Because they situate the
>> piece in a painterly scenario that isn't the right one.
>>
>> But, given what dbCinema does, that language is actually the most
>> useful language, it seems to me. It provides people with the most
>> easily understandable and relevant terminology to start to understand
>> what dbCinema does and how it works.
>>
>> ja http://vispo.com/dbcinema
>>
>> - Original Message - From: "Yann Le Guennec" 
>>  To: "NetBehaviour for networked distributed creativity" 
>>  Sent: Monday, March 15, 2010 9:46 AM 
>> Subject: Re: [NetBehaviour] A statement
>>
>>
>> Hello,
>>
>>
>> Thanks for your feedback, maybe you're right. I'm thinking about 
>> 'painting' not from a technical point of view, involving some defined
>>  kinds of support and materials, but from a more conceptual one, as
>> an historical and pictural practice in art. From this point of view,
>> there is no reason to not talk about 'networked painting' like we can
>> talk about 'oil painting', the technology is different, but i think
>> we act in the same artistic field.
>>
>&

Re: [NetBehaviour] A statement

[Yann Le Guennec]

Can we consider that painting, according to notion of surface and 
medium, could be light on a wall (for example), i guess that the good 
response is 'no'. So, there are no troubles, there are enough machines 
today to put acrilyc on canvas from a digital picture. So where is the 
point... why is there such a difference between digital picture as an 
art, photography as an art or painting as an art...in the making process 
? (see Richter's Overpainted photographs, and i only mention here still 
pictures). I must say i don't know, but i think that our relation to 
pictures and images, is evolving with digital networks and that all of 
these art forms and standards may be reviewed to better understand the 
world we live in, where it comes from, and where it can go.

(i should re-start/stop(?) reading this book:  Iconology: Image, Text, 
Ideology by W. J. Thomas Mitchell )



martin mitchell a écrit :
> Hi...
> 
> Lets establish what the word painting traditionally means  copied
> from Wikepedia:- Painting is the practice of applying paint, pigment,
> color or other medium[1] to a surface (support base). In art, the
> term describes both the act and the result, which is called a
> painting. Paintings may have for their support such surfaces as
> walls, paper, canvas, wood, glass, lacquer, clay or concrete.
> Paintings may be decorated with gold leaf, and some modern paintings
> incorporate other materials including sand, clay, and scraps of
> paper.
> 
> Painting is a mode of expression and the forms are numerous. Drawing,
> composition or abstraction and other aesthetics may serve to manifest
> the expressive and conceptual intention of the practitioner.
> Paintings can be naturalistic and representational (as in a still
> life or landscape painting), photographic, abstract, be loaded with
> narrative content, symbolism, emotion or be political in nature.
> 
> --- OK One might establish a
> difference between use of a brush or pen to the word 'painting' that
> could contain human action of physical use of paint this is different
> from use of term digital painting which perhaps does not exist
> physically, it being a digital image which might be created with use
> of digital brush or pen.
> 
> M. On 15 Mar 2010, at 17:11, Jim Andrews wrote:
> 
>> Concerning dbCinema, I've been told that my use of the terms
>> 'brush' and 'nib' and 'canvas' are inappropriate. Because they
>> situate the piece in a painterly scenario that isn't the right one.
>> 
>> 
>> But, given what dbCinema does, that language is actually the most
>> useful language, it seems to me. It provides people with the most
>> easily understandable and relevant terminology to start to
>> understand what dbCinema does and how it works.
>> 
>> ja http://vispo.com/dbcinema
>> 
>> - Original Message - From: "Yann Le Guennec"
>>  To: "NetBehaviour for networked distributed
>> creativity"  Sent: Monday, March 15,
>> 2010 9:46 AM Subject: Re: [NetBehaviour] A statement
>> 
>> 
>> Hello,
>> 
>> 
>> Thanks for your feedback, maybe you're right. I'm thinking about 
>> 'painting' not from a technical point of view, involving some
>> defined kinds of support and materials, but from a more conceptual
>> one, as an historical and pictural practice in art. From this point
>> of view, there is no reason to not talk about 'networked painting'
>> like we can talk about 'oil painting', the technology is different,
>> but i think we act in the same artistic field.
>> 
>> Furthermore, maybe the "digital revolution" is the moment in time
>> and space where 'painting' as an art practice will be more
>> profoundly re-defined. In fact, i'm more interested in confronting
>> and opening concepts and words than strictly refer to them in a
>> predefined and closed signification. So, it's an open discussion
>> and set of thoughts.
>> 
>> 
>> ‘the computer is no more than a tool that helps painting to shake
>> off the deadweight of an ossified classical heritage. Its immense 
>> combinatorial capacity facilitates the systematic investigation of
>> an infinite range of possibilities.’4 4 Jean-Michel Place, ‘Vera
>> Molnar, Regard sur mes images’, in Revue d’esthétique, n° 7, Paris,
>> 1984. 
>> http://collection.fraclorraine.org/parcour/showtext/1?lang=en&wid=422
>> 
>> 
>> 
>> 
>> 
>> 
>> martin mitchell a écrit :
>>> Hello.
>>> 
>>> Please separate the ide

Re: [NetBehaviour] A statement

[Yann Le Guennec]

So according to what you've been told, the good one (terminology) would 
be a digital one, using terminology specific to technology (coding, 
networks,...) ?

What i see in the way you use words , and in your work, is a convergence 
between painting and cinema (as references to themselves), and this 
convergence occurs in digital networks. Maybe that's what we are 
talking/writing about: the space and time where we live.

There's something occuring at a greater scale, outside and in the 
artworld, it's the need for a flat screen on the wall to put some 
pictures. That's also what painting is about, not the screen, but the 
need for it. According to our vision of history, it was already there in 
Lascaux (for example)

http://cyberechos.creteil.iufm.fr/cyber1/histoire/lascaux/Lascaux.jpg


Jim Andrews a écrit :
> Concerning dbCinema, I've been told that my use of the terms 'brush'
> and 'nib' and 'canvas' are inappropriate. Because they situate the
> piece in a painterly scenario that isn't the right one.
> 
> But, given what dbCinema does, that language is actually the most
> useful language, it seems to me. It provides people with the most
> easily understandable and relevant terminology to start to understand
> what dbCinema does and how it works.
> 
> ja http://vispo.com/dbcinema
> 
> - Original Message - From: "Yann Le Guennec" 
>  To: "NetBehaviour for networked distributed creativity" 
>  Sent: Monday, March 15, 2010 9:46 AM 
> Subject: Re: [NetBehaviour] A statement
> 
> 
> Hello,
> 
> 
> Thanks for your feedback, maybe you're right. I'm thinking about 
> 'painting' not from a technical point of view, involving some defined
>  kinds of support and materials, but from a more conceptual one, as
> an historical and pictural practice in art. From this point of view,
> there is no reason to not talk about 'networked painting' like we can
> talk about 'oil painting', the technology is different, but i think
> we act in the same artistic field.
> 
> Furthermore, maybe the "digital revolution" is the moment in time and
>  space where 'painting' as an art practice will be more profoundly 
> re-defined. In fact, i'm more interested in confronting and opening 
> concepts and words than strictly refer to them in a predefined and 
> closed signification. So, it's an open discussion and set of
> thoughts.
> 
> 
> ‘the computer is no more than a tool that helps painting to shake off
>  the deadweight of an ossified classical heritage. Its immense 
> combinatorial capacity facilitates the systematic investigation of an
>  infinite range of possibilities.’4 4 Jean-Michel Place, ‘Vera
> Molnar, Regard sur mes images’, in Revue d’esthétique, n° 7, Paris,
> 1984. 
> http://collection.fraclorraine.org/parcour/showtext/1?lang=en&wid=422
> 
> 
> 
> 
> 
> 
> martin mitchell a écrit :
>> Hello.
>> 
>> Please separate the idea of painting from the creation of digital 
>> images it's a contradiction and makes it difficult for people to 
>> understand what digital artists are creating...
>> 
>> Martin Mitchell.
>> 
>> Crispy Nails Animation Studio.
>> 
>> http://www.crispynails.co.uk/
>> 
>> On 15 Mar 2010, at 15:41, Yann Le Guennec wrote:
>> 
>>> My work is about the evolution of painting in a networked 
>>> environment, both physical and digital, present and distant, in 
>>> time and space. I make what i call "variable paintings". They 
>>> address classical themes such as Landscape or Still life. These 
>>> paintings are not paintings in the sense of concrete objects, but
>>>  digital pictures produced online by networked devices. This 
>>> approach does not exclude the possibility of making physical 
>>> objects from digital pictures, but the composition of these 
>>> pictures is made online and should primarily be seen online, for 
>>> example projected in an exhibition space connected to the
>>> internet. All devices are built on almost the same model. Visual
>>> sensors (eg: photography, stills from video) are taking pictures
>>> in an environment, these pictures are transformed by online
>>> softwares and then shown to the spectator. Variations in this
>>> main model allow each device to address more specific
>>> problematics in the field of "networked painting".
>>> 
>>> http://www.yannleguennec.com/
>>> 
>>> 
>>> ___ NetBehaviour 
>>> mailing li

Re: [NetBehaviour] A statement

[Yann Le Guennec]

Hello,


Thanks for your feedback, maybe you're right. I'm thinking about 
'painting' not from a technical point of view, involving some defined 
kinds of support and materials, but from a more conceptual one, as an 
historical and pictural practice in art. From this point of view, there 
is no reason to not talk about 'networked painting' like we can talk 
about 'oil painting', the technology is different, but i think we act in 
the same artistic field.

Furthermore, maybe the "digital revolution" is the moment in time and 
space where 'painting' as an art practice will be more profoundly 
re-defined. In fact, i'm more interested in confronting and opening 
concepts and words than strictly refer to them in a predefined and 
closed signification. So, it's an open discussion and set of thoughts.


‘the computer is no more than a tool that helps painting to shake off 
the deadweight of an ossified classical heritage. Its immense 
combinatorial capacity facilitates the systematic investigation of an 
infinite range of possibilities.’4
4 Jean-Michel Place, ‘Vera Molnar, Regard sur mes images’, in Revue 
d’esthétique, n° 7, Paris, 1984.
http://collection.fraclorraine.org/parcour/showtext/1?lang=en&wid=422





martin mitchell a écrit :
> Hello.
> 
> Please separate the idea of painting from the creation of digital
> images it's a contradiction and makes it difficult for people to
> understand what digital artists are creating...
> 
> Martin Mitchell.
> 
> Crispy Nails Animation Studio.
> 
> http://www.crispynails.co.uk/
> 
> On 15 Mar 2010, at 15:41, Yann Le Guennec wrote:
> 
>> My work is about the evolution of painting in a networked
>> environment, both physical and digital, present and distant, in
>> time and space. I make what i call "variable paintings". They
>> address classical themes such as Landscape or Still life. These
>> paintings are not paintings in the sense of concrete objects, but
>> digital pictures produced online by networked devices. This
>> approach does not exclude the possibility of making physical
>> objects from digital pictures, but the composition of these
>> pictures is made online and should primarily be seen online, for 
>> example projected in an exhibition space connected to the internet.
>> All devices are built on almost the same model. Visual sensors (eg:
>>  photography, stills from video) are taking pictures in an
>> environment, these pictures are transformed by online softwares and
>> then shown to the spectator. Variations in this main model allow
>> each device to address more specific problematics in the field of
>> "networked painting".
>> 
>> http://www.yannleguennec.com/
>> 
>> 
>> ___ NetBehaviour
>> mailing list NetBehaviour@netbehaviour.org 
>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
> 
> 
> 
> 
> 
> 
> ___ NetBehaviour mailing
> list NetBehaviour@netbehaviour.org 
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour

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[NetBehaviour] A statement

[Yann Le Guennec]

My work is about the evolution of painting in a networked environment, 
both physical and digital, present and distant, in time and space. I 
make what i call "variable paintings". They address classical themes 
such as Landscape or Still life. These paintings are not paintings in 
the sense of concrete objects, but digital pictures produced online by 
networked devices. This approach does not exclude the possibility of 
making physical objects from digital pictures, but the composition of 
these pictures is made online and should primarily be seen online, for 
example projected in an exhibition space connected to the internet. All 
devices are built on almost the same model. Visual sensors (eg: 
photography, stills from video) are taking pictures in an environment, 
these pictures are transformed by online softwares and then shown to the 
spectator. Variations in this main model allow each device to address 
more specific problematics in the field of "networked painting".

http://www.yannleguennec.com/


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Re: [NetBehaviour] picture without qualities

[yann le guennec]

hi Andreas,

> Well try looking for axiologic depraved icons maybe you will find  
> more :)

nope, nothing...  ;-)

> Anyways I do not think the subject Is underexplored rather try to  
> search more explicit phrases like axiology( to evaluate the qualities  
> of esthetics and the attachtments thereof in artistic expressions like  
> for instance paintings.)

thanks! i'll try that, maybe in french as it begins to be a bit complex 
for me in english

> I myself am very involved in this subject and always desperately  
> avoiding 'meaning' in and towards my art production.

yep, i observe that meaning has an ability to dissolve itself in the 
search for paradigms.


+
yann



> Andreas Jacobs
> e: aj...@xs4all.nl
> w: http://www.nictoglobe.com
> Skype: ajaco56
> 
> On Aug 19, 2009, at 17:34, yann le guennec  wrote:
> 
>> i searched in  google for  the exact phrase "picture without  
>> qualities".
>>
>> http://www.google.com/search?hl=en&q=%22picture+without+qualities%22
>>
>> the only  response i get is :
>>
>> Reader Archive--Extract: 2002/020802/RICHTER
>> https://securesite.chireader.com/cgi-bin/Archive/abridged2.bat?path=2002/020802/RICHTER&search=gerhard%20richter%20camper%20art%20institute
>>
>> did i make a typo/error or is it something so unexplored ?
>>
>>
>> --
>> http://www.datapainting.com/

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[NetBehaviour] picture without qualities

[yann le guennec]

i searched in  google for  the exact phrase "picture without qualities".

http://www.google.com/search?hl=en&q=%22picture+without+qualities%22

the only  response i get is :

Reader Archive--Extract: 2002/020802/RICHTER
https://securesite.chireader.com/cgi-bin/Archive/abridged2.bat?path=2002/020802/RICHTER&search=gerhard%20richter%20camper%20art%20institute

did i make a typo/error or is it something so unexplored ?


--
http://www.datapainting.com/

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[NetBehaviour] Paradigmatic Landscapes - update

[yann le guennec]

What we call a 'syntagm' is a sequence of 6 small pictures relating to a 
basic set of pictures. The syntagm is modified through interactions 
between spectators and what we call the 'paradigm'. Each time a 
spectator (or any entity connected to the work) access the paradigm 
through the syntagm, the syntagm is modified. Thus it is possible for 
the spectator as individual to be conscious about his action on the 
syntagm, but these possible observations can be messed up by the 
collective process. Many spectators can act quite simultaneously on the 
paradigm and doing so modify syntagm in a way that blurs the observation 
of the individual process.

Changelog:

 * 17 Aug 2009: v1, implementation of the paradigmatic axis 
(algorithm of picture generation).
 * 17 Aug 2009: v2, feedback from the paradigm to the syntagm, 
defined as a sequence.
 * 19 Aug 2009: v2.1, syntagms separation, file structure update.


http://www.datapainting.com/paradigmatic-landscapes/



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Re: [NetBehaviour] naughty boy

[yann le guennec]

this is a wide (and wild) problem, but there are also solutions, not 
tested yet:
http://en.wikipedia.org/wiki/Basic_income

may be one day


++
--y


Simon Biggs a probablement écrit :
>   Hi Alan
> 
> I wasn’t trying to address that argument – just questioning whether 
> education and work ethic are enough to facilitate a meaningful life. 
> Yes, decent health care is important. A degree of financial security 
> highly deslirable.
> 
> The US spends more of its GDP on health care (16%) than any other 
> country in the world and yet is the only OECD country not to have some 
> form of universal care. The outcome of that is that average US life 
> expectancy is lower than the OECD average (even lower than the UK’s – 
> whose NHS costs 8% of GDP and has taken such a battering in the US media 
> recently). What Obama is trying to do with US health care looks way 
> overdue and only sensible. Those arrayed against him look like selfish 
> big business protecting its bottom line at the expense of the people.
> 
> Mind you, everyone admires American teeth ;)
> 
> Best
> 
> Simon
> 
> 
> Simon Biggs
> Research Professor
> edinburgh college of art
> s.biggs@ eca .ac.uk
> www. eca .ac.uk
> www. eca .ac.uk/circle/
> 
> si...@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
> 
> 
> *From: *Alan Sondheim 
> *Reply-To: *NetBehaviour for networked distributed creativity 
> 
> *Date: *Tue, 18 Aug 2009 20:15:26 -0400 (EDT)
> *To: *NetBehaviour for networked distributed creativity 
> 
> *Cc: *Theory and Writing 
> *Subject: *Re: [NetBehaviour] naughty boy
> 
> 
> 
> It's not instrumentalist; it's more fundamental. If you're crazy with
> stress because of bad health care, little or no income, you just don't
> function well. If you have students, I assume you're full time - my two
> courses at SVA won't even pay the bills (adjuncts get next to nothing). I
> have nightmares over this, migraines, etc. In other words there has to be
> a modicum of feeling you're not going to lose your apartment or your
> teeth, you're going to have some sort of stability somewhere. I don't have
> that - it doesn't sound like 'naughty boy' does either.
> 
> - Alan
> 
> On Wed, 19 Aug 2009, Simon Biggs wrote:
> 
>>  I always feel guilty seeking to justify to students why they should 
> persist
>>  with completing their degrees, whether BA, MA or PhD – so I don’t. They
>>  often say they want a degree so they can get a decent job and balance that
>>  with their creative practice. They say they see me, with a job and an
>>  artistic career, as a role model. I point out to them I left school at 15
>>  with no qualifications -  to be a hippy. Other than being an artist and
>>  coincidentally securing various positions because of my artistic 
> activities,
>>  including my current one, I have never had what I consider a real job 
> in my
>>  life. I’m just a good for nothing artist – at least in the eyes of the 
> taxi
>>  driver or plumber I often encounter (people with real jobs). It seems that
>>  being good for nothing can be more rewarding than being socially useful.
>>
>>  I find it a worrying that people judge themselves by whether they are
>>  gainfully employed or not. Everyone has something to contribute. We 
> live in
>>  societies, both poor and wealthy, that historically have tolerated
>>  significant percentages of their populations being what, in todays 
> terms, we
>>  would consider economically inactive. However, economic inactivity 
> does not
>>  mean a lack of productivity. There are so many ways that people can
>>  contribute value to themselves and those around them without getting a 
> job.
>>  I never wanted a job anyway!
>>
>>  We should not allow an instrumentalist view of life to become 
> paradigmatic,
>>  especially in creative practice. That is the death of the artist.
>>
>>  Best
>>
>>  Simon
>>
>>
>>  Simon Biggs
>>  Research Professor
>>  edinburgh college of art
>>  s.bi...@eca.ac.uk
>>  www.eca.ac.uk
>>  www.eca.ac.uk/circle/
>>
>>  si...@littlepig.org.uk
>>  www.littlepig.org.uk
>>  AIM/Skype: simonbiggsuk
>>
>>
>>
>>  From: Alan Sondheim 
>>  Reply-To: NetBehaviour for networked distributed creativity
>>  
>>  Date: Tue, 18 Aug 2009 13:25:23 -0400 (EDT)
>>  To: Theory and Writing 
>>  Cc: 
>>  Subject: Re: [NetBehaviour] naughty boy
>>
>>  My degree's in english, which has been useless all
>>  these years; Azure's is in environmental conservation from NYU (mine's
>>  from Brown). She hasn't been able to get work; I teach from time to time,
>>  part-time, and the stress is incredible; I think about suicide, running
>>  away with Azure, etc. etc.
>>
>>
>>  Edinburgh College of Art (eca) is a charity registered in Scotland, 
> number SC009201
>>
>>
>>
> 
> 
> | current internet text file: http://www.alansondheim.org/qf.txt
> | Alan Sondheim Mail archive:  http://sondheim.rupamsunyata.org/
> | Webpage (directory) at http://www.alansondheim.org
> | sondh...@panix.com, sondh...@gmail.org, tel US 71

[NetBehaviour] Paradigmatic Landscapes

[yann le guennec]

Paradigmatic Landscapes

Each time you access a picture from the "Paradigmatic landscapes" 
project, 3 portions, from 3 pictures selected randomly in a defined set 
of pictures, are extracted, resized and superposed to compose a new 
picture. Thus, each generated landscape is different from another. There 
is a poor probability to generate 2 identical pictures. "Paradigmatic 
landscapes" is declined into several series, involving different sets of 
defined pictures serving as bases for the compositions. "Paradigmatic 
landscapes" project explores the "if" and the "how" a very simple 
algorithm and sets of pictures (1, 2, 3) can generate some kinds of 
visual patterns and exceptions, according to some ideas about some kinds 
of landscapes, but without analyzing further any data model or trying to 
explicit what happen when generating and looking at (references to) 
landscapes.


http://www.datapainting.com/paradigmatic-landscapes/


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Re: [NetBehaviour] Times, Things, Spaces // Triptych of Synthetic Reality ...

[yann le guennec]

yann le guennec a probablement écrit :
> questions and feedbacks are welcome,


i don't know why, but since more than 10 years, every time i type this 
in an email, i'm quite sure i won't get any ! :-)



-- 
Yann Le Guennec
http://www.yannleguennec.com
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[NetBehaviour] Times, Things, Spaces // Triptych of Synthetic Reality #01 // Yann Le Guennec // 2009

[yann le guennec]

Hello,

I'm currently testing a whole new approach to my works, based on 
picture/image as a result of my global practice involving software, 
installation, photography. The website aims to function as a gateway 
able to generate localized exhibitions. First implementation of this 
approach is called 'Times, Things, Spaces // Triptych of Synthetic 
Reality #01 // Yann Le Guennec // 2009' and can be found directly at my 
home page: http://www.yannleguennec.com

questions and feedbacks are welcome,
cheers,


-- 
Yann Le Guennec
http://www.yannleguennec.com
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Re: [NetBehaviour] Internet of Things....Research OpportunitiesonEPSRC funded Project]

[yann le guennec]

Well, i think it will be a bit difficult for me to explain my point of 
view in english... but  let's try...

At a certain level, this question is about paradigms. Scientific 
research is based on some rules, including the ability to reproduce 
previous obtained and published results. So it is for experimental and 
physical science research, but also for mathematic, biology, et.. a 
researcher should be able to reproduce a demonstration, according to the 
fact that mathematic concepts can not suffer any semantic ambiguity. 
insuch a context, it's quite usefull to cite authors of previous 
experiments as contextual informations, kinf od metadata allowing to 
link works and reseach in a corpus.

So it is in 'soft sciences', or 'humans sciences' like psychology, 
sociology, etc... concepts, results and experiments have to be 
referenced (authors, years) in order to disambiguate them and compose 
the corpus of the domain.

All this scientific domains, more or less formal, ...are domains, with 
some kinds of borders, dominant theories, specific concepts, etc...they 
are articulated on reseach paradigms at the epistemic level.

 From my point of view, art (and in a way also design) is 'epistemic in 
itself', it means art generates as many paradigms that are necessary to 
the diversity of forms and expressions. Art is not a domain because it 
does not need to self-reference itself, and does not need to be logicaly 
articulated in a corpus. It can be the case for some kind of practices, 
in some artistics subcategories, but it's not a formal rule for its 
existence.

So there is a big gap at this level between art + design and science + 
research. I'm also interested in this question, and i saw some people in 
France (mostly in art and design school) are trying sometimes to define 
a field for artistic research or design research, that does not yet 
exist. But if it exist one day, i don't think that it can be initiated 
only on the basis of imported paradigms. I better imagine that art 
practicies are able to propose other paradigms for research and thinking.

(well, i hope this is understandable in some ways...)


regards
yann





Simon Biggs a probablement écrit :
> Yes, I am being ironic (to a degree).
> 
> In formal research you cannot cite sources from unrecognised authors.
>  Authors have to be identifiable and their work generally peer
> reviewed. Sources such as the Encyclopedia Brittanica and Wikipedia
> are not allowed to be used. It does not mean that these sources are
> poor – just that the information they provide has not been verfied.
> This restriction can be annoying but is understandable. I often use
> Wikipedia for initial background data-mining, but when it comes to
> using references I go to the original texts (which might be mentioned
> in Wikipedia) and check them prior to citing them. When reading
> somebody’s research you want to know their sources are reliable. If
> you can’t trust their sources you can’t trust the research. It could
> be anything. Same with journalism. If I am reading a piece of
> investigative journalism and discover the evidence was unverified I
> would lose trust in the author (unless they have presented the text
> as an opinion piece).
> 
> The reason this thread arrived at this theme was the posting about 
> research opportunities into the creative applications of social 
> technologies at eca. The team undertaking that work is made up of 
> artists, architects, social scientists and informaticians. The
> methods they will employ will include those familiar to artists and
> other creative practitioners, but undertaken alongside and
> contextualised by methods from the social and physical sciences.
> These methods require that researchers ensure rigorous proof of their
> evidence and the criteria for their anaylsis. That is no big deal. It
> just means the work has to be done openly, transparently, everything
> recorded and all original material retained for peer assessment. This
> is not foolproof (there are plenty of examples of poor science
> around) but nobody has proposed a better system yet. It is unusual
> for artistic work to be undertaken in this context but not novel.
> Other’s have done it. It often leads to surprising outcomes,
> especially for the scientists.
> 
> As for Bruce Sterling, I find his (non-fiction) writing 
> techno-determinist, utopian and evangelical in nature. What I have
> seen of his work appears to be oriented towards opinion pieces rather
> than research. However, I have to admit I’ve not read him much so I
> could be wrong.
> 
> Regards
> 
> Simon
> 
> 
> Simon Biggs Research Professor edinburgh college of art s.biggs@ eca
> .ac.uk www. eca .ac.uk www. eca .ac.uk/circle/
> 
> si...@littlepig.org.uk www.littlepig.org.uk AIM/Sk

Re: [NetBehaviour] Internet of Things....Research OpportunitiesonEPSRC funded Project]

[yann le guennec]

the concept of throwing away objects may become a
>>>> thing of the past as other people find new uses for old things.
>>>> 
>>> 
>>> Wow man, I'm glad all these technical boffins come up with such 
>>> fantastic ideas... Just a pity the Wombles[1] beat them to it.
>>> 
>>> [1] http://www.tidybag.co.uk/
>>> 
>>> ___ NetBehaviour
>>> mailing list NetBehaviour@netbehaviour.org 
>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>>> 
>> 
>> 
>> 
>> -- * Pall Thayer artist 
>> http://www.this.is/pallit *
>> 
>> ___ NetBehaviour
>> mailing list NetBehaviour@netbehaviour.org 
>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>> 
>> 
>> Edinburgh College of Art (eca) is a charity registered in Scotland,
>> 
> number SC009201
>> 




-- 
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http://www.yannleguennec.com
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Re: [NetBehaviour] Internet of Things....Research Opportunities on EPSRC funded Project]

[yann le guennec]

Hi all,


This is a great project. Spimes are not intrinsically designed for 
surveillance , and as Simon noticed 'The information in information 
technology always travels both ways'.

I also work on some 'imaginary spimes' and i think that this term coined 
by Bruce Sterling is a powerfull operative concept, for art and design.


There is also a "Spime design workshop" in Second Life monday, june 29 
at 21H CET, you cand take part by registering here (it's free):
http://bit.ly/sdw-application


--
Yann Le Guennec
http://www.yannleguennec.com




Ruth Catlow a probablement écrit :
>  Forwarded Message  *From*: Chris Speed
> mailto:c.sp...@eca.ac.uk>>
> 
> Dear all and everyone,
> 
> A series of research opportunities are available to support a large 
> EPSRC project exploring social memory in the emerging culture of the
>  Internet of Things.
> 
> Research Associate, UCL. Fulltime. Duration: 3 years. Start: Sept 09 
> Research Associate, UCL. Fulltime. Duration: 2 years. Start: Sept 09 
> Project Administrator, ECA. Fulltime. Duration: 3 years. Start: Aug
> 09 Studentship, Fulltime. Dundee. Duration: 3 years. Start: Sept 09 
> Studentship, Fulltime. ECA. Duration: 3 years. Start: Sept 09
> 
> *Please visit: * http://www.youtotem.org And then click on links to
> find application details Various deadlines are in place.
> 
> *TOTeM*
> 
> “Spimes are manufactured objects whose informational support is so 
> overwhelmingly extensive and rich that they are regarded as material
>  instantiations of an immaterial system. Spimes begin and end as
> data. They’re virtual objects first and actual objects second.” Bruce
> Sterling, Shaping Things, (2005)
> 
> The TOTeM project is located within the emerging technical and
> cultural phenomenon known as ‘The Internet of Things’. The term is
> attributed to the Auto-ID research group at MIT in 1999, and was
> explored in depth by the International Telecommunication Union who
> published a report bearing the same name at the United Nations net
> summit in 2005. The term, ‘Internet of things’, refers to the
> technical and cultural shift that is anticipated as society moves
> towards a ubiquitous form of computing in which every device is ‘on’,
> and every device is connected in some way to the Internet. The
> specific reference to ‘things’ refers to the concept that every new
> object manufactured will also be able to part of this extended
> Internet, because they will have been tagged and indexed by the 
> manufacturer during production. It is also envisaged that consumers
> will have the ability to ‘read’ the tags through the use of mobile
> ‘readers’ and use the information connected to the object, to inform
> their purchase, use and disposal of an object.
> 
> The implications for the Internet of Things upon production and 
> consumption are tremendous, and will transform the way in which
> people shop, store and share products. The analogue bar code that has
> for so long been a dumb encrypted reference to a shop’s inventory
> system, will be superseded by an open platform in which every object
> manufactured will be able to be tracked from cradle to grave, through
> manufacturer to distributor, to potentially every single person who
> comes into contact with it following its purchase. Further still,
> every object that comes close to another object, and is within range
> of a reader, could also be logged on a database and used to find
> correlations between owners and applications. In a world that has
> relied upon a linear chain of supply and demand between manufacturer
> and consumer via high street shop, the Internet of Things has the
> potential to transform how we will treat objects, care about their
> origin and use them to find other objects. If every new object is
> within reach of a reader, everything is searchable and findable,
> subsequently the shopping experience may never be the same, and the
> concept of throwing away objects may become a thing of the past as
> other people find new uses for old things.
> 
> *The project team are:*
> 
> •Maria Burke, Salford •Andrew Hudson-Smith, UCL •Angelina
> Karpovich, Brunel •Simone O’Callaghan, Dundee •Morna Simpson,
> Dundee •Chris Speed, (PI) Edinburgh College of Art
> 


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