Astro @ Culture Lab 26th October 2010

Zip file with audio from all the sets:

http://www.megaupload.com/?d=ZJO8HOXP

Teched the sound for Astro tonight.

A totally awesome set tonight from Astro which completely abstracted my conscious mind from reality to a place beyond space and time via intense sonic textures!!!!…Has and Mikes set totally pulsated – throbbing synths and spidery guitar webs… Adams was beautiful with deep luscious subs blended with crackling chiaroscuro hi end.

SUBTERRANEANewcastle (Robert Malone):

ASTRO

“ASTRO is the solo project of legendary Japanese noise artist Hiroshi Hasegawa, also highly revered as a member of the seminal noise band C.C.C.C (along with Fumio Kosakai of Incapacitants, amongst others). Hasegawa is rightly regarded as a major player in the noise world, appearing on over 50 releases in various guises, famously touring the US with Hair Stylistics and Jazkamer, collaborating with Damion Romero, Masonna, Richard Ramirez and many others. He also appeared at 2006’s No Fun Fest in New York as half of Astromero, his duo with Romero.

“Expect intense, punishing psychedelic synth noise – the sound of ASTRO may cause delirium and use of machinery following dosage is not recommended.” (TUSK)

http://www.myspace.com/astrojp
http://www2.odn.ne.jp/astro/

JAZZFINGER + BONG

…is the long-standing Newcastle monolith who we all know and love. “A medicinal noise prescribed to fill internal voids”.

http://www.myspace.com/jzzfngr
http://www.last.fm/music/Jazzfinger

ADAM PARKINSON

…“has been developing musical iPhone apps for live performance and improvisation. He uses iPhones in the duo ‘Atau and Adam’, with Atau Tanaka.

“His music ranges from glitchy, textural improvisations to bass heavy dancefloor assaults and avant garde disco pop. (Culture Lab)

http://manwithfeathers.com/

CULTURE LAB @ NEWCASTLE UNIVERSITY
http://www.ncl.ac.uk/culturelab/

Video Clip on Vimeo (but with poor sound):
http://vimeo.com/31178134

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Lunch Bites – Jussi Parikka 20th October 2011

“Media Garbology or why Dead Media means Dead Nature”

Links to some of the artists and academics mentioned in the lunch bites talk.

Jussi Parikka

Jussi Parikka is the Director of CoDE: the Cultures of the Digital Economy-Institute (uk) and co-director of the Anglia Research Centre in Digital Culture. He teaches Media Studies at the Anglia Ruskin University, Cambridge, and has published the books Digital Contagions: A Media Archaeology of Computer Viruses and Insect Media. He has co-edited The Spam Book as well as the forthcoming title Media Archaeology.

Garnet Hertz – Dead Media
Circuit Bending workshops:
http://www.conceptlab.com/circuitbending/
Concept Lab
http://www.conceptlab.com/

Other interesting projects:
Webserver in a deadfrog
http://www.geekologie.com/image.php?path=/2007/07/25/frog-web-server.jpg
http://www.geekologie.com/2007/07/garnet_hertz_experiments_in_ga.php

Toronto School of Communication Theory
http://en.wikipedia.org/wiki/Toronto_School_of_communication_theory

Paul DeMarinis
Installation Sound Artist / Musician
“The Edison Effect” uses optics and computers to make new sounds by scanning ancient phonograph records with lasers.
\"The Edison Effect\"documentation on Youtube

http://www.well.com/~demarini/

Jennifer Gabrys BA (Hons), MLA, PhD
Senior Lecturer at Goldsmiths, University of London
in Design, Convener of MA Design + Environment
http://www.gold.ac.uk/design/staff/gabrys/

http://www.digitalculture.org/books/digital-rubbish
Book available to read free online:
http://hdl.handle.net/2027/spo.9380304.0001.001

Martin Howse
The Creative Technology Review 18 (Martin Howse interview)

A Sunday evening data roast and carvery with Martin Howse, Danja Vassiliev (and Gordo Savicic streaming from Belgrade).

Data carving treats the user’s hard drive (and memory chips) as a
surface for constant excavation. Reverse engineering daily data
sediments promotes new forms of digital archaeology, with hard disk
trouvee as rich seams to be opened and mined for mineral and personal
gems.

The sunday evening carve will showcase varying techniques of file
carving on found hard drives; piping memory to the transmitter and
broadcasting encoded executables/memory live to receptive consumers.

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Affordance, Appropriaiton and Design by M. T. Schaefer

“Appropriation means that users integrate technology into their everyday practices, adapting and sometimes transforming its original design. It covers the use, the modification, the reuse and further development of artefacts in ways often un­ foreseen by the original designers (Dix 2007). Reacting to the initial design of an artefact and changing it according to other needs has been described as a common consumer and user activity (Pacey 1983). The material aspects of Internet culture and the effective possibilities for collaboration have only aggravated this practice on a global scale. Appropriation is related to affordance, because the material characteristics and the design choices affect the act of appropriation. Design and the specific material qualities form the basis for use and appropriation.
Figure 2. Affordance, appropriation and design.
As shown in figure 2, affordance, appropriation and design are interdependent. Affordance exists in both, namely the specific material features used for design, and in the design process, which also constitutes affordance. Design is the formalization of anticipated user activities through the use of certain materials or technologies and the shaping of these into artefacts that constitute the designated affordances. The challenge for design is to employ material characteristics accordingly. A pro­totypical example of contradictory design will be presented in the case of the Microsoft Xbox, a game console that actually had the typical characteristics of a per­sonal computer but was limited, due to its design, to the functionality of a game console. Users hacked and modified the game console in ways unintended by the vendor. Microsoft learned from these acts of user appropriation and formalized several aspects into the design of the next game console, the Xbox 360, aiming to include several forms of game console use and attempting to exclude others that were more efficient than the older design. The labour of user communities, their innovations and their way of using a device were then formalized into new design decisions and therefore implemented in further developments. During all stages of development, the involved participants can be professional designers employed by a company, individual users, a collective of enthusiastic students, or a user commu­nity, a team of hackers and so on; all of these participants are users and producers.”

Quoted from

Schäfer, M. T. (2011) Bastard Culture! How User Participation Transforms Cultural Production. Amsterdam University Press. pp. 19 – 21

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