Newmedia | 21 Jul 20:44 2014
Picon

Automation: Learning a Living (Marshall McLuhan, 1964)


[Understanding Media: The Extensions of Man, Marshall McLuhan, 1964,
pp. 357-59, final chapter, the last four paragraphs]

Automation: Learning a Living

Such is also the harsh logic of industrial automation. All that we had
previously achieved mechanically by great exertion and coordination
can now be done electrically without effort. Hence the specter of
joblessness and propertylessness in the electric age. Wealth and work
become information factors, and totally new structures are needed
to run a business or relate it to social needs and markets. With
the electric technology, the new kinds of instant interdependence
and interprocess that take over production also enter into market
and social organizations. For this reason, markets and education
designed to cope with the products of servile toil and mechanical
production are no longer adequate. Our education has long ago acquired
the fragmentary and piece-meal character of mechanism. It is now under
increasing pressure to acquire the depth and interrelation that are
indispensable in the all-at-once world of electric organization.

Paradoxically, automation makes liberal education mandatory. The
electric age of servomechanisms suddenly releases men from the
mechanical and specialist servitude of the preceding machine age.
As the machine and the motorcar released the horse and projected it
onto the plane of entertainment, do does automation with men. We are
suddenly threatened with a liberation that taxes our inner resources
of self-employment and imaginative participation in society. It has
the effect of making most people realize how much they have come to
depend on the fragmentalized and repetitive routines of the mechanical
(Continue reading)

michael gurstein | 22 Jul 06:47 2014
Picon

Re: [SPAM] Re: More Crisis in the Information Society

I am finding it very interesting if a bit discombobulating to see my initial provocation turned into the
stuff of common room chat. As one who has only one or two tremulous toes dipped in the sacred waters of
academe the self-absorption that this represents is quite astonishing if not deeply saddening.

I think that Ted goes to the river but doesn't in the end immerse himself (sorry, I've just been briefly
spending time with the 100???s of thousands of Shiva devotees braving a semi-torrential up-stream
Ganges in search of something--but certainly not academic enlightenment...

The "crisis in the Information Society" dear friends is not simply a crisis of potential conscience
(consciousness?) among "new media" faculty however important in the great scheme of things that might
be. 

It is as I was trying to point out, a deep, dare I say existential crisis, for Western democracies and their
camp followers.  The technologies which were to have taken them/us to a new stage of
economic/social/cultural/political liberation are now demonstrated to be doing exactly the opposite
and our addiction (to the digital) is so profound and so integral that there is no ???work-around??? ??? we
have seen the Surveillance/Control State and it is us???

So unless we can figure out and implement a way of controlling the ???deep (digitally empowered) state???
we had better all get out our well-worn and now (???it???s so 80???s???) discarded volume of 1984 and get
our Newspeak lexicon up to speed (I???m wondering when it might be added as a language for Google translate
??? no time like the present and somehow it seems profoundly appropriate.

M

-----Original Message-----

From: nettime-l-bounces@...
[mailto:nettime-l-bounces@...] On Behalf Of t byfield
Sent: Tuesday, July 22, 2014 12:16 AM
(Continue reading)

Patrice Riemens | 21 Jul 19:29 2014
Picon
Picon

Ippolita Collective, In the Facebook Aquarium Part Two,

With this installment, we reach the end of the second part of Ippolita
Collective's In the Facebook Aquarium. The third part ('The freedoms of
the Net') is the last one, and is only very marginally shorter than the
first and second parts.
I propose to make the next installments longer (and hence less frequent)
to reduce the stress to nettimers, who, I am told, tend to get a bit lost
and forget the gist of the argument due to its segmentation. The rapid
fire of the preceding installments had also a bit to do with my desire to
'make some good progress' in moving this translation forward, so I ask for
your forbearance.

Cheers from p+2D!, hoping you enjoy!

----------------------------------------------

Ippolita Collective, In the Facebook Aquarium Part Two

Anonymous, or out-of-the-box activism (section 8, conluded)

Sociality and politics work in the same way: on-line practice is narrowly
connected with real life practice, and cross-fertilization occurs all the
time. Anonymous' initiatives made a big splash in the media, which in its
turn focused the attention of the police on the group, something they
would have gladly done without. During the Occupy Wall Street
demonstrations, which were inspired by the 'Indignados' movement in Spain
occupying central squares all over the country, Anonymous brought in its
technical expertise. Twitter and Facebook apps were created on the spot to
improve communications between protesters. On many occasion, transparency,
so disparaged, became an effective weapon against the police, e.g. to
identify those law-and-order personel manhandling protesters. Yet the same
(Continue reading)

Örsan Şenalp | 21 Jul 18:28 2014
Picon

Fwd: interference↘15.08/17.08↘amsterdam

https://interference.io/

Interference, n:

preventing (a process or activity) from continuing or being carried
out properly.
the combination of two or more electromagnetic waveforms to form a
resultant wave in which the displacement is either reinforced or
cancelled.

Interference is a gathering of people, perspectives, theories, and
actions that share a critical approach to society and technology. It
will take place at the Binnenpret in Amsterdam, NL from 15th to the
17th of August 2014. It will be a space where we can meet, debate,
share, learn, and find our affinities and oppositions. The event comes
as a response to the lack of a common ground for confrontation and
discussion over themes like hacking, technology, art and politics that
could break out of the existing containers and roles for such concepts
and practices.

Interference is not a hacker conference. From a threat to the
so-called national security, hacking has become an instrument for
reinforcing the status quo. Fed up with yet another recuperation, the
aim is to re/contextualize hacking as a conflictual praxis and release
it from its technofetishist boundaries. Bypassing the cultural
filters, Interference wants to take the technical expertise of the
hacking scene out of its isolation to place it within the broader
perspective of the societal structures it shapes and is part of.

Interference tries not to define itself. Interference challenges
(Continue reading)

Keith Sanborn | 21 Jul 18:27 2014
Picon

Security back doors in iOS

A recent posting on MacRumors I thought might be of interest to nettimers. My apologies to those for whom
this is obvious and too downstream. 

Keith Sanborn

As part of a recent Hackers On Planet Earth (HOPE/X) conference presentation, forensic scientist and
iPhone jailbreak expert Jonathan Zdziarski detailed several backdoor security mechanisms that are
secretly included in iOS by Apple. These mechanisms make covert data collection easier for Apple and
governmental authorities, reportsZdziarski via ZDNet. 

Zdziarski confirms that iOS is reasonably secure from attack by a malicious hacker, but notes that the
mobile OS includes several forensic services and noticeable design omissions that make the OS
vulnerable to snooping by forensic tools. 

These services, such as "lockdownd," "pcapd" and "mobile.file_relay," can bypass encrypted backups to
obtain data and can be utilized via USB, Wi-Fi and possibly cellular. They also are not documented by Apple
and are not developer or carrier tools as they access personal data that would be not used for network
testing or app debugging purposes. 

While detailing these backdoors, Zdziarski makes it clear he is not a conspiracy theorist, but does want to
know why Apple appears to be deliberately compromising the security of the iPhone and opening the door to
professional, covert data access.
I am not suggesting some grand conspiracy; there are, however, some services running in iOS that shouldn?t
be there, that were intentionally added by Apple as part of the firmware, and that bypass backup
encryption while copying more of your personal data than ever should come off the phone for the average
consumer. I think at the very least, this warrants an explanation and disclosure to the some 600 million
customers out there running iOS devices. At the same time, this is NOT a zero day and NOT some widespread
security emergency. My paranoia level is tweaked, but not going crazy. My hope is that Apple will correct
the problem. Nothing less, nothing more. I want these services off my phone. They don?t belong there.
Zdziarski also notes that he isn't the only one aware of these backdoors. Several existing forensic
(Continue reading)

Patrice Riemens | 20 Jul 20:47 2014
Picon
Picon

Ippolita Collective, In the Facebook Aquarium Part Two,

Ippolita Collective, In the Facebook Aquarium Part Two

Anonymous, or out-of-the-box activism (section 8, continued)

Viewed from out the media, the reaction of the church of Scientology, just
as that of all Anonymous' (many) casualties afterwards, was to portray the
members of the group as monomaniac computer fanatics and cyber-terrorists,
or in one word: (dangerous) hackers. It is not easy to define Anonymous in
terms of ideology, but one aspect cannot escape notice: what boils up from
all the Anonymous nodes is a very peculiar interpretation of freedom of
expression, which is adamantly refered to as 'non-negotiable' [71]. As can
be seen with the /OpBart/ operation, Anonymous often appears when
censorship appears too [72]. Anonymous' and Wikileaks' paths crossed again
between December 6 and 10, 2010 during /Operation Avange Assange (aka
Operation Payback/), when several DDoS attacks were mounted, many
successful, against a twelve-some banks and financial institutions which
had blocked monetary transfers in favor of Wikileaks [73x].

To uncover the enemy's misdeeds while keeping a mask on, defy opacity
through transparence while remaining anonymous, attack powerful actors
(churches, armies, governments, banks) by way of interventions pairing
technical competences with spectacular mass media engagement, and to adopt
a truly warrior attitude, whether in the form of open warfare or sabotage
actions - these are the features Anonymous and Wikileaks share in common.
But the similarities stop here. Unlike Wikileaks, one cannot identify
Anonymous with one really existing person because it is not a SPO [###*],
but always operates as a (fluctuating) collective. In theory, anybody can
be part of Anonymous, whereas passing on a top secret piece of information
to Wikileaks does not result in identification of the person doing it.
Anonymous in its turn, is made up of a great many individuals, networks,
(Continue reading)

Magnus Boman | 21 Jul 01:16 2014
Picon

Re: Copyright Is Over - If You Want I

Forgive me, but it seems to me "the work" did not steal anything from you.
It was rather your own behaviour in the face of authority that caused your
frustration. Why did you let a sign and a security guard stop you?

Again (like in last month's discussion), to me what is required to enjoy a
bootleg or a remix like Marclay's is punk attitude. A quote by Lenny Kaye
(for Clinton Heylin's book "Bootleg") comes to mind: "I think that bootlegs
keep the flame of the music alive by keeping it out of not only the
industry's conception of the artist, but also the artist's conception of
the artist". (Ironically, Heylin put on the dust cover this quote which was
a rehash of something Kaye had said to Hot Wacks, an underground magazine
on music bootlegs, years earlier.) Licenses to protect the artist (sic) are
in fact protecting the producer's choices, which may be a noble thing, but
not necessarily what produces high art. Conversely too, an artist can screw
a producer with the licenses on her/his side, like some of Miles's
musicians did when they licensed the unabridged tapes that Teo Macero
painstakingly had cut into, well, high art.

I regularly listen to Dead tapes off the Internet Archive and the
newsletters about the archive are great, but it is a very different place
from Ubuweb, and I don't think it's the licenses that make the difference.

[MP: belated thanks for your correction to my use of the word jurisprudence
last month.]
M.

On 19 July 2014 15:13, "?zg?r k." <ozgur.k@...> wrote:

> the wall text in the entrance of a very recent marclay "the clock"
> exhibition warned me that taking photos or shooting video is not
(Continue reading)

John Young | 20 Jul 18:01 2014
Picon

Elites' Tryranny of Structurelessness

Following NYTimes quotes of 'The People's Platform,' by Astra Taylor:

"Open systems can be starkly inegalitarian," a "tyranny of structurelessness.
Elites can happily deny their own existence."

The Tyranny of Structurelessness, Jo Freeman:

http://www.jofreeman.com/joreen/tyranny.htm

Tom Sherman | 20 Jul 15:39 2014
Picon

Understanding Media was our First Big Mistake (a reflection on new

Excerpt from ?Understanding Media was our First Big Mistake,?
published in Centerfold magazine (Toronto), 1979.

Tom Sherman

Miami. Here I am. Sitting on the 5th-storey sunroof of the Wandolyn Motor Hotel. Taking in the
(squint-eyed) panoramically framed view of the quiet, mid-afternoon light. Laid back in a chaise
lounge, drinking a gin and tonic, interviewing Maria Del Mar, greater Miami artist and successful media
entrepreneur. I?m the one who is staying in this Hotel. I?m living it up on the magazine?s expense account
(Centerfold). Maria preferred to come to meet me. She said she was looking for a reason to get out of the
house. As well as being the 11th wonder of the world, Maria is a very active artist who works directly with
the highest forms of available technology in a potentially full, creative sense. She loves her
equipment, and the machinery she designs really puts out for her. Skip Olson, a flashy p
 rogrammer from Boca Raton (educated at Cal Tech under Harold Proctor), does most of Maria?s super tech. It
was actually Olson who put the final touches on Maria?s ?Spinal Ray Gun?. The ?SRG? is an e
 lectro-acoustic transducer that literally makes the body, as Maria says, ?speak in tongues from head to
toe.? This ?fun gun? is based on Olson?s patented (1975) digitally focused transducive floating head
assembly. Make no mistake, the ?SRG? was Maria?s own invention, and still is.

She has been working with various electro-acoustic transduction techniques since emigrating to the
United States from Caracas in 1974. Maria explained that she had felt stifled by the total lack of activity
in the experimental technological arts in her native Venezuela. She originally landed in New York where
she found work with Pan American Airlines (on the ground) while she looked for the access she needed to
continue her creative work in the States. It took only six months for Maria to decide New York was not for
her. Her move to Miami in the winter of 1975 was based on the weather, and as it turned out it was a stroke of
good luck. She ran into Olson at a computer conference that same winter. He was lecturing on his developing
digital focusing mechanisms. His floating head assembly pro
 ved to be the missing interface between Maria?s transducive ideas and the spine of the general public?.

As she has just taken the real thing out of her purse, Maria Del Mar?s ?Spinal Ray Gun? looks like a cross
(Continue reading)

michael gurstein | 18 Jul 18:20 2014
Picon

More Crisis in the Information Society


Pando.com: New San Francisco billboard warns workers they'll be replaced by iPads
if they demand a fair wage

http://tinyurl.com/mn2xzzn

nettime's avid reader | 19 Jul 12:25 2014

Copyright Is Over – If You Want It


By Kenneth Goldsmith, New York | July 15, 2014

http://www.billboard.com/biz/articles/news/legal-and-management/6157548/copyright-is-over-if-you-want-it-guest-post

Christian Marclay's massively popular artwork "The Clock" is comprised
of thousands of preexisting film clips strung together into a 24-hour
minute-by-minute cycle. It's been widely celebrated, attended by
crowds around the globe. Critical praise has been heaped upon it: The
New York Times hailed the piece as the ultimate work of appropriation
art, and it dovetails with memes like supercuts [1] ("fast-paced
montages of short video clips that obsessively isolate a single
element from its source, usually a word, phrase, or cliché from film
and TV"). So far, so good: a massively popular work constructed
in the style of broad-based web trends, which is also acclaimed,
valorized, funded, exhibited, and collected by the most powerful art
world institutions. And yet, the elephant in the room is copyright:
few have mentioned that Marclay hasn't cleared any permissions with
Hollywood for his work. "Technically it's illegal,” Marclay said in
The Economist, “but most would consider it fair use.”

The Clock is an expensive, limited edition work of art — one sold in
2011 for nearly a half a million dollars; in 2012, he made six more
copies available to institutions — born of free-culture frisson.

He's breaking copyright and nobody — not the art collectors, nor the
museumgoers, nor the MPAA — seems to care.

In an interview with The New Yorker [2], Marclay explained his idea
of copyright: "If you make something good and interesting and not
(Continue reading)


Gmane