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Interaction 13 - The Dream of the 90s Is Alive

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Interaction 13 - The Dream of the 90s Is Alive

  1. 1. THE DREAMOF THE 90sIS ALIVEJ A S O N B R U S Hhttp://www.possible.com | @jasonbrush | #DreamOf90s
  2. 2. Sleeping in until 11 Hanging with friends Going to Clown School G.W. Bush presidency didn’t exist Riding unicycles, skateboards, public transportation Wearing flannel shirts Buying and selling CDs at a record store You can put a bird on something and just call it artNostalgia for the things in the song? Or just nostalgia for youth?
  3. 3. Life is rich as we fill it with things beautiful to remember. — GoetheA benefit of memory: our lives in the present are enriched by experiences in the past.
  4. 4. The past is never dead. Its not even past. — William FaulknerA risk: we let the past haunt us, hover over us, infect our present.Saying “yesterday was better than today.”
  5. 5. It’s easy for me to be nostalgic about independent film.
  6. 6. http://www.informationisbeautiful.net/2012/how-much-does-hollywood-earn/
  7. 7. We live in the digital age and, unfortunately, it’sdegrading our music, not improving it … It’s notthat digital is bad or inferior, it’s that the way it’sbeing used isn’t doing justice to the art. The MP3only has 5 percent of the data present in theoriginal recording. … The convenience of thedigital age has forced people to choose betweenquality and convenience, but they shouldn’t haveto make that choice ...Steve Jobs was a pioneer of digital music and hislegacy is tremendous, but when he went home helistened to vinyl.— Neil Young
  8. 8. At least Neil Young is thinking about the future...
  9. 9. Were hunting for information; were starving for new equipment; we are in a personal arms race [for] memory or speed. — Laurie AndersonWith technology, its very nature keeps us from falling into the trap of nostalgia. Ifanything, we have amnesia.
  10. 10. 1990: MS-DOS was the dominant OSMicrosoft had just released Windows 3, the first version of Windows to achieve notablesuccess.
  11. 11. 1990: E-mail access through a terminal UI
  12. 12. Photo: functoruser1990: Sharing media: floppy disksThe CD-RW didn’t come until 1997, and Apple’s abandoning of the floppy drive in 1998 with theiMac was considered a radical move.
  13. 13. It was also a time of immense change. 1990 saw Nelson Mandela freed from political prison.
  14. 14. 1990: launch of the Hubble telescope.
  15. 15. 1990: reunification of Germany.
  16. 16. A program which provides access to the hypertext world we call a browser. When starting a hypertext browser on your workstation, you will first be presented with a hypertext page which is personal to you: your personal notes, if you like. A hypertext page has pieces of text which refer to other texts. Such references are highlighted and can be selected with a mouse (on dumb terminals, they would appear in a numbered list and selection would be done by entering a number). When you select a reference, the browser presents you with the text which is referenced: You have made the browser follow a hypertext link. — Tim Berners-Lee, Robert Cailliau Nov 12, 19901990: invention of the Web
  17. 17. 1993: Mosaic, first widely distributed Web browser.
  18. 18. Radio is one sided when it should be two. It is purely an apparatus for distribution, for mere sharing out. So here is a positive suggestion: change this apparatus over from distribution to communication. The radio would be the finest possible communication apparatus in public life, a vast network of pipes. That is to say, it would be if it knew how to receive as well as transmit, how to let the listener speak as well as hear, how to bring him into a relationship instead of isolating him. On this principle the radio should step out of the supply business and organise its listeners as suppliers. — Bertolt Brecht The Radio as an Apparatus of Communication (1932)Took previous concepts of creating a technology which was both the means of production anddistribution and made them real.
  19. 19. [Alan] Turing simply defined thecomputer as a machine that could beany machine...To paraphrase Turing, the computer isthe medium that can be any medium.— Simon Biggs
  20. 20. The effect of concept-driven revolutionis to explain old things in new ways.The effect of tool driven revolution isto discover new things that have to beexplored.— Freeman Dyson, Imagined Worlds
  21. 21. Artificial Constructs Hypertext ➜ net.art Linear/Analog Non-Linear Experience Experience Lived EnvironmentsAs a film student, I had been working in cinema which is necessarily about capturing the realworld and creating a linear experience with beginnings, middles and ends (although, asGoddard says, not necessarily in that order).Hypertext was something radically different — artificial and non-linear.
  22. 22. There had been experiments with these aesthetics in the past, e.g. William Burroughs andBrion Gysin’s cut-up collages.
  23. 23. Mark Amerika, HyperTextual Consciousness 1.0 (1995)“Will remove the limitations of physical space and will enable us to avoid having to be in aspecific place at a specific time.”http://www.grammatron.com/htc1.0/
  24. 24. CreditSam Pottshttp://sampottsinc.com/ij/David Foster Wallace, Infinite Jest (1996)
  25. 25. CreditNoah Smithnoahdanielsmith.comPulp Fiction (1994)
  26. 26. Olia Lialina, My Boyfriend Came Back from the War (1996)Experiments in how specific behaviors of HTML — e.g. Framesets — could shape experience.http://www.teleportacia.org/war/
  27. 27. Alexei Shulgin, This Morning (1997)Creating time-based experiences with HTMLhttp://www.easylife.org/this_morning
  28. 28. Nina Pope & Karen Guthrie, A Hypertext Journal (1996)Experimenting with “the WWW as Live Interface”; Predates “weblog” (1997), “blog” (1999)
  29. 29. Sites should have as their root emotive/meaningful contentThe net presents huge possibilities for relaying this type orperformance or time based workRemaining open to interaction is a struggle but a worthwhileoneSites must be in some way time based if an audience is to beengage in more than a once only quick flickThe basic building blocks of the net such as email, IRC andbasic html are of huge interest and potential use to artistswhether it is as a production or communication toolBy using the net artists are able to contectualise their ownwork by linking to material they choose — this could ofcourse be by themselves or others.— Nina Pope & Karen Guthrie
  30. 30. Jim Petrillo, Cinema Volta (1995)CD-ROMs allowed artists to distribute content which would have required too much bandwidth —audio, large graphics, video.http://youtu.be/Tkrjr0dpPNQ
  31. 31. Through the 90s, a kind oftechnological vertigo was a fact of life.— Simon Penny
  32. 32. Recording images for the blind.
  33. 33. Realize they can record dreams.
  34. 34. Addicted to dreams.
  35. 35. “For those who can’t put it down.”
  36. 36. Laurie Anderson / Hsin-Chien Huang, Puppet Motel (1995)Album “Bright Red” released in 1994; blending
  37. 37. jodi.org (Joan Heemskerk and Dirk Paesmans) (1995 –)“Jodi is Code stripped of all functionality, Code for its aesthetic value, Code as abrasivelanguage, Code as hallucination, Code as theater.”http://jodi.org/
  38. 38. Ben Benjamin, Superbad (1997)http://superbad.com/
  39. 39. Alexi Shulgin, Form Art Competition (1997)Could the artifacts of the digital age be exploited for expressive capabilities?http://easylife.org/form/competition/competition.html
  40. 40. Alexi Shulgin, Desktop IS (1997-98)http://www.easylife.org/desktop/
  41. 41. The human essence is no abstractuminherent in the single individual. In itsreality it is the ensemble of socialrelations.— Karl Marx Sixth thesis on Feuerbach (1845)
  42. 42. Everyone is alone and yet nobody cando without other people, not justbecause they are useful (which is notin dispute here) but also when itcomes to happiness.— Maurice Merleau-Ponty The World of Perception
  43. 43. Heath Bunting, Cybercafe (1994)http://irational.org/cybercafe/xrel.html
  44. 44. The body is our general medium forhaving a world.— Maurice Merleau-Ponty Phenomenology of Perception
  45. 45. Artificial Constructs Hypertext ➜ net.artLinear/Analog Non-Linear Experience Experience Body Interfaces Lived Environments
  46. 46. Bruce Nauman, Going Around the Corner Piece (1970)
  47. 47. David Rokeby, Very Nervous System (1982-1990)David Rokeby, Very Nervous System (1982-1990)
  48. 48. Jim Campbell, UNTITLED For Heisenberg (1994)http://www.jimcampbell.tv/portfolio/installations/untitled_for_heisenberg/
  49. 49. Jim Campbell, UNTITLED For Heisenberg (1994)http://www.jimcampbell.tv/portfolio/installations/untitled_for_heisenberg/
  50. 50. Rafael Lozano-Hammer, Surface Tension (1992)http://www.lozano-hemmer.com/surface_tension.php
  51. 51. Joachim Sauter, ZERSEHER (1991)Joachim Sauter, ZERSEHER (1991)http://www.joachimsauter.com/en/work/zerseher.html
  52. 52. Jeffrey Shaw, The Virtual Museum (1991)http://www.jeffrey-shaw.net/html_main/show_work.php?record_id=88
  53. 53. Jeffrey Shaw, EVE (Extended Virtual Environment)http://www.jeffrey-shaw.net/html_main/show_work.php?record_id=91
  54. 54. Ulrike Gabriel, Breath (1992)http://www.medienkunstnetz.de/works/breath/
  55. 55. Char Davies
  56. 56. Char Davies, Ephémère (1998)http://www.immersence.com/
  57. 57. Remember to remember.Question the present.The future is now as open as it once was — it’s ours to make.
  58. 58. Life is rich as we fill it with things beautiful to remember. — GoetheRemember to remember.The present came from the past.The future is now as open as it once was.
  59. 59. LinksMark Amerika, "HyperTextual Consciousness 1.0" (1995)Olia Lialina, "My Boyfriend Came Back from the War" (1996)Alexei Shulgin, "This Morning" (1997)Nina Pope & Karen Guthrie, "A Hypertext Journal" (1996)Jim Petrillo, "Cinema Volta" (1995)Laurie Anderson / Hsin-Chien Huang, Puppet Motel (1995)http://jodi.orgBen Benjamin, "Superbad" (1997)Alexi Shulgin, Form Art Competition (1997)Alexi Shulgin, Desktop IS (1997-98)Heath Bunting, Cybercafe (1994)Rafael Lozano-Hammer, Surface Tension (1992)Joachim Sauter, ZERSEHER (1991)David Rokeby, Very Nervous System (1982-1990)Ulrike Gabriel, Breath (1992)Char Davies, Ephémère (1998)

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