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“Honey, I’m Data!” GDPR Data party
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“Honey, I’m Data!” performance @impaktfestival 2018: Algorithmic Superstructures
•As a web of narratives fabricates reality, it is also conditioned, shaped and governed by algorithmic design. This performative and immersive lecture will unfold the implications of artificial intelligence for the traditional human narratives of reality, fact, fiction and truth in a techno-capitalist society.•
“Honey, I’m Data!” Online GDPR Data Party! is a celebration of our online identities and an exploration of what the future holds for them. Inside the space behind the screen, you transform into digital algorithms, you are no longer simply biological. You are documentation, an interpretation, a sheer sheet of self that multiplies, you create a culture that streams back into the organic world in ways we do not always understand. You are numbers and a universal language.
Many of the material I researched are more like net arts? Am I looking into on-line or off-line interaction?
I would say moving image rather than film. And to question how can we use these moving images? For who? For what purpose? How/ in what forms to show it? How audience approach it? etc.
I was asking: 'Except for just sitting there and watching, is there any other more active approach to experience the film/ moving image?' And that's why I start look into human-computer interaction. (Does it matter on-line/off-line though? Like Honey - the curation/performance could happen both on-line and off-line actually. There's not really a clear boundary when we talk about technology interaction...) So maybe like the ICA talk mentioned:
(1) New form of moving image under the influence of technologies (2) Audience reception to these work.
Thoughts
one of the central characteristics of new media, especially with respect to spectators, that Lev Manovich discusses in his book 'The Language of New Media' is the change from 'viewer' to 'user'.
- understand human subjectivity from understanding the complexity of human-computer relation
- ...the role of spectators, navigators, and surfers in generating their own experiences in viewing any form of meida expression.
- viewer->user, human experience are at best behavioural in orientation, and at worst, extremely reductive.
- 'thought and action are isomorphic.'
- the definition of interaction in old media /knowledge engineer's assumption, and the reason why that was problematic.
> Fluid Screen, Expanded Cinema, Chap.6
what does 'SURFER' refer to here?
could be related to embodiement
I might need to consider the function, purpose (and audience) of the image I discuss about.
- ???
the clear links between performance, rituals, theatre, the circus, painting, and what we are descripting as immersive, virtual experiences need to be brought into foreground of critical work on digital technology.
what is physical? what is real? Is a performance live-streamed on internet virtual or real, it that digital or physical?
Watching the performance from Julien & Theo, I was inspired that physical is, there're servo making the paper move, the paper was making sounds - imagine even it's live-streamed, that's still 'physical'.
So to have an intersection/combination of virtual and reality, live-stream performance seemed like a nice form(media).
Tutorial Notes
1. human-computer interaction based on the screen VS. based in real-world space is different. One is isolated, the other one contains interaction with the other people (the group), so there's also a social relationship in the second type. They have a different form, different technology, and even different philosophies.
2. Termilology. Is that the word 'film' I want to talk about? Actually they are not film, what about moving image? Maybe it's more like images that having more presented form affected by the radical development of Internet.
____"Viewing Scenatios and Other Platforms"