Archive (Page 4 of 5)

Sin in the Time of Technology

Social media com­pa­nies have an unpar­al­leled amount of influ­ence over our mod­ern com­mu­ni­ca­tions. […] These com­pa­nies also play a huge role in shap­ing our glob­al out­look on moral­i­ty and what con­sti­tutes it. So the ways in which we per­ceive dif­fer­ent imagery, dif­fer­ent speech, is being increas­ing­ly defined by the reg­u­la­tions that these plat­forms put upon us [in] our dai­ly activ­i­ties on them. 

When Algorithms Fail in Our Personal Lives

I won­der with all these vary­ing lev­els of needs that we have as users, and as we live more and more of our lives dig­i­tal­ly and on social media, what would it look like to design a semi-private space in a pub­lic network?

Interview with Filip Leu, Tattoo Artist

The main dri­ve we all have is the desire to be tat­tooed. Design comes in sec­ondary, absolute­ly, because there are mul­ti­ple choic­es at every turn that would suit just fine.

Interview with Lal Hardy, Tattoo Artist

The real­i­ty TV shows have been a bless­ing and a hin­drance, I think, to a lot of tat­too artists. The real­i­ty is, real­i­ty shows aren’t real. But they do make peo­ple aware of tattooing.

Interview with Dr Margo DeMello, Cultural Anthropologist

Even if [the media] are going to talk about a fine art show in Paris, they still fall back on those same old phras­es, which is, You’re not going to find sailors here!”

Interview with Paul Sayce, Vice-President, Tattoo Club of Great Britain

I’ve been tat­tooed by mem­bers of my fam­i­ly and peo­ple who’ve nev­er tat­tooed before, because I just want the mark. To me, the tat­too­ing is more of a mark than an actu­al picture.

Interview with Dr. Matt Lodder, Art Historian

Not real­ly many art pro­fes­sion­als, or any art pro­fes­sion­als real­ly, have though through what this might mean for art prac­tice and art the­o­ry. How can we think about tat­too­ing as an art form? If we do think about it as an art form, what are the con­se­quences of that for the ways tat­too­ing is nor­mal­ly understood?

Strange Bedfellows: Digital Humanities, Internet Art, and the Weird Internet

I’m here at MITH today, and I want­ed to talk a lit­tle bit about dig­i­tal human­i­ties from my posi­tion as an inter­est­ed out­sider. I’ve always kept a fin­ger in acad­e­mia, at first through game stud­ies and peo­ple study­ing video games, and more recent­ly through elec­tron­ic lit­er­a­ture and those fields. I’m not going to go into a what is it?” debate because I know every­one who’s in dig­i­tal human­i­ties is very tired of those, but we know when we see it, right?

Agri-tech and the Arts: From Barns to D‑Space

I’m going to be talk­ing about how the arts engage eth­i­cal­ly and polit­i­cal­ly with the tech­niza­tion of the food chain, the chain or flow of sus­te­nance from field to din­ner plate. This is an inter-disciplinary talk but don’t wor­ry, I won’t be claim­ing quite that poems and paint­ings are com­pu­ta­tion­al machines for work­ing out social pol­i­cy, because that would be crazy. But if I’m not will­ful­ly mis­un­der­stand­ing Joscha’s excel­lent talk on the com­pu­ta­tion­al uni­verse, it seems that a like­ly can­di­date for the sub­strate of con­scious­ness is the numi­nal, the realm of ideas, and that’s pre­cise­ly where art and lit­er­a­ture lives. So it’s the ide­al place for deep pro­cess­ing of eth­i­cal issues, the big issues like food and tech.

Words about Sounds about Pier 9

I decid­ed to go ahead and apply sound to the work­shop. What kind of sounds can the work­shop make? What kind of sounds can the work­shop edit?