the delicious irony: creators of industrial language models are now worried about no longer being able to use the web as their "commons" (i.e. other people's labor that they appropriate and commercialize) because their own outputs are "polluting" it (via https://mailchi.mp/jack-clark/import-ai-266-deepmind-looks-at-toxic-language-models-how-translation-systems-can-pollute-the-internet-why-ai-can-make-local-councils-better)
building the future is not a purely technical project, I don't even think it's a primarily technical project. it's a project of community and people, which is to say is inherently political. I think that word is a turn off to many programmers in the West who (due to Cold War era education I guess?) are effectively politically illiterate. and when you insist on being "apolitical" then all you can do is bolster the status quo. this is not how you make progress.
Coming soon #erasure
//ERASE is a digital festival and conference on the poetics and politics of erasure. It is a hybrid event, taking place online and on-site. It blends the festival and conference format to showcase commissioned video presentations of creative works, and to contribute to a critical debate on the theme of erasure. ERASE invites international guests to reflect on how the poetic, literary, and artistic practices of erasure relate to wider discussion on aesthetics, technology, and politics.//
Something that gets obscured in the ongoing nft debates is the question of a culture of commodification. If we put all else aside (i.e. ecological impact etc) there's still a question of furthering/accelerating an economic culture of commodification, transactionalism, etc.
If part of art is shaping culture, which I believe it is, then what culture are we shaping? What systems do we participate in, reject, change, and create? It doesn't have to be either/or, if can be both.
But think about which systems you engage in because "we live in a society" and which ones you are actively working to produce and maintain. These things don't just exist by some divine right, they are made and need to be continually produced.
Where are you putting your active effort? What systems, institutions, and cultures does that aim to actively produce? Versus where you put your passive or necessary effort, for instance to earn enough to pay rent.
This goes back to the same conversation I'm always having: We must liberate the media.
Our culture, our stories and songs and myths and legends, can't belong to corporations.
The music industry has committed itself to this death spiral. Slowly starving itself in the name of increased value for shareholders, until such a time as modern culture has left the aging industry behind.
They will lose, in the long term.
We can expedite that loss, the DMCA can be our weapon.
When something goes wrong with software from some large corporation, users are likely to blame themselves and assume they have done something "wrong". When similar problems happen using small FLOSS projects, users are likely to curse the developers.
The success of commercial software has a lot to do with the power dynamics. The user has to conform to the conditions set by the all-powerful publisher. But with FLOSS things are more equal and assigning blame is messier.
preparing for a seven hour performance tomorrow for the opening of our new space, half hidden.
drone, hand-played and live-coded sysex to juno 106 to space echo.
stream will occassionally tour the building--- art and architecture and plants.
> the real long-term future of computing consists of figuring out how to make the best possible use we can out of the literal millions of devices which already exist.
The standard salvage computing platform - solderpunk
I just recently realised, that proprietary social networks are not social networks but entertainment networks. That's why at least my friends have a hard time switching to mastodon or pixelfed. People expect to be highly entertained the first second they enter the network and kept that way all the time. Being confronted with a network that is stripped from all these addictive tools is a massive cultural clash.
I feel amazed and fortunate, and disturbed, to live in a time where I can design a circuit, design a PCB, and have the PCB fabricated and in my hands in under two weeks. I understand the environmental issues around this sort of supply chain. It also enables me to create my work in a way that wasn't possible even five years ago. Conflicted? Yes. But also amazed.
artist, sound, computation
Welcome to post.lurk.org, an instance for discussions around cultural freedom, experimental, new media art, net and computational culture, and things like that.