Virtual Cities: Digital Mirrors into a Recursive World

Digital cities are moving well beyond their original conceptions as entities representing the way computers and communications are hard wired into the fabric of the city itself or as being embodied in software so the real city might be manipulated in silico for professional purposes. As cities have become more ‘computable’, capable of manipulation through their digital content, large areas of social life are migrating to the web, becoming online so-tospeak. Here we focus on the virtual city in software, presenting our speculations about how such cities are moving beyond the desktop to the point where they are rapidly becoming the desktop itself. But a desktop with a difference, a desktop that is part of the web, characterized by a new generation of interactivity between users located at any time in any place. We first outline the state of the art in virtual city building drawing on the concept of mirror worlds and then comment on the emergence of Web 2.0 and the interactivity that it presumes. We characterize these developments in terms of virtual cities through the virtual world of Second Life, showing how such worlds are moving to the point where serious scientific content and dialogue is characterizing their use often through the metaphor of the city itself

My road to ruin: the studio without walls

This paper considers examples of ‘ruin’ in contemporary visual art and examines fracture, fragmentation and provisionality in contemporary installation art practice. Areas of commonality and difference are explored within a critical framework of concepts. The paper contributes towards the creation of a taxonomy of potential source material for the study of ruin in visual art

Towards a Relational Understanding of the Performance Ecosystem

This article seeks to form a deeper understanding of the performance ecosystem by drawing parallels with Bourriaud's Relational Aesthetics and Guattari's conception of subjectivity as outlined in Chaosmosis. Through an examination of participation within performance, and a recognition of the mutability of the roles of performer, listener, instrument and environment in the creation of the music event, this article examines the place of subjectivity, the capacity for self-creation, in the formation of a group aesthetic. Such a concept places the creation of meaning not within the individual participant but rather within the relationship between participants in a situation, a relationship that recognises the interaction between individuals, societies and institutions in its production. Such a discussion helps further our understanding of the performance ecosystem as a conceptual tool

Aporia and the Implications for the Intuitive Knowledge of Children | Blog of the APA

The compass we use to navigate life needs to be cultivated from an early age. My sense is that the arts, including Plato’s dialogues cultivate our navigational sense. It does not tell us rationally what is good or what is bad. It is not that simple. Remember, the stars we sail by, are not fixed, either. So we need to develop a sense for what may be right or not in any particular situation. We may have a general sense, but need to learn how to apply this general sense to specific situations, which are unique. In every new situation we have to figure out what is the right thing to do. And this may be different for different people as well. Too often we look for a one-fits-all solution, including our moral sense of right and wrong. And this is where we so often end up resorting to a violent “solution,” just to end it all. While we may have acquired so many technological advancements in our modern world, on the level of understanding how to navigate the world we may have regressed even, now that we can increasingly rely of highly technically advanced weapons. Again, violence seems to bear the only “solution.” Yet, with our compass intact, we might be better able to recognize the red flags when we see them in real life and not find ways to rationalize, justify or ignore the reality right before our eyes. When we recognize them early, they can be handled so much easier and better. Molehills are less difficult than mountains. And to get rid of a mountain, you may just have to blow it up, using violence..

Mobile support in CSCW applications and groupware development frameworks

Computer Supported Cooperative Work (CSCW) is an established subset of the field of Human Computer Interaction that deals with the how people use computing technology to enhance group interaction and collaboration. Mobile CSCW has emerged as a result of the progression from personal desktop computing to the mobile device platforms that are ubiquitous today. CSCW aims to not only connect people and facilitate communication through using computers; it aims to provide conceptual models coupled with technology to manage, mediate, and assist collaborative processes. Mobile CSCW research looks to fulfil these aims through the adoption of mobile technology and consideration for the mobile user. Facilitating collaboration using mobile devices brings new challenges. Some of these challenges are inherent to the nature of the device hardware, while others focus on the understanding of how to engineer software to maximize effectiveness for the end-users. This paper reviews seminal and state-of-the-art cooperative software applications and development frameworks, and their support for mobile devices

From digital interface to material artifact

In previous works I have discussed how the image of the graphical user interface (GUI) has been appropriated as a referent for a creative practice beyond the screen, materialized as two-dimensional print and painted images. In this paper I will explore instances where the GUI has been referenced in the creation of three-dimensional physical artifacts and performative three-dimensional spaces. An examination of selected works will give us the opportunity to look critically at the evolution of the computer desktop metaphor and its appropriation back into object based artifacts and to unpacking some of the theoretical implications implicit in these shifts in representation. The selected works examined in the paper originate from a group of international artists who have been repositioning the use of the computer GUI within the realm of creative practice. These creative recontextualisations allow us to problematise our engagement with digital technology. Allowing us to question our experience of the GUI in terms of a personal, and broader communal context. As well as intimating the pivotal place that computer technologies have taken in our everyday social, cultural and increasingly our creative realms. The transformation from digital computer icon to material artifact engenders the potential of the computer GUI to become a precious, rarefied object, which commands value and prestige

A classification of emerging and traditional grid systems

The grid has evolved in numerous distinct phases. It started in the early ’90s as a model of metacomputing in which supercomputers share resources; subsequently, researchers added the ability to share data. This is usually referred to as the first-generation grid. By the late ’90s, researchers had outlined the framework for second-generation grids, characterized by their use of grid middleware systems to “glue” different grid technologies together. Third-generation grids originated in the early millennium when Web technology was combined with second-generation grids. As a result, the invisible grid, in which grid complexity is fully hidden through resource virtualization, started receiving attention. Subsequently, grid researchers identified the requirement for semantically rich knowledge grids, in which middleware technologies are more intelligent and autonomic. Recently, the necessity for grids to support and extend the ambient intelligence vision has emerged. In AmI, humans are surrounded by computing technologies that are unobtrusively embedded in their surroundings. However, third-generation grids’ current architecture doesn’t meet the requirements of next-generation grids (NGG) and service-oriented knowledge utility (SOKU).4 A few years ago, a group of independent experts, arranged by the European Commission, identified these shortcomings as a way to identify potential European grid research priorities for 2010 and beyond. The experts envision grid systems’ information, knowledge, and processing capabilities as a set of utility services.3 Consequently, new grid systems are emerging to materialize these visions. Here, we review emerging grids and classify them to motivate further research and help establish a solid foundation in this rapidly evolving area