not

STANDARDY, SLUZBY

= preco tie veci vznikli a co bol pre ne impulz a co sa riesilo pri ich vzniku

+ nelson–chcel kliky za kredity

+ gnu–odpoved na to, ked apple zacal distribuovat SW bez zdrojakov (dovtedy otvoreny kod–SW sa nepredaval)

+ email

+ bbs

+ html
========1993=========

+ www–Lee v CERNe od 89, naplno v 93 po spoplatneni Gophera a s launchom grafickeho Mosaicu (vyvinuli v labe v Illinois vdaka Goreovmu grantu)=>top inet protokol, potom *94 W3C v MIT (ked Lee odisiel z CERNu; s podporou DARPA a EU)

========1995/96=========

+ php–v 94 Lendorf (4 etznab XII, gronec, v 93 skoncil system engineering vo Waterloo), povodne na jeho homepage (Personal Home Page)–kde PHPckom (v Ccku) nahradil Perl skript, ktorym updatoval svoje CV a navstevnost, neskor pridal databazy a dynamiku, v lete 95 to pustil von na debugging, PHP license (compatible w/ GPL), spravil prve 2 verzie, potom prebrali vedenie vyvoja izraelci Gutmans a Suraski, v 97 prepisali parser, a neskor aj jadro, potom zalozili Zend

+ mysql–vyvijany svedskou firmou MySQL AB–teraz pod Sun, ktory vlastni copyright na vacsinu jadra(?), ale je pod GPL, prva verzia v 95. v praxi: drupal, joomla!, wordpress, mediawiki, flickr, facebook, google, youtube
+ apache–webserver, najprv McCool ktory robil pre NCSA HTTPd (v Illinois), odkial odisiel v polke 94, dalej nadviazali patchmi dalsi koderi, ktori neskor vytvorili Apache Group, skupina ho volala “a patchy server”. prva verzia v 95, povodne alternativa k Netscape webserveru (dnes Sun Java webserver), od 96 najpopularnejsi webserver na www, v Ccku, dnes 50% vsetkych webov. vlastna (Apache) licencia, ktora neni kompatibilna s GPL. Apache Group presla v 99 na neziskovku Apache SW Foundation (“decentralized community of developers”, meritocracy, ApacheCon kazdy rok).

+ css–pocas vzniku w3c, 9 navrhov na w3c liste, presli dva–dvaja nori (Lie+Bos) sa spojili (jeden je top v Opere, druhy CSS/W3C), rozvijane vo working grupe v w3c, launch v 95, ale plny adapt do browsrov az v 00, css2 98 (ma positioning) stale neni plny

+ javascript–typek v Netscape, 95, Netscape ho spustil s javou

+ xml–je specifikacia pre tvorbu vlastnych markup jazykov(xhtml,rss,atd), od late 80s SGML, do W3C to v 95 priniesol Dan Connolly, od mid-96 Bosak v Sune sa obklopil ludmi zo SGML aj webu, zrobila ho 11-clenna skupina (len emaily a teleconf) + 150 poradna skupina, hlavni editori Tim Bray (6 cauac 55) a Michael Sperberg-McQueen, prva verzia v 96, W3C ho spustila v 98
+ google–Brin(7 oc* VIII 73 le, rodicia vedci emigrovali z Ruska ked mal 6yr lebo otec Zid, montessori ZS, comp sci+math Bc Maryland, v 95 comp sci MA Stanford)+Page(2 ik I 73 ar, syn pocitacoveho vedca a programatorky, matka Zidovka, montessori ZS, comp eng BC Michigan, v 95 comp sci MA Stanford, v PhD riesil linkovanie na webe–s ohladom na akademicke citacie), stretli sa ako PhD studaci v 95 na Stanforde, vymysleli PageRank alg pre urcovanie dolezitosti stranok, napisali spolu zasadny paper “The Anatomy of a Large-Scale Hypertextual Web Search Engine”, a v 96 prva verzia googla–na webe Stanfordu, Google inc *98, v 01 najali noveho sefa Schmidta, Brin je proti cenzure v cinskom Googli. rozbehli 00 Adwords, 04 Gmail, 06 Google Maps, 07 Google Reader, 08 Google Chrome. kupili 03 Blogger, 03+07 AdSense (3 mld), 04 Picasa, 06 Google Docs, 06 Youtube (1.6 mld), 07 Jaiku.
========1999=========

+ blogy/blogger/blogspot/livejournal–Brad Fitzgerald (12 lamat* 80 aq, MA comp sci Seattle) spustil LiveJournal (FLOSS, podobna WELLu, ma SNS featury) v 3/99 aby jeho SS-spoluziaci vedeli co robi, v 05 predal firmu pre Six Apart, z tej odisiel v 07, teraz je v Googli; slovo+sloveso blog (z “we-blog”) spopularizovala firma Pyra Labs (Evan Williams–6 ik XI 72 ar, podnikatel, zije v SF; spolu s Meg Hourihan–spoluzakladatelka–Kottkeho zena & Paul Bausch–koder)–v 8/99 spustili servis Blogger–najprv uplne free a no revenue model, az firme vyschli vrecka, z-ci robili mesiace zadara, az nastal masovy odchod (vratane Hourihan), a nechali v tom Williamsa sameho, podrzala ho investicia z Trellixu, potom spustil advertising-supported Blogspot a Blogger Pro, v 02 kompletne prepisany kod, aby ho mohli licencovat inym firmam; v 03 ich kupil Google–vtedy mala firma 6 ludi, v 04 odtial Williams odisiel a zalozil firmu Odeo (podcasting), potom Obvious–tam aj Twitter
+ rss (vs typek z OAI)–99-01 ho spravil Guha v Netscape pre ich web, ale novy majitel AOL to vyhodil, potom komplikovane, tri subjekty to riesili paralelne (Winer/UserLand+Berkman Center, RSS-DEV[Guha]+O’Reilly, Atom), rss2 v 02, oranz.ikona od 05 v browsroch

========2003=========

+ trackback/backlinks–s trackbackom prisiel Movable Type v 02, nepodporuje ho Blogger (ten ma backlinks–which allow users to employ Google’s search infrastructure to show links between blog entries–??)

+ wordpress–povodne b2\cafelog–written in PHP+MySQL by Michel Valdrighi, potom par mesiacov vypadok vyvoja, v 03 sa ho chopil Mullenweg (4 akbal* III 84 cp, artova SS–hra na jazzovy saxik, v 04 spustil Ping-O-Matic ktory informuje search enginy o blog updatoch, v 04 odisiel z VS v Houstone do SF robit pre CNET–tam do 05, v 05 vypustil Akismet proti comment/trackback spamu, v 05 zalozil firmu Automattic), k nemu sa hned pripojil Mike Little, a potom aj sam Valdrighi, WordPress *03, v 03 na nom bezi 2000 blogov, v 04 je Movable Type spoplatnena (neskor to Six Apart olutovali a vratili sa ku GPL), ludia masovo prechadzaju na WordPress, v 06 prva WP conf v style Barcamp
+ myspace–lahky upload mp3, zrobilo ho par z-cov eUniverse po spusteni Friendstera v 02, mali za chrbtom firmu takze nemali start-up probs; the project was overseen by Brad Greenspan (eUniverse’s Founder, Chairman, CEO), who managed Chris DeWolfe (66, MySpace’s starting CEO), Josh Berman, Tom Anderson (71, MySpace’s starting president, Bc rhetorics+english Berkeley, MA film-critical studies LA, “Tom”–to je asi len PR tah), and a team of programmers and resources provided by eUniverse. snazili sa razit mytus o garazovej firme, ale bola to premyslena PR kampan na prebratie Friendstera. The very first MySpace users were eUniverse employees; the company held contests to see who could sign-up the most users; the company then used its resources to push MySpace to the masses. eUniverse used its 20 million users and e-mail subscribers to quickly breathe life into MySpace, and move it to the head of the pack of social networking websites; a key architect was tech expert __Toan Nguyen__ who helped stabilize the MySpace platform when Brad Greenspan asked him to join the team. spusteny v 03, v 05 ich kupil News Corp (Murdoch)–ziskali tiez kontrolu nad adminovym/”Tom”ovym accountom; v 06 Greenspan vydal “MySpace Report”–“News Corp’s acquisition of MySpace as is one of the largest merger and acquisition scandals in U.S. history” & News Corp should have valued MySpace at US$20 billion rather than US$327 million; v 6/06 najpopularnejsi SNS v USA, dnes 300 z-cov, HQ v Beverly Hills (spolu s Foxom), v 06 UK verzia, neskor cinska. http://www.valleywag.com/tech/myspace/myspace-the-business-of-spam-20-exhaustive-edition-199924.php

+ last.fm–02, audioscrobbler–projekt Richarda Jonesa na comp sci skole v Southamptone, last.fm zacalo v 02 ako internet radio a music community site (Felix Miller, Martin Stiksel, Saulyus Chyamolonskas, Michael Breidenbruecker and Thomas Willomitzer)–useri si mohli customizovat cez love/ban profily, nominovane na Prix AE v 03, last.fm uzko spolupracovalo s audioscrobbler od 03–spolocny ofis vo Whitechapel/London, v 05 zlucili aj sajty, v 06 spustili japoncinu a neskor dalsie jazyky, rozne hudobne ceny, 5/07 ich kupilo CBS Interactive za 280m USD, mgmt team ostal, imeem.com ma ale ovela viac userov. funded from the sale of online advertising space, monthly user subscriptions and donations (prvy dar v 04 od investicneho bankara Petra Gardnera; potom Stefan Glaenzer, Joi Ito, Reid Hoffman; v 06 prvy venture capital od Index Ventures). v 2008 maju 82 z-cov v East London

+ del.icio.us–The precursor to Delicious was Muxway, a link blog that had grown out of a text file that Schachter maintained to keep track of links related to Memepool (*98 multi-autor blog s linkami). founded by Joshua Schachter (74, BS electrical/comp engineer Pittsburgh) in 9/03 and acquired by Yahoo! in 12/05 (30m USD), 5mil+ users v 2008, HQ Santa Clara/California,

========2004=========

+ rubyonrails–was extracted by David Heinemeier Hansson (3 men 79 li, DK, Bc comp sci+biz admin, v 05 odisiel do Chicaga) from his work on Basecamp, a project management tool by 37signals, prvy release v 04, bezi na Mongrel/Apache+CGI/atd, vystup v HMTL aj XML, extensive use of JavaScript libraries Prototype and Script.aculo.us for Ajax, MIT license, od 07 sucast Mac OS X, TM vlastni ten typek a nepusti logo tam kde nema sam prsty
+ gmail–*04, 1gb mail storage,handling mailov podla topicov(na sposob komentarov k clankom)

========2006=========

+ twitter~microblogging–users can receive updates via the Twitter website, SMS, RSS, email or through an application such as Tweetie, TwitterFon, Twitterrific, Feedalizr or Facebook; *06 Founded by Jack Dorsey (koncept), Biz Stone and Evan Williams (Blogger); zacalo ako R&D v Odeone; napisany v Ruby on Rails (kvoli rychlosti zvazovali presun na PHP alebo Javu, ale nakoniec nie), HQ v SF, najprv pouzivali z-ci vnutri firmy Obvious, potom von v 10/06, v 07 firma Twitter–CEO Dorsey–od 08 Williams, EN verzia bez reklam, ale JP verzia je s reklamami, su len 2 jazykove verzie, inonarodne ich predbiehaju
+ flickr–lahky multiupload jpg

+ youtube–dvaja typci z paypal,rychly stream videi

+ (secondlife)
+ flash

+ facebook–v 4/08 predbehol myspace

www

the World Wide Web was begun in 1989 by English scientist Tim Berners-Lee, working at the European Organization for Nuclear Research (CERN) in Geneva, Switzerland. In 1990, he proposed building a “web of nodes” storing “hypertext pages” viewed by “browsers” on a network,[1] and released that web in 1992.

http://www.w3.org/Proposal.html

In March 1989, Berners-Lee wrote a proposal[4] which referenced ENQUIRE and described a more elaborate information management system. With help from Robert Cailliau, he published a more formal proposal (on November 12, 1990) to build a “Hypertext project” called “WorldWideWeb” (one word, also “W3”)[1] as a “web of nodes” with “hypertext documents” to store data.

The proposal had been modeled after EBT’s (Electronic Book Technology, a spin-off from the Institute for Research in Information and Scholarship at Brown University) Dynatext SGML reader that CERN had licensed. The Dynatext system, although technically advanced (a key player in the extension of SGML ISO 8879:1986 to Hypermedia within HyTime), was considered too expensive and with an inappropriate licensing policy for general HEP (High Energy Physics) community use: a fee for each document and each time a document was charged.

By Christmas 1990, Berners-Lee had built all the tools necessary for a working Web:[5] the first Web browser (which was a Web editor as well), the first Web server, and the first Web pages[6] which described the project itself.

facebook
it’s closed system like skype or icq (you have to ‘register’),
but function-wise it is state-of-the-art tool regarding online
communication–it’s instant, and if you decide that you want to
use it for work rather than fun, it provides
pretty well developed collaborative environment:
it’s profile-based (either individual or group or event, etc),
and you post short or long statements or images or videos
(you can also share your calendar for instance),
and get news feed from everyone in your ‘friends’ list.
i want to explore what and (technically) what way you
can export data outside.
saw already many artists, activists and cultural people
use it a lot.
and you dont come into contact with dumb content coming
from people you dont know–only stuff from ‘friends’
is being filtered into your pages (plus horrible ads on
the side).
+
there’s pretty strong users’ pressure in cases when facebook inc
is taking stupid (and very predictable) steps against privacy,
usually they step back.
+
i hate revealing my personal stuff and supporting corporate
services of neoliberals (facebook is as ruthless
as microsoft), same like in case of mobile network providers,
or of skype, or of being hosted by webhosting companies
(in recent years it is better-hosted by friends and transparent
organisations), or of being connected to internet by private
telecom companies..
but emails and messengers and blogs are just not keeping
up with the progress on the side of technical possibilities..
and FLOSS social-networking-applications are only in
very early phases, like http://riseuplabs.org/crabgrass/
or http://elgg.org/ — i installed elgg on Multiplace server,
but it is still very primitive.. they still need several
years for development.. i think of these as the communication
tools at first place (in the context of email/skype/cellphone/
messaging/wiki).. what still remains is a question whether
we want to be creative with this ‘social-web’ craziness in any way..

postava zuckerberga dobre zahrana, storka postavena na dvojitom
sudnom spore, ilustrovanom casovymi vyletmi do zobjektivizovanej
minulosti (teda nie cez pohlady postav), toz fadna, ale nenapadlo
ma ako by sa dal masovy film o fb spravit inak. neadresovana
ochrana sukromia vobec, ani ine user-issues, a zuckerberg
z toho vyliezol ako gates of 2000s – nerdie unsexi college
superkid skyrocketed to ambivalently beloved zillionair (obdivovany
kvoli uspechu, nenavideny kvoli bezohladnosti), akurat tech
turn vystriedany social turnom. filmpostupy po technickej stranke
hromadka klise, washed out hollywood (aj ked psychologizacia
celkom dobre zvladnuta), film som bral viacmenej len
faktograficky ako epizodnu entrepreneurial lekciu z historie
internetu, napr som nevedel ze spoluzakladatel napstru (sean
parker) hral vo fb rolu – zohnal im prvu angel investiciu,
vytlacil z pozicie financneho riaditela s ktorym zuckerberg
fb rozbiehal, a pritiahol ich z cambridge do SF

zuckerberg vyviazol dobre, v podstate mu su
priznane len tri zakopnutia – uvodne fiasko s univerzitnym
webom hodnotenia atraktivity spoluziacok; prebratie idey
harvard-based socialnej siete od trojice harvard studentov;
a podraz svojho ‘jedineho priatela’ v opantani parkerom…
etickych/moralnych preslapov musel pri takej skale projektu
ale spravit ovela viac, hadam aj zavaznejsich.

plus gycova pointa – chalan ktory rozbehol siet s 500 mil
uzivatelmi mal jedineho priatela ktoreho podrazil a s ktorym
sa sudi; a stale tuzi po svojej laske ktoru verejne pospinil.

v podstate pomerne predvidatelne

———–

mark zuckerberg 84 ta 10 cimi [hra ho 83 li 10 chicchan].
Mother psychiatrist, father dentist. Parents Jewish, he considers himself an atheist.
eduardo saverin 82 pi 4 ahau. CFO. Chceli ho zodrat z 34 na 0.03, nakoniec vlastni 5%.
His father in export+real estate. Jew. S markom friends ako freshman. *fb ako sophomore, leto po zalozeni – hadka. [hra ho 3 cauac VIII]
sean parker 79 sa 13 kan VI. Napster spustil rok po skonceni strednej skoly (Fanningova [3 etznab sa 80] idea, Parker sa kvoli tomu
prestahoval za nim do SF, to bol prvykrat mimo domu vobec. ale aj na wikipedii zahmlene, zoznamili sa online ked mal Fanning 15,
Parker 14, pocas procesov ho z firmy vytlacili Fanningovi pravnici), predtym v 16tich odsudeny na communitywork za hacking.
Kodovat ho ucil otec od 7yr. S FB len cca rok dlha epizoda – od leta 04, vytlacil Saverina, dosadil sa ako President, vyoutoval sa
po kokain party v 05. Predtym v 02 spustil socialweb neskor integrovany do MS Outlooku. Party animal.
Ledva dokoncil hi school, astma od detstva, autodidakt, otec US gov oceanographer, mama TV-ad broker. Zuckerberg s nim vraj stale konzultuje ?!
http://www.vanityfair.com/culture/features/2010/10/sean-parker-201010
[hra ho Timberlake 81 aq 8 lamat I]
peter thiel 67 DE-moved to US – paypal co-founder, prva angel investicia do thefacebook. Chess master. Openly gay. NYC based.
In late 2004, Thiel made a $500,000 angel investment in Facebook for 5.2% of the company.
Thiel is listed as a member of the Steering Committee of The Bilderberg Group.
screenplay: aaron sorkin 61 ge 13 caban, hollywoody pise len, incl a few good men 92
FB++
Gideon Yu (investor, odisiel z FB v 09),
Chris Hughes (koder?, co-founder, 83 sc 10 caban, 12% teraz, v 08 viedol Obamovi online kampan),
Chris Kelly (zodpovedny za privacy policy na FB),
Ted Ullyot (lawyer, od 08, riesi privacy issues),
Dustin Moskovitz (koder! co-founder, teraz vedie tech staff, 6%).

FB shareholders
Mark Zuckerberg owns 24% of the company, Accel Partners owns 10%, Dustin Moskovitz owns 6%, Digital Sky Technologies owns 5%, Eduardo Saverin owns 5%, Sean Parker owns 4%, Peter Thiel owns 3%, Greylock Partners and Meritech Capital Partners own between 1 to 2% each, Microsoft owns 1.3%, Li Ka-shing owns 0.75%, the Interpublic Group owns less than 0.5%, a small group of current and former employees and celebrities own less than 1% each, including Matt Cohler, Jeff Rothschild, California U.S. Senator Barbara Boxer, Chris Hughes, and Owen Van Natta, while Reid Hoffman and Mark Pincus have sizable holdings of the company, and the remaining 30% or so are owned by employees, undisclosed number of celebrities, and outside investors

film technicky aj atmosferou genericky washed out hollywood, takze som ho bral viacmenej len faktograficky.
zuckerberg ale dobre zahrany. vysiel z toho dobre, v podstate mu su vo filme priznane len tri zakopnutia – uvodne fiasko s uni webom hodnotenim zien, ukradnutie idei harvard-based socialnej siete (mal povodne iny plan?), a podraz svojho ‘jedineho priatela’ v opantani parkerom, etickych/moralnych preslapov musel ale spravit viac.
o napster typovi som nevedel.
gycova pointa – chalan ktory rozbehol siet s 500 mil uzivatelmi mal jedineho priatela ktoreho podrazil a s ktorym sa sudi; a stale tuzi po svojej laske ktoru verejne pospinil.
lessigova kritika – rola v internetu v uspesnom rychlom raste podcenena – fincher to podla neho nepochopil.
/ fb spusteny zaciatkom 04
? preco musi nakoniec pristupit na vyrovnanie? (RECHECK)
? recenzie na knihu accidental billionaries = vela chyb
? poslal policiu na parkera/kokain zuckerberg?
/ suvislost: v Norsku a Svedsku peoples’ taxes online

zmeskanych uvodnych 15 minut:
In 2003, Harvard University student Mark Zuckerberg gets the idea to create a website to rate the attractiveness of female Harvard undergraduates after his girlfriend Erica Albright breaks up with him. Mark hacks into the databases of various residence halls and downloads pictures and names. Using an algorithm supplied by his best friend Eduardo Saverin, Mark creates a page called “FaceMash”, where male students choose which of two girls is more

attractive.
Mark is punished with six months of academic probation after the traffic to the site crashes parts of Harvard’s network, and becomes vilified among most of Harvard’s female community. However, the popularity of “FaceMash” and the fact that he created it in one night, while drunk, brings him to the attention of Cameron Winklevoss and Tyler Winklevoss, identical twins and members of Harvard’s rowing team, and their business partner Divya Narendra.

11:40 < barak> vcera som videl social network, zuckerberg dobre zahrany, storka
postavena na dvojitom sudnom spore, ilustrovanom casovymi
vyletmi do zobjektivizovanej minulosti (teda nie cez pohlady
postav), toz fadna, ale nenapadlo ma ako by sa dal masovy film o
fb spravit inak. neadresovana ochrana sukromia vobec, ani ine
user-issues, a zuckerberg z toho vyliezol ako gates of 2000s –
nerdie unsexi college superkid skyrocketed to ambivalently
beloved zillionair (obdivovany kvoli uspechu, nenavideny kvoli
bezohladnosti), akurat tech turn vystriedany social turnom.
filmpostupy hromadka klise, film som bral viacmenej len
faktograficky ako epizodnu entrepreneurial lekciu z historie
internetu
11:41 < barak> v podstate komplet predvidatelne
11:42 < wao> zillionair (obdivovany
11:42 < wao> neprislo cele :)
11:42 -!- Irssi: Pasting 5 lines to #tlis.sk. Press Ctrl-K if you wish to do
this or Ctrl-C to cancel.
11:42 < barak> zillionair (obdivovany kvoli uspechu, nenavideny kvoli
bezohladnosti), akurat tech turn vystriedany social turnom.
filmpostupy hromadka klise, film som bral viacmenej len
faktograficky ako epizodnu entrepreneurial lekciu z historie
internetu
11:44 < ach> barak: a boli tam nejake nahe baby?
11:44 < barak> zakladatel napstru snupal lajnu z pupku fanynky
11:45 < barak> inak o nom som nevedel ze hral vo fb rolu
11:45 < barak> parker
11:46 < wao> napster druhykrat spomenuty na tomto chane za relativne kratku
dobu! :)
11:46 < barak> zohnal im prvu angel investiciu, vytlacil z pozicie financneho
riaditela s ktorym zuckerberg fb rozbiehal, a pritiahol ich z
harvardu do SF

Rolling Stone:
The Social Network is the movie of the year. But Fincher and Sorkin triumph by taking it further.
Lacing their scathing wit with an aching sadness, they define the dark irony of the past decade.

Sean Parker:
/
One day—in a scene fictionalized in The Social Network—Parker saw Thefacebook, as it was then known, on the computer of his roommate’s girlfriend, a student at Stanford. (In the movie, he gets his first peek after spending the night with a woman whose name he barely knows.)
^ toto bola dost nasilna nepodarena scena/sposob ako vtiahnut parkera do deja
/
Matt Cohler, who joined Thefacebook shortly after Parker, is awed when he thinks about that pivotal e-mail. “Napster and Facebook are two of the most significant companies in the history of the Internet,” he says, “and in both cases Parker spotted them earlier than anyone—other than the people who invented them.”
/
Parker impulsively flew to New York, where he met Zuckerberg for dinner, and the two quickly bonded. A few months later, in June 2004, they ran into each other on the streets of Palo Alto, where Parker, unemployed (but still driving around in a BMW 5-series), was living with yet another girlfriend.
/
Says Moskovitz (fb co-founder), known for his dry humor, “Sean probably deserves less credit for turning Facebook into what it is than he thinks he does, but also more credit than anybody else thinks he does.”
/
In the financing that Parker negotiated with Thiel, as well as a much larger deal signed seven months later with the Accel Partners venture-capital firm, Parker was able to negotiate for Zuckerberg something almost unheard of in a venture-funded start-up: absolute control for the entrepreneur. Because of that, Zuckerberg, to this day, allocates three of Facebook’s five board seats (including his own). Without that control, Facebook would almost certainly have been sold to either Yahoo or Microsoft, whose C.E.O., Steve Ballmer, offered $15 billion for it in the fall of 2007—only to be met with a blank stare from the then 23-year-old Zuckerberg.
/
On a kiteboarding trip to North Carolina in 2005 he was arrested during a party at his rental house on suspicion of cocaine possession. Though he was never formally charged, some of Facebook’s investors and employees felt Parker could no longer effectively serve as company president. With much anguish, he agreed to depart.
/
divides his nights between a San Francisco apartment and a palatial (rented) New York town house.
/
The Parker of the script is also greedy, which is not Sean Parker’s big issue. More than money, he wants credit and recognition.

aaaargu zacali v zime chodit cease&desist listy od roznych
vydavatelov (Verso, Uni of Columbia Press, Macmillan, IMO, atd),
je zaujimave sledovat ako sa situacia vyvija.
tu su dva rozhovory (asi jedine ktore doteraz vznikli) so Seanom
Duckrayom, ktory aaaarg.org rozbehol:
http://blog.sfmoma.org/2009/08/four-dialogues-2-on-aaaarg/
http://mastersofmedia.hum.uva.nl/2010/01/05/small-is-beautiful-a-discussion-with-aaaarg-architect-sean-dockray/

pre zaujimavost – archiv diskusie uzivatelov aaaargu
po cease&desist liste od Macmillan… spolocne prisli s novym
riesenim:
http://mitochondrialvertigo.wordpress.com/2010/04/25/the-aaaar-org-discussion-of-the-macmillan-threat/

co je priznacne, Sean viedol niekolko rokov v Los Angeles galeriu,
ktora sa postupne pretransformovala na otvorene vzdelavacie centrum
The Public School, ktorej odnoze vznikli uz v dalsich styroch
mestach. niektore workshopy ktore robia vzniknu prostrednictvom
‘issues’ ktore vytvaraju uzivatelia aaaargu, takze obe iniciativy
su uzko prepojene. ale vsetko spomina v rozhovoroch.

tu je celkom pekna komparacia niekolkych projektov zdielania
ebooks…

Scanners, collectors and aggregators. On the ‘underground movement’ of (pirated) theory text sharing

dalej, dnes som sa dozvedel o Silent Library, komunite v Madarsku,
ktora skenuje a zdiela knihy. po tlaku od vydavatelov (okolo 2005)
presunuli web do Ruska. kamarat ktory je clenom mi dnes pisal:
12:57 < pht__> vstupom je odporucanie existujuceho clena, predstavenie/dovod, a korektura 1 ocrkovaneho scanu!
12:58 < pht__> velmi uzavreta komunita s vysokou vstupnou barierou, ale je tam hrozne vela “povodneho” obsahu
12:58 < pht__> a hlavne out-of-print madarske knihy
13:00 < pht__> hlavnym problemom vydavatelstiev bolo, ze sa tam shareovali cerstve bestsellery v textovej forme :)))
13:01 < pht__> http://index.hu/tech/net/slp0826/
13:02 < pht__> Only 75 copies in 1000 of a a printed title survive fifty years. Concerning their endurance the electronic books are more vulnerable, but their unrestricted copyable and convertible qualities ensure the eternity for them in the common cultural treasury of mankind – so long as culture exists at all; the Silent Library Project and related enterprises make some contribution to its existence.
13:06 < pht__> tiez to len dal dole admin pod navalom C&D lettrov
13:06 < pht__> tiez pise ze ked mu niekto konkretny napisal, tak knihu odstranil
13:08 < pht__> a vylucili veci z wild-inetu
13:08 < pht__> len vlastne scany/ocrka
13:08 < pht__> a normalne stovky ludi citaju tie veci a opravuju ocr chyby :)
13:13 < pht__> najpopularnejsia kniha je asimovova before foundation po madarsky, s 14000 dloadmi
13:14 < pht__> v top5 je aj madarsky autor s 10k
13:16 < pht__> v slp je okolo 7000 textov
13:21 < pht__> na tomto slp je uzasne, ze tie texty su vsetky opravene+prekontrolovane
13:21 < pht__> ze to nie je len klik klik upload klik
13:22 < pht__> tu je clanok ale neda sa to moc citat
http://translate.google.com/translate?u=http%3A//index.hu/tech/net/slp0826/&hl=en&langpair=auto|en&tbb=1&ie=UTF-8
13:23 < pht__> vzniklo to ze si chalan naskenoval par knih a dal ich online
13:23 < pht__> a par kamosov zacalo posielat scany tiez
13:23 < pht__> sa pise v tom clanku

skoda ze mi nevyslo sa v Prahe stretnut s Kennethom z ubu.com,
ale ten ma k teme tiez vela co povedat..
napr:
Goldsmith’s syllabus includes Uncreative Writing, Interventionist Writing and Writing Through Art and Culture in partnership with the Institute of Contemporary Art, Philadelphia. Class tools are appropriation, theft, stealing, plundering and sampling. Cheating, fraud and identity theft are all encouraged. For Goldsmith the classroom, is a free space into which ethical queries can be conducted in a safe environment.

[8:08:50 PM] Barbora: ahoj Dusan, mozem sa ta na nieco spytat? si na nieco na Slovensku hrdy? na co?
[8:09:10 PM] dusanson: na murgasa
[8:09:31 PM] dusanson: na ondaka
[8:09:37 PM] dusanson: na vineu
[8:09:59 PM] dusanson: na a4ku
[8:10:11 PM] Barbora: :)
[8:10:15 PM] dusanson: hm
[8:10:16 PM] dusanson: rozmyslam
[8:10:20 PM] dusanson: co este
[8:10:28 PM] Barbora: rozmyslaj
[8:10:33 PM] dusanson: na multiplace
[8:10:39 PM] dusanson: na letne dielne
[8:10:51 PM] dusanson: na hviezdoslava
[8:11:08 PM] dusanson: hm, zoznam sa uz asi blizi ku koncu )
[8:11:20 PM] dusanson: snad stefanika
[8:11:35 PM] dusanson: snad benovskeho
[8:12:34 PM] Barbora: preco si hrdy na hviezdoslava?
[8:12:43 PM] dusanson: vyborny spisovatel
[8:12:46 PM] Barbora: ale nahodou, napisal si aspon nieco
[8:12:52 PM] Barbora: ja by som ani tolko nedala
[8:13:02 PM] dusanson: to je vsetko co ma teraz napada
[8:13:07 PM] Barbora: robim si prieskum, mame urobit reklamny spot
[8:13:10 PM] dusanson: aha este na next festival
[8:13:13 PM] Barbora: na narodnu hrdost
[8:13:15 PM] Barbora: :)
[8:13:19 PM] dusanson: to su veci o ktorych sa nehanbim rozpravat ludom zvonka
[8:13:32 PM] dusanson: hrdy na narodnu hrdost znamena co?
[8:14:06 PM] Barbora: hrdy na narodnu hrdost?
[8:14:15 PM] Barbora: nie, robime spot, ktory ma byt o narodnej hrdosti
[8:14:19 PM] Barbora: narodna hrdost je produkt
[8:14:24 PM] dusanson: aha
[8:14:27 PM] Barbora: tak sa pytam
[8:14:34 PM] dusanson: akoze pre turistov?
[8:14:44 PM] Barbora: no skor pre domacich
[8:14:49 PM] Barbora: ale len ako projekt v skole
[8:14:51 PM] dusanson: reklama na slovensko pre slovakov? :)
[8:14:54 PM] Barbora: hej
[8:14:58 PM] dusanson: hha
[8:15:36 PM] dusanson: tak potom posli
[8:17:38 PM] Barbora: no jasne:)
[8:17:42 PM] Barbora: ale celkom si mi pomohol asi
[8:17:51 PM] dusanson: ziadna zena :(
[8:18:18 PM] Barbora: lebo napriklad to iste som napisala kamaratovi a ten odpisal ze nie je hrdy na nic, ale vela veci tu ma rad
[8:18:31 PM] Barbora: no … ziadna zena
[8:19:07 PM] dusanson: na ursinyho
[8:19:16 PM] Barbora: jasnee:)
[8:20:12 PM] dusanson: na fischera
[8:20:20 PM] dusanson: na zdena
[8:20:27 PM] dusanson: na tomasa straussa
[8:25:57 PM] dusanson: snad na jakubiska
[8:26:05 PM] Barbora: ou
[8:26:12 PM] Barbora: ja na perinbabu:)
[8:26:18 PM] Barbora: tu som v portugalsku ukazovala aj
[8:26:21 PM] dusanson: jj ta je pekna
[8:26:28 PM] Barbora: lebo to je zvlastna rozpravka
[8:26:29 PM] dusanson: kristove roky
[8:26:35 PM] Barbora: taka nerozpravkova
[8:26:43 PM] Barbora: hej, tie su!
[8:26:51 PM] dusanson: slnko v sieti mozno, ale si to uz moc nepamatam, mozno by sa mi to nepacilo uz…a uher neviem co dalsie robil
[8:26:56 PM] dusanson: obchod na korze ma nebavil
[8:27:36 PM] dusanson: aa na utekajme uz ide som hrdyy
[8:27:54 PM] dusanson: nadhlad a lahkost, pritom bez pretvarky

gabika pise ze problem venterovho genetickeho softveru nie su ani tak potvorky ako
mutacie umelej DNA v novom organizme..
—
http://respekt.ihned.cz/zkumavka/c1-43726410-craig-venter-nestvoril-umely-zivot

http://www.rozhlas.cz/zpravy/vedatechnika/_zprava/736218

tak ak to spravne chapem, tak to az take hrozive nebude…uvidime, ako to bude pokracovat dalej, pretoze je fakt, ze vacsina zlozitejsich organizmov ma systemy, ktore odmietaju cudzie molekuly….a nicia ich.
—
ono to tak z laickeho pohladu vyzera k podobnym ‘vynalezom’
sa postupne nevyhnutne dostaneme…ak s tym nepride venter,
tak niekto iny, ze? otazka je teda asi najma ako sa to da
vseliak zneuzit a ako bude flexibilna legislativa ohladom
prevencie rizik… hmm…. alebo?

> no, musim povedat, ze mna to celkom vydesilo, ked som sa to
> dozvedela….ani nie tak kvoli nejakym potvorkam, ale skor kvoli tomu, ze
> nikdy nevies, ako sa ten organizmus zacne branit zasahu do vlastneho
> DNA….
> moc informacii o tom nepreniklo, tak vlastne ani neviem, do ktorej fazy
> DNA zasiahli, alebo co modifikovali, ale urcite to moc pozitivne nie
> je….
>
> oni sa brania tym, ze sa budu dat liecit rozne druhy ochoreni, rakovin a
> podobne…ale neviem, neviem, do akej miery to su schopny strazit, aby
> nedochadzalo spatne k mutaciam tej DNA….
>
> uvidime, ake info este pustia….este skusim zistit viac…
>
> ale bat sa zatial nemusis, len hrat sa na ” Panov Bohov” je niekedy
> zradne…
>
> ale uvidime…..zatial mozes spavat kludne….
>>
>> pocuj vcera preletela mediami ta sprava, ze venterovmu timu
>> sa podarilo replikovat umelo syntetizovanu dna…
>> napriklad
>> http://veda.sme.sk/c/5385405/vedci-asi-stvorili-umely-zivot.html
>> http://news.bbc.co.uk/2/hi/science_and_environment/10132762.stm
>>
>> akurat mi stale neni moc jasne co z toho vyplyva…
>> bude zle? alebo sa to tyka len nejakych pre smrtelnika
>> nepovsimutelnych veci, napr ze ide o malu vedecku epizodku?
>> alebo ze postupne ked to vymakaju tak budu vediet ‘programovat’
>> nejake male organizmy, ktore sa v hejnach budu prehanat
>> labakmi pripadne aj mimo nich?
>>

dus▲nson –> MadeinMP —
22:57:19 – 06.04.2010 UNREAD
cau martin,

diplomoviek o net arte v poslednom case vzniklo v cechach a na slovensku snad viac ako samotnych diel :)) pozri si napriklad tuna prace od krekovica, zbiejczuka, harantovej, alebo sika: http://www.wuala.com/monoskoplog/theses/

mas to inak zamerane cisto na slovensko?
ak hej, tuna je prehlad bibliografie o ‘medialnom umeni’ na slovensku, vratane net artu – http://www.burundi.sk/monoskop/index.php/Bibliography_of_writings_on_media_art_in_Slovakia

co viem, tak na SK sa tomu venovali najma zden hlinka a mim, zdenove veci su tu napr
http://www.burundi.sk/monoskop/index.php/Digital_art_in_Slovakia_%281990s-2000s%29#Internet_art

z ciech co sa sucasneho net artu tyka, par veci spravil martinkohout.com

dufam ze ta tym moc nezahlcujem :)

v poslednych rokoch sa inak zacalo hovorit o post-internetovom umeni, kedy internetovi umelci zacali vystavovat v galeriach, z tych veci mi ale vela nepride moc zaujimavych, snad este cory arcangel a par dalsich.. funguju tiez “surf cluby”, co su v podstate blogy s x uzivatelmi, ktori tam postuju rozne kolaze z netu ktore niekedy na seba reaguju, napriklad tento je fajn http://nastynets.com, aj ked to najlepsie ma uz za sebou

poznas jodi.org? ma dost bavi co robia teraz… napriklad toto http://vimeo.com/4651473

all in all mi ale pride ze zamerat sa na lokalnu narodnu scenu (sk/cz) neni moc zaujimave, tie hranice tam uz casto nehraju nejaku zasadnu rolu, najma ak ide o internet..

si mozeme kludne pisat viac, ma to stale zaujima & bavi, navyse je dost mozne ze podobne veci zacnem studovat haha (sa hlasim na dalsiu skolu)
MadeinMP
MadeinMP –> dus▲nson —
22:22:03 – 06.04.2010
Ahoj Dusan

Uz to bolo davnejsie, co sme sa videli, niekedy v 2007 na Letnych dielnach v Tranzite. Teraz pisem bakalarku o internetovom umeni a pozeram, ze tuto na kyberii vedies celkom zaujimave nody. Chcem sa Ta spytat, ci nemas nejake aktualne info, co sa deje na slovenskej net.art scene? …deje sa vobec nieco take? Staci, ak mi postrcis nejake indicie, ja si uz podrobnosti vyhladam. Vopred Ti dakujem, ak si najdes chvilu na odpisanie.

Prajem krasny povelkonocny tyzden :)

Martin

shoegaze (late 80s)
by NME & Melody Maker: musicians stand relatively still during live performances, in a detached, introspective, non-confrontational state, hence the idea that they were gazing at their shoes.

toytronica
ti s mackami, Four Tet (London, M, *77)
Four Tet/Pause/Domino (01)
Four Tet/Pause/Rounds (03)

kapely okolo not fun festu

—

via http://www.villagevoice.com/2009-12-22/music/the-decade-in-music-genre-hype

underground hip-hop (1998-2003)
The Definitive Jux roster, Atmosphere, Blackalicious, Cannibal Ox

glitch (2000-2002)
Also, Tortoise and Björk said it makes you smart and cool and handsome
Kid606, Prefuse 73, Kit Clayton
VA/The Clicks & Cuts 2 (01)

return of the rock (2001-2002)
boring rock
The White Stripes, The Strokes, the Hives, the Vines

electroclash (2001-2003)
Somehow finding the common ground between Fashion Week and college radio, electroclash artists used tinny keyboard blips and hackneyed new wave clichés to help publicize their oversize personalities (and occasionally their music).
Electroclash never really died—it just keeps renaming itself every three years. See the “electropunk” of MU, the “electropop” of the Knife, or the “wonky pop” of La Roux.
Peaches, Miss Kittin & the Hacker, Felix Da Housecat

mash-ups (2001-2004)
Danger Mouse, 2 Many DJs, Freelance Hellraiser ~ 02 @NYT

dance-punk (2002-2005)
early 80s post-punk + early 00s post-punk
The Rapture, Radio 4, !!!

grime (2003-2006)
London garage+hiphop+dancehall
Dizzee Rascal, Wiley, Kano ~ 03 @Guardian
Dizzee Rascal/Boy in Da Corner (03)

freak-folk/new weird america (2004-2006)
Joanna Newsom (CA, *82 cp ahau), Devendra Banhart (Houston/TX, *81 ge 10 manik+), CocoRosie (Paris, FF)
CocoRosie/La maison de mon reve/Touch and Go (04)
Devendra Banhart/Oh Me Oh My/Young God (02)
Devendra Banhart/Rejoicing in the Hands/Young God (04)
Devendra Banhart/Nino Rojo/Young God (04)
Joanna Newsom/The Milk-Eyed Mender (04)
CocoRosie/Noah’s Ark (05)
Devendra Banhart/Cripple Crow/XL (05)
Joanna Newsom, Ys/Drag City (06)
CocoRosie/The Adventures of Ghosthorse and Stillborn/Touch and Go (07)
Devendra Banhart/Smokey Rolls Down Thunder Canyon/XL (07)
Devendra Banhart/What Will We Be/Reprise (09)
Joanna Newsom, Have One On Me/Drag City (10): Mega-sized Laurie Anderson ambition used to tackle not America, but love and foxes and fish.#6

hipster metal (2004-2007)
Boris (Tokyo, MMF, funguju od 92, striedaju zanre furt), Wolfmother (Sydney, MMM, fung od 00), Dead Meadow (DC, MMMM, fung od 98), Mastodon (Atlanta/Georgia, MMMM, fung od 99) ~ 06 @NYT
Mastodon/Leviathan (04)
Boris/Pink (05)

hyphy (2005-2006)
bay area rap
E-40, Keak Da Sneak, Mistah F.A.B.

blog house (2006-2008)
french nu-electro
Justice, Simian Mobile Disco, Boys Noize

lo-fi/shitgaze/diy noise-punk (2007-2008)
by De Broux of Psychedelic Horseshit told his music was not like the shoegaze that Whitehurst listened to, but rather, it was “shitgaze”.
The same crappily recorded garage-punk tantrums that have been around since the days of Count Five—but now on trendy indie-rock record labels you’ve heard of!
Times New Viking (Columbus/Ohio, MMF, art school studs), No Age (LA, MM, *81 pi 3 muluc & sa 12 chuen*), Jay Reatard (Memphis, M, 80 ta 6 ben-10 cocaine+alcohol, top 10/08, aggr-garage-punk+melodic pop, vela kapiel mal)
Times New Viking/Dig Yourself/Siltbreeze (05)
Times New Viking/Present the Paisley Reich/Siltbreeze (06)
No Age/Weird Rippers/Fat Cat (07)
No Age/Nouns/Sub Pop (5/08) [PF 9.2]
Times New Viking/Rip It Off/Matador (08)
Jay Reatard/Watch Me Fall/Matador (8/09): You can’t go home again, pinhead.#7
No Age/Losing Feeling EP/Sub Pop (9/09): Funkless goons gracefully enter their “Chairs Missing” period.#7
Times New Viking/Born Again Revisited/Matador (9/09): Still learning Vaselines melodies, how to make lo-fi to soothe instead of grate.#6.5

glo-fi/chillwave (2009)
chillwave by blogger Carles (Hipster Runoff)
mushy textures, summery melodies, tape distortion ~ Toro Y Moi (SC, M), Memory Tapes (NJ, M), Neon Indian (Austin/NYC, M+FMM, *89, pitchfork: best new music), Washed Out (SC, M) ~ jj, Pocahaunted, Ducktails ~ 03/10 @WSJ
Memory Tapes/Seek Magic/Sth in Construction (8/09): Chill project wave fi drugs gaze pseudonym summer dream dance art blog hazy 2009 nostalgia bedroom.#4.5
Washed Out/Life Of Leisure/Mexican Summer (9/09): Tears For Fears via Ariel Pink hiss-wave, a too-cold entry into the Nite Jewel sweepstakes.#5
Neon Indian/Psychic Chasms/Lefse (10/09): Hazy gloopcore gets brighter moths, superer rainbows.#6
Toro Y Moi/Causers Of This/Carpark (02/10): Prefuse blues makes them smarter, funkier than drab chillwave peers. But better? #5.5

—

ine:
Owen Hatherley’s term ‘pseudomodernism’
used to describe the seemingly modernist geometries of the recent ‘building as sign’ architectural style nurtured by Norman Foster
http://themeasurestaken.blogspot.com/2008/11/icons-in-fire.html

????!!
Oneida, Swod, Animal Collective, Dan Deacon, Dakota Suite, Peter Broderick (4 Track Songs), Yeasayer, Murcof, Beirut, Daedelus, William
Basinski, hamburg kapela z newnew?, Paul DeMarinis, Andrew WK, Andrew Liles, Bibio (Fi), RiSIL (Non Meters Vol 1),
Cloaks, Terrible Eagle, The XX (XX, 09), Radiohead, Wavves, Astral Social Club, Grouper
Gil-Scott Heron (I’m New Here 10), Bill Callahan, Bon Iver, Cindytalk, Evangelista, Fursaxa,
Felicia Atkinson & Sylvain Chauveau [Roman Anglais], irr. app. (ext.) – kreiselwelle, Karl Blau, judith juillerat-soliloquy, Klimek,
Mi Ami (cosmic disco-punk hedonism), MV & EE, Jon Hopkins
Zola Jesus (Madison/WI, Nika Danilova, F, *89 ar 8 etznab+) crimsonwave & lo-fi goth
Fennesz, Jan Jelinek, Alva Noto
Apparat, Ellen Allien
Vindicatrix/Die Alte Boesen Lieder/Mordant Music (10) (David Aird, London, part of SE EN’s Mentalist Assoc, M)
my tags: dada, german, spaceship, schubert, classical, decay, dubstep, mad scientist, 21st century song
Fisher@Wire: dadaist Big Pop; Schubert’s Winterreise being sung on a decaying space station;
consistency generated from decaying fragments of dubstep, classical music, unhinged crooning and noise;
gibbers like some mad inventor talking to himself
Ben Frost/By The Throat/Bedroom Community (09) (IS, M)
my tags: noise, cinematic, minimalism
positioned between momentous expressionist soundtrack composition – with a strong undertow of Noise and epic minimalism (Wire)
Harappian Night Recordings (Syed Kamran Ali, Sheffield/UK, M)
my tags: impro, shamanic, arabic, sufi, far east, jam, loose, psych
Spicer@Wire: young British man of Asian descent, making musical forgeries from an imagined East, recalling the work of American outsiders,
and released by a label at the heart of the Arabic world
Cluster/Qua/Klangbad-Broken Silence (09) (HJ Roedelius+Dieter Moebius, *34, MM)
King Midas Sound/Waiting For You/Hyperdub (Kevin Martin+Roger Robinson+Hitomi, MMF, Martin: ex-The Bug)
my tags: spectral dub, dub
Barker@Wire: reminiscent of Tricky’s Maxinquaye; themes of fear, isolation and love on the verge of loss; vocals: Roger Robinson;
sounds w/ dulled down drums, mogadon beats, weathered FX and mournful synth counterpoint;
gave dancehall an unexpected reversal, slowing it down until it took on an emotional register of eternal loss
Kuupuu/Lumen Tahden/Time-Lag (Jonna Karanka, FI, F)
Robot Koch/Death Star Droid/Robots Don’t Sleep
my tags: mash-up, soul, r&b, world music, hiphop, psych rock, dubstep
Monolake/Silence/Imbalance Computer Music (09) (Robert Henke, M)
my tags: post-techno, post-dubstep, berghain
Autechre/Oversteps
my tags: dance music
Sharp@Wire: “ilanders” revolves around a languid, cyclical bassline that is subjected to the most exquisite abrasions as surges of
phosphorescent noise obscure and qualify every melodic cadence
Gary War/Horrible Parades (heavy on synths, effects, and lo-fi noise)
Richardson@Wire: “pop for experimental music fans”
Mordan Music/Symptoms/Ghost Box (10/09) (Baron Mordant)
Boomkat: blending FX swamped synthlines and dancefloor-suspicious rhythms with his own vocals
Mordant Music/Dead Air (06)
Mugwump@Quietus: vicious car crash between Saint Etienne and Throbbing Gristle with Sarah Cracknell regenerating into the warm form of Phillip Elsmore.

freak-folk/new weird america (2004-2006)
Joanna Newsom (CA, *82 cp ahau), Devendra Banhart (Houston/TX, *81 ge 10 manik+), CocoRosie (Paris, FF)
CocoRosie/La maison de mon reve/Touch and Go (04)
Devendra Banhart/Oh Me Oh My/Young God (02)
Devendra Banhart/Rejoicing in the Hands/Young God (04)
Bell@Wire: his best ever, haunted ecstasies
Devendra Banhart/Nino Rojo/Young God (04)
Joanna Newsom/The Milk-Eyed Mender (04)
CocoRosie/Noah’s Ark (05)
Devendra Banhart/Cripple Crow/XL (05)
Joanna Newsom/Ys/Drag City (06)
CocoRosie/The Adventures of Ghosthorse and Stillborn/Touch and Go (07)
Devendra Banhart/Smokey Rolls Down Thunder Canyon/XL (07)
Devendra Banhart/What Will We Be/Warner Bros (09)
my tags: evening breeze penetration folk
Bell@Wire: ‘Angelika’ is rewrite of Velvet Underground’s I’ll Be Your Mirror;
Goin’ Back = JJ Cale, ‘Rats’ = Jeff Buckley
Joanna Newsom/Have One On Me/Drag City (10): Mega-sized Laurie Anderson ambition used to tackle not America, but love and foxes and fish.#6

noise-rock
Liars (LA+Berlin), Sightings (Brooklyn), Aa (Brooklyn)
Liars/They Threw Us All in a Trench and Stuck a Monument on Top/Gern Blandsten (10/01)
Liars/They Were Wrong, So We Drowned/Mute (2/04)
Liars/Drum’s Not Dead/Mute (2/06)
Liars/Liars/Mute (8/07)
Aa/gaAme/Gigantic (07)
Liars/Sisterworld/Mute (10): Veteran pounders absorb Los Angeles’s contemporary, sunny, yes-wave freak scene by osmosis.#7

drone-rock
Not Not Fun label
Robedoor

dub techno/ambient dub
Deadbeat (CA->Berlin), Anders Ilar, Fenin, Pole
Deadbeat/Something Borrowed, Something Blue (04)
Deadbeat/New World Observer (05)
Deadbeat/Journeyman’s Annual (07)
Anders Ilar/Ludwijka
Fenin/Been Through

dubstep (2005-2008) [London]
2-step garage+house+…, Hyberdub label etc
Mugwump@Quietus: bass-virus mutations of Hyperdub, whose possessed meat-puppet Kode9 still invokes London as the point of infection despite the label’s astonishing international roster of artists
Burial, Shackleton, Kode9, Appleblim, Vex’d (London, MM), Scuba
Vex’d/Degenerate/Planet Mu (05)
Burial/Burial/Hyperdub (06)
Burial/Untrue/Hyperdub (07)
VA/Skull Disco – Soundboy Punishments
Vex’d/Cloud Seed (10)

post-dubstep [London]
these producers infected dubstep with the hyperactive blip’n’fizz of the Sega soundtracks of their formative years (Wire)
Zomby, Rustie, Ikonika, Joker

folk
Marissa Nadler (DC, *81 ta 8 eb*), Jana Hunter (Baltimore), Rio en Medio, Big Blood
Marissa Nadler/The Saga of Mayflower May (7/05)
Jana Hunter/Blank Unstaring Heirs of Doom/Gnomonsong (10/05)
Marissa Nadler/Songs III: Bird on the Water (3/07)
Jana Hunter/There’s No Home/Gnomonsong (4/07)
Marissa Nadler/Little Hells (3/09): Folk-dreamer sprouts out. When bleak, loss has a scent; when joyous, 4AD builds a beach house.#7
Big Blood + The Grove

sludge metal
Om, Habsyll (FR)

dream pop
Beach House (Baltimore, FM), Girls
Beach House/Beach House/Carpark (06): PF 8.1
Beach House/Devotion/Carpark (2/08): PF 8.5
Beach House/Teen Dream/Sub Pop (1/10): Sputtering out of the cuddlegaze muck into bold indie rock hooks—luckily they have them.#6.5; PF 9.0

singer-songwriter
DM Stith/Heavy Ghost
Sir Tralala
Patrick Watson/Wooden Arms
White Flight/White Ark
Magic Arm/Make Lists Do Something
Emily Wells/Beautiful Sleepyhead and the Laughing Yaks (06)
Timber Timbre/Timber Timbre (09)
Boduf Songs/Lion Devours the Sun
Ruby Throat
Charlotte Gainsbourg/IRM (09)
David Sylvian/Manafon/Samadhisound (09): a timbrally subtle set of hermit-like song utterances (Wire)
Fink/Sort of Revolution (09)
Hanne Hukkelberg
B Fachada/B Fachada
Jeremy Jay/Slow Dance (09)
Juana Molina
Jose Gonzalez/In Our Nature
Xiu Xiu
Liger – Crash Symbols (2009): xiuxiu.at
Former Ghosts/Fleurs/Upset The Rhythm (Stewart/Xiu Xiu+F Ruppert+Zola Jesus): Richardson@Wire: darkened subverted synth-pop

post-classical/neo-classical/quasi-classical [intl]
Max Richter, Hauschka, Loscil, Elegi, Johann Johannsson, Richard Skelton (Lancashire/UK, aka A Broken Consort, v 04 stratil artist wife),
36, Jacaszek, Sylvain Chauveau, Andrew Chalk (M, zahadny-moc o sebe nedava vediet), On (Chauveau+Hess+Sten; death ambient), Aaron Martin (Kansas)
Max Richter/The Blue Notebooks/Fat Cat (04)
36/Hypersona
Johann Johannsson/Fordlandia/Advance (08)
On/Your naked ghost comes back at night/Type (09)
Jacaszek/Treny/Miasmah (08)
Richard Skelton/Landings/Type (09)
my tags: pärt, site-specific, emotional, post-classical
Moline@Wire: Pärt’s children: Skelton, Richter, Hauschka, Johannsson (user-friendly form of meditative instrumental music homaging 80s+90s
Holy Minimalist style of Part/Tavener/Gorecki);
overdubbing simple, repetitive phrases using bowed guitar, teasing out as many harmonics as possible from the metal strings and
allowing them to clash as the melodies run in and out of sync;
z miest si do studia prinasa kamene, konare, droty, kosti, nenahrava priamo na lokaciach, to evoke the place + inspire the music:
“flint for the memory”;
vysla k nim aj poeticka kniha via blog via dennik projektu
Andrew Chalk/The Cable House/Faraway Press
Loscil/Endless Falls (10)
Aaron Martin/Chautauqua/Preservation
Barnes@Wire: found sound samples; ‘core’ ensemble of organ, banjo and cello; a la Beach Boys’ Cabinessence & The Books

glitch-hop [LA]
Flying Lotus (LA, M), Nosaj Thing (LA, M, *85), Gonjasufi (Las Vegas, M, rapper-singer-yoga teacher), Daddy Kev
Flying Lotus/Los Angeles/Warp (6/08)
Nosaj Thing/Drift/Alpha Pup (6/09): The Tricky to Flying Lotus’s Portishead.#6.5; PF 7.9
Gonjasufi/A Sufi And A Killer/Warp (2/10): desert sufi psychedelia meets lo-fi psych-glitch hop; A demented blast of pitch black hookah smoke that does for Turkish funk what Dilla did for American.#7.5; PF 8.4
Muggs@Wire: slip-sliding manipulation of loose rhythms, fuzzy psychedelic records and instrumental sounds new and old plays powerful games
with experiences of cultural deja vu and false memory, blurring the kitsch with the visceral and the playful with the raw and threatening;
cracked voice
Flying Lotus/Cosmogramma (10)

chillwave/glo-fi (2009) [US]
chillwave by blogger Carles (Hipster Runoff)
mushy textures, summery melodies, tape distortion ~ Toro Y Moi (SC, M), Memory Tapes (NJ, M), Neon Indian (Austin/NYC, M+FMM, *89, PF: best new music), Washed Out (SC, M) ~ jj, Pocahaunted, Ducktails (summery escapism) ~ 03/10 @WSJ
Memory Tapes/Seek Magic/Sth in Construction (8/09): Chill project wave fi drugs gaze pseudonym summer dream dance art blog hazy 2009 nostalgia bedroom.#4.5
Washed Out/Life Of Leisure/Mexican Summer (9/09): Tears For Fears via Ariel Pink hiss-wave, a too-cold entry into the Nite Jewel sweepstakes.#5
Neon Indian/Psychic Chasms/Lefse (10/09): Hazy gloopcore gets brighter moths, superer rainbows.#6
Toro Y Moi/Causers Of This/Carpark (02/10): Prefuse blues makes them smarter, funkier than drab chillwave peers. But better? #5.5

wonky
Adam Harper, Alex Williams (http://splinteringboneashes.blogspot.com/search?q=wonky): hauntology and ‘wonky’ are aesthetic siblings.

hauntology [UK]
by Mark Fisher and Simon Reynolds (The Wire 273, *mid-2000s): coined chiefly in response to the music of UK label Ghost Box
Adam Harper@roguesfoam: ‘playback hauntologists’: The Caretaker, Basinski and Indignant Senility
Mugwump@Quietus: the paradoxical retro-futurist real-world mythologies of the Ghost Box label with related (Broadcast) and parallel travellers (Moon Wiring Club, Position Normal)
Belbury Poly/From An Ancient Star/Ghost Box: incorporated shades of disco and dub
Broadcast + The Focus Group/Investigate Witch Cults Of The Radio Age/Warp (09) (Warp’s James Cargill+Trish Keenan & Ghost Box’s Julian House):
a chemical wedding of pop-sike bliss, cut-up weird audio and occult sonics; dark monarchs of hauntology’s expanding kingdom;
untethering slippage and slurring of loops and rhythms, a new approach to sampling that perhaps better represents the way music really
sits in our memory (Wire)
Seeland/Tomorrow Today/Advance (09) (Tim Felton ex-Broadcast, Billy Bainbridge ex-Plone):
marries antique futurist textures to attractive pop songcraft (Wire)
James Kirby (aka The Caretaker, The Stranger and Leyland Kirby)
Moon Wiring Club
Position Normal/Goodly Time/Rum (00) (London, Chris Bailiff and John Cushway, MM?, *93): proto-hauntology
Position Normal/Position Normal/Rum (09)
The Advisory Circle
The Caretaker
Mordant Music
Wooden Veil (Berlin)

hypnagogic pop [US]
by David Keenan (The Wire, *09): US underground’s equivalent strain of hauntology
these artists turned away from the bleak grind of Noise to embrace the fuzzily remembered forms of their childhoods, including soft rock and New Age.
for them, the vague recollection of a zero-budget sci-fi flick watched once during a sleepover takes on a mythic, almost occult quality,
ripe for processing via cheap technology into a sound that oscillates bwn the naggingly familiar and the utterly alien (Wire)
James Ferraro, Pocahaunted, Emeralds, Daniel Lopatin (of Oneohtrix Point Never; of Infinity Window), Inca Ore (Eva Saelens, F, Not Not Fun),
Ducktails, High Wolf
James Ferraro/KFC City 3099 Pt 1: Toxic Spill: lo-definition joyride through the polluted swamps of US cultural half-memory (Wire)
Pocahaunted: scrawled connections between free folk, LA-period Fleetwood Mac and dub with joyous abandon (Wire)
Emeralds & Oneohtrix Point Never: drag the beatless meditations of Klaus Schulze and Tangerine Dream through a prism of 1980s pulp culture,
accumulating layers of ectoplasmic residue which allow their music to glow with an unearthly, greenish-blue beauty (Wire)
Oneohtrix Point Never/Rifts/No Fun Prod (Daniel Lopatin, Brooklyn, M)
my tags: synth, cinematic, timbral, lost in space, spaceship, lo
Wuethrich@Wire: keyboard polysynth; “timbral fascism”;
musical narrative of an astronaut lost in space, his subsequent wanderings on an uninhabited planet and his old-age reflection on that time;
realignment of low-rent pop culture from the 70s+80s, abandoned synth timbres and obsolete consumere electronics
Inca Ore & Ducktails & High Wolf: material resonant with a distressed nostalgia for halcyon days (Wire)

witch house/drag (2010) [US]
taking the familiar dubby beats and haunting, pitch-shifted vocals and adding a more ambient, droney take to it that’s as beautiful as it is bleak + nekriticka laska k reverbu
Salem, Mater Suspiria Vision, White Ring (MF), oOoOO
White Ring, http://www.myspace.com/whytering
oOoOO, http://www.myspace.com/wkwkwkwkwkwkwkwk

piano
last.fm/…
Alva Noto/Ryuichi Sakamoto; William Basinski?; Yann Tiersen+Shannon Wright; Tiago Sousa+Joao Correia; Balmorrhea?; The Dead Texan?; Musette (SW)
Yann Tiersen+Shannon Wright/Pale White
Hauschka/Versions of the prepared piano
Musette/Datum
Magda Mayas/Heartland (10)

gitara
last.fm/…
Bill Orcutt; Christopher Riggs; James Blackshaw; Bill Nace; John Zorn (Film Works); Gabriel Araujo; Ilyas Ahmed; Porto
Gabriel Araujo/st
James Blackshaw/The Glass Bead Game/Young God (09)
Ilyas Ahmed/Goner/Root Strata (09)
Jim O’Rourke/Visitor/Drag City (09): visiting alien struggling to master American AOR: a deceptively sweet confection of blue-sky acoustic guitar, rustic banjo, organ, woodwinds, piano and drums (Wire)

cello
Hildur Gudnadottir/Without Sinking/Touch (09)
Lost in Hildurness/Mount A

jazz
Supersilent; Swami LatePlate; Kilimanjaro Darkjazz Ensemble; Kammerflimmer Kollektief; Bohren & Der Club of Gore; The Necks (Sydney)
Supersilent/9 (09)
Beequeen/The Bodyshop

freeform (post-Residents)
No-Neck Blues Band (NYC), ?Vindicatrix, ?Position Normal

obskurne fenomeny?

field recordings
Chris Watson, Alesandro Bosetti, BJ Nilsen, Jez riley French
BJ Nilsen/Invisible City/Touch

mediale musik
(zo zahrobia)

generative music
(aymeric etc)

dus:
temer :)

lit.veda + new media theory (uz RU formalisti) => expand lit.veda o digi
anglofon works, aj inak neinterpretovane works
digi art: a) digitized (hypertext: 1) Ennslin-US skola, 2) Aarseth-cybertext as lit+pc games–nie via media, ale via text funkcie ~ ergodicka lit),
b) created using digital media

ludifikacia kultury ~ upriamenie na hravy postoj ~ esencia par excellance (pozera na svet cez hru!)

—

literatura nie je moc moja domena, mam teda len par velmi strohych poznamok,
a znozku tipov na suvisiace diela/temy (ktore uz asi poznas) :

paci sa mi moc kombinacia
ludifikácia kultúry & využitie diverzity medialít na zaujatie citatela & co najintenzívnejší zážitok v co najkratšom case
!

bohaty poznamkovy aparat, velmi sucasne pramene (bolter, manovich, hayles, …),
slovencinu si obohatila o viacero novych terminov, nenasiel som floskule,
tomu hovorim poctiva praca!! fii, no, neviem ci som taku kvalitnu phd uz niekedy videl…

pacia sa mi hrave nazvy kapitol

“nesúsledné písanie” je fajn vyraz :)

technicke:
nasiel som malu chybicku – poznamka 259.
na str. 89 je uprostred strany skok na dalsiu, neviem ci to tak malo byt

hih, citujes Szczepanika, s nim robim projekt v brne :)

par tipov:

pre cast Interludium ta mozno bude zaujimat Austinov koncept “speech act”
http://en.wikipedia.org/wiki/Speech_act

mozno by ta tiez mohli zaujimat boty, umele inteligencie komunikujuce s uzivatelom v realnom case, napr. Alice
http://en.wikipedia.org/wiki/Artificial_Linguistic_Internet_Computer_Entity
alebo ELIZA
http://en.wikipedia.org/wiki/ELIZA

tu ma este sean cubitt pracicku:
http://www.ucl.ac.uk/slade/digita/notes.html

v historiach net.artu sa vzdy spomina praca ‘my boyfriend came back from the war’ olia lialina,
skvele je, ze vzniklo vyse 10+ remixov
http://myboyfriendcamebackfromth.ewar.ru/

a na prace Jodi.org by bolo veelmi zaujimave sa pozriet z literarneho hladiska

este ma napada code poetry [ http://burundi.sk/monoskop/index.php/Category:Code_poetry ],
a spam, ale to uz je mimo hypertextu…

zuzana:
moja skolitelka ju mala vypisanu tu temu, tak sme to spolu vymysleli, ona mala, ze hypertext, ja som uz potom z toho pojmu grcala, tak som si to cele prestavila na DF – a to cele je pootm moje.
samozrejme Austina poznam, citala som jeho aj Searla,
projekty Eliza a spol su sice zaujimave, ale stare jak rit – a nie je to moc fikcia, skor iba kvazipsychologicky efekt, ktoremu niekto neskor prisudil katarznu hodnotu v dobe ked fical narative turn.
toho Cubitta som niekde citala ale neviem ci toto :) prezriem
Szcepanika pozdrav :)))) aj mu to mozes posunut od utorka :DD

a ta Oliana je tiez znama, ja som sa uz v prvom semestri studia presytila tymito starymi hypertextovymi projektmi, preto som ako reprezentanta dala Judy Malloy, lebo to je prvy z takych :))

aj to Jodi.org som kukala kedysi.

ach –> dusanson —
21:38:56 – 16.05.2008
ďakujem za komentár!!! oveľa lepší ako posudok od rankova, kde mi vypočítava kde som zabudol napísať čiarky v texte :)

rád sa s tebou stretnem, ale a) asi som chorý, smrkám b) mám zajtra narodeniny a s tým sa spája zopar rodinných úkonov c) mám prácu na doma a mal by som cez víkend opraviť 21 strán bibliografických údajov

potrebujem si teraz ujasniť tému doktorátu, v oblasti autorstvo, piráti, sociálne siete, alebo i inde.

dusanson –> ach —
18:45:52 – 16.05.2008

Strohy feedback —

Pekny text, v slovencine ani cestine som v podstate nic podobne zatial necital,
zasluznu pracu si odviedol :)
Je sympaticke, ze citujes aj zdroje z tohto roka a je tam siroka bibliografia.
Nenasiel som vela, mozno az ziadne determinizmy — ze by jeden fenomen sposoboval dalsi
(kedze je jasne, ze vsetko je prepojene so vsetkym a cokolvek vplyva na cokolvek ine
[co i len v tazko postrehnutelnej miere]).

Mozem byt aj kriticky?
Snad budem k veci.

Nie je mi jasne, co bola vlastne priorita prace — zamerat sa na ekonomicky (zmeny v modoch
produkcie v prostredi neskoreho kapitalizmu), sociologicky (ako suvisi fenomen prozumenta
so socialnou interakciou), pravny (legalne otazky pri tvorbe publikovanej na internete)
umelecky (kunsthistoricky), alebo iny aspekt autorstva? Alebo ak na vsetky, tak aka je tvoja
pozicia? Si myslim, ze ‘objektivna’ pozicia vyskumnika (resp. pohlad Bozieho oka) sa dnes
neda obhajit.

V zabere “elektronickej komunikacie” spominas len internetove prostredie
(chybaju napr. mobily, satelity) — neskor to myslim na jednom mieste obhajujes,
ale samotny nazov prace je predsalen trochu zavadzajuci.
V ramci internetu je dalsim velmi podstatnym formatom mailing list — vid napr archivy
a nasledne aj papierovo vydane readre zo Spectre alebo Nettime.

Z historickeho pohladu na autorstvo v elektronickom prostredi mi pride zasadne
spomenut, ze to zacalo na poli softveru, a konkretne s licenciami GNU GPL.
Ten reflektuje aj silnu copyleftovu kulturu, s odlisnymi ideami ako CC.

Ad autor –
Spominas Bourdieuove koncepty kapitalu — prisiel tiez s teoriou pola (okolo 1993), ktora by ta
mohla zaujimat. Prezentuje ju ako alternativu voci inym dvom pristupom ku kulturnej produkcii:
(1) (post)strukturalistom, ktori sa zameriavaju na dielo tak, ze ho vytesnuju od socialnych a
ekonomickych podmienok produkcie, a (2) kritickej teorii (oplyvnenej marxizmom), ktora sa zas
obmedzuje na socialny povod autora a/alebo zamyslaneho publika.
Tvrdi, ze zavedenim teorie pola obchadza ich obmedzenia: rozne polia su charakterizovane
poziciami a zastavanim pozicii jednotlivymi umelcami, dielami, spisovatelmi, textami, ktore
si vydobijaju vlastne miestecka v tej-ktorej oblasti.
Bruno Latour, John Law a dalsi idu v tomto este dalej. V actor-network theory sa vyhybaju
antropocentrickemu ponatiu autora (cloveka dominujuceho celemu procesu produkcie,
vratane technologii), a stavaju vedla seba do nehierarchickych vztahov nielen ludi a diela,
ale aj idey, techniky, technologie a dalsie “hybridy”. Klucovym pre tuto teoriu je tiez
radikalne odmietnutie dualizmu priroda – kultura. (Mozno by tu bolo zaujimave rozvit
tiez koncept peer production).

V praci mi chyba uvaha o povahe diela v novych podmienkach.

Zaujimavou je tiez sirsia rola verejnej domeny:
ustava, vzduch, voda, galaxia
(ta sa ale netyka elektronickej komunikacie).

Kapitolka 3.4.3 by si zasluzila rozvit viac.

Nenasiel som odpovede napr na:
– preco maju niektori autori zaujem sirit diela volne?
– preco publikum masovo ignoruje pravne obmedzenia nakladania s cudzim dielom?

Tym ze je praca v slovencine, opis situacie v CC a pripadne GNU GPL v nasom regione (SK, CZ)
by bol urcite velkym prinosom.

Ale treba povedat, ze som si to zatial nestihol precitat cele poctivo, skor len pasaze
a ine letiacim okom.

Co dalej —
pre mna by bolo velmi zaujimave si od teba precitat viac o povahe a produkcii diel
(teda hybridov, amalgamov) v novych podmienkach (teda formou peer-production,
neviditelnej prace, cez socialne siete a podobne) — v ramci toho by bolo autorstvo
jeden z dolezitych aspektov.

vo forme newslettra / alebo webu / alebo tlaceneho casopisu? rozni autori, a la http://www.zcommunications.org/zparecon/reimaginingsociety.htm

– promote cultural&ecological commons + alt models for their mgmt (alter copyright; alt economies ~ pay-as-you-like/donations/crowdfunding; “noncommercial” @CC = wrong)
– update education (pillars: amateur culture=youtube; public domain=free pdfs; networking technologies=fb/blogs/forums; collaboration=open methods; globalised knowledge/interdisciplinarity)
– open tools
– new art (as creativity; rather than art as a discipline; thus also transform cult.policies–incl. home-made culture)
– internet of things (expanded connectivity and access)
– revolution of human nature (rather than smashing down the government, or building up communes @desert)
– pro understanding econ/polit/cult/aesth aspects of globalisation @integralist fashion (rather than sci-fi/futurism, or identity politics of marginalised minorities=stigmatism)
– subject to critique: multiculturalism, avantgardism, back-to-origin essentalist radicalism, progress, fundamentalism, neoliberalism, disciplinarism (stratification of knowledge)

problem property a problem hodnoty

(political theory)

1. Michael Hardt – Politics of the Common (2009)
michael hardt gives very good summary of current debates
about the commons. he explains the immaterial property
and the common got into centre of contemporary production
shifting away from industrial capitalist mobile/immobile
commodity properties. he says that today the capital
and economic development paradoxically relies on the common,
and that the central task for contemporary society is
to develop an alternative management of the common.
by the common he means the ecological (earth, ecosystems,
and all forms of life interacting with them) and social/cultural
(shared products of human labor–ideas, images, affects,
social relationships) domains. that is not much news,
but what is interesting – these two domains are often treated
separately, and here hardt mentions two major instances
of contradictions which link them:
contradiction between private property and the common;
and the fact that the value of common is immeasurable with
the traditional capitalist system of measures (and is rather
based on value of life, which we have not yet invented).
/ o ‘the common’ hovori ako o ekologickych (lesy, plaze,
vzduch, jazera) a nematerialnych socialnych/kulturnych
statkoch (videa, texty, fotky, idey, pocity, socialne vztahy,
zabava, nove formy zivota), ku ktorym maju (mat) vsetci
volny pristup. hovori o dvoch hlavnych rozporoch
s ohladom na klasicky system – konkretne nemoznost
urcit ich (ekonomicku) hodnotu, a problem vlastnickeho
vztahu k nim.
http://www.zcommunications.org/znet/viewArticle/21899

2. Slavoj Zizek – Ecology: A New Opium of the Masses
tu zizek vychadza z idei commons ako ju chapu hardt a negri,
a jemne ju rozsiruje: commons ako kultura, externa
priroda (ekologia), a interna priroda (biogenetika).
tvrdi, ze je do commons zasadne zapojit aj mensiny,
populaciu vylucenu z politickych procesov.
http://www.lacan.com/zizecology1.htm
(je tam aj video prednaska)

(economy)

3. Lawrence Lessig – Remix: Making Art and Commerce
Thrive in the Hybrid Economy (2008)
to je jeho nova kniha, hovori tam o tom, ako mozu
ist dokopy ekonomika ‘komercie’ (klasicky online biznis)
a ‘zdielania’ (v ktorej nefigujuru peniaze–napr. priatelstvo
alebo P2P filesharing). odtial by bolo dobre vytiahnut
nejaku cast, ale najst nejaky sumarizujuci text, pripadne
jeho kritiku.
http://burundi.sk/monoskop/log/?p=224

4. Mikael Pawlo – What’s the meaning of “non-commercial”? (2004)
pawlo je sef svedskych iCommons a kritizuje tu fakt, ze drviva
vacsina materialov pod CC pouziva klauzulku ‘non-commercial’.
pyta sa co to znamena — a dava vela prikladov, kde sa to
co je commercial a co non-commercial neda urcit – napriklad:
verejna televizia, verejne skoly, reklamy na neziskovky,
rss-feedy embednute vo weboch na ktorych je reklama –
to su priklady, v ktorych nie je mozne urcit ci mozeme
pouzit CC videa ktore su sirene pod noncommercial licenciou.
http://www.nettime.org/Lists-Archives/nettime-l-0501/msg00006.html

x. Bauwens – crowdfunding

(software)

5. Richard Stallmann
Stallmann v Lessigovej knihe hovori, ze free software
nie je altruizmus, ze tie veci programatori nerobia
lebo maju dobre srdce, ale spravidla maju pragmaticke
dovody. musi k tomu byt nejaky dobry clanok.

(philosophy)

6. Bernard Stiegler – transindividuation
to je francuzsky filozof, ktory sedel 7 rokov v base
za kradez v banke, a napisal tam niekolko zvazkov, ktore
prepisuju filozofiu z pohladu techniky/technologii.
bol nejaky cas sefom IRCAM, potom aj Centre Pompidou.
v poslednom case ho celkom hypuju. uz dlhsie kritizuje
web 2.0 sluzby a hovori o procese “transindividuacie”,
kedy svoj esteticky vkus menia uzivatelia medzi sebou
tym, ze zdielaju online material. nadvazuje na zabudnuteho
filozofa Simondona, ktory s tym terminom prisiel snad
este v 50-tych rokoch.
k tomu mam zatial len toto kratke video:

(commons in practise)

7. Creative Commons v cz/sk praxi
mozno interview s clovekom z cz/sk projektu, ktory dava veci
pod CC (je ich viac).

8. kauza a predaj Pirate Bay
zatial nemam tip na clanok

9.
jeden zaujimavy projekt v anglicku:
http://uniteddiversity.com/commons-creation/

(art/activism)

10. Ines Doujak – Victory Gardens
instalacia (2007) viedenskej umelkyne kritizujucej politiku USA a EU,
ktora prehliada privatizovanie verejnych statkov (vody, potravin, pody)
korporaciami prostrednictvom patentov [biopiratstvo],
najma v krajinach “mega diverzity” (mexiku, indii, brazili, indonezii).
/ Hardt: I object to calling this piracy, by the way, because pirates
at least have the dignity to steal property. These corporations steal
the common and transform it into private property.
http://www.lakeside-kunstraum.at/archiv.detail.asp?active_semprog_ID=525386989&active_topic_ID=854442775
http://www.we-make-money-not-art.com/archives/2008/05/raised-above-the-ground-with.php

11. Yes Men – Bhopal

to je akoby nove medium ten internet, ako kedysi rec. medzi ludmi.

robi nam uz lepsie sa zhovarat cez internet, cez interface, skype, cez taketo medium ako osobne – cez rec.

odpovedame textom, obrazom, linkou, videom, fotkou. pouzivame ich v konverzacii.

ako guy o hansenovi
(G: so let’s do it!
D: we do it…)

mna to celkom oplyvnuje ked mi palo hovori ze by som mal byt sociologom

Marisa: ja sa na to divadlo dokazem pozerat len cez nejake medium.

[7:50:02 PM] babutka: mam novy terminus technikus “problém ruky do ohňa”.)
[7:50:12 PM] babutka: v suvislosti s mtp of kors
[7:50:23 PM] babutka: alebo ruky v ohni
[7:50:58 PM] dusanson: problem?
[7:51:08 PM] babutka: hej akoze problematika
[7:51:21 PM] babutka: akoze za ake veci v programe by sme dali alebo nedali ruku do ohna
[7:51:56 PM] babutka: no sak to len tak,to su tie diskutabilne zapojene oneho alebo nestihacky odsledovat
[7:53:49 PM] dusanson: vies co teraz jak uplne totalne vypukol ten youtube a tak, tak take ze ‘kvalita’, to uz je skor nadavka )
[7:53:59 PM] babutka: :)
[7:54:32 PM] babutka: ma pojem kvalita jeste co rict?
[7:54:40 PM] dusanson: ani ne
[7:54:52 PM] babutka: tak ale co potom
[7:54:57 PM] dusanson: coby
[7:55:04 PM] dusanson: ide sa dalej
[7:55:16 PM] babutka: ako to myslis teraz?
[7:55:19 PM] dusanson: neviem
[7:55:28 PM] babutka: uz som sa zlakla
[7:55:33 PM] dusanson: jak to
[7:55:43 PM] babutka: preco pises cesky?
[7:55:52 PM] babutka: dneska mi moja kolegyna zacala pisat slovensky
[7:55:56 PM] dusanson: mozebyt
[7:56:04 PM] babutka: tak dneska je nejaky jazykovy obrat
[7:56:21 PM] dusanson: ked hovorim cesky na michala, tak mi vravi ze som postihnuty

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od nar.

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priprava clanku

D
Chantal Mouffe:
How do you define democracy if not as consensus?
I use the concept of agonistic pluralism to present a new way to think
about democracy which is different from the traditional liberal conception
of democracy as a negotiation among interests and is also different to the
model which is currently being developed by people like Jurgen Habermas
and John Rawls. While they have many differences, Rawls and Habermas have
in common the idea that the aim of the democratic society is the creation
of a consensus, and that consensus is possible if people are only able to
leave aside their particular interests and think as rational beings.
However, while we desire an end to conflict, if we want people to be free
we must always allow for the possibility that conflict may appear and to
provide an arena where differences can be confronted. The democratic
process should supply that arena.
http://www.redpepper.org.uk/article563.html

G
> thanks _ yes yes I now know who she is and I guess in a glorious past
> must have read the book she wrote with laclau, and for a while was
> very much interested in the ideas of gramsci about hegemony etc on
> which they also base their writing/thinking (but that is all so far
> for me – it seems really a revival to go pre-postmodernist-thinking,
> guess it is safer to dig those up again hihi)

D
>> hmm, but that idea doesn’t sound that old fashioned and irrelevant:
>> to understand radical democracy not as a dialogue and
>> negotiation (or even consensus) as an end in itself,
>> but as the provider of the environment that always allows
>> the possibility of disagreement..

• G
  > she did not understand her readings, because she is not researching
  > enough:
  >
  > 1. marx-engels are talking about the freedom of the worker, it is all
  > about how the difference in time as seen in post industrial capitalism
  > compared to early industrial capitalism and an utopian communism at
  > that time (forget the 20th century for a moment) – so “everyone is an
  > artist” is not a statement about art at that time but trying to
  > protect the freedom of the worker: work time (for the factory or for a
  > boss), reproductional time (to eat decently, to keep hygiene and wash
  > yourself, to have healthcare, to be able to for instance look after
  > your vegetables growing etc…)recreational/free time (relaxing and
  > resting, reflected in the regulation of working hours at stand still
  > since 60’s to 35-40 hours and also as the right for retirement later,
  > but mainly realizing the idea of freedom: it is up to the individual
  > and no boss can ask someone to give it up)… so art is seen as the
  > basic creativity everyone his in him/herself and a corner stone for
  > happiness in society, an element to realize yourself or a group and
  > situated within the free will, the fundamental idea of autonomy of
  > subjectivity (of individual or collective unit)… guess today the
  > situation is quite different though reading marx-engels on that point
  > I must admit changed the way I was looking at creating and that is
  > also the reason why in karass suite amateurs and professionals are
  > mixed and there is no discussion about it needed, it is a given fact
  > (guess she does not understand this if you only look at highly payed
  > curatored exhibitions)
• D
  one thing that is clear is that she’s biased – celebrating
  the walls of the white cube beginning in london and ending in nyc.
  • G
    the more problematic thing is that she not only a payed chique art
    chick, but that she never discloses an aesthetical point of view, on
    the contrary she shrouds it in vagueness, remember in our historic
    heroic car discussion the issue was for me how to change evaluation of
    art itself through a redefinition based on a different practice, which
    means not the speculative rhetoric she is throwing around but some
    very concrete issues and somehow up to the mark presence of current
    ‘creative’ (yes in marx-engels sense if you want) practices

  but there is a common ground.

  • G
    no because here is exactly when she is jumping out: she looks at art
    as a very disciplinary and reductionalist thing (isolating even visual
    arts) in the end, and her ‘subjectivity’ is still the 20th century
    postmodern commodity object

  she mentioned marx+engels’ critique of alienation, which when
  abandoned/overcame, gives way to a fully realised subjectivity
  accessible to all.

  i did not read marx’s takes on art, but this is what krylov
  has to say about it:
  “Labour freed from exploitation becomes, under socialism, the
  source of all spiritual (and aesthetic) creativity. Marx and
  Engels point out that only given true economic, political,
  and spiritual freedom can man’s creative powers develop to
  the full and that only proletarian revolution offers unbounded
  opportunities of endless progress in the development of literature.”
  http://www.marxists.org/archive/marx/works/subject/art/preface.htm

  so then art is seen as the basic creativity everyone has access
  to if freed from exploitation. (maybe you mean with ‘autonomy
  of subjectivity’ the similar thing)

  • G
    think so (but it will always be a point of discussion what t really
    is, luckily)

  still, it’s too rough to link art and creativity in such
  a narrow way.

  • G
    ou mean from her side? yes… (she needs it)
    and from our side: we don’t give a shit! (we don’t need that bullshit)

> 2. cultural industry, and the way it was introduced within the dutch
> governmental program way back in 2002-04 has nothing to do with it,
> because it only talks about the support to the organizations that sit
> between private companies, cultural organizations and (she is
> conveniently not mentioning this) educational institutions… the
> history of mediamatic may be emblematic for this, and also waag
> society evolution can be seen as part of this (and the major reason
> why I left de waag and holland altogether), though it cannot be seen
> separate from the status of the artist in netherlands, which is one
> that is very much supported and at the same time a sort of futuristic
> realization of the artist as entrepeneur (the dutch state is paying
> for that idea), and so it is very neoliberal and scary if you think eu
> will spread this in other countries over the coming years… the case
> of city marketing was very vaguely mentioned but tuning into the same
> setting, but it is so diverse in outcome in the different cities…
> compare ars electronica linz and amsterdam and then the annual eu-
> cultural capitals shifting and you see the complexity and repeated
> current failures of matching art with that…

• D
  i guess it’s not that unrelated. just look at richard florida
  >> G
  >> ys and do you believe/trust a guy looking like this?
  >> http://media.thedaily.com.au/img/photos/2007/11/21/florida-large_t350.jpg
  and his infamous book “rise of creative class” – he markets
  >> G
  >> 2002

  the idea of progressive urban development being directly dependent
  on the presence of what he calls the creative class (gays,
  immigrants, people of color, cultural workers), when not necessarily
  artists, but “skilled people are key to urban success”.
  he literally sells this to city governments around the world
  and they do buy it. so in my view the cultural industries
  and (however liberating and homeopatic) imperative for creativity
  (eg. “everybody’s artist”) are intrinsically linked.
  so still, my question here is: isn’t this also a too narrow
  reasoning?
  >> G
  >> but in the 3 points that she made she did not go deep enough, I don’t
  >> accuse her of anything else but superficiallity (and acting like a
  >> postmodern rhetoric to hit the spotlights) she is not doing the home
  >> work right that is all – ukol domaci?

  so these people came with a different receipt than marx+engels.
  >> G
  >> 200 years ago, the times ar a changing dear so it is not a different
  >> receipt it is a different marxism even
  they say there is a liberating potential in being creative
  and more and more people (not all the people, because that
  would mean giving up the neoliberal ideals) should access
  their creativity. although they don’t mention working conditions
  and what marx+engels called alienation and exploitation at all.
  they assume self-employment and entrepreneurship, in other words,
  they integrate creativity into good old market conditions.
  >> G
  >> yes and that is my point that in netherlands self-employment by
  >> artists is valued by government within neoliberal progress not
  >> individual or collective subjectivity and autonomy

  then i guess, if we say that the socially engaged and
  participative art is actually affirmative to the cultural industry
  and its assumptions and implications, then it makes pretty
  much sense not only to critique the neoliberal hegemony by working
  >> G
  >> hegemony/ read gramsci! (think you are using the wrong word here)
  and creating in bottom-up participative environments, but also
  to address, critique and experiment with the participation
  (and its open, consensual and dialogical nature) itself.
  >> G
  >> hey _ she exactly goes like what you say london-kassel-ny but a
  >> different kind of people are doing different things, and i am not
  >> putting myself in the picture here but just saying that okno in its
  >> new skin is inviting different people doing different things than
  >> (also tranzit, which sets the environment haha) she can ever think of

> 3. there is no political take over, there is no impact of avant garde
> and experimental artists on the political program, compared to the –
> she should look into the quantitative importance this plays in economy
> and politics, and then you see that in most of eu-country official
> cultural communiques art is simply left out if it is not done
> according to quantitative measures… it is not that difficult to see
> that the current swing to right in eu has to do with the regulation of
> family and their free time, not with anything marx-engels were hinting
> at: commodity and profit and turn over for the (super)state economy:
> the current crisis can be seen as the family and their possessions,
> not the saveguarding of their autonomy since it are the banks that are
> related to it, ai ai ai while she keeps trying to hit a nail and
> perseveres hitting next to it (for what reason I keep asking myself)

• D
  but there is an impact of neoliberal culture consultants on the
  political program as mentioned above, what concerns the experimental
  artists too (if they care for the social in their work)
  >> G
  >> what artist in reality ever did?

  mouffe says actually pretty interesting thing about ‘swing
  to right’ here:
  >> G
  >> guattari in ‘3 ecologies’ calls it a “heterogeneous” culture, it is
  >> the same but let’s talk about this because it has further repercussions
  >>
  >> and this is not wha tI think, just wanted to point out where in her
  >> presentation she missed 3x the boat and performs the role of the
  >> interested intellectual when she is writing down critique that
  >> audience is giving and not responding to it, you saw her doing it!
  >> so, …

  “In the West today, if there are no democratic channels through which a
  confrontation of values and interests can take place, it is going to lead
  either to apathy so people won’t be involved in politics any more, or even
  worse, there are going to be mobilisations of those struggles which are
  not compatible with democracy such as apartheid, religious fundamentalism
  and fascism. Take France and the growth of the extreme right under Le Pen:
  it is precisely at the moment when the socialists have moved toward the
  centre and acquiesced to the arguments of the democratic right that the
  extreme right began to grow, because they were the only ones who were
  offering an alternative through which antagonism could be focused. Le Pen
  has been able to give a voice to the people who could not find a place
  within the democratic space to express their different positions.”

>> D
>> + i’m still puzzled by what argument can be used against smashing
>> down “everybody is artist” motto too easily only by its political
>> implications (appropriation by cultural industries)
>
> G
> it makes no sense, actually creativity is not about playing amateur
> theatre and going fishing, or playing cards in clubs, and marx-engels
> are not saying this, soldat-facteur and others show something
> different but our dear claire is maybe a little too pop star and
> biased and has no time to take this into account… she likes to read
> books that are too difficult for her or either she sticks to the lost
> myth of the french philosopher (read postmodernist philosopher as
> tourist)

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priprava na prednasku na AVU

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neodoslany

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sumar co som robil a vnimal