If you are reading this then I am communicating with you. If you comment below you are communicating with me and anyone else who reads your comment. This is public communication, and you are taking part. Online communication allows public messages to travel across vast distances within seconds. A simple click of a “share” button can potentially bring a message to an entire online world.
The system of lantern-communication is an early form of long-distance communications that could travel far as long as visibility was clear. Lighthouses have used these systems to communicate with ships through code and signals for millennia. Prior to the introduction of modern telephony the most likely method of communicating orally over long distances was to climb to the top of the nearest hill and shout as loud as you could. Continue reading “Reincarnation of Paul Revere’s Lamp – Private communication in public”
When Shakespeare plays were originally performed, it was not allowed for audience members to bring in paper for fear that they would write down and steal the plays. To counter this, furtive audience members would go to performances and each remember different sections of the plays, then meet later and write down all they could remember. Each section was then stitched together, and the works were stolen regardless.
Firstly, let me briefly apologise for the abhorrent lack of activity on MUW over the past three months. Blogging is time-consuming, and sometimes life is too, and unfortunately the latter has been the case of late. Expect posting to get back to normal over the coming weeks; no posts doesn’t mean no ideas and there is a colossal backlog of brainwaves. Watch this space!
Possession is nine-tenths of the law. In the past wars have been fought and families split over possession and the idea of ownership. However, this tenuous law is dependent on the idea that there is some value in ownership – the economic worth of property guides the idea that possession is valuable. People understand that the boundaries that surround owned areas and objects are respected by a sense of possession that we take for granted. In cyberspace, ownership is more ambiguous as spaces are owned or maintained in virtual areas that are often maintained for free. So how does possession work in a community with spaces and services provided free of charge?
Once upon a time two armies assembled, opposed to one another on a battlefield. The crystal army, led by a foolish king, charged their king’s guard forward without thinking of the consequences. They left their king open to attack…
In “A Course On General Linguistics“(1916) Ferdinand de Saussure made comparisons between chess and language. Saussure was observing some intrinsic relationship between language and games, showing how changes in the design of pieces from ivory to wood make little difference, but changes in the movement or number of pieces distort the “grammar” of a game of chess. In The Medium Is The Massage, theorist Marshall McLuhan put forward a concept that the messages that we receive are not so much in what is said, but in what is used to say it.
There is a saying in school games, “to have pax”. This reminded me of chasing (tag), and something that we used to say as children, “tax” (probably a distortion of “pax”). The origins of the word pax are in Latin – it means peace. We said this in order to take a break, for example when we needed to tie our shoelace. I posed the question to my Facebook community about what was the common term in their school-yards, and received a spate of alternatives from across Ireland, from “boxed”, “tax” and “pox” to, bizarrely, “keys” and, predictably, “f**k off I’m tying my shoe”. There are many variations (my American and Canadian friends suggested “Time-out”) but the rule is the same regardless of where it is played. When you have pax, you are outside the game. Continue reading “Fool’s Mate – Language and storytelling in games”
IMPORTANT: this post is made like a game, assuming complete interactivity. In order to read properly please use the links (highlighted in orange). Or you could just read straight through and become very confused…enjoy!
inter |inˈtər| verb ( -terred , -terring ) [ trans. ] (usu. be interred) place (a corpse) in a grave or tomb, typically with funeral rites
active |ˈaktiv| adjective (of a person) engaging or ready to engage in physically energetic pursuits
(The above definitions are from the Oxford English Dictionary)
A touch of housekeeping again. Just wanted to say a very quick congratulations to Built Dublin, winners of the Best Arts/Culture blog at the 2012 Blog Awards Ireland. Moon Under Water picked up a beautiful certificate for the blog’s listing as a finalist, and I enjoyed a terrific night at the awards ceremony. A new page of recommended blogs is under development – watch this space.
The term ‘interactive’ has become synonymous with technology that allows for user engagement. This includes video games, websites, mobile phone applications and other digitally-based media. However, it is becoming increasingly clear that “interactivity” is perhaps more than it seems (see the definition above), that it is the undead media-manipulated masses of dancing a morose merengue.
Consider for a moment the interactivity of the daily commute. Most people who will be reading this will have used trains, trams, subways and buses as modes of transport in recent times. However, what the average reader may not have noticed is the growing tendency for the undead to meander among them on a daily basis. Every morning coffee-deprived, bleary-eyed commuters board their local public transport contraptions, staring down into their hands at hidden devices that keep them pacified. Continue reading “Inter Active – Zombies in the machine”
It is difficult to deny that Kraftwerk have been an astoundingly influential band since their formation in 1970. Revolutionary at the time, the German quartet incorporated an almost entirely synthesised music in an attempt to foreground the oncoming new media phase. But one of the more interesting quirks about Kraftwerk is not necessarily their music itself, but the idea of time that surrounds their music. With its industrial, drum-machine-driven synth and robotic sound, the music was designed to be “music of the future” in the 70s. However, it has since dated due to the technology that they employed in making it, and has instead placed them irrevocably at a certain point in the past. They are a band that lack a temporal definition, both part of the past and part of the future.
The digital age is popularly seen as an age of infinite information. It is described using terms like “interactivity” and “new media”, and is highlighted as an era that allows for the endless access of customised information at the fingertips of every individual user. The result is often a transient relationship between the user and the information, and as a result the idea of time, and our use of time, is becoming topical in current cultural writing.
“I should like to wake up in a hundred years’ time and to have just a peep out of one eye at what is happening in science.” – protagonist Nicolai Stepanovich in Anton Chekhov’s A Dreary Story
I‘d like to just start with a little piece of housekeeping. I was delighted to learn this weekend that Moon Under Water is a finalist in the Best Arts / Culture category at the Blog Awards Ireland. Thank you to all readers and to the judges of the awards – I will notify through here and through the blog’s social media pages of the final results after the awards ceremony on October 13th. Please click here for a link to all finalists in all categories, and give all the other blogs a look over – there is some terrific stuff in there.
I recently read an article in Art Forum magazine online entitled Digital Divide by Claire Bishop. The in-depth piece deals with the shortcomings of the age of the digital within the world of contemporary art. With sound philosophical and art historical reasoning throughout, the conclusion that Bishop arrives at is rather interesting as it suggests a dichotomy of futures for the world of visual art. Echoing the 1980s doomsday art critics, the piece argues that either the digital age will herald a new dawn in the way art is viewed and produced, or it could mean the end of art altogether.
Something puzzling about the digital age that I often muse over is what trace will be left behind for future historians to mull over. Today our historical record is mostly taken from the artefacts, art, tools and architecture of past generations. It is the little grains of past civilisations that give us some form of understanding of their culture or group identities, as well as their level of technological advancement. Continue reading “Disneyland and Digital Life – What we will leave behind”
every man is a piece of the continent, a part of the main.
– John Donne, Meditations XVII
In Georges Perec’s novel “Life: A User’s Manual“, the author describes a sect that one of the book’s characters is involved in. This fictional group, named “The Three Free Men” and formed in 1960, began with three members. In the following three years from the group’s formation, each of the three members recruited three more members, making twelve by 1963. The nine new members initiated a further three members each (twenty-seven members) in the following three years, and so on until 1975, when there were seven hundred and twenty-nine members. Continue reading “The One, The Few, The Many – Social network bridges”
More and more frequently I seem to become engulfed in a debate about whether or not a photographic image is “authentic”. I recently had it out with a friend who works as a photographer and designer, who argued that photographic images that are manipulated by Photoshop are not as good as process-based photographs created in the field using only the camera. Personally I can’t see the difference. Continue reading “Nice Photo, If It Wasn’t Photoshopped – Authentic photography”