So a development in idea process. Instead of a mannequin-like set up that is showcasing technology dying into itself, I’m focusing on a particular technology that is new, but will end up dead. 3D Printing.
Everyone says how this is the next big thing, but track record of emerging technology suggests otherwise. I want to showcase this physically. Take out the mannequin hand that is looking for the next technology to sabotage, and use my 3D printed prosthesis. Then with the kumi, project onto the hand the STL code from the file I got it with. Essentially, the 3D printed hand is a piece of code taken a physical form. This will act as a catalyst for the humanisation of a device.
The dead technology will still sit behind it, however the idea is that the 3D printing phenomena is the “killer” in the momentum of futures. The STL code will loop over a period of time to show all components that go into the piece. The question I want to address is how can we stop this trend? Is a trend of the new futures going to be how quickly we can move onto the next emerging technology?
Iteration and installation will happen next week, this week I just sat within the space and literally looked at the devices. Questioned the motifs behind what it really is I want to understand and was really effective. I want to mind map this all out and basically just throw it up. The aesthetic nature comes last now.
The direction for this installation has gotten me thinking about what it is I want to showcase in this work. Originally the idea I wanted to tangle with, was the notion that technology goes back and forth in iteration, in design, in trends and in functionality. I like the idea that the departure point for this last project was “futures”, and my immediate response was to showcase something that’s framed in the past. I think this is the basis of the work I want to display.
As non-human object, the technological devices we carry everyday constantly run at a pace determined by us. That, meaning they’re only function is determined by our use of them. Autonomy within them are seemingly not far away with the small increments being added to smartphones, however we can still choose most of their function. The thing that is seemingly out of our control though now is the way they’re manufactured to be replaced by the next evolution of the same thing. This leads most to expect another criticism of Apple, however I want to go perhaps a little more broad with examples like the Record – MixTape – CD – MP3 evolution. Or the Film – VHS – DVD – Streaming trajectory of technology that include perhaps require a whole new hardware component to access content. Without discouraging the thought of this, nowadays this seems to have come t a relatively smaller halt, but the upgrades coming WITHIN the device, as a software update.
Consumers now are faced with a device that is in perfectly fine working order, in that it turns on, runs and connects them to content at a leisure. However to gain more or perhaps the most recent available services, the individual must update the device. NOTE: I’m going to be using the smart phone/tablet for this example as it is the most relatable for me. Once the software is updated, the phone has basically been given a no returns sentence. The update is designed to target newer app downloads, but also “laggs” the phone, decreases its swift functionality and tells the story of the device ultimately needing an upgrade.
Something this week that I want to explore is perhaps the trail effect or reckless understanding we have of this. Using the devices from my past, as a reminder of how much this trend of keeping updated and connected, leads to a media archeology of functioning devices that are tossed aside. Perhaps we wish we could stick to the one mobile phone or the one DVD player, but industry doesn’t allow us to. There’s possibility for batteries in devices to last 3 weeks, however corporate bosses don’t allow this to happen. Is there humanity to these devices that ultimately leads to its era ending?
Could a current technology showcase a dead technology? Can we give the illusion or magic feeling combined with a dead technology and lights that presents it as alive.
What is about the revisiting of old technologies? Is it that its:
- nostalgia ? Simple human reflection?
- Is it trends? Will the idea of grasping onto old materials come and go?
- Human development/ progression/dependance on devices
- Reverse magical? What is that feeling we have when we see something from our childhood in fully functioning condition. Is this the same feeling as when we see magic performed live? I want to investigate this feeling of connection and disbelief that something “works”.
- in order to think about the “future” and more specifically technological determinism, do we have to understand and credit the past ideologies of progression.
- We have to acknowledge human interaction and relationships with devices to create helpful trajectories in the future.
- How do I create a setting with dead technology?
Human – technological being – always been apart of evolution
These are some more points of return that look at the way we have used certain technologies or aesthetics once before and are revisiting them more and more. I think for the week returning to class, I’d love to gather all the devices currently in my possession and assemble them around a space. I’ve also got some of the neon wiring that i was to ultimately weave in and around the devices, so that they give the illusion that they’re full of life. Using perhaps a new technology in LED lights and wires, into the old technology giving them a resurgence.
- utopian – when we think back to that era, we had no worries/ no responsibility / fantasy
- synth music
A REMIXERS MANIFESTO: RIP
Some of these examples I want to reflect on within the technological sense of futures. It works nicely with this idea of a loop of attention to certain devices from the past influencing the work of the future. This foregrounds that some of the research we see in trying to create a brand new product or the next gadget or device to change our lives, really needs to take notes from the past, and the human relationship with the particular job its going to create, help or save.
This idea links very closely with some further readings i’ve looked in theoretically, but when comparing all things media, music, art, movies and of course technology.
MEDA302 (MEDIA ARTS PROJECT) is a capstone subject for the Media Arts study stream and one the central focus’ is the transition between university studies and the world of professional practice.
PROFESSIONAL PROFILE LINK:
This blog post is by an internet writer and a mum, who narrates a poverty filled upbringing of a child in the UK. This writing piece become quite popular for its engagement with readers as well as the harsh criticism from others that pointed out her wealthy or “well-off” parents, that meant she didn’t have to be in this position. No matter the response the writing style is raw. The truth and the detailed framework of the post allows people of that class to resonate, but also be a symbolic text or a voice. Touching on the channels of various communication methods being a coded language, by drawing out the empathetic genres of this kind of work, can create emotional response and therefore an increase in reader engagement. This however, can be counter argued with ideas of ‘Poverty Porn’ or perhaps the idea that others misfortunes can be used on a commercial or understandable basis.
Poverty porn shows grotesque crises, often through individual stories, that audiences can easily mend through a simple solution or donation. Poverty porn makes a complex human experience understandable, consumable and easily treatable.
(E, Roenigk 2014)
I’d like to dive into the idea that perhaps these stories told by first hand experience like that of Jack Monroe, can have pros and cons, much similar to the higher up or established publishing company who write about the poverty areas. The fact that this was criticised by established publishing companies and individuals of power shows the gap in empathetic responses to a writing piece and singles out a self -gratification element that goes deeper than the writer. The deeper the connection with the writer the more empathetic I believe the response is, thus, when poor or underprivileged individuals are subject to a writing database such as a blog and they can publish it un-mediated, they subject themselves to a more raw and relatable audience in the lower class, but perhaps lose their audience in an established higher class as they are simply using empathy as a disguise to a problem or world issue they’re not going to do anything about.
There is an argument that says, “well this particular blogger has now become quite successful with her story and shares bootleg meals or foods that can be made on a budget”, and while yes I understand this, I believe her story and her successes are triumphs in the face of adversity. I grew up with a single mother looking after my sister and I and this story really resonated with me, and when shown to her she had nothing but raw emotion in her face and it brought her to tears. I talked to her about what she thought and posed the question, “Do you think it’s wrong now that she’s a successful online content creator and uses this following?” and Mum responded with “No, I think it could be something us as single parents and low socio-economic status individuals can aspire to be like…it gives me hope and belief in myself that I’ve done the hard yards and there can be a happy ending…as cliche as it sounds, it could be the voice, or the motivation someone needs to give life a real chance”. I totally agree with this, the idea that you have to have money to make money is slowly becoming myth, and with access to these kinds of blogging services we are seeing a dominant display from once the voiceless, rise above and succeed with their emotion filled stories.
If we look at this from the same angle but from a different response, the poverty inspired triumphs that are written by established companies or composed with famous individuals could be used as a beacon of hope, I believe the contingencies lie with the people involved in the stories and how they’re treated within the successes. Celebrities that travel overseas into poverty filled countries are often exploited for using the individuals in the promotion or awareness campaign, and once over then not really dealt with. Perhaps sparking what we know in social media as ‘slacktivism’, where the page or trend is “shared” but never really acted upon past the displays of our laptops. However, theres two sides to every story and I believe the trends or statistics in a data collection method I’m not sure how would be undertaken, could look at the idea of inspiration or motivation. How much of this do the people these stories and these awareness campaigns are about help them to grow and prosper into a lifestyle or attitude change? Before we start slamming the writing style and professionalism, I believe we need to think about the individuals we are choosing to include in the works, which through the ability to comment and leave feedback on internet forums, I believe we can start to see a lot more of.
J, Monroe 2012, “Hunger Hurts 2012”, Cooking On A Bootstrap & More, Blog Post, Viewed 21st March 2017, <https://cookingonabootstrap.com/2012/07/30/hunger-hurts/>
E, Roenigk 2014, “5 Reasons poverty porn empowers the wrong person”, ONE, Blog Post, Viewed 21st March 2017, <https://www.one.org/us/2014/04/09/5-reasons-poverty-porn-empowers-the-wrong-person/>
The space that will be transformed into an existential dimension will consist of a door that doesn’t have a prerequisite for entry or denial. Each person will approach a door that has the words:
These are guidance points for the audience responder, the next move from the audience interaction is my way of exploring the wonderment aesthetic. The use of a movement sensor will operate the lights underneath each word, which will be completely randomised and have no influence on the person and could be different on multiple interactions with the same people. I want to explore the idea of class and how the choices and decisions controlled by the digital realm has no ‘cost of entry’.Perhaps a strange take on the actions of the internet promoting anonymity, and how the rear of the door that is covered in black spray paint and wax could represent another dimension of the internet.
After attending New Romance: art and the posthuman at the Museum of Contemporary Art I found Patricia Piccinini & Peter Hennessey’s work , Alone with the gods, 2016 very interesting in the way that it could transform everyday household furniture and items into some kind of surrealist or uncanny space. I drew particular attention to their subtle use of wax and crystals in the way they could allude to a new experience. I took this creative element along with a childhood experience that I associated with wonderment was the arrangement of magnetic letters on a fridge. This idea fascinated me as a kid as if I had something within the food storage that couldn’t be opened if i arranged the words “No”.
(Patricia Piccinini & Peter Hennessey, Alone with the gods, 2016, installation view, New Romance: art and the posthuman, Museum of Contemporary Art Australia, mixed media, image courtesy and © the artist, photograph: Alex Davies)
“explore ideas of secret societies, parallel worlds, genetic modification, evolution and mutation in their new collaborative workAlone with the gods (2016). Designed to be an ‘immersive narrative space’ the installation is based on a story the artists wrote about a fictional isolationist cult.” (MCA, 2016)
The idea and the organisation of the work will have a door frame connected to a pair of ropes that gives the idea of hanging in space. The front side will have an LED lighting arrangement (currently using Christmas lights) that will be hooked up to an arduino movement sensor so that when the audience member gets close enough, the sensor will trigger a random word to light up via the coloured lights. The word that is given to that person will hopefully trigger a curiosity element or perhaps even a rebellious streak for them to look around the behind of the door. This will hopefully lead them to discover the free-lance nature the internet creates and that we’re free to understand the world behind instructions. I like the idea that i’ll have no control over the responses nor whether the “instructions” on the front of the door will be obeyed by the responders.
From the above prototype, the changes in the lights arrangement and the times they come on will be varied slightly different when the movement sensor is added. This is to showcase the aesthetic I’m aiming when they change individually. Through class discussion and feedback when presenting the prototype I was told that the general colour arrangement was an aesthetic in itself. I was also encouraged to explore a lighting set up that would make the words easier to read. A suggestion that was also an interesting interpretation was the choice to leave the lights all on and turn off the desired response as an instruction. The next step with this project is to acquire technical support so that I can understand how the lights can be wired and arranged to the intentional purposes. The location was something that was given a warm reception to have it slightly in the middle of the space so that it wasn’t really essential to see the worded side of the door first, perhaps showcasing the accidental nature of wonderment. Perhaps the most interesting suggestion is the use of a mirror at the rear of the door to represent perhaps a parallel view. The idea that if you go against the authoritative instruction you’ve only got yourself or your own reflection to ponder on.