DESIGN FUTURESDESMA 104 – LEC 6
Thursdays 9:00 AM-11:50 AMclasses.dma.ucla.edu/Spring17/104
Prof. Peter Lunenfeld
Design | Media Arts4252 Broad Art Center
http://www.peterlunenfeld.comOffice Hours: 4252 Broad,
Thursdays, 12:30-1:30
AssistantsDavid Ertel
[email protected] Chan
Aesthetics begins as “pattern recognition.“
Friedrich Kittler, quoted in Rhythm Science
curating
sorting
choosing
display
Selection of the best representatives
Culling
Provide context
Arrangement of individual objects
Organization of the whole
Mindy Mcadams, “Curation and Journalists as Curators”
Sensibility:
Experience is never limited, and it is never complete; it is an immense sensibility, a kind of huge spider-web of the finest silken threads suspended in the chamber of consciousness, and catching every air-borne particle in its tissue.
Henry James, “The Art of Fiction” (1888)
Barbara Kruger, 2013 email attachment response for a SUPREME’s $10,000,000 lawsuit against Married to the Mob’s Leah McSweeney for copyright infringement
Barbara Kruger, “Don’t Be a Jerk” (1984)
First we shape our tools, thereafter they shape us.
Marshall McLuhan, 1964
“Common sense is always about yesterday’s technologies.”
Rick Altman
“Creative property owners must be accorded the same rights and protection resident in all other property owners in the nation.”
Jack Valenti, MPAA
“We have always treated rights in creative property differently from the rights resident in all other property owners.”
Lawrence Lessig
Creative Commons video creativecommons.org/about
A world in which competitors with new ideas must fight not only the market but also the government is a world in which competitors with new ideas will not succeed.It is a world of stasis and increasingly concentrated stagnation. It is the Soviet Union under Brezhnev.
Lessig p. 128
Clay Christensen, “the Innovator’s Dilemma”:
The fact that large traditional firms find it rational to ignore new, breakthrough technologies that compete with their core business.
Lessig P. 166
Massive shifts in the effective power of copyright regulation, tied to increased concentration of the content industry and resting in the hands of technology that will increasingly enable control over the use of culture,should drive us to consider whether another adjustment is called for. Not an adjustment that increases copyright’s power. Not an adjustment that increases its term. Rather, an adjustment to restore the balance that has traditionally defined copyright’s regulation—a weakening of that regulation, to strengthen creativity.
Lessig. p. 169
The Grey VideoDanger Mouse (2004)http://www.youtube.com/watch?v=3zJqihkLcGc
Do we need an “environmentalism” for culture as James Boyle, Duke University law professor, calls for?
Kitsch’s Bebop Calypso(1951)
http://www.youtube.com/watch?v=Vz7k14W7-F4
Truth, Beauty, FreedomBaz Lurhman’s Moulin Rouge (2001)
The best Djs are griots, and whether their stories are conscious or unconscious, narratives are implicit in the sampling idea.
Dj Spooky, p. 21
Dj Kool Herc and the birth of hip-hop, 1974
“As the calf belongs to the cow, so the copy belongs to its book.”
The judgment against St. Columba for copying the Latin Psalter that he had borrowed from Finnian of Druim Finn
Dj Spooky, p. 73
Rhythm science is a forensic investigation of sound as a vector of a coded language that goes from the physical to the informational and back again.
Dj Spooky, pps. 4-5
Marc Forns070115_rh4_VectorField, 2007
In epidemiology, vectors spread infectious agents like viruses or parasites But in the case of sound, memories are the infectious spores, viral modes that pop up in tracks, sifting mechanisms that filter and file memory as sounds move between populations. Sex is confusion. Loop, repetition, loop. The machinic process of creation generates its own fascination. Sounds unfold, organize, and iterate cultures as abstract machines, filing memories away in the idiot’s mind. In this scenario, the vector moves through an architectonic environment – form follows function, fact follows fiction.Dj Spooky, p. 8
It’s not so much new ways of hearing that are needed, but new perceptions of what we can hear.Dj Spooky, p. 17
“It is a peculiar sensation, this double consciousness, this sense of always looking at oneself through the eyes of others...one ever feels his two-ness – an American, a Negro; two souls, two thoughts, two unreconciled strivings, two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.”
W.E.B. Du Bois (1903)
Multiplex Consciousness
“In other words, I am three. One man stands forever in the middle, unconcerned, unmoved, watching, waiting to be allowed to express what he sees to the other two.”
Charles Mingus,Beneath the Underdog (1971)
William Burroughs & Brion Gyson The cutup method (1959-)
I tried to bypass the notion of the critic as an authority who controls narrative, and to create a new role that’s resonant with web culture: to function as content provider, producer, and critic all at the same time. It is role consolidation as digital performance. Dj Spooky, p. 21
Speaking in code, we live in a world so utterly infused with digitality that it makes even the slightest action ripple across the collection of data bases we call the web.Dj Spooky, p. 89The likes of Alan Kay, Douglas Engelbert, and Ivan Sutherland pioneered graphical user interfaces more than three decades ago, allowing users to interact with the icons and objects on the monitor’s surface. But what they accomplished was even more profound than that, their work lets us move into the screen world itself. Dj Spooky, p. 100
The twenty-first century started like a bad cut-up video: too much of everything all the time.Dj Spooky, p. 45
"[The] semantic aspects of communication are irrelevant to the engineering problem. The significant aspect is that the actual message is one selected from a set of possible messages. The system must be designed to operate for each possible selection, not just the one which will actually be chosen, since this is unknown at the time of design." Claude Shannon
