Here here Alan, further field are a shining light and are greatly appreciated!
On Thu, 3 Apr 2025, 19:57 Alan Sondheim via NetBehaviour, < netbehaviour@lists.netbehaviour.org> wrote: > > Hi Marc, > > I agree with you here; I may have posted an answer already to you - the > long covid STILL drives me crazy. But not 'dumbasses' which is the problem > - these people are incredibly smart, as smart as we are to be sure. > > Don't know if I mentioned this but with long covid etc. I usually have > tennis on in the background. No one seems to get hurt. > > Furtherfield should NEVER disappear. It's one of the best things online. > > Best, Alan > > On Wed, 2 Apr 2025, marc.garrett via NetBehaviour wrote: > > > Date: Wed, 02 Apr 2025 09:11:47 +0000 > > From: marc.garrett via NetBehaviour <netbehaviour@lists.netbehaviour.org > > > > To: NetBehaviour for networked distributed creativity > > <netbehaviour@lists.netbehaviour.org> > > Cc: marc.garrett <marc.garr...@protonmail.com> > > Subject: Re: [NetBehaviour] Moar AI > > > > Hi Alan, > > What you're saying highlights an immense amount of waste driven by > > uncaring forms of imperialist-driven capitalism. And yes, we all > > know the self-appointed, pretentious "gods of the future" not only > > intend to keep polluting the Earth for their own gains ? they're > > already polluting space as we speak. So, living with trouble and > > swilling in their shit will be the future chosen for everyone by > > the overlords. > > > > However, as I'm sure you agree, we need to continue exploring old > > and new ways and hybrid notions and ventures to be who we are both > > independently and together. > > > > We have all been living in territories dominated by dumbasses and > > their hegemonic needs for a long time now and have grown > > accustomed (grudgingly) to adapt in some way even though it is > > bleak and despairing to have to change in accordance their whims > > all of the time. > > > > Furtherfield's not disappearing for a while, we're 'stubborn and > > pigheaded and cute' enough to know what's valuable and tangible. > > While others pay lip service and bow to the (pretend) gods of > > top-down tedium, we'll always be confusing them and annoying them > > and their accepted forms of structural nihilism. > > > > We need to remind ourselves that not everyone is a zombie; we're > > the solution. > > > > Wishing you well > > Marc > > > > ++++++++++ > > > > > > On Tuesday, 1 April 2025 at 15:34, Alan Sondheim via NetBehaviour > > <netbehaviour@lists.netbehaviour.org> wrote: > > Just to add a note - rust. I'm from the anthracite > > region of Pennsylvania, and have watched the > > deterioration of mines, communities, environments, > > etc. over decades. > > Things rust, fall apart; the streets in my neighborhood > > collapse at times as a result of the underground structures > > giving away. That's another model, not objects and > > processes, but runoffs and piles (some of which have been > > burning for over a century). So a geological model, not > > artworks but sludge, not networks but breaking points, no > > matter what the networks are. There are ruins everywhere and > > the amount for example of toxic electronic debris in the > > U.S. is enormous - > > > > On Tue, Apr 1, 2025 at 6:29?AM marc.garrett via NetBehaviour > > <netbehaviour@lists.netbehaviour.org> wrote: > > Hi Rhea, > > I enjoyed reading 'Complaint in the Age of its > > Operationalization. ' > > > > I am encouraged that you find much of anything related > > to Musk cringeworthy. > > > > "They are cringe because everything Musk does is > > cringe. They are yet another product of a needy, > > try-hard, middle-aged man-child nerd?s desperation for > > love and attention, to be one of the popular kids, > > even and especially as a de facto dictator. If the gap > > between power and the expression of desire defines > > cringe, Musk is the > > Black-Scholes-being-hit-by-negative-prices of cringe." > > > > The man-child's power to demolish anything he fancies > > is a harsh reminder that people and communities online > > are vulnerable when they rely on the master's tools to > > build shared values on platforms built by > > corporations. It's a warning that if we rely too > > heavily on these corporate platforms and tools, we > > risk cultural erosion and the loss of years of > > hard-earned, mutually beneficial relationships with > > others. > > > > "When considering the problem of fakes in art, Goodman > > uses examples of forged paintings being revealed in > > order to argue that we cannot know which features of > > an artwork will affect its authenticity in the future. > > These aren?t a matter of chemical or radiological > > analysis of images, although these developments have > > certainly revealed an increasing number of fakes in > > recent years. Rather it is a matter of looking at the > > artwork and considering it in a different light." > > > > Social media platforms have been flooded with the > > AI-generated trend dubbed the ?Ghiblification? "with > > people transforming personal photos, memes and even > > historical images into visuals reminiscent of Studio > > Ghibli?s art style. Users also generated and shared > > other iconic visual aesthetics ? from Disney, Pixar, > > Lego, The Simpsons, and Dr. Seuss, as well as vintage > > styles such as those of Rankin/Bass (Rudolph the > > Red-Nosed Reindeer) [...]. The real danger of current > > AI trends lies not just in fakes, ethics or automation > > but in the silent heat rising from countless > > overworked servers. As AI use skyrockets, so does its > > environmental impact, and that's a growing concern we > > can no longer afford to ignore. > > > > "We are not entitled to live off the epistemic passive > > income from our investment in a romantic understanding > > of human uniqueness." > > > > Completely agree. Deals with the nature of our > > knowledge in its own right is 'probably' as akin as > > anything in its own right, art, technology, sex, war, > > food, etc. Everything is attached to a set of other > > elements, never in the singular. That purity died > > along with the romanticism of genius propped up by > > deluded visions of post-modernity and colonial > > defaults. However, these romanticisms still exist in > > our everyday lives and networked forms, rebuilding > > from the top down and reproducing the backward, > > masculine defaults and structures promoted, funded, > > and maintained through technological protocols and > > their underlying elite systems. > > > > "It is a failure of critical imagination to simply > > object to a product?s fulfilment of the limited terms > > chosen for its initial promotion. It is like a cat > > chasing a red dot on the floor and feeling pleased > > with themself when they catch it. While screaming at > > anyone who points out that the dot is coming from > > somewhere and that lasers have other more interesting > > uses." > > > > My position is not as a puritan or an absolutist. I > > know that if we?re going to be using networked > > technology these days, AI will be involved in some > > way. However, I see AI's massive shift in our culture > > worldwide as a political form of digital colonialism. > > Still, it would be disingenuous to ignore that > > technology has always been used to exploit others, > > simultaneously bringing positive benefits. My job here > > is to identify the positives, negatives, and grey > > areas of this accelerating, ubiquitous medium, which > > many people use daily in various life activities. > > > > My guide or critical palette for assessing and > > navigating through all this is an assemblage of chosen > > methodologies that help me understand where the works > > I?m examining sit within a broader cultural context. For > > example, I view these artworks from a permacultural, > > political, ethical, class, and intersectional > > perspective. Alongside these key elements, I bring > > years of working with art, technology, and social > > change to the table. > > > > My focus is: What are these artworks doing, and are > > they doing what they claim to do? And if they are > > doing what they say, what does this mean, and is this > > enough? What would the work look like if the artists > > took their propositions and intentions towards a more > > critical awareness, openness and ethical standing? > > This isn?t to suggest that by critiquing this work, my > > peers, allies, and I hold all the answers. At what > > cost are these artworks made? By examining the > > function, aesthetics, technology, motives, and > > narratives (abstract, conceptual, or not) of these > > artworks more deeply, we can better understand where > > the artists stand creatively, ecologically, > > politically, and culturally. This will help me reflect > > on my and others' relationship with art and AI and > > what that relationship truly means. > > > > Wishing you well. > > > > Marc > > On Friday, 28 March 2025 at 03:52, Rhea Myers via > > NetBehaviour <netbehaviour@lists.netbehaviour.org> > > wrote: > > Slop, ghibliization, and the cringe of the > > Musk administration - > > > > > > https://rhea.art/2025/03/27/complaint-in-the-age-of-its-operation > > alization/ > > > > > > > > _______________________________________________ > > NetBehaviour mailing list > > NetBehaviour@lists.netbehaviour.org > > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > > > > -- > > ===================================================== > > directory http://www.alansondheim.org tel 347-383-8552 > > email sondheim ut panix.com, sondheim ut gmail.com > > ===================================================== > > > > > > > >_______________________________________________ > NetBehaviour mailing list > NetBehaviour@lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour >
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