Dan Mellamphy and Nandita Biswas Mellamphy Western University, Canada [Abstract] Let us begin with indefinition (the indefinite): specifically the question of information —proceeding from there to the myriad methods and mechanisms used to capture and control (or ‘net’) it. There is no single, unified mechanism governing the definition and distribution of information today, and this may account for some of the major tensions and tendencies in the so-called ‘information era’. The concept of ‘information’ itself has no single, unified definition, even though there are various theories that have been put forward to conceptualise it — as some ‘thing’ akin to a commodity-cum-object that can be possessed (indeed purchased), traded and legislated, or alternatively (for example) as a ‘process’ akin to signal-transmission, feedback- and/or stimulus-response circuits (‘information transfer’ and ‘information flow’). Hence, although information may be a useful and much-used idea, there is as yet no agreement on its basic definition…
Introduction [1] In William Gibson’s recent futurist novel The Peripheral, the planet has been devastated by a massive eco-techno-political catastrophe (‘the jackpot’) but remaining inhabitants are still able to enjoy the luxury of activating digital devices simply by tapping their tongues on the roof of their mouths. This touch is sufficient to set into play systems that communicate across space and time – enabling the establishment of connections back in time, for example, to people closer to our own present-day, for whom mobiles are still (somewhat) separate from the body. Thirty years ago, in his first novel Neuromancer, Gibson immortalised cyberspace with the account of what now sounds like an amazingly clunky process whereby the hero ‘jacks-in’ to virtual reality. But in The Peripheral the process of translation and transition into networks is streamlined – occluded, internal, intimate and implanted – right at the tip of the tongue. This issue…
Fenwick McKelvey. York / Ryerson Universities, Toronto I found Drupal in the summer heat of the riverside town of Rosario, Argentina during an internship with a women’s rights organisation in the city. The Canadian government funded me to help the organisation with their information technology, part of a program to promote Canada’s reputation as a leader in technology sector. Cynical of my government’s motives, but committed to the politics of free or open source software (FOSS), I helped the administrator migrate from proprietary software to free software alternatives. Their website relied on an aging copy of Macromedia Dreamweaver, a foreign application for most of the staff. I wanted in Rosario to create the ideal website for the NGO, but I did not have the ability to program such customised software. After some extensive searching, I happened upon the Drupal content management system (CMS) as a replacement. Drupal describes itself as…
Troy Rhoades. Concordia University, Montreal. [Abstract] Perhaps the peculiarity of art is to pass through the finite in order to rediscover, to restore the infinite.—Gilles Deleuze and Félix Guattari, What is Philosophy? (Deleuze and Guattari, 1994: 197) Science and Art When encountering John F. Simon Jr.’s software artwork Every Icon (1997) on his website, it can be difficult for viewers to know whether they are seeing the visual execution of a mathematical theorem or experiencing a work of artistic expression. [1] This is because they are presented with a stark white and black thirty-two by thirty-two square grid on the right side of the website and three statements that read like a mathematical theorem on the left side. They state: Given: An icon described by a 32 X 32 grid. Allowed: Any element of the grid to be coloured black or white. Shown: Every icon (Simon, 1997b). [2] But…
Christoph Brunner. Zurich University of the Arts & Concordia University, Montreal. Jonas Fritsch. Department of Information and Media Studies, Aarhus Universitet. [Abstract] Introduction Digital and interactive technologies have evolved dramatically as the traditional desktop computer has given way to ubiquitous computation. Computation is now an integrated part of many people’s everyday lives, a question of experience more than simple use, as John McCarthy and Peter Wright have argued in their seminal book on the subject Technology as Experience. Yet while all this might be a simple given, accounting for and working with the reality of newer interactive technologies is less straightforward. Ubiquitous computation provides a digital layer that can be added to almost anything, offering radically new contexts of use and technological possibilities (McCullough, 2004). This changes the way one can—and must—imagine the design of digital and interactive technologies. Design is often now for what Terry Winograd has termed ‘interspaces’,…