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Welcome to Jack Gamble’s entry for the 2011 Nowa Nowa Nudes.

The goal of this profile is to explore themes of Narcissism and the Virtual Nude in the context of social networking. The premise of the entry surmises, that in participating with Network Culture, we relinquish certain rights and expose ourselves to Deep Web meta-searches, data collection/trade and are left “naked”, often without even realising it.

There are two goals to this profile. The first is to interact as a true facebook account. The second goal is to exist in the context of net.art. My hope is that through status updates, image uploads, wall posts and contacts, the profile will function and interact as it’s own input and output.

Since January 1, 2011, interface Artist Johannes P Osterhoff has been publishing all of his search queries with Google in a One-year Performance piece called Google [related].

The term One-year Performance has been coined in the 1970s by performance artist Tehching Hsieh. Of his own free will, Hsieh spent one year captured in a cage, punched a time clock every hour on the hour for one year, or spent one year entirely outside of any building.

Osterhoff updates the genre One-Year Performance and takes it into the context of “post-privacy” and the domain of modern information retrieval. Continue reading

Memopol-II by Timo Toots @ gateways. Art and Networked Culture (see video):

Memopol-II is a social machine that maps the visitor’s information field. By inserting an identification document such as a national ID card or EU passport into the machine, it starts collecting information about the visitor from (inter)national databases and the Internet. The data is then visualized on a large‐scale custom display. The collection panel also shows the portraits of the visitors from their ID card.

The Cyrillic spelling of the installation’s name refers to George Orwell’s concept of Big Brother from his 1949 dystopian novel 1984. Over the past decades, technological means have transformed the surveillance of society. When surfing on the Internet, paying with an ATM card, or using an ID card, people leave their digital traces everywhere. Continue reading

Scanner, The News Of The World & The Art Of Listening In by Luke Turner, The Quietus:

Robin Rimbaud - AKA Scanner - once trawled the airwaves recording ‘found’ telephone conversations. He discusses his controversial work, and remembers when the News Of The World tried to buy his archive of recordings.

“Back in the days before digital mobile technology, landline phonecalls could be surprising affairs. You’d pick up the receiver and be able to hear, faint and distant, the sound of someone else’s telephone call. As voyeur, you were presented with the moral question of whether to hang up, or else keep listening in to this unexpurgated, uncensored confessional. Generally, most of the conversations would be mundane, but the very act of listening in felt uncomfortable, with a strange and dark allure. Continue reading

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Surveillance Cinema: James Coupe :: August 11, 2011; 7:00 - 8:00 pm :: Henry Auditorium, University of Washington, 15th Ave NE and NE 41st Street, Seattle, WA.

In conjunction with the exhibition The Talent Show (through August 21), The Henry Art Gallery invites you to join artist James Coupe for a screening and discussion of the artist’s recent work with ’surveillance cinema’ in (re)collector, Surveillance Suite, and the web-based work Today, too, I experienced something… I hope to understand in a few days.

James Coupe is an artist whose work focuses on emergent systems, aesthetic machines, autonomy, and networks. Educated in Fine Art at the University of Edinburgh (Scotland) and Creative Technology at the University of Salford (England), his recent projects have included appropriative powerline networks, parasitical cellular phone agents, autonomous robot systems, self-organizing telephone call centres, and installations in which computers use spam to search for the meaning of the Internet. Continue reading

[Adam Greenfield @ Systems/Layers Walkshop] Some implications of networked sensing for privacy in public space: Toward a taxonomy of public objects by Adam Greenfield:

[...] “My feeling is that the complexity of this terrain is such that abstract principles and so-called “best practices” aren’t particularly likely to be useful in guiding us toward better decisions unless they’re firmly grounded in a concrete consideration of some present-day actualities. In our attempt to think more clearly about these issues, therefore, we start by considering five real-world informatic systems, all developed and deployed in the past three years. These are arrayed along a spectrum of concern, from a sensor I think of as self-evidently non-threatening, to something I believe the privacy community particularly — and advocates of high-quality public space in general — ought to be deeply troubled by…”