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The organisers are also open to receiving panel submissions (of approximately 3-4 related papers), and are interested in non-traditional forms such as performance, short-films, sketches, workshops, Q+As and so on. We welcome submissions from scholars in full-time or temporary positions, Masters and PhD students, Early Career Academics, Postdoctoral Candidates, and Independent Scholars.'


Events / Call for Artist Facilitators
« on: October 03, 2017, 11:10:03 AM »
DAS is expanding its pool of artist facilitators and would like to hear ideas for new workshops for the 2018 - 2019 programme and beyond.
Artists are welcome to come into DAS to see the equipment and resources available to them for delivering workshops and to have a chat about their ideas. If you already have a strong idea and are interested in delivering workshops with the support of DAS please go ahead and apply as below. Please note, workshops do not have to take place in the Digital Arts Studios and can take place in any suitable venue, indoors or outdoors!

Artists should submit:

1) An up to date CV detailing all relevant experience.

2) Your idea!

This should include an outline of the proposed workshop/s including how long the workshop needs to be, an equipment/technology/materials list and an estimated budget for delivery.

All workshop ideas will be considered and DAS is particularly interested in workshops that have a relationship to your own artistic practice.

Proposals can be submitted until Wednesday the 18th of October 2017 at midnight.

Contact angela@digitalartsstudios.com for more information.


General / The Last Pirates: Britain's Rebel DJs
« on: October 03, 2017, 12:52:21 AM »
In the 1980s a new generation of pirate radio stations exploded on to Britain's FM airwaves. Unlike their seafaring swinging 60s forerunners, these pirates broadcast from London's estates and tower blocks to create a platform for black music in an era when it was shut out by legal radio and ignored by the mainstream music industry.
In the ensuing game of cat and mouse which played out on the rooftops of inner-city London across a whole decade, these rebel DJs used legal loopholes and technical trickery to stay one step ahead of the DTI enforcers who were tasked with bringing them down. And as their popularity grew they spearheaded a cultural movement bringing Britain's first multicultural generation together under the banner of black music and club culture.

Presented by Rodney P, whose own career as a rapper would not have been possible without the lifeblood of pirate radio airplay, this film also presents an alternative history of Britain in the 1980s - a time of entrepreneurialism and social upheaval - with archive and music that celebrates a very different side of Thatcher's Britain.
Featuring interviews with DJs, station owners and DTI enforcers - as well as some of the engineers who were the secret weapon in the pirate arsenal - this is the untold story of how Britain's greatest generation of pirate radio broadcasters changed the soundtrack of modern Britain forever.


- The Documentary also mentions this: 'Radio is my bomb: a DIY manual for pirates'

A pirate radio how-to guide published by Hooligan Press in London in April, 1987. The title comes from a quote from Chantal Paternostre, a Belgian anarchist who said it when arrested on trumped up terrorism charges. She worked for Radio Air Libre, a Brussels pirate radio station. She was eventually released from prison after more than a year detained: most of it in solitary confinement.


General / Ireland and the KGB
« on: September 27, 2017, 05:55:16 PM »

Events / Interakcije 2017 — Speculative design workshop: Automation
« on: September 27, 2017, 03:32:27 PM »
......... 'The Mediterranean speculative approach is dealing with “big” global technological, economic, social and political issues within the local context that is the best known and inside of which one can best contribute. Practice at the Arts Academy in Split tackles dystopian scenarios in line with the Mediterranean approach (“from the edge of Europe”, removed from the European urban and technology centres) and challenges them from a humanist perspective.
This year workshop is dealing with one the most focused “big” global issues — automation.

During the workshop, participants will speculate about implications and reflections of the global automation trends in the local context. Speculative design workshop will take place at the Arts Academy in Split, Croatia, from 16th till 21st October 2017. Workshop will be led by Tommaso Tregnaghi, art and design researcher from the Italian multidisciplinary lab / network Nefula) with assistance by Oleg Šuran (Department of Visual Communication Design, Arts Academy, Split). Workshop coordinator Ivica Mitrović will introduce participants to the so-called Mediterranean speculative approach and will talk how to imagine different futures in the Real world.'


« on: September 27, 2017, 03:30:33 PM »
VIRTUALITIES AND REALITIES aims to establish a space for artistic interventions and conversations about the complex implications of augmented and virtual reality. Immersive technologies coupled with virtual environments, artificial intelligence algorithms, faster processors, and biometrics are launching a new era in virtual experiences.

RIXC Art Science Festival is internationally renown gathering for artists and scholars working at the intersection of arts, digital humanities and science. The festival programme features the 2nd edition of Open Fields conference on artistic research, exhibitions, performances and VR artwork showcases.


Events / [TOUR: Disobedient Electronics: 2017 Protest Tour]
« on: September 26, 2017, 10:49:10 PM »
Unfortunately I can't manage any of these dates:


Events / Slow computing: A workshop on resistance in the algorithmic age
« on: September 26, 2017, 10:39:02 PM »
This may be of interest to everybody, just note the deadline is the end of this week (29th September)

Call for Papers

One-day workshop, Maynooth University, Ireland, December 14th, 2017

Hosted by the Programmable City project at Maynooth University Social Sciences Institute and the Department of Geography

In line with the parallel concepts of slow food (e.g. Miele & Murdoch 2002) or slow scholarship (Mountz et al 2015), ‘slow computing’ (Fraser 2017) is a provocation to resist. In this case, the idea of ‘slow computing’ prompts users of contemporary technologies to consider ways of refusing the invitation to enroll in data grabbing architectures – constituted in complex overlapping ways by today’s technology services and devices – and by accepting greater levels of inconvenience while also pursuing data security, privacy, and even a degree of isolation from the online worlds of social networks.

The case for slow computing arises from the emerging form and nature of ‘the algorithmic age.’ As is widely noted across the sciences today (e.g. see Boyd & Crawford 2012; Kitchin 2014), the algorithmic age is propelled forward by a wide range of firms and government agencies pursuing the roll-out of data-driven and data-demanding technologies. The effects are varied, differentiated, and heavily debated. However, one obvious effect entails the re-formatting of consumers into data producers who (knowingly or unwittingly) generate millions of data points that technology firms can crunch and manipulate to understand specific markets and society as a whole, not to mention the public and private lives of everyday users. Once these users are dispossessed of the value they help create (Thatcher et al 2016), and then conceivably targeted in nefarious ways by advertisers and political campaigners (e.g. see Winston 2016), the subsequent implications for economic and democratic life are potentially far-reaching.

As such, as we move further into a world of ‘big data’ and the so-called ‘digital economy,’ there is a need to ask how individuals – as well as civil society organizations, small firms, small-scale farmers, and many others – might continue to make appropriate and fruitful use of today’s technologies, but while also trying to avoid becoming another data point in the new data-aggregating market. Does slow computing offer a way to navigate the algorithmic age while taking justice seriously? Can slow computing become a part of diverse strategies or tactics of resistance today? Just what are the possibilities and limitations of slow computing?

This one-day workshop invites participation from scholars, practitioners, artists and others who might be exploring these, or other related questions, about slow computing. Papers might contain explorations of:

Slow computing practices (whether using auto-ethnography, ethnography, or other qualitative or quantitative methodologies);
How slow computing technologies could be designed for private or public institutions;
The challenges facing actors who try to unplug, shield, or silo data or other products of social life from the digital economy;
The socio-political possibilities emerging from efforts to avoid data-grabbing architectures;
Efforts to raise awareness about the privacy implications of contemporary data-grabbing technologies.
Confirmed keynote speaker: Prof. Stefania Milan, University of Amsterdam

Those interested in participating should send a proposed title and abstract of no more than 250 words to Dr. Alistair Fraser – alistair.fraser@mu.ie – by September 29th 2017. Informal enquiries about the workshop can also be sent to the co-organizer, Prof. Rob Kitchin: rob.kitchin@mu.ie

General / Re: Software Defined Radio
« on: September 26, 2017, 10:24:14 PM »
A very interesting article indeed.

Although finding it hard not to imagine some ranking officer from the FSB giving a 'Pump up the Jam' order.

All of this fascinates me (for technical and other reasons):

'GPS is made up of three parts: 24 functioning satellites orbiting 12,550 miles above Earth; monitoring stations on the ground; and receivers in individual devices. For a device to connect to the GPS network, it needs to be able to see at least four of the US-government-owned satellites, although in many cases they communicate with up to eight.'

More info on it here: http://www.gps.gov/systems/gps/

Also, love the term 'Dead Reckoning' !

Sources of Good Stuff / Disruption Network Lab
« on: September 18, 2017, 06:13:41 PM »
'Disruption Network Lab is an ongoing platform of events and research focused on art, hacktivism and disruption. The Laboratory takes shape through a series of conference events at Studio 1, Kunstquartier Bethanien in Berlin.

The goal is to present and generate new possible routes of social and political action within the framework of hacktivism, digital culture and information technology, focusing on the disruptive potential of artistic practices.

The Disruption Network Lab is a conceptual and practical zone where artists, hackers, networkers, activists, whistle-blowers and critical thinkers enter into a dialogue. The programme is developed through artistic presentations, theoretical debates and keynote events.

This series of events establishes local and translocal partnerships with other spaces and institutions. Directed by Tatiana Bazzichelli.'


Also Tatiana Bazzichelli's book 'Networked Disruption: Rethinking oppositions in Art, Hacktivism And The Business of Social Networking' is worth a read.


Events / BOM (Birmingham Open Media)
« on: September 18, 2017, 11:05:49 AM »

BOM (Birmingham Open Media) is forging a new model of radical practice at the intersection of art, technology and science with measurable social impact.

By making sustained investment in a community of Fellows and developing strategic projects and partnerships, we test pioneering ideas that investigate the transformative value of the arts across education, health and society.

BOM is proactively addressing barriers to cultural participation, by connecting world-class practitioners with activist research and communities.

We are born from hacker culture. But unlike other hackspaces that are filled with tools and operate on a membership model, our building foregrounds public engagement with a free gallery and events space, and supports a curated community of practitioners to deliver our aims.

BOM is funded through a mixture of public and private partnerships. Our gallery is an evolving space filled with residencies, exhibitions and shared learning. This provides a critical, collaborative environment and an open forum for debate with public audiences for developing work during the R&D stage.

We believe that the arts should value participation over all else, and that investing in the right people with the right support is key to developing transformational practices that enable society to fully participate in culture.

We ground our unique vision on an assertion of people, practice and participation:

Invest in People
Create Practice
Re-think Participation

Sources of Good Stuff / The Copenhagen Letter
« on: September 18, 2017, 08:51:24 AM »
'Over 150 people, from entrepreneurs to designers to philosophers, have signed The Copenhagen Letter this week calling for better practices in technology and design.

The letter, which was published by Copenhagen's Techfestival, calls for a “new Renaissance” in the future design of technology to put the human, and not just the “user”, ahead of business.'


Actual Letter/Text:


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