reSync besucht analog III: “Verlagsbranche im Wandel”

“Haben die gedruckte Zeitung und das gedruckte Buch eine Zukunft? Wie gehen Verlage und Redaktionen mit dem digitalen Wandel um? Fragen, über die rund 60 Teilnehmer und Teilnehmerinnen aus der Region Niedersachsen im Rahmen der Veranstaltungsreihe ANALOG im Stadtarchiv Lüneburg diskutierten. Auf Einladung des Innovations-Inkubator Forschungsprojekts Hybrid Publishing Lab am Centre for Digital Cultures trafen sich Fachleute aus allen Bereichen der Medienbranche sowie interessierte Bürgerinnen und Bürger, um sich über die Digitalisierung der Medien auszutauschen, Erfahrungen zu teilen und den Blick für aktuelle Herausforderungen zu schärfen.” (CDC 2014)

Sieh auch video editing server & WikiTV

Latest apps for Android and iOS include long overdue ifttt automation suite which will extend the scope for syncronising and managing publicity during the events we have scheduled. So far I can’t see a btsync channel, perhaps we will get one added.

We are using a recipe to trigger a tweet to be displayed whenever a new lunatic makes a badge which displays their resync qrcode. If it works like this I shall be amazed

reSync besuchte die Analog II Veranstaltung um das Thema “Kontrolle politischer Macht durch Medien muss sein”. “21. März 2014 Lüneburg. Von prekären Arbeitsbedingungen für hochqualifizierte Journalisten bis zur Verantwortung der EU für die Vielfalt der Lokalzeitungen – auf der Medientagung ANALOG der Leuphana Universität Lüneburg diskutierten rund 100 Medienvertreter und Journalisten am 20. März die Zukunft des Qualitätsjournalismus. Prof. Dr. Däubler-Gmelin sprach sich für die Kontrolle politischer Macht durch die Medien aus.” (CDC 2014)

reSync visited on the 14th of March 2014 d-cent: “D-CENT is a Europe-wide project creating privacy-aware tools and applications for direct democracy and economic empowerment. Together with the citizens and developers, we are creating a decentralised social networking platform for large-scale collaboration and decision-making.” (D-cent 2014)

Nesta announced that: “on March 14th we will host the D-CENT launch event in London at Nesta and we would like to invite you to attend the event and participate in the working group sessions. The event will draw a number of high-level policy makers, academics, activists, civic society organisations, and hackers from the field. Together we will dive into new ways of strengthening citizens’ participation and deliberation in the political process presenting already existing digital tools for open democracy, new frameworks for institutional innovation, and alternative economic models based on complementary currencies and digital crypto currencies.”

Uncovering new truths and making them public as a disruption and criticism of the dominant system has consequences.

Threat scenarios of the digital surveillance state inevitably have palpable effects on our lives and actions. Access to information, infrastructure and technology, which is especially important for activists in repressive regimes up to the present, has become a widely discussed issue since Snowden’s disclosures at the latest, because now a broad mass of people in democratically governed states see their “privacy” endangered. Independence, confidence and freedom are massively put to the test.

Artists, hacktivists, cultural producers, journalists, software developers and idealists, in short creative actors with a desire for change increasingly find themselves in uncertain territory. Which methods and alternative tools can be used to generate new views of everyday life, work, money, politics and the environment, and to instigate a new cultural practice, to impel civil society processes, without them being nipped in the bud?

How do creative actors contribute to the process of change and which new forms of cooperation do they enter into?
# Program # AMRO Showcase # Speakers

Contributers:
Klau Kinki/ES; !Mediengruppe Bitnik/CH; Adnan Hadzi/CH/UK; Aleš Hieng, SLO; André Castro/ES; Andreas Zingerle/A; Anne Roth/DE; Dennis de Bel/NL; Roelof Roscam Abbing/NL; Dominik Leitner/A; Donna Metzlar/NL; Femke Snelting/NL; Franz Xaver/A; Heath Bunting/UK; Inari Wishiki/UK; Jakub Pišek/CZ; James Bridle/UK; James Stevens/UK; Jonathan Kemp/UK; Karlessi/IT; Konrad Becker/A; Larisa Blazic/SRB/UK; Linda Kronman/FIN/A; Lizvlx/A; Lonneke van der Velden/NL; Marc Garrett/UK; Marek Tuszynski/ Margarita Köhl/A; Martino Morandi/IT; Marie Polakova/CZ/A; Michael Schweiger/A; Nathaniel Tkacz; Niek Hilkmann/NL; Renfah/A; Robertina Šebjanič/SLO; Roelof Roscam Abbing/NL; Selena Savić/CH; Taro the cook/A; Tatiana Bazzichelli/IT; Valie Djordjevic/DE; Veronika Krenn/A; Vesela Mihaylova; Victor Diaz/ES; waiwai; Wolfgang Spahn/DE; Yoana Buzova/NL; Reni Hofmüller/A, Jogi Hofmüller/A; u.v.a

reSync visited transmediale 14: afterglow’s art hack day: “Afterglow” is a collaboration between Art Hack Day, LEAP Berlin and transmediale. As coders we fear the ‘legacy’ system, a piece of old junk we haven’t yet figured out how to throw away. As artists, we’re tempted by prolific outbursts of freshness and novelty; more art of less value. Businesses and government crave more data, more connections, more context. By embracing these impulses without contemplation we perpetuate the technological hype cycle and unintentionally shorten the half-life of our artefacts. Technology has become akin to a natural resource, generating physical and immaterial waste that is appropriated in such diverse contexts as e-garbage dumps, big data businesses and mass surveillance schemes. As such, trash is no longer what is just left behind but is central to our post-digital lives. When digital detritus piles up it decomposes, giving rise to a post-digital afterglow with the potential for new expression and new enterprise. Can we make peace with our excessive data flows and their inevitable obsolescence? Can we find nourishment in waste, overflow and excess? Can the afterglow of perpetual decay illuminate us?” (Art Hack Day 2014)

From the 15th till the 18th of January we participated in the Taking Care of Things Meeting at the Stadtarchiv Lüneburg Germany. This was also the closing event for the Post Media Lab Incubator project at Leuphana University and our research fellowship with them. See the documentation here.

The visit began with a tour of the city archive during which we heard about the main activities of the institution not least the film, map and image collections. They wish to extend access to these via street access sync points in the near future.

We convened one of seven care groups Mesh Media! to look at open, collaborative systems that facilitate collective abilities to store, curate, share, edit, redistribute and re-purpose media while at the same time creating new frames of reference and practice in public. We were pleased to have presentations by Eric Kluitenberg of Tactical Media Files, Volker Grassmuck and Jan Torge of ‘InternetTV for the newMedia Generation’ Grundversorgung, open wireless network advocates Freifunk Lueneburg and Robert Ochshorn with Interlace. (See last section for more details..)

Media was selected from the respective archives and uploaded to publicly presented syncronisation points adjacent to each Freifunk node in Lueneburg city centre.

We produced a map to illustrate the locations of syncronisation points as a  data trail which was toured by a small group of Lueneburg locals. They were encouraged to scan the QRcode posters and NFC tags they found on the street first connecting to Freifunk wireless then activating the BTsync to distribute the images and films.

Please try these BTsyncs yourself 1|2|3|4|5|6|7|8|9|10|11|12 – or get the set! confused ? see the howTo..

The post-medial is not tied to any particular modality of media, neither to “new” or “old”, “digital” or “analog”, nor to “connected” or “offline”. Nevertheless it relies on new medial affordances (what? affordances! :-)) and possibilities, allowing for new kinds of collective repositories and living archives. How can these new collecitve, transitory and ad-hoc repositories of ‘many media’ look like? What are their (possible) protocols of turning consumers into makers, individuals into groups, and media into structured, living and meaningful (micro-)social memory? What are possible assemblages that withstand idiosyncrasy and expert-ism, but are ‘avant-garde’ and progressive in form and function nevertheless?