[NetBehaviour] soon post-2018 participation

Michael Szpakowski m at michaelszpakowski.org
Mon Dec 31 12:23:23 CET 2018

* principal :)

      From: Michael Szpakowski <m at michaelszpakowski.org>
 To: NetBehaviour for networked distributed creativity <netbehaviour at lists.netbehaviour.org> 
Cc: Edward Picot <julian.lesaux at gmail.com>
 Sent: Monday, December 31, 2018 10:16 AM
 Subject: Re: [NetBehaviour] soon post-2018 participation
Yes again without the benefit of actually having *looked* at the thesis ( sorry) this I know. Once upon a time I (and a lot of other people) made online artworks that were interactive in sometimes quite interesting ways or, in my case, generative. Very few of these now work because the software used to realise them posed a threat to the net’s principle current uses of selling stuff and harvesting data the better to sell stuff. I don’t particularly feel I want to reflect on this in a neutral , academic,  way as if it’s simply a given. I feel furious and cheated - as with so many features of today’s world human values are made subordinate to capital. I’m with Marx... ‘the point is to change it’ . HNY to all! michael 
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On Sunday, December 30, 2018, 8:05 pm, Edward Picot via NetBehaviour <netbehaviour at lists.netbehaviour.org> wrote:
 Johannes and Varvara, 
  I've only glanced through the thesis, and I must admit that my first reaction to the term 'post-participation' was rather a world-weary one. 'Oh, here we go, another one of these coinages'. But actually, I think it's quite a useful term: from what I can gather, Varvara uses it to suggest the involuntary participation in 'metadata aggregation' and 'datavaillance' to which we are all now subject after our voluntary interactions have taken place. You buy something on Amazon, or post something on Facebook, or make some searches on Google - that's the voluntary bit - but after you've completed those actions and forgotten about them, the information-traces you leave behind are still being harvested, manipulated and reused in the post-participation zone of the technosphere. And Varvara's thesis, as far as I can make out, is attempting to show the ways in which digital art is beginning to engage with/mimic those automated procedures. 
  On 30/12/2018 17:50, Johannes Birringer wrote:
 Greetings, and best wishes for a creative
and hopefully peaceful year to you all out there;

and thanks Varvara for sharing with us your interesting research,
i have not been able to read anything yet from your thesis
but wondered whether these terms now used, or proposed,
post-digital, or post-participatory, are helpful, or in what sense they
are helpful or possibly politically misleading, since one might argue we neither live
in a post digital era nor do not 'participate' any longer or have any
impact or feedback energy regarding anything (system-to-system interaction only?) -
technical and political control system can certainly be interfered with, have you
watched the gilet jaunes in France?  Perhaps you only address interactive art, but
even there I wonder whether you would go as far as considering human relations to
AI or machinic systems as being without any consequences?

with regards
Johannes Birringer


Dear readers,

I have recently successfully depended my PhD dissertation at Estonian Academy of Arts and thought to share the digital version of it, since topic might be interesting for this mailing list audience.

Title: From interaction to post-participation: the disappearing role of the active participant<https://eka.entu.ee/shared/429088/GsqzlotFPrFi1tdtAmVX1Wo8cxFWi4iQjntDJcO4n0mE5NAx8K8pef9V3AC9k3lB>
Supervisors: dr Raivo Kelomees (Estonian Academy of Arts) and dr Pau Waelder (The Open University of Catalonia)

Pre-reviewers: Prof dr Christa Sommerer (Interface Cultures, The University of Art and Design Linz) and Prof dr Moises Mañas Carbonell (Faculty of Fine Arts, Polytechnic University of Valencia)

Opponent: Prof dr Christa Sommerer (Interface Cultures, The University of Art and Design Linz)

The practice-based dissertation analyses and contextualises passive audience interaction through the lens of post-participation. Research explores the shift from active to passive participation in interactive art. By exploring interactive art history and the discourse of identity within the field, this dissertation investigates how artworks that demonstrate no audience involvement, but still incorporate an internal system interaction with a data source, are addressed. In other words, the research tracks down the interest shift from human-machine to system-to-system interaction, and explores the reasons behind this.

In this thesis, a differentiation is made between direct and indirect post-participation. Hence, the selected artworks are analysed from the perspective of concept, direct or indirect post-participation components, and realisation. In addition, related artworks by other artists are introduced and discussed under each subcategory of post-participation.

In the end, the dissertation contributes to the evolution of interactive art, by analysing and contextualising passive audience participation in the form of post-participation. Author argues that the concept of post-participation helps to address the shift from an active to a passive spectator in the complex age of dataveillance, an age in which humans are continuously tracked, traced, monitored and surveilled without our consent.

Please find the PhD thesis here<https://eka.entu.ee/shared/429088/GsqzlotFPrFi1tdtAmVX1Wo8cxFWi4iQjntDJcO4n0mE5NAx8K8pef9V3AC9k3lB>.

best regards,

Varvara Guljajeva, PhD

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