Notes

Save Leyton Marshes

Submitted by Armin Medosch on Thu, 05/24/2012 - 16:40
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This is an image taken from a walk, together with 'those guys', we have been 'beating the bounds' with willow sticks. The picture here shows activists who defend the marshes of the River Lea valley as a common land, based on ancient rights, which get remembered once a year by walking along the boundaries of the common land.

Save Leyton Marshes

Three Sisters

Submitted by admin on Thu, 05/24/2012 - 16:14
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Three Sisters

wind Energy

Submitted by admin on Thu, 05/24/2012 - 16:08
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wind Energy

broadcast

Submitted by admin on Thu, 05/24/2012 - 11:40
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broadcast

Buckwheat Seeds

Submitted by admin on Thu, 05/24/2012 - 11:33
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Buckwheat Seeds

Three nettime posts on the Egyptian uprising

Submitted by Brian Holmes on Sat, 02/05/2011 - 05:29
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1. A comment on a Hernando de Soto article in the Wall Street Journal:

Thanks for this, Patrice:
http://online.wsj.com/article/SB1000142405274870435870457611868391303288...

Beyond Information

Submitted by Armin Medosch on Tue, 01/25/2011 - 12:42
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Information in the terms of information theory is the likelihood of the selection of messages in relation to all possible messages. Thus, if a selection is made from a number of possibilities which are all equally likely or unlikely, the information is high. The mathematical theory of information is linked to the concept of entropy and the second law of thermodynamics. This says that the available degree of ordering of matter - and thereby the energy contained in it - is decreasing.

Some remarks on digital art, autonomy, and the labour of others (Eleonore, part III)

Submitted by Armin Medosch on Fri, 10/29/2010 - 17:16
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This final piece in the Eleonore series sums up some more theoretic and political thoughts about the relationships between digital art, autonomy and the division of labour. It comes to the conclusion that the least digital artists can do is to use free software, strive for egalitarian types of working relationships and to name all their collaborators as co-creators of work, regardless of the usual social valuations of types of work and the institutional pressure they come under if their work joins the art circuit.

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