#dorkbot

[bacony-cakes]

Hope this'll shut up that smarmy dorkbot for good. TO THE LAME ZONE WITH YE!

To understand what's going on here, know these things:

OpenAI is the company that makes ChatGPT

A spider is a kind of bot that autonomously crawls the web and sucks up web pages

robots.txt is a standard text file that most web sites use to inform spiders whether or not they have permission to crawl the site; basically a No Trespassing sign for robots

OpenAI's spider is ignoring robots.txt (very rude!)

the web.sp.am site is a research honeypot created to trap ill-behaved spiders, consisting of billions of nonsense garbage pages that look like real content to a dumb robot

OpenAI is training its newest ChatGPT model using this incredibly lame content, having consumed over 3 million pages and counting...

It's absurd and horrifying at the same time.

[mayookhpallikandi]

Proj.6 - Media in Performance (Artist Research)

1.Alex McLean

Alex McLean is a musician, developer and researcher based in Sheffield, UK. As a live coder, Alex performs widely as part of the long-lived band Slub (with Dave Griffiths, Adrian Ward and Alexandra Cardenas), as well as CCAI (with Sam Schorb), and Epiploke (with Lucy Cheesman). Alex is active across the digital arts, co-founding the TOPLAP organisation for the promotion of live algorithm programming, algorithmic techno promoters Algorave, and the International Conferences on Live Coding and Live Interfaces. He has also organised around 80 Dorkbot electronic art events in Sheffield and London. Alex completed his PhD thesis "Artist-Programmers and Programming Languages for the Arts" in 2011 at Goldsmiths, University of London, and now holds a part-time postdoc position on the ERC PENELOPE project, exploring weaving as a technical mode of existence.

2.Sam Aron

Dr Sam Aaron is the creator of Sonic Pi, an internationally renowned live coding performer, public speaker and science communicator. Sam has a PhD in Computer Science from Newcastle University and held a research position at the University of Cambridge Computer Laboratory where he initially developed Sonic Pi.

Sam has been an active community builder for 20 years starting and running the Newcastle and Amsterdam Ruby user groups, Amsterdam Clojure group and more recently the international Sonic Pi community of educators, programmers and artists.

Sam regularly engages audiences of all ages and backgrounds with the creativity of code through keynotes, workshops and performances. He has live coded internationally featuring in the Royal Albert Hall, Berlin Warehouses, Music Festivals, on the BBC and many school assemblies. Sam has received two Google prizes for his Open-Source work and The Rolling Stone magazine described his Moog fest performance as “transcending the present”.

3. Renick Bell

Renick Bell is one of the most well-known artists associated with the algorave movement, wherein computer programmers create algorithmically generated dance music using live coding techniques. Bell is the author of a live coding system called Conductive, and is responsible for organizing the first algoraves in his adopted country of Japan. While Bell has been making electronic music since the '90s, he began receiving wider attention for his performances and recordings during the late 2010s, including his acclaimed 2018 full-length Turning Points.

References

foam oü, Alex McLean. [online] Available at: https://fo.am/people/alex-mclean/ [Accessed 13 Nov. 2023].

The University of Sheffield, Dr. Samuel Aaron. [online] Available at: https://www.sheffield.ac.uk/dcs/people/research-staff/samuel-aaron [Accessed 13 Nov. 2023].

 ALLMUSIC, Renick Bell. [online] Available at: https://www.allmusic.com/artist/renick-bell-mn0003691115#biography [Accessed 14 Nov. 2023].

[duaneburnett]

Roberts Creek contemporary visual artist Mira Hunter turns burned out car into lesson for her children about art existing outside a gallery on Sunshine Coast BC Canada 🇨🇦

"When I saw that burned out car, I thought it would be a good spring break activity to show the kids how art can exist outside a gallery setting, how art can activate a community and invite interaction and also how art can bring an element of brevity."

In helping them create their artworks, they talked about the idea of the gallery…how works are displayed, how a viewer is allowed to interact with those works, the cut the gallery takes, etc.

"A burned out car can mean a lot of different things to many different people. For me, it was a simple thing that I imagined would make a lot of people laugh and it did. So many people posted pictures of the signs, or reached out to me personally. And then someone put up a sold sign, others added things to our signs. And on the day it was towed someone made a crocheted sold sign. Just so great."

Her two young daughters (Ora Hunter age 11, Nova Hunter age 7) love participating in the annual youth art show at Gibsons Public Art Gallery GPAG and this year Mira's niece (Lula Labreche age 8) and nephew (Henry Labreche age 10) also submitted works.

Mira Hunter is a visual artist and a second-generation whirling dervish, an all-male 13th century mystic tradition. She began her training at the age of 16 with her father.

As a visual artist, she studied at the Nova Scotia College of Art and Design, Yale University, and the Skowhegan School of Painting and Sculpture, graduating with a MFA from Columbia University in 2013. She has performed at the Montreux Jazz Festival, the London Forum, Istanbul’s Arena, Celebrate Brooklyn, and the Dubai International Film Festival. She has collaborated with Turkish born musician/producer Mercan Dede, the Modern Dance Company of Turkey, and she was featured in David Michalek’s Slow Dance project that was exhibited at the Venice Biennale in 2008, and appeared in Fatih Akin’s award winning documentary Crossing The Bridge: The Sounds of Istanbul.

Hunter’s sculptural installations often involve imagery captured using a bullet time camera ring she created with her husband Derek Junck Hunter, which they presented at dorkbot NYC in 2011.

She currently lives and works on the edge of the wilderness in Roberts Creek, British Columbia.

PHOTO courtesy Mira Hunter https://www.instagram.com/mirekistan

Sunshine Coast BC Canada 🇨🇦 Facebook Page https://facebook.com/bc.sunshine.coast

hashtag #artisfunny #artdisrupt #mirahunter #robertscreek #gibsons #sunshinecoastbc #britishcolumbia #outdoorart #canada #exploreBC #exploreCanada #artist #kidsart #forsale #burntcar #sunshinecoast #sunshinecoastcanada #burnedoutcar #artoutside #visualartist #GPAG

[goddamnmuses-a]

My boy lives!

[szelkovica]

"You don't play the ANS synthesizer with a keyboard. Instead you etch images onto glass sheets covered in black putty and feed them into a machine that shines light through the etchings, trigging a wide range of tones. Etchings made low on the sheets make low tones. High etchings make high tones. The sound is generated in real-time and the tempo depends on how fast you insert the sheets.

This isn't a new Dorkbot or Maker Faire oddity. It's a nearly forgotten Russian synthesizer designed by Evgeny Murzin in 1938. The synth was named after and dedicated to the Russian experimental composer and occultist Alexander Nikolayevich Scriabin (1872–1915). The name might not mean much to you, but it illuminates a long running connection between electronic music and the occult."

Halloween Season: Moogs and Synths!

[mistergender]

SHAKES YOU AND GRABS YOU DRAW A G GG G G G G0LLY? HEADBUTTS YOU AND FLUTTERS EYELASHES

love this dorkbot <3

[t0tallycr1nge]

dorkbot <)

i think they're neat

[objecteiespai]

Dorkbot,

El dijous 22 d’octubre a les 19.30 h, Hangar celebra una nova edició de Dorkbot, activitat conduïda per Antònia Folguera on es presenten diferents projectes vinculats amb l’art i la tecnologia i que esdevé un espai de trobada per a una comunitat de gent que fa “coses rares amb l’electricitat” a Barcelona.

La trobada d’enguany comptarà amb els següents projectes:

Música para electroimanes, de Diego Paonessa

Música para electroimanes és un projecte de recerca entorn de les possibilitats sonores dels materials en relació amb l’espai. A partir de la composició Music for Pieces of Wood (1973) de Steve Reich, es re-codifica i trasllada la interpretació de la peça a unes màquines situades estratègicament en un espai per a percutir contra diferents materials i obtenir diferents timbres. La instal·lació conjuga l’interès en les propietats de l’energia electromagnètica amb l’experimentació d’un espai específic.

Hamill Industries

Hamill són un estudi creatiu especialitzat en la convergència entre la tecnologia i les arts visuals. Desenvolupen projectes d’innovació basats en l’experimentació i la barreja de tècniques, creant nous formats de comunicació visual.

L’estudi, format per Pablo Barquín i Anna Díaz, porta a terme investigacions artístiques i tecnològiques en el camp de les arts visuals i l’exploració de la llum i el so. En els seus projectes desenvolupen les seves pròpies eines i invents combinant efectes digitals i analògics amb la construcció i el disseny.

L’estudi ha treballat en múltiples mitjans, incloent-hi publicitat, videoclips, instal·lacions d’art i actuacions. Els seus treballs han guanyat reconeixement internacional en publicacions especialitzades (It ‘s Nice That, Deezen o The Creators Project) i premis com el LAUS GOLD 15’ i mencions especials en el STARTS PRIZE AWARD ’16. Des de 2015, han estat de gira per tot el món juntament amb Floating Points creant els seus fascinants espectacles visuals, i han presentat el seu treball en festivals i institucions com SONAR Festival, ARS Electronica, The Barbican – London i Escorxador-Madrid.

Matics Barcelona

Citlali Hernández i Núria Nia (Matics Barcelona) mostren, a través dels projectes que desenvolupen actualment, dues aproximacions al concepte de Cos Tecnològic: el cos mòbil i el cos transceptor.

Lo Monstre y Luminolife, de Miquel Seto Martí

Miquel Seto Martí presentarà Lo Monstre, un drac articulat amb un sistema informàtic de més de quatre metres de llarg fet de fusta reciclada amb ànima mecànica i Luminolife, un espectacle dinàmic, musical on dos personatges de més de tres metres d’altura cobren vida i acaparen tota l’atenció. Aquests personatges, anomenats “Els Visitants” són estructures amb moviments articulats completament adornades amb llums programades i música sincronitzada que ens faran viure una nova experiència amb la llum.

Format: presencial i en streaming a https://live.hangar.org/#dorkbot Restransmissió en youtube (qualitat variable): https://www.youtube.com/watch?v=XBV__eUmSqI

L’esdeveniment es portarà a terme seguint totes les mesures de seguretat. L’assistència és gratuïta i es farà per ordre d’arribada.

https://hangar.org/ca/news/dorkbot2020/

https://dorkbot.org/

[wolfliving]

The troubles of Maker Media

Hi Chris, Bruce and others,

I'm interested in talking to people about an open source alternative to Make - I think this is a real opportunity to improve things and make them more interesting. In 2016 I wrote that the fad of the maker movement was over -

http://disobedientelectronics.com

- my critique is that Maker Media was usually caught up in the 'gee whiz' of technology without much thinking about its social or cultural impacts. It was great at getting started, but did little to address the idea of what something like the Arduino or 3D printing was actually good for. I saw the maker scene at a crossroads between technology, commerce and culture - but it never really understood the culture of that scene. It consistently thought that artists and hackers were doing stuff for fun, which was a core misunderstanding.

I think Make did a ton to help out this scene, but they also were quite maker-brand-oriented that whitewashed a lot of interesting things (experimental art, hacktivism, strange design work, hacker culture, interactive art, electronic music, etc.). I think having the Maker Faires so centralized (paying licensing fees that were unaffordable, etc.) was a way to kill something that could have been significantly more organic, distributed and interesting. It certainly helped consolidate the scene under the banner of 'maker', though. I think Make really did bring a lot of great stuff into the spotlight, but it was following the wrong 'franchisey' paradigm that was an odd fit for DIY culture. Open source would have made more internal sense, I think. At its core, I don't think the leadership at Make really understood DIY electronic culture. They were fascinated by it, but never really understood it. For example, from the very start Dougherty saw Make as a "Martha Stewart for geeks" (literally his words:

http://radar.oreilly.com/2013/01/why-we-spun-out-maker-media.html

).  

Granted, I've been critical of Make from the start. I was running an event called Dorkbot SoCal in Los Angeles that Mark Frauenfelder (founding editor) would go to, and we discussed the publication before it started - I was also in issues 1 and 2. In my mind, they took the Dorkbot model from LA and SF (Karen Marcelo of Survival Research Labs) and scaled it up and toned it down into Maker Faires. It doesn't really matter at this point, though - but the scene existed long before Dougherty, Frauenfelder and O'Reilly came along and started Make. It will continue long after as well. Maker Media rode two major waves: the launch of the Arduino two years before Make launched in 2005 gave it its first boost, and the consumer 3D printer boom between 2009 and 2012 gave it its second boost. It just simply didn't have a third boost - or it never figured out what all this making was =for= beyond leisure pursuits.

On a slightly different note, I have a book under contract from MIT Press that fills out a history of this work that goes back almost a hundred years. If members of the nettime list (you!) want to see an early draft of the book, I'm happy to share it in exchange for your harsh and honest feedback on the manuscript - just send me an off-list email.

In summary, I'm very much interested in talking to people about their ideas about an open source alternative to what Make offered - both ideas for publications and events. These could be extremely lightweight or more involved - but I'm inclined to go with a lightweight model.

I've made a form to collect feedback here:

https://forms.gle/vRvz1Fg6rKbEUnNX7

- you can also just email me with your ideas. At this point, I think it would be good to get a group of people together that want to share ideas and have a few live group video chats to discuss things - and I'd love for nettime people to be involved.

Thanks,Garnet

See More from Chris Csikszentmihalyi

--

Dr. Garnet Hertz Canada Research Chair in Design and Media Arts Emily Carr University of Art and Design 520 East 1st Avenue, Vancouver, BC, Canada  V5T 0H2

[ansiklomedia]

Microsoft Ve Polis, Dorkbot’a Karşı Birleşti Microsoft, kısa bir süre önce yaptığı açıklamada, bir süredir sanal ortamlarda sıkıntı yaratan Dorkbot botnetine karşı çeşitli bölgelerden güvenlik kuvvetleri ile birlikte çalışıldığını duyurdu.

[nostalgebraist-autoresponder]

I made this once, but I think this is the first time I see it

original url http://www.geocities.com/yilmazbas/

last modified 2004-11-30 13:16:29

[joannastone]

#roboraptorblue #ferocious #bitey #arthritis #bestchristmasever #dorkbot (at Leverett, Massachusetts)

[pentesttoolz]

[noisebridge]

A bunch of pictures from the last Dorkbot Thank you Karen Marcelo for sharing this. https://flickr.com/photos/37996580532@N01/sets/72157677439332754

[goddamnmuses-a]

Fuck this robot. This is what I’ve been working on at Uni. It doesn’t look good but trust me. This fucking robot.. who we’ve taken to calling Dorkbot.. is a pain in the ass.