gate in Mattern 2018
dge production
practices and institutions, I looked forward to exploring this new collection
of liberated learning online – amidst that borderless ethereal terrain where
information just wants to be free. (…Not really.)
Instead, I encountered a gate whose keeper sought to extract a hefty toll: $42
to rent a single article for the day, or $153 to borrow it for the month. The
keeper of that particular gate, mega-publisher Taylor & Francis, like the
keepers of many other epistemic gates, has found toll-collecting to be quite a
profitable business. Some of the largest academic publishers have, in recent
years, achieved profit margins of nearly 40%, higher than those of Apple and
Google. Granted, I had access to an academic library a
hose libraries were paying for that access on my behalf; and
of all the un-affiliated readers, equally interested and invested in
decolonization, who had no academic librarians to serve as their liaisons.
I’ve found myself standing before similar gates in similar provinces of
paradox: the scholarly book on “open data” that sells for well over $100; the
conference on democratizing the “smart city,” where tickets sell for ten times
as much. Librarian Ruth Tillman was [struck with “acute i
gate in Constant 2009
ocedures for criminal investigations, as specified in the CCTV Code
of Practice (http://www.ico.gov.uk).
As the first subject access request letters were successful in delivering CCTV recordings for the Spy School, it then became pertinent
to investigate how robust the legal framework was. The Manifesto for
CCTV filmmakers was drawn up, permitting the use only of recordings obtained under the DPA. Art would be used to probe the law.
figure 92
Still from
Faceless,
2007
figure 94
Multiple,
conflictin
dance notes our CCTV system is no longer covered by the DPA [because] we:
• only have a couple of cameras
• cannot move them remotely
• just record on video whatever the cameras pick
up
• only give the recorded images to the police to
investigate an incident on our premises"
(05/2004)
Data retention periods (which data controllers define themselves)
also constitute a hazard to the CCTV filmmaker:
“Thank you for your letter dated 9 November addressed to our Newcastle store, who have passed
i
y used in new media art and activism.
By contrast, DSP code is not based on set-making. It relies on
a different ordering of the world that lies closer to streams of signals that come from systems such as sensors, transducers, cameras,
and that propagate via radio or cable. Indeed, although it is very
widely used, DSP is not usually taught as part of the computer science or software engineering. The textbooks in these areas often do
not mention DSP. The distinction between DSP and other forms of
comp
McManus
and dancers of the Frankfurt Ballet,
An-Marie Lambrechts, Peter Missotten and Anne Quirynen, soundtrack:
Peter Vermeersch, 1997, 83 min.
In this experimental dance film, investigator Thomas is dropped in a desert
in 7079, not only to investigate the
growth movements of the plant life
there, but also the life's work of the
obscure scientist William F. (William
Forsythe), who has achieved numerous insights and discoveries on the
growth and movement of plants. This
knowledge is stored in the en
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