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Another Blue Sky Sunday in the sunny southeast.
dronestagram  clonmel  from twitter
september 2018 by topgold
Twitter
Whenever 20C weather arrives in our neighbourhood, all my fav paths get overgrown with healthy silage.
dronestagram  from twitter
may 2018 by topgold
The Troubling Contradictions of Dronestagrams | New Republic
By 2020, according to the Federal Aviation Administration, there will be as many as 7.5 million drones operating in the United States alone; on Instagram, the hashtag #dronestagram—the format’s nickname—has attracted more than 780,000 posts.
dronestagram  FRD  commonplace 
may 2017 by esperluette
Instagram
Impromptu drone session at Sandy's this morning 👍

dronestagram  dji  drone  djiphantom3  from twitter_favs
may 2017 by matthewb
Twitter / thedailybeast: #Dronestagram's inaugural contest ...
RT : 's inaugural contest aimed to find the best aerial photos taken by flying robots
Dronestagram  from twitter
july 2014 by tSherrell
Amazing Aerial Photos Taken from Drones - The Daily Beast
RT : 's inaugural contest aimed to find the best aerial photos taken by flying robots
Dronestagram  from twitter
july 2014 by tSherrell
Beyond Pong: why digital art matters | Artanddesign | The Guardian
"When critical thinking is at its strongest, it often comes from exactly the sort of fluidity of practice that does run through Digital Revolution. The London-based architect and artist Usman Haque has been creating innovative software products alongside interactive artworks for more than 15 years. In 2007, he founded Pachube, a global data-sharing network that anticipated by years the current buzz around big data and the internet of things. In 2011, Pachube enabled hundreds of Japanese civilians to quickly and easily share weather and radiation data in the aftermath of the Fukushima disaster, boosting monitoring and relief efforts. Haque's Umbrellium team has produced a new artwork for Digital Revolution, which takes up the entirety of The Pit, the Barbican's subterranean theatre space. Called Assemblance, the piece allows about 25 people at a time to physically shape beams of light with their hands, pushing and pulling them around the space – while also bumping into and potentially messing up the shapes created by other people.

Haque calls it "a virtual reality", but not in the sense of a purely digital realm: "It's there, it's responding to you, you can see it, but as you try and approach it you can't actually feel it. For me, the idea is to question this distinction between the physical and the virtual." The process is akin to building a sandcastle on the beach, where you are building a structure that anyone else, or the elements, can destroy in a moment.

Assemblance attempts to answer the question: "How do we create things together in a shared environment, where we can't always trust each other, but we need to act together regardless?" This, indeed, is the situation we find ourselves in now. In the modern digital world, the question of participation is crucial as our various networks – social, media, national – require us to constantly mediate between acting as individuals and acting as a group. For Haque, the digital has given us "the capacity to have an effect on the other side of the world almost instantaneously", from news events and economic flows to disaster response and warfare. "We can do things to other people in distant lands, and so the question of our responsibility, and our culpability, is thrown up in ways that it hasn't been before. On the other hand, we now have the capacity to connect with each other, and develop new ways to work together, rather than against each other."

Assemblance asks the audience to see itself as part of a networked whole, where actions have consequences. It also points towards the fact that "the digital" is not a medium, but a context, in which new social, political and artistic forms arise. After 50 years, at least, of digital practice, institutions are still trying to work out its relevance, and how to display and communicate it – a marker, perhaps, that it is indeed a form of art."
jamesbridle  2014  digital  digitalart  art  usmanhaque  dotsasmen  umbrellium  assemblance  criticalthinking  pachube  collaboration  internet  web  online  audience  participatory  networks  context  social  socialnetworks  digitalarchaeology  olialialina  susankare  timberners-lee  liamyoung  dronestagram  jamesgeorge  jonathanminard  christophernolan  pong  raspberrypi  minecraft  geocities  martinbircher  chrismilk  aaronkoblin  wecreate  conradbodman  gta  cpsnow  eniac  grandtheftauto 
june 2014 by robertogreco
Designing for Archives, FOWD 2013 – Allen Tan is…writing
"Flickr was the master of getting users to explicitly provide information. It was one of the sites that made the concept of tags famous, but they gave users many other tools to organize their photos. They gave users sets – sets are you think of as a regular photo album, they hold a group of photos. They gave users collections—collections group sets and other collections together. They gave users galleries—and the only rule with galleries is that you can only have 18 photos in a gallery, and the photos have to be from other users, they couldn’t be your own photos. Because the idea was for you to go curate and distill Flickr, this great mass of photos, into something that shows a specific perspective or framing.

Did users use these? They did! They didn’t mind the effort, they created them and shared them around and commented on them. These tools acted as handles for people’s photos. Flickr let you share any of those units publicly or privately. This was so flexible and powerful. So I could keep my photo stream completely private, and just for myself, and then I could create a set of photos of museums and the High Line that I took while visiting New York and I could share that set with my art class, and then I could create a collection that contained the High Line photos and maybe add some photos of the Cooper archive and share that to my design friends. It encouraged users to revisit their existing body of work over and over again, to think about it, and derive new meaning from it by letting them manipulate it."



"—they are separate events to a computer, yes, they can happen across distant points in time, and therefore it might show these items very far apart on someone’s activity feed. But they’re clearly tied to one another, and can be presented together. If I were looking back on my history, I’d want to see this relationship of events.

We can imagine and automatically capture some of these sequences when they happen, but they’re simply starting points. We could be wrong, in which case users should be able to correct what happened. And, like Flickr has demonstrated, if users are given the room to tell more complicated stories than we can anticipate, they will. We are giving them tools for storytelling."



"These are tiny time machines. You are in the present, you are always in the present, because you were born in this decade and this century. But these time machines open a little portal to a specific time, just big enough to fit you. It is a ladder to the past. It feels more real, because it is embedded in the networks you use every day as part of your life. And you see these stories being told, or construct your own stories from what you’re seeing, stories that are from a long time ago being told anew.

We don’t need to design dusty shelves, and figure out how to make them matter. This is why they matter, why the past matters: because they coexist with us in the present, it isn’t something we should put in a tidy box and forget, because they are part of the stories we tell today, they are lenses that are personal and often political and they help us understand what’s going on now. All this stuff online—the things that real people put time into making and that real people look at—this stuff is our heritage. Let’s to protect it better."

[video pointer and info: https://twitter.com/tangentmade ]
allentan  archives  history  2013  memory  online  flickr  dronestagram  jamesbridle  nytimes  livelymorgue  timemachines  streams  data  information  archival  reflection  creation  instagram  facebook  mixel  rdio  storytelling  atemporality  titanicrealtime  libraryofaleph  libraryofcongress 
october 2013 by robertogreco
None
RT @PSFK: Instagram for drones shares photos of the world world from the sky: http://t.co/WduEH9I7fH #dronestagram - cc @gatopan
dronestagram  from  twitter 
july 2013 by jorgebarba
Drone Over Washington - Rebecca J. Rosen - The Atlantic
“In a sense, Dronestagram seeks to reverse the technological powers of the drone, which are, as Bridle put it "sight and action at a distance." With Instagram, which lives in our pockets on our phones, Bridle can bring this sight and this action (or, at least, the knowledge of it) back to us.

Joseph Hale, who curated the exhibition, told me he sees it as an effort to "meet the ante" through art. "One of things that a lot of the work in this room has in common," he said, "is that it has to do with the question: If governments have these sorts of superpowers, how can we rethink the public equivalent? Almost every project in this room involves using publicly accessible resources to look into the same spaces that the government hand has already reached."

That's certainly the idea behind "Watching the Watchers" a series of images of drones collected from Google Maps and other publicly available satellite-image sources.

These things are kind of secret and invisible and no knows about them or talks about them, until recently, and yet we've mapped the entire globe and they are visible if you choose to go looking for them," Bridle said.

But at the same time, Bridle realizes that drones are more than the sum of their 3D parts; they are the capillaries of a network, the point at which lines of computer code, political power, and obscured decision-making appear in the physical world. "This is what I'm really interested in at the moment: trying to push this debate back from the fetishization of the drones themselves, back into the computational networks behind them," he says of his piece "Disposition Matrix," a computer monitor reeling through a software program Bridle wrote that searches public resources for people who have a connection to drones and a series of volumes printed from the findings of the program, conveniently accompanied by some gloves for museum visitors to don as they flip through the pages.”
drones  stml  re:stml  jamesbridle  corcoran  gallery  art  exhibit  everyoneiknowismakingawesomeshit  washingtondc  military  technology  dronestagram  satellite  newaesthetic 
june 2013 by migurski
Dronestagram: What the Drones See - ABC News
RT @ABC: Images from "Dronestagram" reveal what the #drones see
dronestagram  drone  drones  news  abc  response 
may 2013 by stml

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