The Post Digital Week – 5 Feb

The latest reading on post digital culture, with a particular focus on consumer goods and artistic futures.

Lots of linkage this week. Let’s plunge straight in:

So, about that ubiquitous connectivity thing:

Over half of all devices at this year’s CES were Internet connected and nearly 60% were non-traditional computing devices such as TVs, cars, refrigerators and washing machines. Connected devices are proliferating throughout our homes which means consumers are about to become a whole lot more connected to the world.

The SAY Media blog dives into the world of connected consumer culture. And how might that affect one of the most prominent symbols of consumer culture, the car? A report from an interesting-sounding Dutch event gives us some insight:

Brad had an interesting second part on robocars. He works for the project of the Google Selfdriving Car project (but was not about to say anything on Google) and shared his vision on a shift to a total new world of transportation where we don’t drive ourselves and we are disconnected from the car as mean of possession. Depending on your transportation need we will take an available (electric) ‘car’ that drives us to the right place. The cars distributes themselves for the right coverage of availability, and so we have an unlimited transportation reach and does the car completely shift from product to service.

(We’ll have more to say on the subject of the post-digital car next week…)

Meanwhile, there’s an emerging field called digital humanities, that has what sounds like a post digital aesthetic to me:

The idea of “building” things has become an integral (and sometimes controversial) part of the definition of the digital humanities

On a similar artistic note, here’s a nice explanation of post digital music:

The “post-digital” aesthetic was developed in part as a result of the immersive experience of working in environments suffused with digital technology: computer fans whirring, laser printers churning out documents, the sonification of user-interfaces, and the muffled noise of hard drives. But more specifically, it is from the “failure” of digital technology that this new work has emerged: glitches, bugs, application errors, system crashes, clipping, aliasing, distortion, quantization noise, and even the noise floor of computer sound cards are the raw materials composers seek to incorporate into their music.

And here’s a thought-provoking look at what a post digital artistic future might look like:

In our future work it will be necessary to have audience investment from the very beginning, rather than passively purchasing the end result. As the producers of content and culture, the arts and entertainment industries are already experts of storytelling and probably the most ideally positioned to articulate the challenges of a converging digital world.  For serendipity to flourish in this work our content focus will shift from being informed by sole artists to being co-created by liquid networks of knowmads and audiences. We will begin to do much more work, in smaller pieces and on smaller scales, hyper-personalised in space and time.

And, finally, I’m not quite sure what this post-digital artists means