Articoli di riviste sul tema "Wings (Musical group : Nigeria)"

Music is an essential feature of most broadcasting programmes, and research indicates that the appropriate use of music by broadcasting organisations could actuate significant national renaissance and promote development efforts. This study examines the contributions of radio musical broadcasting to national development efforts as perceived by two distinct cohorts comprising media practitioners and media audiences. Anchored on the Uses and Gratification Theory, the study utilises the survey research method and multisampling technique to recruit 500 study participants in two major cities in Delta State. The outcome of the study shows that there is a high level of exposure to radio musical broadcasting on national development-related issues among the two cohorts, and such broadcasting content is widely perceived to contribute to national development efforts in Nigeria by serving as a platform for nationalists to preach the principles of justice, equality, unity, national integration, freedom, democracy, and genuine social change in Nigeria. However, the study also found a significant discrepancy in the rating of the benefits arising from music broadcast between the two cohorts with the media practitioners group tending to overrate the influence of music broadcasting on national development. The study recommends that radio broadcasting stations should regularly conduct audience surveys to understand the actual influence of their content on the audience to ensure better programming.

Music is one of the oldest and most practiced arts in Nigerian traditional societies. The revered place of music in the lives of Nigerians is indisputable, as a consequence of its towering roles in nearly all communal events and activities. In Nigeria, music is utilized in diverse facets especially in religious, economic, martial, and political life of the people. In other words, it is unusual to preclude music from any societal event. Though these attributes pervade all Nigerian traditional societies, it is even more fascinating that every ethnic group or culture has their peculiar music with which they are recognized. Thus, there is bound to be dissimilarities in the manner in which various societies regard music as a concept, phenomenon, or how it functions in traditional life. The thrust of this paper therefore, is to examine music as a phenomenon, its roles in society, and how it is conceived by the people of Plateau. Data were gathered using ethnographic method, while interviews formed a significant part of the research tools. Some existing videos and those collected from the field were analysed by the authors. Findings from data gleaned reveal that there is a plethora of music types among the Plateau people. It is also gathered that music forms a fundamental aspect of life on the Plateau, and is widely used in virtually all communal events. However, research efforts into the different traditional music types of the people of Plateau need to be intensified and sustained over time, in order to document findings that will further lead to addressing the protracted challenge of dearth of literature in the traditional music of the area under study.

This article examines the Ijieleghe and Igbabonelimin acrobatic dances for female and male ensembles. The data was obtained through ethnographic research techniques which include research in the library, interviews, focus group discussions, the use of interlocutors and participant observation. We found that both genres stem from the same source and are similar in dance patterns, repertory and musical instruments. While Ijieleghe performers wear light costumes, those of Igbabonelimin are heavy and sometimes accompanied by male and female masquerades. In Igbabonelimin, however, women are not admitted into any of its departments; while in Ijieleghe, male participants are confined to drumming and singing. Only the female participants perform the dance. This paper asks: Why is it that women cannot be admitted into the membership of the sonic space of men in the Igbabonelimin? What will happen if these ensembles admit members of the opposite sexes into gender restricted areas? These questions are what this paper intends to answer. However, while we are aware that there are gender-based restrictions that are not conducive to integration in this day and age, it is our view that in the light of present-day realities in Nigeria, gender restrictions should be challenged to lengthen and enhance the longevity of these ensembles.

Among Muslim women in predominantly Islamic societies, music-making remains a contested subject. At the core of these contestations are questions of boundaries, agency, taboos, resistance, and generalisations of the socio-musical experiences of Muslim women. This article explores the development of senwele music, a socio-religious music form of the Ilorin in northern Nigeria, from its origin as orin-kengbe (calabash music) to its transition into a translocal music form. Given influences of the Yoruba, Hausa-Fulani, and Islam, senwele music is examined as a compendium of history; one that is not only reflective of the Ilorin traditional music scene, but also the north-south dualism in Ilorin, tensions in music-making and Islam, and regio-political remapping in Nigeria. Based on fieldwork with a major exponent of senwele, Alhaja Iya Aladuke, and her music group in Ilorin, the article explores the practice, ambivalences, convivialities and sustainability of senwele music performance within its predominantly Islamic context. I argue that while established societal conventions, such as those in Ilorin, function as a standard for the acceptance of music, a woman musician such as Alhaja Iya Aladuke continues to thrive through a musician-community exchange that takes into cognisance the sensibilities of the people while retaining their patronage and her artistic autonomy. Beyond its sonic, textual, and entertainment prerogatives, the sustained practice of senwele music in Ilorin presents a continuum for interrogating and negotiating cross-cultural encounters, socio-religious binaries, gender boundaries, and the multiplicity in the socio-musical experiences of Muslim women.

The article examines the literary legacy of the multi-artist Mykhailo Zhuk (1883–1964) as a member of the “Muzahet” group (1919) and an author who, navigating the bifurcation points of his time, influenced the development of Ukrainian culture in the first half of the 20th century. The paper outlines the specifics of the modernist society’s activities in the historical context at that time. It highlights the characteristic features of the publication process of the multi-genre almanack “Muzahet”. The author pays particular attention to M. Zhuk’s contribution to maintaining the association’s activities. His Muzahet poetry, particularly in the poem “Wings” (“Kryla”), decodes metalogical components through picturesque and musical reminiscences. The dramatic poem “Autumn Night” (“Nich Osinniia”) synthesises poetic, musical, and dramatic narratives and consists of several tonally distinct “musical” parts, being an example of a quasi-symphonic structure. The author explores the intertextual interaction of the “Autumn Night” text with Goethe’s “Faust”, which serves as its hermeneutic key. The impressionistic story “Etude” (“Etiud”) is interpreted through the depiction of the act of creation, the “introduction of dreaminess”, harmony through abstract imagery, and the metaphor of blindness in the dual world of the artist. The story “Melancholy” conceptualises the intermedial problem of harmony related to voice, sound, listening, dialogue, silence, and pauses based on the family relationship crisis theme. The author points out that the auditory reception of the character aligns with his internally defocused state. The paper also analyses M. Zhuk’s review of V. Yaroshenko’s book “Lighthadows” (“Svitotin”) (1918), highlights the critic’s primary criteria, including the preservation of one’s own identity (by avoiding the influence of the “other”), the title, and the genre-compositional organisation of the book. The portraits of P. Tychyna, D. Zahul, and Yu. Mezhenko in “Muzahet” are noted to not only reproduce the faces of artists but also capture the characteristics of their character, their distinctiveness, and idio-stylistic dominants in their work. In conclusion, the author argues that Mykhailo Zhuk’s creative method draws on cross-mediality and the synergy of arts, emerging not as a technique but as an inherent trait. The harmonious unity of various artistic components in the text often provokes synesthesia – the ability of the recipient to visualise, hear, and feel the texts simultaneously.

Night entertainment as a form of leisure and relaxation is not a strange phenomenon globally, it is also gaining prominence in Nigeria particularly in urban centre. Scholars have discussed the prospects of this brand of entertainment in terms of its economic and social rewards, but most of these efforts are foreign based. This study studied the situation in Abuja in Nigeria. The study was quantitative in approach and has questionnaire as its main tool of data collection. A total 100 respondents were involved in the study. The data collected were analyzed, interpreted and presented in simple percentage. Night entertainment was preferred because the period is unique, devoid of hustle and bustle commonly found in the day time (17%) and has power to enhance total wellbeing, opportunity to make business contacts (19%). Live Musical band (42%), wining and dining (34%), indoor game (14%) and comedy corner (10%) were the preferred activities. Challenges encountered in night entertainment include harassment by the law enforcement agents (36%), stigmatization on the part of the general populace (22%) and occasional disturbance due to unruly behaviour of some patrons (30%). Coping measures adopted to mitigate these challenges include moving in group with other patrons to prevent or minimise embarrassment (43%), possession of official identity card to prevent harassment from security agents (36%) and enlightenment of service of security agents to curtail unruly behaviour from patrons (21%).

Ticks transmit a greater variety of pathogenic micro-organisms than any other arthropod vector group, and are among the most important vectors of diseases affecting animals. A survey on the prevalence of tick species infesting domestic birds sold in Gwagwalada main market, Abuja between April and July, 2015. A total of 450 birds were examined by feather separation with fingers and a pair of forceps to expose the skin of the birds for presence of the ticks. An overall prevalence of 25.6% was observed. Out of the 150 domestic fowls examined 62(53.9%) were infested, 44(29.3%) of the 150 Guinea fowl and 9(6.0%) of the 150 Pigeons were infested. Of all the ticks identified, 93(51.4%) were from the Domestic Fowls and 77(42.5%) from the Guinea fowl and 11(6.0%) from Pigeon. Thirty (32.3%) of the ticks from the Domestic fowls were Argas persicus, 25(26.9%) Argas walkerae, 20 (21.5%) Ornithodorus moubata and 18(19.4%) Ornithodorus savignyi. Similarly, 34(44.2%) of the ticks from Guinea fowl were A. walkerae, 20(28.2%) O. moubataand 23(32.4%) O. savignyi. Five (45.5%) of the ticks from Pigeon were A. persicus, 4 (36.4%) were A. walkerae, 2 (18.2%) were O. moubata and no O. savignyi. Observation on the location of tick from the hosts body showed highest prevalence was found under the wings (55.2%) and lowest on the head & neck (5.00%). The result of this research revealed that Gwagwalada market poultry section is endemic of tick infestation. Chemical control with acaricides and improved management and sanitation of the poultry cages in the market should be enforced.

Background and context: Breast cancer is the number one diagnosed cancer in Nigeria. 75% of these breast cancer diagnosis are at stage 3 and 4. This is due in part to lack of awareness of the signs and symptoms, inadequate screening and diagnostic facilities, insufficient policies and guidelines, and fear. Metastatic breast cancer patients do not have the time nor the strength to deal with the stress, delay, and confusion of trying to find adequate care. Run For a Cure Africa (RFCA) wishes to establish a program that helps navigate metastatic breast cancer patients in Lagos state, and surrounding states in Nigeria toward breast cancer care and resources. Aim: The MetaPink program empowers and educates patients with advanced stage breast cancer by providing them with timely and relevant information and resources on their disease and how they, the patient, can improve their quality of life and overall prognosis. Additionally, RFCA creates greater awareness of metastatic breast cancer in the community and the necessity for regular screenings. Strategy/Tactics: This project is being implemented by RFCA. RFCA is working work with the health care professionals (HCP) in the oncology and community health department at the Lagos University Teaching Hospital (LUTH) in addition to their organization mentors, The Rose Foundation in Houston, Texas. RFCA is also working with community associations, drama troupes, and groups to create sensitization in hard to access areas. Patients and participants of the MetaPink program have a support team, through the monthly support group, with whom they fellowship, ask advice, gain insight, and just off load any looming concerns. Program/Policy process: RFCA enrolls metastatic patients through our supported clinics, call ins, and our screening outreaches. Each patient enrolled in the program gets a starter pack. RFCA hosts monthly support groups and Q&A sessions anchored by medical professionals, RFCA also hosts community outreach events via the radio, market drama skits, and musical awareness presentations. Periodically we follow-up and communicate with MetaPink program participants via MetaPink WhatsApp, telephone, in-person meetings/visits, and support group meetings. Outcomes: The objective of the MetaPink program is to simplify the breast cancer journey for metastatic breast cancer patients in Nigeria and give them the emotional support and confidence to understand and navigate through their personal breast cancer journey. RFCA also creates larger community awareness of advanced stage breast cancer in a method that is culturally appealing and resonates with the environment. What was learned: As the program progresses, RFCA will learn how to effectively navigate patients in this resource-poor environment. This will contribute to their quality of life and improved breast cancer management in Nigeria. [Figure: see text]

Subject area This case is most suited for the course on Strategic Management. Study level/applicability The case can be used for post graduate management students and executive education participants. It should be used in the section dealing with capabilities of an organization. Case overview Sonalika Group, situated in Punjab, India, started its operations in 1969 by manufacturing agricultural implements and equipment’s. By 1990, the firm graduated into manufacturing tractors. It gradually expanded its wings in countries like Nigeria, Argentina and Brazil and became the third largest tractor manufacturer of India in FY 2012. The year 2005 was a landmark year when it entered the passenger vehicle segment through its subsidiary International Cars and Motors Limited that launched a multi-utility vehicle (MUV) named Rhino. The vehicle was expected to fill up the vacant spot created by the withdrawal of “Qualis”, which was a highly popular MUV manufactured by Toyota. However, the enthusiasm of launching Rhino waned with time because its sales did not pick up as expected. After selling around 5,000 units of Rhino, the company stopped its production as the product had started showing up teething problems. The marketers and designers burnt midnight oil to bring out an improved version of Rhino. This version was christened “Extreme” and launched in 2012. Despite all marketing, sales and service efforts, “Extreme” also failed to take off. The group is wondering when it was so successful in tractors why it has not been successful in passenger vehicle category. It has to work out a strategy to be successful in passenger vehicle segment as well. Expected learning outcomes Expected learning outcomes are as follows: to analyse the external and internal environment for a business and understand its impact on business decision-making; to understand the relationship between operational capabilities and dynamic capabilities; to identify opportunities and match it with internal capabilities; to analyse the reasons for product failure and identify remedial measures; to understand the process of technology diffusion and thereby strategic planning. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject Code: CSS 11: Strategy

This work was aimed at comparing cranial capacity and multiple intelligence in Anambra adolescents. Three hundred and eighty three subjects were enlisted in the study, comprising 228 females (59.5%), and 155 males (40.5%), with an age range of 10-19 years. Each subject filled the Russell Rowe Model (2015) of Multiple Intelligence Test for adolescents which examined them on eight different forms of Multiple Intelligence: Verbal/Linguistic, Logical/Mathematical, Bodily/Kinesthetic, Musical/Rhythmic, Visual/Spatial, Interpersonal, Intrapersonal and Naturalist intelligences. Their craniofacial parameters of head length, head with and cranial olume were measured clinically. The Cranial capacity were calculated and documented. Analysis was by SPSS version 20.0. Statistical significance was considered at p≤0.05. Verbal and intrapersonal intelligence had the highest percentage of study subjects possessing them (82.69%) and this was seen among the older adolescent age group (17-19 years), while the intelligence with the least number of individuals exhibiting them was the music/rhythmic intelligence (53.85%) also seen among the older adolescent age group of the study subjects. Cranial capacity was found to correlate positively with verbal/linguistic, logical/mathematical, interpersonal and intrapersonal intelligence, but not with musical/rhythmic, visual spatial, bodily kinesthetic and naturalistic intelligence. The prediction analysis showed an equal probability of possessing or not possessing any of the multiple intelligences (odd ratio = 1), even as the cranial capacity increased. This means that an adolescent’s multiple intelligence may not be extrapolated by merely measuring his/her cranial capacity.

A study was carried out to evaluate growth performance and carcass characteristics of broiler birds fed with varying level of choline inclusion in their diets; T1 (control), T2 (10g/10kg) and T3 (20g/10kg). A total of 225 marshall broiler chicks were randomly divided into three (3) treatment group of 75 birds each. Each group was divided into five (5) replicates of fifteen (15) birds each laid in a completely randomized design. Feed and water was supplied ad-libitum and the experiment lasted for 49 days. The total feed intake (1316.75-14442.18) (24437.13-31999.76) for starter and finisher respectively, body weight gain (6227.30-8241.20) (10956.64-14182.96) for starter and finisher respectively, feed conversion ratio (1.73-2.26) (2.21-2.48) for starter and finisher respectively. Many (thigh, wings, back) of the carcass parameters measured were not significantly (p>0.05) affected by the treatments but significant difference (p<0.05) was observed in drum stick, breast and neck. However, significant difference (p<0.05) was also observed in gizzard, liver and bile, heart, lungs, legs and head. There was significant difference (p<0.05) in primal cuts per live weight, primal cuts per dressed weight, organs per live weight and organs per dressed weight. In view of the results obtained, it can be concluded that treatment two (10g/10kg) performed better in terms of total body weight (TBW) and feed conversion ratio (FCR). Also in the carcass characteristics, treatment two performed better in terms of breast yield, drumstick, percentage of primal cuts from live weight (P/LW) and percentage of primal cuts from dressed weight.

AbstractMembers of the Anopheles gambiae complex and Anophelesfunestus group are significant vectors of the malaria parasite Plasmodium species in the Afro-tropical region of the world. Molecular identification and variation in the wing were studied among female An.Gambiae complex and An. funestus group, to investigate morphological variations in the wing of local vectors populations of adult female mosquitoes found in five different locations in Akure North Local Government Area of Ondo State (Oba—Ile, Igoba, Isinigbo, Ita—Ogbolu and Iju). The variations in the wing character were found in the 3rd main dark spot area (Pre-apical dark spot—character 8) on the coastal region (Vein region I) of Anopheles gambiae complex wing; with two types (A and B) of wings identified with An. gambiae complex in the study area. Molecular study shows that all the wing type A are Anopheles gambiae s.s., they represent 53.39% of the total An. gambiae complex in the study area. Some of the Anopheles gambiae s.s. (28.30%) and all An. arabiensis (18.30%) were found with wing type B. Among 750 individual Anopheles mosquito species identified using Polymerase Chain Reaction (PCR method), 433 samples representing 57.73% were An. gambiae s.s. while 97 (12.93%) samples were An. arabiensis. Anopheles leesoni was the only member of the An. funestus group identified in the study area. Anopheles leesoni mosquitoes identified in the study location were 182, representing 24.27% of the total Anopheles mosquito species identified using the molecular method. Anopheles gambiae s.s., An. arabiensis, and An. leesoni are only Anopheles mosquito species responsible for malaria transmission in the study area. Anopheles leesoni was the only member of the An. funestus group identified in the study area.

The dúndùn ensemble drummers are the custodians of Yoruba oral repertoire in South West Nigeria. Their skills are transmitted to the younger generation in simple and articulate style. It is important however, to distinguish between the dúndùn ensemble groups at the king’s palace, city square, town hall and the dùndún ensemble groups who perform on the streets and who normally impose themselves on guests at organised social events in Yoruba land. The court musicians and their counterparts usually,at the city square or town hall are gainfully employed by the king. This group of drummers are practitioners who perform mainly for royalties at the palace. The dùndún street drummers, however, are prolific drummers who perform generally within the circles of the poor, roaming from street to street. They are generally perceived as beggars by those who do not understand the importance of the group in the society in which they reside. Their performance is sometimes extended to the social events in the midst of the rich without any invitation. The members of these groups are skilled instrumentalists according to the standard of measurement of artistic excellence in Yoruba land. Nevertheless, they lack the financial stability and social patronage to form a real dance band that promotes classical recordings of their works for a wider public consumption. Sociological and analytical methods of data collection used in the study reveal the societal intolerance of these groups of drummers and the drummers’ wise resistance of this attitude to their performances. The findings reveal that the ensemble drummers though do not get enough patronage, are very versatile performers and are promoters of their traditional musical culture. In conclusion, the status of the drummers does not influence the quality of their performances; rather, they are very happy people, thoroughly groomed as drummer ensemble whose impact deserves a better recognition and patronage.

According to media conglomerate CNN, John Lennon and Yoko Ono’s peace crusade began in 1971. CNN’s on-line news group Showbiz on June 22, 1997 frames John and Yoko’s campaign for peace: “Former Beatle John Lennon was honoured posthumously Friday for his contributions to world peace at a star-studded ceremony in London for the 22nd Silver Clef awards. Lennon’s song “Imagine” has been a leading anthem for the peace movement”. This is a rather limited selection that overlooks a number of earlier (and more radical) possibilities in the Lennon-Ono musical arsenal. A 1969 article in Newsweek entitled “The Peace Anthem” records the phenomenal success of “Give Peace a Chance” in mobilizing the protesting masses against the war in Vietnam. Newsweek relates how “Chance” became the chant for anti-war protestors in Washington on November 15, 1969. On that day, 250,000 marchers demonstrated at the American nation’s capitol for a Moratorium to stop the fighting in Vietnam. Led by folk singer Pete Seeger, the crowd was swept up in the endless repetition of the Lennon dictum, “All we are saying is give peace a chance.” When Lennon tuned into the signals from Washington, he dubbed it one of the “biggest moments of my life” (Wiener 97). Dodging the immigration authorities that would not let John and Yoko physically into the United States, John and Yoko’s anti-war signals had been transmitted over the border from the “Bed-in” in Montreal where the song originated, to rally the masses marching on the mall in Washington. The story concluded: “The peace movement had found an anthem” (Newsweek 102). “Give Peace a Chance”—and the Vietnam War against which it raised its voice—have been deleted from CNN’s selective memory. Its brand of political dissent and anti-war activism does not fit the rubric of a 90’s Showbiz column. Yet, this is how the avant-garde performance artist and the hippie rock and roller conceived their peacemaking efforts—as the invasion and intervention of “showbiz” and media hype into the space of mass politics. In their fight for peace, the newly wed John and Yoko staged a series of art and media events in the form of interviews, songs, ads, concerts, demonstrations and happenings. Many of these media-savvy events took place in Canada in 1969. For example, John and Yoko’s The Plastic Ono Band played Varsity Stadium in Toronto in September at the concert known as “Live Peace” which included performances of “Give Peace a Chance” and Yoko’s intense lament “John, John (Let’s Hope for Peace).” With these events, Yoko’s avant-garde strategies of Fluxus and Conceptual art combined forces with John’s energies of rock and roll rebellion to forge a program of media activism and political dissent. Biographer Jon Wiener recalls that John and Yoko’s anti-war campaign represented a new chapter in New Left politics and its relation to mass media. Rather than reject newspapers and TV as “exclusively instruments of corporate domination,” John and Yoko sought “to work within the mass media, to use them, briefly and sporadically, against the system in which they functioned” (89). Umberto Eco pointed to this in his 1967 essay “Towards a Semiological Guerrilla Warfare,” suggesting that “the universe of Technological Communication” (i.e., mass media) be patrolled by “groups of communications guerrillas” who would engage in “future communications guerrilla warfare” to restore a critical dimension involving “the constant correction of perspectives, the checking of codes, and the ever renewed interpretation of mass messages” (143-144). Eco’s formulation provides a possible frame of reference for John and Yoko’s media war and their series of events countering, checking and, to quote Yoko, “criticizing the establishment” and its pro-war propaganda (Giulano 71). The 1969 “Bed-Ins” were media events that used the publicity around John and Yoko’s honeymoon as a lure for the press to report on their anti-war campaign. The first took place in Amsterdam in late March and John and Yoko staged a second honeymoon in Montreal in late May. As non-stop salespeople for their peace product, John and Yoko gave ten hours of press interviews every day invoking the media maxim that repetition induces belief. Blurring art and life, the “Bed-Ins” illustrate the strategies of happenings and Fluxus performance at the heart of Yoko’s aesthetic. At the Amsterdam press conference, Yoko framed their work as an avant-garde performance piece electrified by mass communications media. “Everything we do is a happening. All of our events are directly connected with society. We would like to communicate with the world. This event is called the ““Bed Peace”, and it’s not p-i-e-c-e, it’s p-e-a-c-e. Let’s just stay in bed and grow hair instead of being violent” (Giulano 46). The word plays of “Bed Peace” and “Hair Peace” pasted above their nuptial bed appealed to both Yoko and John’s punster sensibilities, their express aim being to play the world’s clowns for peace and mobilize the subversive power of laughter. The “Bed-Ins” must be situated against the background of the sit-ins on American college campuses at that time of anti-Vietnam war protests. Indeed, John referred to the event as “the bed sit-in” showing that this connection was in his mind. The direct links to the student revolt were further underscored in the telephone exchange between John and Yoko in Montreal and the rioters in People’s Park in Berkeley when Lennon played peace guru, encouraging the demonstrators to avoid violence at all costs (Wiener 92-93). Around the same time, John and Yoko also began their playfully named “Nuts for Peace” campaign by sending acorns to fifty heads of state and asking them to plant them as a symbolic gesture for peace. Another John and Yoko media blitz took over billboards as the sites to wage communications guerrilla warfare. When asked at a press conference to explain the “War is Over Poster Campaign”, the peace PR man stated: “It’s part of our advertising campaign for peace” (Giulano 83). This particular aspect of the media war recalls the international dissemination of the poster “War is Over! If You Want It. Happy Christmas from John and Yoko” in twelve urban centres. Since the mid-sixties, Beatle John had been delivering promotional peace and good will messages on vinyl to his fans at Christmas. In 1969, he and his new partner in art prepared a visual Christmas card using public space to blur the boundaries between art, activism, and advertising. The glaring headline stated the fantasy as if already fulfilled (War is Over!). This was followed by the empowering call to mass action reminding the viewer of what was needed to attain the goal (If You Want It). To kick off the campaign, the international peace politicos gave a “Christmas for Peace” charity concert in London for the United Nations Children’s Fund. When asked about the costs of the poster, Lennon sidestepped the issue, saying he didn’t want to think about it, but joking, “I’ll have to write a song or two to earn me money back” (Giulano 83). The critics attacked this statement as evasive and not willing to own up to how the promoters were direct beneficiaries of the marketing of peace. Rather than focusing on how this campaign would afford free publicity to John and Yoko and promote further demand for their products, Lennon focused on extensive outlays of capital. This recalls another rather hostile exchange at a November 1969 press conference having the look of an all-out media war on the occasion of Lennon returning his M.B.E. Medal of Honour to the Queen. Lennon’s letter read in part: “Your Majesty, I am returning this M.B.E. in protest against Britain’s involvement in the Nigeria-Biafra thing, against our support of America in Vietnam, and against ‘Cold Turkey’ slipping down the charts” (Wiener 106). Numerous critics sought to deflate Lennon’s claim that this was an act of political protest in the fight for peace, characterising it as a mere self-serving publicity stunt for his latest single. John: “Well, we use advertising.” Reporter: “You’re an advertisement.” John: “Will you shut up a minute!” (Giulano 109) In the heat of exchange, Lennon breaks his cool at the reporter who underscores that there is no way to differentiate between the use of advertising to promote peace and to promote John and Yoko. This concurs with Graeme Turner’s argument in Fame Games that “the celebrity’s ultimate power is to sell the commodity that is themselves” (Turner 12). At the point that would convert this speaking subject into a walking advertisement, the hippie peacenik snaps and reveals a violent temper not befitting someone who would follow Gandhi’s way of non-violence. Engaging with the mass media, John and Yoko’s media war packaged and promoted their peace product as art and advertising, as information and entertainment, as a discourse of political dissent and of self-promotion. With a slogan like “War is Over! If You Want It,” these two media warriors supplied youth culture at the end of the 60’s with the peace product and process that was lacking. Their consuming images and anthems anticipated the “collusional critique” of eighties art and its appropriation of media images that function as “both critical manifesto and the very commodity it critiques” (Sussman 15). In this case, John and Yoko’s media war provided a critique of the official war program while capitalizing upon the very commodity against which war had been declared. For if John seriously wanted to “make peace big business for everybody” (Newsweek 102), this could be achieved only in a parasitic relationship with a war economy making John and Yoko both peace prophets and profiteers. But even if one acknowledges the profit motive in the peace campaign—and this assumes that John was not misappropriated as a “peace capitalist” by the establishment press—there was something else fluxing up the media machine and the war program. John and Yoko understood how their star power and international celebrity gave them a privileged and almost unlimited access to a mass media that wanted to soak up their Pop star aura to satisfy its own instrumentalist agenda. The press and the public wanted John and Yoko, and these two media stars fed this desire and then some. They complied with the pop star demand, but spiked it with the dangerous supplements of political dissent and subversive humour. They fed this desire with a feedback loop and interventionist strategy, with an anti-war army surplus provided at no extra charge. The year 1969 concluded with another savvy media event that lent John and Yoko’s media war more political credibility and gave the American establishment something they had not bargained for: a photo-op and peace dialogue with Prime Minister Pierre Trudeau of Canada. Once again, John and Yoko’s media war had added an extra twist and an extra shout that the war programmers would have preferred not to hear, the message “War is Over (If You Want It!)” and “War is Over” whether they wanted it or not. Imagine that. Works Cited “The Peace Anthem,” Newsweek, December 1, 1969. Eco, Umberto. Travels in Hyperreality, San Diego, CA: Harcourt Brace Jovanovich, 1987. Giulano, Geoffrey and Brenda. The Lost Lennon Interviews, Holbrook, MA: Adams Media Corporation, 1996. Sussman, Elizabeth. On the Passage of a Few People Through a Brief Moment of Time: The Situationist International 1957-1972, Boston: M.I.T. Press and Institute of Contemporary Art, 1989. Turner, Graeme, Frances Bonner and David Marshall. Fame Games: The Production of Celebrity in Australia, New York: Cambridge University Press, 2000). Wiener, Jon. Come Together: John Lennon in His Time (New York: Random House, 1984). Links http://www.cnn.com/SHOWBIZ/9706/21/lennon.award Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Kaplan, Louis. "“War is Over! If You Want It”" M/C: A Journal of Media and Culture 6.1 (2003). Dn Month Year < http://www.media-culture.org.au/0302/06-warisover.php>. APA Style Kaplan, L., (2003, Feb 26). “War is Over! If You Want It”. M/C: A Journal of Media and Culture, 6,(1). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0302/06-warisover.html

Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, physical location. The constant “presence” of data around us is something that we have become largely aware of. Already in 1994, Phil Agre stated in an article in WIRED Magazine: “We're so accustomed to data that hardly anyone questions it” (1). Agre indicated that this data is in fact a representation of the world, the discrete bits of information that form the reality we are immersed in. He also proposed that it should be “brought to life” by exploring its relationships with other data and the world itself. A decade later, these relationships had become the core of the new paradigm of the World Wide Web and our interaction with cyberspace. As Mitchell Whitelaw puts it: “The web is increasingly a set of interfaces to datasets ... . On the contemporary web the data pour has become the rule, rather than the exception. The so-called ‘web 2.0’ paradigm further abstracts web content into feeds, real-time flows of XML data” ("Art against Information"). These feeds and flows have been used by artists and researchers in the creation of different forms of dynamic visualisations, in which data is mapped according to a set of parameters in order to summarise it in a single image or structure. Lev Manovich distinguishes in these visualisations those made by artists, to which he refers as “data art”. Unlike other forms of mapping, according to Manovich data art has a precise goal: “The more interesting and at the end maybe more important challenge is how to represent the personal subjective experience of a person living in a data society” (15). Therefore, data artists extract from the bits of information available in cyberspace a dynamic representation of our contemporary environment, the ambience of our digital culture, our shared, intimate and at the same time anonymous, subjectivity. In this article I intend to present some of the ways in which artists have dealt with the murmur of data creatively, exploring the immense amounts of user generated content in forms that interrogate our relationship with the virtual environment and the global community. I will discuss several artistic projects that have shaped the data flow on the Internet in order to take the user back to a state of contemplation, as a listener, an observer, and finally encountering the virtual in a physical form. Listening The concept of ambience particularly evokes an auditory experience related to a given location: in filmmaking, it refers to the sounds of the surrounding space and is the opposite of silence; as a musical genre, ambient music contributes to create a certain atmosphere. In relation to flows of data, it can be said that the applications that analyze Internet traffic and information are “listening” to it, as if someone stands in a public place, overhearing other people's conversations. The act of listening also implies a reception, not an emission, which is a substantial distinction given the fact that data art projects work with given data instead of generating it. As Mitchell Whitelaw states: “Data here is first of all indexical of reality. Yet it is also found, or to put it another way, given. ... Data's creation — in the sense of making a measurement, framing and abstracting something from the flux of the real — is left out” (3). One of the most interesting artistic projects to initially address this sort of “listening” is Carnivore (2001) by the Radical Software Group. Inspired by DCS1000, an e-mail surveillance software developed by the FBI, Carnivore (which was actually the original name of the FBI's program) listens to Internet traffic and serves this data to interfaces (clients) designed by artists, which interpret the provided information in several ways. The data packets can be transformed into an animated graphic, as in amalgamatmosphere (2001) by Joshua Davis, or drive a fleet of radio controlled cars, as in Police State (2003) by Jonah Brucker-Cohen. Yet most of these clients treat data as a more or less abstract value (expressed in numbers) that serves to trigger the reactions in each client. Carnivore clients provide an initial sense of the concept of ambience as reflected in the data circulating the Internet, yet other projects will address this subject more eloquently. Fig. 1: Ben Rubin, Mark Hansen, Listening Post (2001-03). Multimedia installation. Photo: David Allison.Listening Post (2001-04) by Mark Hansen and Ben Rubin is an installation consisting of 231 small electronic screens distributed in a semicircular grid [fig.1: Listening Post]. The screens display texts culled from thousands of Internet chat rooms, which are read by a voice synthesiser and arranged synchronically across the grid. The installation thus becomes a sort of large panel, somewhere between a videowall and an altarpiece, which invites the viewer to engage in a meditative contemplation, seduced by the visual arrangement of the flickering texts scrolling on each screen, appearing and disappearing, whilst sedated by the soft, monotonous voice of the machine and an atmospheric musical soundtrack. The viewer is immersed in a particular ambience generated by the fragmented narratives of the anonymous conversations extracted from the Internet. The setting of the piece, isolated in a dark room, invites contemplation and silence, as the viewer concentrates on seeing and listening. The artists clearly state that their goal in creating this installation was to recreate a sense of ambience that is usually absent in electronic communications: “A participant in a chat room has limited sensory access to the collective 'buzz' of that room or of others nearby – the murmur of human contact that we hear naturally in a park, a plaza or a coffee shop is absent from the online experience. The goal of Listening Post is to collect this buzz and render it at a human scale” (Hansen 114-15). The "buzz", as Hansen and Rubin describe it, is in fact nonexistent in the sense that it does not take place in any physical environment, but is rather the imagined output of the circulation of a myriad blocks of data through the Net. This flow of data is translated into audible and visible signals, thus creating a "murmur" that the viewer can relate to her experience in interacting with other humans. The ambience of a room full of people engaged in conversation is artificially recreated and expanded beyond the boundaries of a real space. By extracting chats from the Internet, the murmur becomes global, reflecting the topics that are being shared by users around the world, in an improvised, ever-changing embodiment of the Zeitgeist, the spirit of the time, or even a certain stream of consciousness on a planetary scale. Fig. 2: Gregory Chatonsky, L'Attente - The Waiting (2007). Net artwork. Photo: Gregory Chatonsky.The idea of contemplation and receptiveness is also present in another artwork that elaborates on the concept of the Zeitgeist. L'Attente [The Waiting] (2007) by Gregory Chatonsky is a net art piece that feeds from the data on the Internet to create an open, never-ending fiction in real time [Fig.2: The Waiting]. In this case, the viewer experiences the artwork on her personal computer, as a sort of film in which words, images and sounds are displayed in a continuous sequence, driven by a slow paced soundtrack that confers a sense of unity to the fragmented nature of the work. The data is extracted in real time from several popular sites (photos from Flickr, posts from Twitter, sound effects from Odeo), the connection between image and text being generated by the network itself: the program extracts text from the posts that users write in Twitter, then selects some words to perform a search on the Flickr database and retrieve photos with matching keywords. The viewer is induced to make sense of this concatenation of visual and audible content and thus creates a story by mentally linking all the elements into what Chatonsky defines as "a fiction without narration" (Chatonsky, Flußgeist). The murmur here becomes a story, but without the guiding voice of a narrator. As with Listening Post, the viewer is placed in the role of a witness or a voyeur, subject to an endless flow of information which is not made of the usual contents distributed by mainstream media, but the personal and intimate statements of her peers, along with the images they have collected and the portraits that identify them in the social networks. In contrast to the overdetermination of History suggested by the term Zeitgeist, Chatonsky proposes a different concept, the spirit of the flow or Flußgeist, which derives not from a single idea expressed by multiple voices but from a "voice" that is generated by listening to all the different voices on the Net (Chatonsky, Zeitgeist). Again, the ambience is conceived as the combination of a myriad of fragments, which requires attentive contemplation. The artist describes this form of interacting with the contents of the piece by making a reference to the character of the angel Damiel in Wim Wenders’s film Wings of Desire (Der Himmel über Berlin, 1987): “to listen as an angel distant and proximate the inner voice of people, to place the hand on their insensible shoulder, to hold without being able to hold back” (Chatonsky, Flußgeist). The act of listening as described in Wenders's character illustrates several key aspects of the above mentioned artworks: there is, on the one hand, a receptiveness, carried out by the applications that extract data from the Internet, which cannot be “hold back” by the user, unable to control the flow that is evolving in front of her. On the other hand, the information she receives is always fragmentary, made up of disconnected parts which are, in the words of the artist Lisa Jevbratt, “rubbings ... indexical traces of reality” (1). Observing The observation of our environment takes us to consider the concept of landscape. Landscape, in its turn, acquires a double nature when we compare our relationship with the physical environment and the digital realm. In this sense, Mitchell Whitelaw stresses that while data moves at superhuman speed, the real world seems slow and persistent (Landscape). The overlapping of dynamic, fast-paced, virtual information on a physical reality that seems static in comparison is one of the distinctive traits of the following projects, in which the ambience is influenced by realtime data in a visual form that is particularly subtle, or even invisible to the naked eye. Fig. 3: Carlo Zanni, The Fifth Day (2009). Net artwork. Screenshot retrieved on 4/4/2009. Photo: Carlo Zanni. The Fifth Day (2009) by Carlo Zanni is a net art piece in which the artist has created a narration by displaying a sequence of ten pictures showing a taxi ride in the city of Alexandria [Fig.3: The Fifth Day]. Although still, the images are dynamic in the sense that they are transformed according to data retrieved from the Internet describing the political and cultural status of Egypt, along with data extracted from the user's own identity on the Net, such as her IP or city of residence. Every time a user accesses the website where the artwork is hosted, this data is collected and its values are applied to the photos by cloning or modifying particular elements in them. For instance, a photograph of a street will show as many passersby as the proportion of seats held by women in national parliament, while the reflection in the taxi driver's mirror in another photo will be replaced by a picture taken from Al-Jazeera's website. Zanni addresses the viewer's perception of the Middle East by inserting small bits of additional information and also elements from the viewer's location and culture into the images of the Egyptian city. The sequence is rendered as the trailer of a political thriller, enhanced by a dramatic soundtrack and concluded with the artwork's credits. As with the abovementioned projects, the viewer must adopt a passive role, contemplating the images before her and eventually observing the minute modifications inserted by the data retrieved in real time. Yet, in this case, the ambience is not made manifest by a constant buzz to which one must listen, but quite more subtly it is suggested by the fact that not even a still image is always the same. As if observing a landscape, the overall impression is that nothing has changed while there are minor transformations that denote a constant evolution. Zanni has explored this idea in previous works such as eBayLandscape (2004), in which he creates a landscape image by combining data extracted from several websites, or My Temporary Visiting Position from the Sunset Terrace Bar (2007), in which a view of the city of Ahlen (Germany) is combined with a real time webcam image of the sky in Naples (Italy). Although they may seem self-enclosed, these online, data-driven compositions also reflect the global ambience, the Zeitgeist, in different forms. As Carlo Giordano puts it: "Aesthetically, the work aims to a nearly seamless integration of mixed fragments. The contents of these parts, reflecting political and economical issues ... thematize actuality and centrality, amplifying the author's interest in what everybody is talking about, what happens hic et nunc, what is in the fore of the media and social discourse" (16-17). A landscape made of data, such as Zanni's eBayLandscape, is the most eloquent image of how an invisible layer of information is superimposed over our physical environment. Fig. 4: Clara Boj and Diego Díaz, Red Libre, Red Visible (2004-06). Intervention in the urban space. Photo: Lalalab.Artists Clara Boj and Diego Díaz, moreover, have developed a visualisation of the actual flows of data that permeate the spaces we inhabit. In Red Libre, Red Visible [Free Network, Visible Network] (2004-06), Boj and Díaz used Augmented Reality (AR) technology to display the flows of data in a local wireless network by creating AR marker tags that were placed on the street. A Carnivore client developed by the artists enabled anyone with a webcam pointing towards the marker tag and connected to the Wi-Fi network to see in real time the data packets flowing from their computer towards the tag [Fig.4: Red Libre]. The marker tags therefore served both as a tool for the visualisation of network activity as well as a visual sign of the existence of an open network in a particular urban area. Later on, they added the possibility of inserting custom made messages, 3D shapes and images that would appear when a particular AR marker tag was seen through the lens of the webcam. With this project, Boj and Díaz give the user the ability to observe and interact with a layer of her environment that was previously invisible and in some senses, out of reach. The artists developed this idea further in Observatorio [Observatory] (2008), a sightseeing telescope that reveals the existence of Wi-Fi networks in an urban area. In both projects, an important yet unnoticed aspect of our surroundings is brought into focus. As with Carlo Zanni's projects, we are invited to observe what usually escapes our perception. The ambience in our urban environment has also been explored by Julian Oliver, Clara Boj, Diego Díaz and Damian Stewart in The Artvertiser (2009-10), a hand-held augmented reality (AR) device that allows to substitute advertising billboards with custom made images. As Naomi Klein states in her book No Logo, the public spaces in most cities have been dominated by corporate advertising, allowing little or no space for freedom of expression (Klein 399). Oliver's project faces this situation by enabling a form of virtual culture jamming which converts any billboard-crowded plaza into an unparalleled exhibition space. Using AR technology, the artists have developed a system that enables anyone with a camera phone, smartphone or the customised "artvertiser binoculars" to record and substitute any billboard advertisement with a modified image. The user can therefore interact with her environment, first by observing and being aware of the presence of these commercial spaces and later on by inserting her own creations or those of other artists. By establishing a connection to the Internet, the modified billboard can be posted on sites like Flickr or YouTube, generating a constant feedback between the real location and the Net. Gregory Chatonsky's concept of the Flußgeist, which I mentioned earlier, is also present in these works, visually displaying the data on top of a real environment. Again, the user is placed in a passive situation, as a receptor of the information that is displayed in front of her, but in this case the connection with reality is made more evident. Furthermore, the perception of the environment minimises the awareness of the fragmentary nature of the information generated by the flow of data. Embodying In her introduction to the data visualisation section of her book Digital Art, Christiane Paul stresses the fact that data is “intrinsically virtual” and therefore lacking a particular form of manifestation: “Information itself to a large extent seems to have lost its 'body', becoming an abstract 'quality' that can make a fluid transition between different states of materiality” (Paul 174). Although data has no “body”, we can consider, as Paul suggests, any object containing a particular set of information to be a dataspace in its own. In this sense, a tendency in working with the Internet dataflow is to create a connection between the data and a physical object, either as the end result of a process in which the data has been collected and then transferred to a physical form, or providing a means of physically reshaping the object through the variable input of data. The objectification of data thus establishes a link between the virtual and the real, but in the context of an artwork it also implies a particular meaning, as the following examples will show.Fig. 5: Gregory Chatonsky, Le Registre - The Register (2007). Book shelf and books. Photo: Pau Waelder. In Le Registre [The Register] (2007), Gregory Chatonsky developed a software application that gathers sentences related to feelings found on blogs. These sentences are recorded and put together in the form a 500-page book every hour. Every day, the books are gathered in sets of 24 and incorporated to an infinite library. Chatonsky has created a series of bookshelves to collect the books for one day, therefore turning an abstract process into an object and providing a physical embodiment of the murmur of data that I have described earlier [Fig.5: Le Registre]. As with L'Attente, in this work Chatonsky elaborates on the concept of Flußgeist, by “listening” to a specific set of data (in a similar way as in Hansen and Rubin's Listening Post) and bringing it into salience. The end product of this process is not just a meaningless object but actually what makes this work profoundly ironic: printing the books is a futile effort, but also constitutes a borgesque attempt at creating an endless library of something as ephemeral as feelings. In a similar way, but with different intentions, Jens Wunderling brings the online world to the physical world in Default to Public (2009). A series of objects are located in several public spaces in order to display information extracted from users of the Twitter network. Wunderling's installation projects the tweets on a window or prints them in adhesive labels, while informing the users that their messages have been taken for this purpose. The materialisation of information meant for a virtual environment implies a new approach to the concept of ambiance as described previously, and in this case also questions the intimacy of those participating in social networks. As the artist puts it: "In times of rapid change concerning communication behavior, media access and competence, the project Default to Public aims to raise awareness of the possible effects on our lives and our privacy" (Wunderling 155). Fig. 6: Moisés Mañas, Stock (2009). Networked installation. Photo: Moisés Mañas. Finally, in Stock (2009), Moisés Mañas embodies the flow of data from stock markets in an installation consisting of several trench coats hanging from automated coat hangers which oscillate when the stock values of a certain company rise. The resulting movement of the respective trench coat simulates a person laughing. In this work, Mañas translates the abstract flow of data into a clearly understandable gesture, providing at the same time a comment on the dynamics of stock markets [Fig.6: Stock]. Mañas´s project does not therefore simply create a physical output of a specific information (such as the stock value of a company at any given moment), but instead creates a dynamic sculpture which suggests a different perception of an otherwise abstract data. On the one hand, the trenchcoats have a ghostly presence and, as they move with unnatural spams, they remind us of the Freudian concept of the Uncanny (Das Umheimliche) so frequently associated with robots and artificial intelligence. On the other hand, the image of a person laughing, in the context of stock markets and the current economical crisis, becomes an ironic symbol of the morality of some stockbrokers. In these projects, the ambience is brought into attention by generating a physical output of a particular set of data that is extracted from certain channels and piped into a system that creates an embodiment of this immaterial flow. Yet, as the example of Mañas's project clearly shows, objects have particular meanings that are incorporated into the artwork's concept and remind us that the visualisation of information in data art is always discretionary, shaped in a particular form in order to convey the artist's intentions. Beyond the Buzz The artworks presented in this article revealt that, beyond the murmur of sentences culled from chats and blogs, the flow of data on the Internet can be used to express our difficult relationship with the vast amount of information that surrounds us. As Mitchell Whitelaw puts it: “Data art reflects a contemporary worldview informed by data excess; ungraspable quantity, wide distribution, mobility, heterogeneity, flux. Orienting ourselves in this domain is a constant challenge; the network exceeds any overview or synopsis” (Information). This excess is compared by Lev Manovich with the Romantic concept of the Sublime, that which goes beyond the limits of human measure and perception, and suggests an interpretation of data art as the Anti-Sublime (Manovich 11). Yet, in the projects that I have presented, rather than making sense of the constant flow of data there is a sort of dialogue, a framing of the information under a particular interpretation. Data is channeled through the artworks's interfaces but remains as a raw material, unprocessed to some extent, retrieved from its original context. These works explore the possibility of presenting us with constantly renewed content that will develop and, if the artwork is preserved, reflect the thoughts and visions of the next generations. A work constantly evolving in the present continuous, yet also depending on the uncertain future of social network companies and the ever-changing nature of the Internet. The flow of data will nevertheless remain unstoppable, our ambience defined by the countless interactions that take place every day between our divided self and the growing number of machines that share information with us. References Agre, Phil. “Living Data.” Wired 2.11 (Nov. 1994). 30 April 2010 ‹http://www.wired.com/wired/archive/2.11/agre.if.html›. Chatonsky, Gregory. “Flußgeist, une fiction sans narration.” Gregory Chatonsky, Notes et Fragments 13 Feb. 2007. 28 Feb. 2010 ‹http://incident.net/users/gregory/wordpress/13-flusgeist-une-fiction-sans-narration/›. ———. “Le Zeitgeist et l'esprit de 'nôtre' temps.” Gregory Chatonsky, Notes et Fragments 21 Jan. 2007. 28 Feb. 2010 ‹http://incident.net/users/gregory/wordpress/21-le-zeigeist-et-lesprit-de-notre-temps/›. Giordano, Carlo. Carlo Zanni. Vitalogy. A Study of a Contemporary Presence. London: Institute of Contemporary Arts, 2005. Hansen, Mark, and Ben Rubin. “Listening Post.” Cyberarts 2004. International Compendium – Prix Ars Electronica 2004. Ed. Hannes Leopoldseder and Christine Schöpf. Ostfildern: Hate Cantz, 2004. 112-17. ———. “Babble Online: Applying Statistics and Design to Sonify the Internet.” Proceedings of the 2001 International Conference on Auditory Display, Espoo, Finland. 30 April 2010 ‹http://www.acoustics.hut.fi/icad2001/proceedings/papers/hansen.pdf›. Jevbratt, Lisa. “Projects.” A::minima 15 (2003). 30 April 2010 ‹http://aminima.net/wp/?p=93&language=en›. Klein, Naomi. No Logo. [El poder de las marcas]. Barcelona: Paidós, 2007. Manovich, Lev. “Data Visualization as New Abstraction and Anti-Sublime.” Manovich.net Aug. 2002. 30 April 2010 ‹http://www.manovich.net/DOCS/data_art_2.doc›. Paul, Christiane. Digital Art. London: Thames & Hudson, 2003. Whitelaw, Mitchell. “Landscape, Slow Data and Self-Revelation.” Kerb 17 (May 2009). 30 April 2010 ‹http://teemingvoid.blogspot.com/2009/05/landscape-slow-data-and-self-revelation.html›. ———. “Art against Information: Case Studies in Data Practice.” Fibreculture 11 (Jan. 2008). 30 April 2010 ‹http://journal.fibreculture.org/issue11/issue11_whitelaw.html›. Wunderling, Jens. "Default to Public." Cyberarts 2009. International Compendium – Prix Ars Electronica 2004. Ed. Hannes Leopoldseder, Christine Schöpf and Gerfried Stocker. Ostfildern: Hate Cantz, 2009. 154-55.