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      29 Aug 2008

      Architecture is not building

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      txt: OUT THERE - Venice Biennale Architecture 11th International Architecture Exhibition The 11th International Architecture Exhibition entitled Out There: Architecture Beyond Building, directed by Aaron Betsky and organised by La Biennale di Venezia presided over by Paolo Baratta, will take place in Venice from Sunday, September 14th to Sunday, November 23rd 2008. The preview will be on September 11th, 12th and 13th.
      Betsky goes on to point out “what should be an obvious fact: architecture is not building. Buildings are objects and the act of building leads to such objects, but architecture is something else. It is the way we think and talk about buildings, how we represent them, how we build them. This is architecture. More generally, architecture is a way of representing, shaping and perhaps even offering critical alternatives to the human-made environment. In fact, buildings are not enough. They are the tombs of architecture, the residue of the desire to make another world, a better world, and a world open to possibilities beyond the everyday. In a concrete sense, architecture is that which allows us to be at home in the world”. “The challenge of the 11th – underlines Betsky - is to collect and encourage experimentation in architecture. Such experimentation can take the form of momentary constructions, visions of other worlds, or the building blocks of a better world. This Biennale does not want to present buildings that are already in existence and can be enjoyed in real life. It does not want to propose abstract solutions to social problems, but wants to see if architecture, by experimenting in and on the real world, can offer some concrete forms or seductive images”.
      Media_httpoddtagfiles_fmixe
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      28 Aug 2008

      MyCreativity Reader: please read it, you creative.

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      via: neural.it - edited by Geert Lovink and Ned Rossiter - MyCreativity Reader txt: The MyCreativity Reader - The Institute of Network Cultures
      The MyCreativity Reader is a collection of critical research into the creative industries. The material develops out of the MyCreativity Convention on International Creative Industries Research held in Amsterdam, November 2006. This two-day conference sought to bring the trends and tendencies around the creative industries into critical question. The “creative industries” concept was initiated by the UK Blair government in 1997 to revitalise de-industrialised urban zones. Gathering momentum after being celebrated in Richard Florida’s best-seller The Creative Class (2002), the concept mobilised around the world as the zeitgeist of creative entrepreneurs and policy-makers. Despite the euphoria surrounding the creative industries, there has been very little critical research that pays attention to local and national and variations, working conditions, the impact of restrictive intellectual property regimes and questions of economic sustainability. The reader presents academic research alongside activist reports that aim to dismantle the buzz-machine. colophon: Editors: Geert Lovink and Ned Rossiter. Editorial Assistance: Sabine Niederer. Copy Editing: Michael Jason Dieter. Design: Katja van Stiphout. Cover Image: Hendrik-Jan Grievink. Printer: Veenman Drukkers, Rotterdam. Publisher: Institute of Network Cultures, Amsterdam.
      video: Here & There - (2008) by Eoghan Kidney [vimeo=http://www.vimeo.com/1264493]
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      25 Jun 2008

      More is different

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      txt: The End of Theory: The Data Deluge Makes the Scientific Method Obsolete
      The Petabyte Age is different because more is different. Kilobytes were stored on floppy disks. Megabytes were stored on hard disks. Terabytes were stored in disk arrays. Petabytes are stored in the cloud. As we moved along that progression, we went from the folder analogy to the file cabinet analogy to the library analogy to — well, at petabytes we ran out of organizational analogies. At the petabyte scale, information is not a matter of simple three- and four-dimensional taxonomy and order but of dimensionally agnostic statistics. It calls for an entirely different approach, one that requires us to lose the tether of data as something that can be visualized in its totality. It forces us to view data mathematically first and establish a context for it later. For instance, Google conquered the advertising world with nothing more than applied mathematics. It didn't pretend to know anything about the culture and conventions of advertising — it just assumed that better data, with better analytical tools, would win the day. And Google was right.
      video: The Scientific Method [blip.tv ?posts_id=710649&dest=-1]
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      23 Jun 2008

      George Carlin - Stuff

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      via: Laughing Squid link: George Carlin 1937-2008, Farewell to the Class Clown definition: consume on merriam-webster.com
      Main Entry: con·sume transitive verb 1: to do away with completely : destroy: "fire consumed several buildings" 2 a: to spend wastefully : squander b: use up: "writing consumed much of his time" 3 a: to eat or drink especially in great quantity consumed several bags of pretzels b: to enjoy avidly : devour "mysteries, which she consumes for fun" — E. R. Lipson 4: to engage fully : engross "consumed with curiosity" 5: to utilize as a customer "consume goods and services" intransitive verb 1: to waste or burn away : perish 2: to utilize economic goods
      video: George Carlin - Stuff - on googlevideo [googlevideo=http://video.google.com/googleplayer.swf?docid=8896213084482448693]
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      18 Jun 2008

      The art of Serendipity

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      txt: Serendipity - From Wikipedia, the free encyclopedia Serendipity is the effect by which one accidentally discovers something fortunate, especially while looking for something else entirely.
      The word derives from Serendip, the old Persian name for Sri Lanka,[1] and was coined by Horace Walpole on 28 January 1754 in a letter he wrote to his friend Horace Mann (not the same man as the famed American educator), an Englishman then living in Florence. The letter read, "It was once when I read a silly fairy tale, called The Three Princes of Serendip: as their highnesses travelled, they were always making discoveries, by accidents and sagacity, of things which they were not in quest of: for instance, one of them discovered that a camel blind of the right eye had travelled the same road lately, because the grass was eaten only on the left side, where it was worse than on the right—now do you understand serendipity? [...] One aspect of Walpole's original definition of serendipity that is often missed in modern discussions of the word is the "sagacity" of being able to link together apparently innocuous facts to come to a valuable conclusion. Thus, while some scientists and inventors are reluctant about reporting accidental discoveries, others openly admit its role; in fact serendipity is a major component of scientific discoveries and inventions. According to M.K. Stoskopf[3] "it should be recognized that serendipitous discoveries are of significant value in the advancement of science and often present the foundation for important intellectual leaps of understanding".
      video: Words and Thoughts in RGB by Eduardo Morais - vimeo.com [vimeo 832162]
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      14 Jun 2008

      What is wisdom in five words

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      txt: Muppets - Mahna Mahna - Hiraeth on youtube.com
      Hi! This video always brings a smile to my face, so I hope it does the same for you. YouTube suggested "wisdom" as an appropriate tag for this video. I completely agree. Yes, the subtitles are in Swedish. Why? I don't know. This thing has been sitting on my hard drive since the Clinton Administration, I can't remember where I got it from. Some other frequent comments/questions about this video, and about the song and its origins, are answered in the Wikipedia entry -- check it out: Mahna_mahna Piero Umiliani
      "The question is: what is Mahna Mahna?" "The Question is: Who cares?"
      Youtube Tags: muppets mahna kermit wisdom [youtube=http://www.youtube.com/watch?v=YevYBsShxNs]
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      13 Jun 2008

      Stop, Google. Will you stop, Google?

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      txt: Is Google Making Us Stupid? - www.theatlantic.com
      Dave, stop. Stop, will you? Stop, Dave. Will you stop, Dave?” So the supercomputer HAL pleads with the implacable astronaut Dave Bowman in a famous and weirdly poignant scene toward the end of Stanley Kubrick’s 2001: A Space Odyssey. Bowman, having nearly been sent to a deep-space death by the malfunctioning machine, is calmly, coldly disconnecting the memory circuits that control its artificial » [...] I’m haunted by that scene in 2001. What makes it so poignant, and so weird, is the computer’s emotional response to the disassembly of its mind: its despair as one circuit after another goes dark, its childlike pleading with the astronaut—“I can feel it. I can feel it. I’m afraid”—and its final reversion to what can only be called a state of innocence. HAL’s outpouring of feeling contrasts with the emotionlessness that characterizes the human figures in the film, who go about their business with an almost robotic efficiency. Their thoughts and actions feel scripted, as if they’re following the steps of an algorithm. In the world of 2001, people have become so machinelike that the most human character turns out to be a machine. That’s the essence of Kubrick’s dark prophecy: as we come to rely on computers to mediate our understanding of the world, it is our own intelligence that flattens into artificial intelligence.
      Media_httpoddtagfiles_dgzxa
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      12 Jun 2008

      Pop art remix

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      txt: Andy Warhol - Wikipedia
      Warhol's work from this period revolves around American Pop (Popular) culture. He painted dollar bills, celebrities, brand name products and images from newspaper clippings - many of the latter were iconic images from headline stories of the decade (e.g. photographs of mushroom clouds, and police dogs attacking civil rights protesters). His subjects were instantly recognizable and often had a mass appeal. This aspect interested him most and it unifies his paintings from this period. Take for example Warhol's comments on the appeal of Coke: "What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it." The Philosophy of Andy Warhol: (From A to B and Back Again), 1975
      video: Bill O'Reilly Flips Out — DANCE REMIX - levmyshkin on youtube.com [youtube=http://www.youtube.com/watch?v=5j2YDq6FkVE]
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      11 Jun 2008

      Find your passion

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      txt: Italian Hacktivism: Theory, Practice and History - blog.wired.com Alessandro Ludovico has engaged in communication and media aesthetics as a practitioner, theorist and curator. Since 1993, he has been the editor-in-chief of Neural, an influential new media culture magazine published in both English and Italian www.neural.it. He is also one of the founding members of the nettime list and of the Mag.Net (Magazine Network of Electronic Cultural Publishers) organisation. In the following brief interview, conducted via email between January and May 2008, Ludovico discusses topics ranging from Italian traditions of hacktivism, the apparent institutional marginalisation of media art and possibilities for conceptual aesthetic approaches to the digital culture.
      1. Could you explain something of how you originally developed an interest in media art? We understand you had an early involvement with 'mail art' and fanzines, to what extent have these practices informed your thought around exploratory and aesthetic approaches to distributed communication networks? Fanzines were an effective, cheap and archival medium for sharing ideas in freedom of expression soaked subcultures. Mail Art in my opinion was 'the net before the net'. Its spontaneous network of artist supporting themselves and sharing 'performative' action through the postal network, connecting local exhibitions with interrelated social relationships was simply unique. Furthermore I developed an interest in computers and IT, especially in its internal mechanisms and aesthetic (as many young guys did during the 80's). With the BBS phenomenon first and the early net practices later all these interests were short-circuited. I had a medium to express my approach (the magazine), a background in artistic networking (mail art), a technical knowledge to understand them and a rising avant garde that I was accidentally part of (after being invited in the first nettime meeting): the net art. Could I have asked for more?
      video: Randy Pausch Inspires Graduates - carnegiemellonu on youtube.com [youtube=http://www.youtube.com/watch?v=RcYv5x6gZTA]
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      10 Jun 2008

      Please Stand Up

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      via: Conscientious txt: Click here to disappear: thoughts on images and democracy
      Has democracy increased with the growth of the internet? Obviously not. It has diminished significantly. Why? Because the desire for public, democratic participation has been displaced onto consumer goods and services and dispersed into isolated individual speech. Whatever else it is, the internet is primarily an advertising medium. Access to images and information has certainly increased, but has this led to better informed citizens? No. It has led to more docile citizens, who spend more of their time in the collection and sorting of images and information (and in what Simon Schama has called the computer's "lazy democracy of significance") and less time on analysis, critical thinking, or real "socialising". Perhaps we need to find a word other than "democracy" to describe what's happening in our communications environment.
      txt: Digital Democracy and the New Age of Reason
      Franklin Roosevelt said that "Democracy is not a static thing." He was right. It is constantly changing; reinventing itself; expanding and retracting as the political environment warms and cools to its precepts. Digital democracy will be no different at its core, but it has an opportunity unlike any in the history of the world to bring people and ideas together. If we embrace this exciting digital world, our own democracy will be strengthened and civilization will surely embark on a new Age of Reason and a new era of individual freedom.
      video: Simpsons-The real slim shady - EminemGuy47 on youtube.com [youtube=http://www.youtube.com/watch?v=UDd4Ly9cD4c]
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