prostheticknowledge: … released on the handheld Nintendo…











prostheticknowledge:

… released on the handheld Nintendo 3DS, [Metal Gear Solid] builds a feature on top of the original game using it’s technology, namely it’s camera: you can take any image with the camera, which will then be converted into a camouflage design will can be used within the game.

Above, Gamespot UK have tested this feature, using images posted by the game’s creator, Hideo Kojima, from his twitter account, all of which were meals!

You can see the full collection at Gamespot here.

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Disambiguation 2012-01-28 14:29:00


At The Millions, Marjorie Hakala gives seven goof reasons why you should read Anthony Powell's A Dance to the Music of Time. (Our friend Levi pops up in the comments, and notes that narrator Nick Jenkins's oeuvre appears in the Invisible Library.)

Powell’s portrayal of servants is quite funny, actually. At the time when these books were being written, P.G. Wodehouse was already making virtuosic use of the comic possibilities of the English serving class, most famously in the form of the hyper-competent Jeeves. Powell cut against the Wodehouse grain by making his servant characters only middling in competence and by having them intrude in the life of the household at the most inconvenient times, highlighting the strangeness of two entirely different categories of person living in a house together. The aforementioned butler works for an upper-class Communist, who doesn’t want a butler or really believe in having butlers, but can’t manage his enormous house without one, and there’s a sadly droll tone to their interactions.




(Image from the Telegraph.)
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Eurobus : TAYLOR HOLLAND: Holland’s work has…



Eurobus : TAYLOR HOLLAND: Holland’s work has previously featured on NA. His book of European tour bus graphics is out now.

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Photo



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“Angry game owners are demanding Google (NSDQ: GOOG) compensate them for wiping out their investments…”

Angry game owners are demanding Google (NSDQ: GOOG) compensate them for wiping out their investments in online pets. The loss of a virtual kitty may seem like a trifle to some but, in the big picture, the new lawsuit could be a bellwether for how the law treats what is an exploding market in online goods and currencies.

For those more familiar with real-life Rovers, the new legal disputes turns on SuperPoke Pets, an online game in which players chose a pet (dog, frog, sheep, etc) and then care for it an online realm with other pet owners. Many owners purchased “gold” using real life money and used the gold to buy items in the game.

That gold is now worthless after Google, which had purchased the game from a company called Slide, decided to axe it last summer. (As of March 6, the website will be gone though players will be able to load their pet onto a display case of sorts).



- Virtual Pet Owners Sue Google Over Lost ‘Gold’ | paidContent
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Jackson Pollock

One of the few artists whose name became a synonym for “Art,” JACKSON POLLOCK (1912-56) was also a synonym for “America.” Hailing from the west (Wyoming, Arizona and California), he arrived in New York just as it became the right place at the right time. Critic Clement Greenberg would argue that Abstract Expressionism, with Pollock at its eye, was the wild west of the new storming the old, the old being what was seen as European and Asian decadence and decay, in the aftermath of two world wars. Pollock’s drip paintings (“action painting”) lacked not only realistic figures but form itself; positive and negative space twisted and roared; foreground and background fused into a space both flat and infinite; representation, narrative, and symbolism were scattered on its furious winds. Action painting, as per its name, was as much about the process as the result, and Pollock, although he walked on the image, literally didn’t work on it. He worked above it, in the air, dripping and flinging ropes and splatters of paint, choreographing their weight and fall as the ultimate artistic gesture; art was what happened betwixt brush and surface. Greenberg, despite his Cold War positioning, was not wrong: these paintings were something new in art, and just in time; they consigned everything before them to history. Sadly, personal demons consigned Pollock to history before his time. Jungian analysis and working in his barn well away from the city could not calm his struggles with alcoholism and anger. His life ended at 44 in a crushed car at the base of a tree, its tangle of metal and lives a crude echo of what he had achieved in art.

***

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Ernst Lubitsch, Rakim.

READ MORE about members of the Partisans Generation (1904-13).

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Tea With Chris: Folksy Chap Schtick

Tea With Chris is a roundup of recommended links, posted every Friday. Here are a few of our favourite things from the Internet this week:

Chris: My friend Maura Johnston started a new, much-needed Tumblr, though she may need an assistant to keep up with all of the potential posts: Gazing Males.

The headline is an example of botched search engine optimization inadvertently echoing somebody’s cranky granddad, and I’m not even sure why this slideshow appeared in Business Insider at all, but who cares? 25 photos from 1980s New York.

The levels of simultaneous wordplay here kind of resemble those cross-section diagrams I learned about medieval castles from.

Only a few days left to help support the next Best Music Writing anthology (reserving a future copy in the process) and fight the scourge of bad criticism everywhere!


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kiameku: Jack Strange g — A lead ball rests on the letter g,…



kiameku:

Jack Strange
g

A lead ball rests on the letter g, eventually the document becomes so
big that it crashes the computer.

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VERGE

Verge

By Chris Rossi

Los Angeles. Now.

Shanna is a runaway teenage girl, drifting through a haze of drugs and sex, scarred by the suicide of her father. Howard is a disgraced TV psychic, reduced to doing readings out of his apartment. He believes in his own powers, even if no one else does. Desperate for direction, Shanna consults Howard, seeking a message from her dead father.

In Shanna’s eyes, Howard sees a mirror, an acolyte, and a way to recapture his C-list fame. He lets her into his solitary life. But by then it’s too late.

Complicit in their own delusions, they remain on the verge, never daring to cross the abyss.

In the following scene,  Shanna, losing hope of ever contacting her dead father through psychic means, begins to disengage from Howard. But this only intensifies his manipulation of her.  And she’s more than up for it.

SCENE 4

Howard holds two glasses of wine. He smiles, hands one to Shanna.

SHANNA: I don’t think I can pay you any more.

HOWARD: We’ll work something out.

SHANNA: I’ve pretty much given you all I have.
(pause) He hasn’t spoken. He hasn’t told me what it is.

HOWARD: We’ll keep the channel open. Trust the process.

Pause. Shanna sits in a chair, stares off.

SHANNA: I feel like my life was a boat on the ocean and I fell off it. I’m trying to swim after
it. My arms are getting tired. I don’t think I’m going to make it.

Pause.

HOWARD: I was once like you.

She looks at him.

SHANNA: Seriously? I highly doubt it.

HOWARD: This is your life. This moment. You’ll always be safe here.

SHANNA: ”Here?” Like this room?

HOWARD: Why not?

SHANNA: Well, it’s your life too.

Howard puts his hands on her shoulders. Leaves them there.

SHANNA: I want to do what you do. I want to help people.

HOWARD: You’re helping me right now. (pause) Where are you living?

SHANNA: I stay with different people. I sort of get by.

HOWARD: Different men?

SHANNA: You’re funny.

She looks at him. He looks away. Pause.

HOWARD: I’m going to give you a number. A special number, a private number for my
other phone. My personal phone. You call it anytime you need something.
Day or night. Okay? (beat) I’m also going to give you a gift. It’s the gift of… a message.

Howard scribbles a number on the back of a business card. He stops. Then writes
something else – a short message. He hands it to her. She reads it.

SHANNA: Oh wow. This is…

HOWARD: You cherish that.

SHANNA: This is really…

HOWARD: Carry it in your heart.

SHANNA: Is it… from something?

HOWARD: A lucid dream I had. Where a very powerful voice spoke to me when I was
deeply tuned in. I awoke and immediately wrote it down. It’s been one of the
guiding epigrams of my life. And I give it to you.

SHANNA: I owe you one.

HOWARD: You owe me nothing.

She looks at him.

SHANNA: That’s not exactly true.

Pause.

HOWARD: Look at me.

SHANNA: No…

HOWARD: ”No?”

Shanna stands suddenly, smiling. Her face is flushed.

SHANNA: Uncross your arms.

HOWARD: No.

SHANNA: Look at me…

Howard leans away, flustered.

HOWARD: What are you doing?

Shanna stands, feeling her power, and begins unbuttoning her shirt. She takes a step toward him, aggressive.

SHANNA: Can we start, Howard?

HOWARD: I don’t…

She puts her hand on his crotch.

SHANNA: I’m open to receive now. All of it. I really think this is going to be the one.

Howard looks at her, helpless.

Shanna stares at him for a beat, then dissolves into laughter.

Lights out.

***

Read more from artist-in-residence Chris Rossi on HiLobrow.

***

HiLobrow’s Artist-in-residence archive.

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Friday Pictures – Hennessy Youngman

 

ART THOUGHTZ: Post-Structuralism (THE CLEAN VERSION)

 

 

ART THOUGHTZ: Relational Aesthetics

ART THOUGHTZ: The Sublime

 

HENNESSY YOUNGMAN’S ART THOUGHTZArtist talk and screening with Jayson Musson at the Drake Hotel January 31 2012

 


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MUSIC KRITICISM

You’ve got three days left to support the BEST MUSIC WRITING book series as it makes the leap into independent publishing – via a smart Kickstarter project. As much as I love tweeting and torrenting and blogs and “post-scarcity” blahblah and the tumblr-sprawl, I also really love seeing readers and writers and music lovers come together to build something substantial, which is what series editor Daphne Carr has done time & time again with BMW.

For me, one of the real pleasures of BMW lies in experiencing the sheer variety of people’s takes on music contained in each one; reading BMW always expands the way I think about musical worlds and reacting to them with language. (Full disclosure, I’ve been included twice – EVEN MORE REASON TO GIVE THESE FINE PEOPLE MONEY). So. Let’s keep those books burning!

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End-of-week update

These Seven Sicknesses, a.k.a. the Sophocles marathon at the Flea, was highly worthwhile: the treatment of the Oedipus plays seems a bit unstable on the farce-tragedy axis (and I thought the actor playing Oedipus was perhaps the weakest in the show, or at any rate his performance was too campy to be at all moving), but the middle segment of Philoctetes-Ajax is excellent (the Ajax staging is just superb, particularly the handling of the sheep scene) and the concluding pair of Electra-Antigone works very well also.

I finished reading A Dance with Dragons and all I can say is that I really do not see that George R. R. Martin will be able to wrap up the rest of the story in only one more volume, however long!  He is temperamentally averse to leaving anything out, and it leads to some frustrating choices in volumes four and five; my heart sank when I realized that the last volume was literally going to go back to the temporal starting point of the previous one and cover exactly the same time period, not to show a markedly divergent view but just to fill out some things that didn't fit in.  You then see a character you care about, who grew and changed over the previous installment, back in his pre-change version, and for no good reason; this strikes me as a fundamental breach of the compact with the reader, just as I dislike the playing-fast-and-loose-with-alternate-timestream thing that a certain television series I love has been indulging in: the sense of reality you have in television drama is thin enough that you cannot afford to erode it too far by, say, bringing back to life a character you have killed off in the alternate timestream by letting the space-time continuum shift and reconfigure everything. . . .

(You can get the first four installments of George R. R. Martin in a box or a bundle, but really what I recommend instead is Wolf Hall on the one end or Garth Nix's brilliant Abhorsen trilogy on the other.)

The due date is rapidly approaching for my ratings on second-round reading for the New York Public Library Young Lions Prize, so I won't be writing much here about what I'm reading over next few weeks (confidentiality!), and I'm also teaching Clarissa again this semester, which eats up quite a bit of reading time.  However there is always room for a little light reading round the edges...

Miscellaneous links:

Neil Gaiman on growing up reading C. S. Lewis, Tolkien and Chesterton.

And I'm giving a talk today at 4pm at the CUNY Graduate Center; I am just hoping it will stop raining to the extent that people will actually be willing to leave their dwellings and venture out into the world to come to it!
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Huang Chung’s “China” single came out January…



Huang Chung’s “China” single came out January 27, 1982.

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Felt’s Crumbling the Antiseptic Beauty album came out…



Felt’s Crumbling the Antiseptic Beauty album came out January 27, 1982. Here’s “I Worship the Sun” from it.

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Cal Schenkel

Album cover design artist CAL SCHENKEL (born 1947) provided the perfect graphic equivalent to Frank Zappa and The Mothers of Invention’s music. A graphic artist as well as a composer and iconoclast, Zappa didn’t ignore the importance of packaging when it came to his subversive conceptual music. Luckily for teenage America in the Sixties, the two met and enjoyed decades of creative collaboration (or elaboration, in cases where Frank dictated the material). Zappa album covers like We’re Only in It for the Money (1968; it parodied the psychedelic fad, and The Beatles’ Sgt. Pepper’s in particular), Cruising with Ruben & the Jets (1968), Uncle Meat (1969), and so forth, are masterpieces of graphic provocation and subversion. Gleefully co-mingling tropes of fine art (from Gainsborough to Jasper Johns and De Kooning) with Carl Barks’ Donald Duck comics and pulp magazine illustrations, Schenkel’s work was a one-man branch of hippie art — as innovative and exciting as the San Francisco poster art, Zap comics, and light shows of the era. His wonderful color and compositional sense looks casual and may be relaxed, but it’s not unrigorous — instead, call it meticulous looseness.

***

MORE OF GARY PANTER’S INFLUENCES: Jack Kirby | Tadanori Yokoo | Peter Saul | Yasuji Tanioka | H.C. Westermann | Öyvind Fahlström | Cal Schenkel | Eduardo Paolozzi [forthcoming March 7]

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Elmore James.

READ MORE about members of the Boomer generation (1944-53).

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Elaine Dundy’s “The Old Man and Me”

The late and great Elaine Dundy is a very interesting woman, who lived near Book Soup and was a customer as well.  Little did I know of her writing career till I read "The Dud Avocado" which is fantastic by the way.  So her history is fascinating in that she was married to British theater critic great Kenneth Tynan and also wrote the first serious in depth biography on Elvis.

So of course "The Old Man and Me' would be of interest, but beyond that, it is quite a remarkable novel on various levels.  The thing that really caught my attention is that she really got into the language of the British and its difference from American English.   Two, she has some knowledge (of course) on the British personality and how that works with the American personality.  And three, this is a really smart novel about how cultures merge - especially in early 1960's London.   The main character resembles a much sweeter Patricia Highsmith twisted character who is dealing with identity and revenge of sorts.  She knows what she wants, but does not know why she wants it.  And that is the main problem with "Honey Flood."   She goes out to seduce, but she gets seduced and its a weird journey from naive to knowing.  

The book captures the culture of London in the early 1960's -before the Beatles and in some ways London itself is one of the characters in this novel.   It's a great piece of London literature. 


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Girl Meets Boy: “Launchpad to Neptune” interview

As I’ve mentioned a few other times here lately, Randy Powell and I collaborated on a story for the Girl Meets Boy anthology edited by Kelly Milner Halls. And now we are collaborating on this interview about our story, “Launchpad to Neptune.” This is but one of many stops on the full-on Girl Meets Boy blog tour!

The title of “Launchpad to Neptune” comes from a comment G makes to S about a place they find themselves in — a clearing in the woods that feels like you could take off from it in a rocket. Have you been anywhere that evokes that sense of possibility?

Randy: Here’s my idea of a “launchpad to Neptune.”  First, the idea of a Vision Quest — a rite of passage where you go off to some place in the wilderness alone and camp there overnight (or for several nights) and have some sort of an “experience.” Such as see visions or hear voices or something. I’ve never done that, mainly because I have very inappropriate camping gear. But hey, I suppose it’s never too late to go on a Vision Quest and finally make that leap into adulthood. Second, it evokes a place of solitude where you can sit in nature and be silent and still. That’s something I do quite a bit and I value that a lot. Go out in nature and just listen to the silence. Preferably it’s raining and you can feel the rain on your face.

Sara: Picking up on what Randy said about solitude in nature – I’m a fan of walking on beaches in the winter. I like the quiet and the cold, and how you rarely see another person, but if you do, you almost always exchange a conspiratorial smile. You might not launch right then, but you could.

G likes the collection of beach glass and driftwood S had when they were kids, but no longer has by the time the story takes place. Do you collect anything? Have you ever abandoned a collection? If so, why?

Randy: I’ve always been envious of people who collect stuff — stuff that requires hunting and gathering natural things, found things. Beach glass is ideal. Sometimes I go walking at low tide on Puget Sound near my house and I used to find some pretty neat beach glass and bring it home and put it in my back yard, which I would take a picture of except they’re all buried in snow right now. But I gave up on the beach glass because I found I was spending all my time during those walks with my head bent looking down.  It gave me a sore neck. I’ve tried to collect other things. Comic books. Golf balls. Bottle caps. Pens. It all fell by the wayside. Now I just collect words and phrases and interesting word combinations.  And names. For instance the other day I came across someone with the last name Quitiquit. That would be a great name for a character in a sports story, but a little too contrived — too obvious an “aptonym.”

Sara: I actually do collect beach glass!

A handful of beach glass

But I get what Randy means about always looking down — every so often when I’m scrutinizing the sand I force myself to remember that there is also an ocean I could be looking at.

The most notable collection I abandoned was probably my Smurfs. I had enough of them to people (or smurf?) a small village, each one carefully marked with my initials. I grew out of liking them right before a birthday, and of course I received a bunch of them. It provided me with a valuable lesson in feigning enthusiasm.

What was the experience of collaborating on the story like for you? 

Randy: More fun than I thought it would be. Drinking coffee and brainstorming with somebody else is a lot more fun than doing that all by yourself. It was more like playing a game than writing.

Sara: I definitely agree, the exchange of ideas was fun and valuable. Also, Randy and I live in the Pacific Northwest where coffee is actually medically necessary to survive the sunless months and thus its preparation has achieved the status of art. So we were drinking especially delicious coffee.

Latte art

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“Information…



“Information http://www.qps.nl/display/qastor/2012/01/17/20120117_stranding: After the Costa Concordia made the headlines by running onto a rock off the island of Giglio in Italy, we’ve received many questions whether this could have been prevented. Now we can’t tell what happened exactly on the bridge of the Costa Concordia the night of the grounding, but we have made a small reconstruction based on the AIS data. We used our Qastor Pilotage software to replay the final minutes of the Costa Concordia and show the sort of warnings that are available to the mariner in today’s software.”

Grounding of the Costa Concordia (by TheVideooo)

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xintra: Retail Therapy is kind of like trying to fight a forest fire by throwing dry Christmas trees at it.

xintra: Retail Therapy is kind of like trying to fight a forest fire by throwing dry Christmas trees at it.
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Mind Moving (2)

Nature and Culture intersect in a lit up puddle, Cartesian geometries giving way to further fractals of pulse and cosmic rhythm. As a stalker of these tremulous light creatures, I became sensitized to climate and conditions, when the rain falls or snow melts, how strong the wind is, whether a puddle is shallow or deep, where light might be landing.


[91st street (grids 1)]

Apollonian grids let loose on a Dionysian bender.


[104th street (grids 2)]

If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.

― Marcel Duchamp

***

Read more from artist-in-residence Vijay Balakrishnan on HiLobrow.

***

HiLobrow’s Artist-in-residence archive.

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P/RT Editor, Pale Blue Eyes



P/RT Editor, Pale Blue Eyes

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xintra: Daddy, I want an X47B Autonomous drone NOW! Blinged out with “OOPS I DID IT AGAIN” on the payload chute in Swarovskis! http://t.co/2F3iYdeC

xintra: Daddy, I want an X47B Autonomous drone NOW! Blinged out with "OOPS I DID IT AGAIN" on the payload chute in Swarovskis! http://t.co/2F3iYdeC
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What Schools are Really Blocking When They Block Social Media

Today's post is from S. Craig Watkins, author of The Young and the Digital: What the Migration to Social Network Sites, Games, and Anytime, Anywhere Media Means for Our Future. Watkins is a researcher with the MacArthur Foundation’s initiative on Youth, Digital Media and Learning where his work explores the intersection of youth culture, social media, and learning. He blogs at theyoungandthedigital.com, where this post originally appeared.

Bigstock_Social_Media_Keyboard_25020713
The debates about schools and social media are a subject of great public and policy interests. In reality, the debate has been shaped by one key fact: the almost universal decision by school administrators to block social media. Because social media is such a big part of many students social lives, cultural identities, and informal learning networks schools actually find themselves grappling with social media everyday but often from a defensive posture—reacting to student disputes that play out over social media or policing rather than engaging student’s social media behaviors.

Education administrators block social media because they believe it threatens the personal and emotional safety of their students. Or they believe that social media is a distraction that diminishes student engagement and the quality of the learning experience.

Schools also block social media to prevent students from accessing inappropriate content. I have often wondered what are schools really blocking when they block social media. Working in a high school this year has given me added perspective.

WatkinsIn one class my graduate assistant and I are working with a teacher in a Technology Applications class. Our goal is to reinvent the classroom and, more important, the learning that takes place. We structured the learning to be autonomous, self-directed, creative, collaborative, and networked. We decided to let the student teams pick which digital media project they wanted to pursue. Some students elected to team together to produce a series of Public Service Announcements (PSAs) that target teens. These students liked the idea of using digital media to tell compelling stories about the challenges of teen life.  Other students wanted to produce short narratives. They were excited about creating worlds, characters, and narrative dilemmas that allowed their artistic identities to flourish.

In one of our first activities we selected a sample of teen produced PSAs and narrative shorts for the students to study. We asked them to view and critique the different styles, aesthetics, narrative strategies, and technical approaches to digital media storytelling. The teacher posted the links to the videos online and provided the instructions. Suddenly one student raised her hand. She could not access some of the videos. Another student raised her hand. She was having the same problem. At least two of the videos that we asked them to critique were posted to YouTube. The teacher and I had overlooked the fact that YouTube was blocked. A few students used proxy servers to access the videos, a typical workaround in this school. As we struggled to figure out a way to proceed with the learning activity it was clear that we needed to recalibrate the design of the class.

We faced a similar challenge in a game design class that we are working with. Some of the students were intrigued by the prospects of using a Facebook poll to conduct research to build ‘user personas’ of their peers. We thought that the poll would be useful in teaching them some of the principles of human-centered design and also expand their social media repertoire. But because Facebook is blocked the poll could only be conducted outside of school. This prevented us from working with them in the classroom. It also posed a problem for some of the students who either lacked access to the internet at home or have to share computers with parents and siblings.

We are learning a lot about how young people from this community, which has been hit especially hard by the recession and the growing wealth gap in the United States, are managing their participation in the digital world. The old theories about the digital divide—the access narrative—only explain a small part of what is happening in edge communities.

The real issue, of course, is not social media but learning. Specifically, the fact that our schools are disconnected from young learners and how their learning practices are evolving. The decision to block social media is inconsistent with how students use social media as a powerful node in their learning network. Can social media be a distraction in the classroom? Absolutely. Will some students access questionable content if given the opportunity? Yes. But many students use social media to enhance their learning, expand the reach of the classroom, find the things that they ‘need to know,’ and fashion their own personal learning networks. We have met students who have used YouTube to learn how to play a musical instrument—a not so insignificant fact for students whose families can not afford private music lessons. We have seen students use YouTube to help them pursue an interest in building their own gaming computer or share a multi-media project that they developed. Last summer I wrote about students from this same school and how they created a dynamic learning community to support their interest in creating games. Many of them shared YouTube videos with each other in order to learn how to use the game authoring software, GameSalad. (Because it was a summer program, the students and their teacher successfully lobbied to have YouTube unblocked).

A key part of the work that we are doing with students reaches beyond the typical new media competencies such as computer, information, and digital literacy. The teacher believes that network literacy is also crucial. That is, teaching students what Henry Jenkins explains is, “the ability to effectively tap social networks to disperse ones’ own ideas and media products.” Cathy Davidson’s students at Duke made a case for network literacy, that is, “using online sources to network, knowledge-outreach, publicize content, collaborate and innovate.” A number of these students are creators and makers. They design blogs, websites, games, and graphic art. By blocking social media schools are also blocking the opportunity:

1) to teach students about the inventive and powerful ways that communities around the world are using social media

2) for students and teachers to experience the educational potential of social media together

3) for students to distribute their work with the larger world

4) for students to reimagine their creative and civic identities in the age of networked media

In the not so distant future the notion that schools should block social media will become difficult to defend. Before that happens schools will have to reimagine their mission in the lives of young learners, the communities that they serve, and the extraordinary possibilities of networked media and networked literacy.

Keyboard photo from Bigstock. 

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Sporty, Dirty and Rackham: A Short Catalog of Finely Illustrated Books

All of the following books may be purchased at IOBAbooks.com (the Independent Online Bookseller’s Association) or by using the paypal links. All are guaranteed as described, are 10% off our prices elsewhere, and ship free via media mail (shipping will be deducted from the IOBA order). Please add $5 per order for priority shipping. Click [...]
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everythingimakewithmymakerbot: Needed some new collar…



everythingimakewithmymakerbot:

Needed some new collar stiffeners - Makerbot to the rescue.

“In December 2010 I bought and built a Makerbot 3D printer. This blog is an on-going diary of everything I make with this wonderful machine; a machine sent from the future.”

(Something, for me, about collar stiffeners being the ultimate old-world gentleman’s accessory, 3D-printed.)

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Downton Abbocalypse Now

Downton Abbey, the British TV period drama series, has sent addicted viewers scrambling to read or re-read E.M. Forster’s Howards End (1910), Ford Madox Ford’s Parade’s End tetralogy (1924–28), and other early 20th century novels novels whose titles might or might not suggest the end of the world as wealthy and upper-middle-class Brits and Americans then knew it.

From his first appearance in Episode Four, Tom Branson (Allen Leech), the family’s chauffeur, connects with the politically engaged Lady Sybil Crawley (Jessica Brown-Findlay). According to the fan-created Downton Abbey wiki, little is known about Branson’s early life, except that he grew up in Ireland and in May 1913 came to work at Downton as the chauffeur.

When Branson discovers that Sybil is politically minded, he engages her in conversation about the rights of women. Sybil remarks that it “seems rather unlikely: a revolutionary chauffeur.” Branson replies, “I’m a socialist, not a revolutionary and I won’t always be a chauffeur.”

HiLobrow would like to add another end-of-the-world novel to the Downton Abbey reading list. In Jack London’s Radium-Age science fiction apocalypse The Scarlet Plague (written during the era in which Downton Abbey is set, and first serialized in 1912; currently being serialized on this website), when a plague sweeps across the globe, the social order is overturned. A humble chauffeur and a wealthy woman end up together — but it’s no love match!

London, a socialist like Branson, first hints at this fact in our second installment, published today.

“The first Chauffeur was Bill, a common fellow, as I said before,” the old man expounded; “but his wife was a lady, a great lady. Before the Scarlet Death she was the wife of Van Worden. He was President of the Board of Industrial Magnates, and was one of the dozen men who ruled America. He was worth one billion, eight hundred millions of dollars — coins like you have there in your pouch, Edwin. And then came the Scarlet Death, and his wife became the wife of Bill, the first Chauffeur. He used to beat her, too. I have seen it myself.”

Branson and Sybil — if their upstairs/downstairs romance strikes you as tediously middlebrow, get your hilo kicks by reading The Scarlet Plague.

You can subscribe via RSS here. And in May we’ll publish a beautiful new paperback edition, with an introduction by HiLobrow’s Matthew Battles. Info here.

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LOCAL FORM WHATSOEVER

Last night’s radio show provided a particularly serpentine path through the fields of decentertainment, although sometimes things feel stranger than they actually are. Maybe always. End of show went elegy for Greek director Theo Angeloupolos, airing several selections from his long-time collaborator, Eleni Karaindrou. Streaming now:



+ + +

Brian DeGraw generously took the time to listen back and reconstruct his set list from the January 18th show. GGD’s BGD was really working with the mixer and FX (I brought my Pioneer DJM-800 for the occasion); here are the raw ingredients:

the KLF- Dream Time in Lake Jackson
Luciano- Los Ninos de Fuera
Lift Boys- Anarchy Village
Ku-Bo- Dingo Riddim
Joker- U Been Beta(demo version)
D Double E- Streetfighter Riddim
Javier Estrada- Crazy Indian
Nyamwezi (tribe)- Manyanga 2
Sonny Sharrock- Black Woman
Drumline Soundtrack
Paper Route Gangstaz- Woodgrain
Zomby- Digital Fauna
Debruit- Nigeria What?
Onipa Nua- I Feel Alright
Eski Instrumental
the KLF- Dream Time in Lake Jackson

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Sisters of Mercy’s “Body Electric” single came…



Sisters of Mercy’s “Body Electric” single came out January 26, 1982.

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China Crisis’s “African and White” single came…



China Crisis’s “African and White” single came out January 26, 1982.

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The Icicle Works had a Peel session broadcast January 26, 1982….



The Icicle Works had a Peel session broadcast January 26, 1982. Here’s “All Is Right” from it.

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No good news for Wisconsin Democrats in the first Marquette Law Poll

My colleague Charles Franklin is running a year-long project at Marquette Law School to poll the heck out of Wisconsin in what will surely be a very interesting political environment.  The first poll is out, and it can’t be making Wisconsin Democrats very happy.  Full results here.  All potential recall challengers trail the Governor, though not by much, and the public is either positive or neutral about the most visible parts of Walker’s legislative plan (higher fees for state workers, voter ID, curtailing of collective bargaining.)  Majorities think that Walker’s program will increase jobs in the state and is “better off in the long run” for Wisconsin.  Cutting funding to public schools and BadgerCare, on the other hand, is deeply unpopular, and presumably those issues will play a big role in the recall campaign.  The Governor has access to a titanic amount of money from out of state, and will make sure people here don’t miss out on hearing his point of view.  His opponents may rise in the polls as they gain statewide name recognition, but it’s hard to see in the numbers a huge “anybody but Walker” sentiment.  On top of all that, Tommy Thompson, the only really popular Republican in the state, is going to be back on the campaign trail running for Senate.

The election is a long way away, but Democrats have to be seen as starting from behind.

My guess is that they have a better chance of capturing the State Senate (though I’m told that if Van Wanggard is tossed, his Democratic replacement has less than a year before being redistricted into an election they’re almost sure to lose.)  I wonder when Marquette starts polling the senate races?

(Note:  I was surprised to see that 43% of Marquette’s sample identified as “independent” — but it turns out that 40% of all Americans now give their party ID as independent, the highest proportion Gallup has ever recorded.)

Despite the title I should include the one piece of good news for Democrats; the President remains popular here and seems at the moment to be well ahead of any potential opponent.


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new-aesthetic: “This is a scarf I knitted based on a sample of…



new-aesthetic:

“This is a scarf I knitted based on a sample of the The Amen Break. I took an image of the waveform of the amen break and converted it into a knitting pattern, which I uploaded onto a hacked knitting machine. The knitting pattern repeats over and over the same way that the amen break sample gets looped in so many musical compositions.”

andrewsalomone.com » Blog Archive » The Amen Break Scarf

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Hidden Information: The Work of Jim Sanborn


 Jim Sanborn's cryptographic sculptures, pieces on atomic energy, and large-scale projections might already seem familiar. Installed in front of the CIA headquarters, the ciphers in his sculpture Kryptos have puzzled many a code-cracker (three out of four of the coded sections have been solved), and he has been the subject of several museum shows. The artist answered a few questions we had on his work via email:     

There's often something hidden in plain sight in your work.  In public installations like Kryptos (at the CIA plaza) and A Comma, A in Houston, among others (I'm thinking also of the Covert Obsolescence and Archeotranscription pieces), it's letters/word/code.  How does written communication affect your work?  Is there a background story that drives these pieces?

Prior to the Kryptos commission my work documented hidden or invisible natural forces, Earth’s magnetic field etc. For the Kryptos piece and for the 20 years since, the hidden forces/content in text and language have taken over.

For most of my life both of my parents worked at the Library of Congress, My father as the Director of Exhibitions and my mother as a photo researcher, this privileged access to the historic record was tremendously enabling. The texts I chose for my public projects were heavily researched at the L.C. and in these works in particular the International, Classical, and Native American texts were used to encourage collaboration among cultures to fully decipher. Like Kryptos, the other public works are designed to exude their information slowly.



The “background story” is either above, or resides in the following: The Archeological record offers us a frustratingly fragmented view of the past. Though fragmentary, this archeoview is pregnant with secrets yet to be discovered and is thrilling in its potential. Secrecy is power even if it is just a little something kept from view, buried, so to speak, in the matrix of everyday life.

For the past 30 years, my task as an artist has been to release this hidden information at a rate commensurate with its importance, and at the time of my choosing so as to prolong the experience of discovery. As we all know, artwork that gives up its form or content quickly is soon forgotten.



Eerie luminescence is a part of many of your pieces from a print of an autoradiograph to projections on arresting landscapes and thrown across buildings. How do you think of light? Are you interested in the objects that provide light or make it seen (e.g, projector, radiograph)? Does evolving technology alter the way you consider your work? Respond anyway you'd like: What do you think of when you think of landscape, affect, and uranium? 

The large format projections I did in the mid 1990’s offered some relief from the psychological burden of the secrecy work, i.e. Kryptos, Covert Obsolescence and the Archeotranscriptions.

After completing Paleos a commission for MIT in Cambridge, I duplicated the projection system I used there, threw it and a generator and a 4x5 camera in the back of my Jeep, left DC and headed out west to areas very familiar to me to begin the Topographic Projections and Implied Geometry Series.

The tortured, sculptural, landscapes of Utah, New Mexico and Wyoming, were so familiar because I had spent two decades there collecting materials for my work on natural forces. This “collecting” regimen began to wear on my environmentalism, so I completed the large format projections as a way to affect a large landscape without effecting it, to leave no trace, etc. The resulting large digital prints, and the project as a whole, was a bit tongue-in-cheek. At that time, the digital manipulation of art photography was just revving up, and I decided to develop a series of real-time images that appeared digitally manipulated but were not.

The final western US projection trip in the fall of 1998 followed a summer projecting in Ireland for the Sirius Project residency, and it led me to White Sands, New Mexico. This intensely beautiful landscape was ironically juxtaposed to the site of the first atomic bomb test. And not shying away from irony or questionable personal safety, I began my ten-year dalliance with nuclear physics, uranium and nuclear fission as art.


The Atomic Time and Terrestrial Physics installations both studied that moment in scientific research when technology takes over from pure science. The difficulties with this transition notwithstanding, the seductive nature of nuclear science is reinforced by the stunningly powerful imagery it can produce. From the shocking visage of a hydrogen bomb explosion to the deadly blue-green glow that emanates from highly radioactive materials, these particularly toxic light sources are mysteriously fascinating and are a far cry from the recently banished incandescent bulb.

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The Scarlet Plague (2)

HiLobrow is pleased to present the second installment of our serialization of Jack London’s The Scarlet Plague. New installments will appear each Thursday for 12 weeks.

London’s post-apocalyptic novel is partly set in 2013; 2012 marks the centennial of its first serialization. In May, HiLoBooks will publish a beautiful new edition of The Scarlet Plague, checked against the 1915 first published edition (Macmillan), with an introduction by science fiction author (and HiLobrow cofounder) Matthew Battles.

SUBSCRIBE to HiLobrow’s serialized fiction via RSS.

LAST WEEK: “That was the year Morgan the Fifth was appointed President of the United States by the Board of Magnates. It must have been one of the last coins minted, for the Scarlet Death came in 2013. Lord! Lord!—think of it! Sixty years ago, and I am the only person alive to-day that lived in those times.”

ALL EXCERPTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12

***

CHAPTER ONE (excerpt 2 of 2)

Again Granser’s eyes burned with greediness as a large crab was handed to him. It was a shell with legs and all complete, but the meat had long since departed. With shaky fingers and babblings of anticipation, the old man broke off a leg and found it filled with emptiness.

“The crabs, Hoo-Hoo?” he wailed. “The crabs?”

“I was foolin’, Granser. They ain’t no crabs. I never found one.”

The boys were overwhelmed with delight at sight of the tears of senile disappointment that dribbled down the old man’s cheeks. Then, unnoticed, Hoo-Hoo replaced the empty shell with a fresh-cooked crab. Already dismembered, from the cracked legs the white meat sent forth a small cloud of savory steam. This attracted the old man’s nostrils, and he looked down in amazement. The change of his mood to one of joy was immediate. He snuffled and muttered and mumbled, making almost a croon of delight, as he began to eat. Of this the boys took little notice, for it was an accustomed spectacle. Nor did they notice his occasional exclamations and utterances of phrases which meant nothing to them, as, for instance, when he smacked his lips and champed his gums while muttering: “Mayonnaise! Just think—mayonnaise! And it’s sixty years since the last was ever made! Two generations and never a smell of it! Why, in those days it was served in every restaurant with crab.”

When he could eat no more, the old man sighed, wiped his hands on his naked legs, and gazed out over the sea. With the content of a full stomach, he waxed reminiscent.

“To think of it! I’ve seen this beach alive with men, women, and children on a pleasant Sunday. And there weren’t any bears to eat them up, either. And right up there on the cliff was a big restaurant where you could get anything you wanted to eat. Four million people lived in San Francisco then. And now, in the whole city and county there aren’t forty all told. And out there on the sea were ships and ships always to be seen, going in for the Golden Gate or coming out. And airships in the air—dirigibles and flying machines. They could travel two hundred miles an hour. The mail contracts with the New York and San Francisco Limited demanded that for the minimum. There was a chap, a Frenchman, I forget his name, who succeeded in making three hundred; but the thing was risky, too risky for conservative persons. But he was on the right clew, and he would have managed it if it hadn’t been for the Great Plague. When I was a boy, there were men alive who remembered the coming of the first aeroplanes, and now I have lived to see the last of them, and that sixty years ago.”

The old man babbled on, unheeded by the boys, who were long accustomed to his garrulousness, and whose vocabularies, besides, lacked the greater portion of the words he used. It was noticeable that in these rambling soliloquies his English seemed to recrudesce into better construction and phraseology. But when he talked directly with the boys it lapsed, largely, into their own uncouth and simpler forms.

“But there weren’t many crabs in those days,” the old man wandered on. “They were fished out, and they were great delicacies. The open season was only a month long, too. And now crabs are accessible the whole year around. Think of it—catching all the crabs you want, any time you want, in the surf of the Cliff House beach!”

A sudden commotion among the goats brought the boys to their feet. The dogs about the fire rushed to join their snarling fellow who guarded the goats, while the goats themselves stampeded in the direction of their human protectors. A half dozen forms, lean and gray, glided about on the sand hillocks and faced the bristling dogs. Edwin arched an arrow that fell short. But Hare-Lip, with a sling such as David carried into battle against Goliath, hurled a stone through the air that whistled from the speed of its flight. It fell squarely among the wolves and caused them to slink away toward the dark depths of the eucalyptus forest.

The boys laughed and lay down again in the sand, while Granser sighed ponderously. He had eaten too much, and, with hands clasped on his paunch, the fingers interlaced, he resumed his maunderings.

“‘The fleeting systems lapse like foam,’” he mumbled what was evidently a quotation. “That’s it—foam, and fleeting. All man’s toil upon the planet was just so much foam. He domesticated the serviceable animals, destroyed the hostile ones, and cleared the land of its wild vegetation. And then he passed, and the flood of primordial life rolled back again, sweeping his handiwork away—the weeds and the forest inundated his fields, the beasts of prey swept over his flocks, and now there are wolves on the Cliff House beach.” He was appalled by the thought. “Where four million people disported themselves, the wild wolves roam to-day, and the savage progeny of our loins, with prehistoric weapons, defend themselves against the fanged despoilers. Think of it! And all because of the Scarlet Death—”

The adjective had caught Hare-Lip’s ear.

“He’s always saying that,” he said to Edwin. “What is scarlet?”

“‘The scarlet of the maples can shake me like the cry of bugles going by,’” the old man quoted.

“It’s red,” Edwin answered the question. “And you don’t know it because you come from the Chauffeur Tribe. They never did know nothing, none of them. Scarlet is red—I know that.”

“Red is red, ain’t it?” Hare-Lip grumbled. “Then what’s the good of gettin’ cocky and calling it scarlet?”

“Granser, what for do you always say so much what nobody knows?” he asked. “Scarlet ain’t anything, but red is red. Why don’t you say red, then?”

“Red is not the right word,” was the reply. “The plague was scarlet. The whole face and body turned scarlet in an hour’s time. Don’t I know? Didn’t I see enough of it? And I am telling you it was scarlet because—well, because it was scarlet. There is no other word for it.”

“Red is good enough for me,” Hare-Lip muttered obstinately. “My dad calls red red, and he ought to know. He says everybody died of the Red Death.”

“Your dad is a common fellow, descended from a common fellow,” Granser retorted heatedly. “Don’t I know the beginnings of the Chauffeurs? Your grandsire was a chauffeur, a servant, and without education. He worked for other persons. But your grandmother was of good stock, only the children did not take after her. Don’t I remember when I first met them, catching fish at Lake Temescal?”

“What is education?” Edwin asked.

“Calling red scarlet,” Hare-Lip sneered, then returned to the attack on Granser. “My dad told me, an’ he got it from his dad afore he croaked, that your wife was a Santa Rosan, an’ that she was sure no account. He said she was a hash-slinger before the Red Death, though I don’t know what a hash-slinger is. You can tell me, Edwin.”

But Edwin shook his head in token of ignorance.

“It is true, she was a waitress,” Granser acknowledged. “But she was a good woman, and your mother was her daughter. Women were very scarce in the days after the Plague. She was the only wife I could find, even if she was a hash-slinger, as your father calls it. But it is not nice to talk about our progenitors that way.”

“Dad says that the wife of the first Chauffeur was a lady—”

“What’s a lady?” Hoo-Hoo demanded.

“A lady‘s a Chauffeur squaw,” was the quick reply of Hare-Lip.

“The first Chauffeur was Bill, a common fellow, as I said before,” the old man expounded; “but his wife was a lady, a great lady. Before the Scarlet Death she was the wife of Van Worden. He was President of the Board of Industrial Magnates, and was one of the dozen men who ruled America. He was worth one billion, eight hundred millions of dollars—coins like you have there in your pouch, Edwin. And then came the Scarlet Death, and his wife became the wife of Bill, the first Chauffeur. He used to beat her, too. I have seen it myself.”

Hoo-Hoo, lying on his stomach and idly digging his toes in the sand, cried out and investigated, first, his toe-nail, and next, the small hole he had dug. The other two boys joined him, excavating the sand rapidly with their hands till there lay three skeletons exposed. Two were of adults, the third being that of a part-grown child. The old man hudged along on the ground and peered at the find.

“Plague victims,” he announced. “That’s the way they died everywhere in the last days. This must have been a family, running away from the contagion and perishing here on the Cliff House beach. They—what are you doing, Edwin?”

This question was asked in sudden dismay, as Edwin, using the back of his hunting knife, began to knock out the teeth from the jaws of one of the skulls.

“Going to string ‘em,” was the response.

The three boys were now hard at it; and quite a knocking and hammering arose, in which Granser babbled on unnoticed.

“You are true savages. Already has begun the custom of wearing human teeth. In another generation you will be perforating your noses and ears and wearing ornaments of bone and shell. I know. The human race is doomed to sink back farther and farther into the primitive night ere again it begins its bloody climb upward to civilization. When we increase and feel the lack of room, we will proceed to kill one another. And then I suppose you will wear human scalp-locks at your waist, as well—as you, Edwin, who are the gentlest of my grandsons, have already begun with that vile pigtail. Throw it away, Edwin, boy; throw it away.”

“What a gabble the old geezer makes,” Hare-Lip remarked, when, the teeth all extracted, they began an attempt at equal division.

They were very quick and abrupt in their actions, and their speech, in moments of hot discussion over the allotment of the choicer teeth, was truly a gabble. They spoke in monosyllables and short jerky sentences that was more a gibberish than a language. And yet, through it ran hints of grammatical construction, and appeared vestiges of the conjugation of some superior culture. Even the speech of Granser was so corrupt that were it put down literally it would be almost so much nonsense to the reader. This, however, was when he talked with the boys. When he got into the full swing of babbling to himself, it slowly purged itself into pure English. The sentences grew longer and were enunciated with a rhythm and ease that was reminiscent of the lecture platform.

“Tell us about the Red Death, Granser,” Hare-Lip demanded, when the teeth affair had been satisfactorily concluded.

“The Scarlet Death,” Edwin corrected.

“An’ don’t work all that funny lingo on us,” Hare-Lip went on. “Talk sensible, Granser, like a Santa Rosan ought to talk. Other Santa Rosans don’t talk like you.”

***

NEXT WEEK: “Our food-getters were called freemen. This was a joke. We of the ruling classes owned all the land, all the machines, everything. These food-getters were our slaves. We took almost all the food they got, and left them a little so that they might eat, and work, and get us more food—”

Stay tuned!

NOTE: The phrase “The fleeting systems lapse like foam” is taken from a 1903 “star poem” titled “The Testimony of the Suns,” by George Sterling. Excerpt: “How haste the unresting feet of Change,/On life’s stupendous orbit set!/She walks a way her blood hath wet,/Yet deems her path untrodden, strange./By night’s immeasurable dome/She deems her hopes in surety held—/Lo! from insurgent deeps impelled/The fleeting systems lapse like foam.” Sterling was a central figure in the Californian literary scene of the early 20th century, and a friend of Jack London’s; “The Testimony of the Suns,” a pioneering work of Radium Age science fiction, was perhaps his best-known piece of writing.

***

RADIUM AGE SCIENCE FICTION: “Radium Age” is HiLobrow’s name for the 1904–33 era, which saw the discovery of radioactivity, the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. This era also saw the publication of genre-shattering writing by Edgar Rice Burroughs, Sax Rohmer, E.E. “Doc” Smith, Jack London, Rudyard Kipling, Arthur Conan Doyle, Aldous Huxley, Olaf Stapledon, Karel Čapek, H.P. Lovecraft, Charlotte Perkins Gilman, Yevgeny Zamyatin, E.M. Forster, Philip Wylie, and other pioneers of post-Verne/Wells, pre-Golden Age “science fiction.” More info here.

HILOBOOKS: The mission of HiLoBooks is to serialize novels on HiLobrow; and also, as of 2012, operating as an imprint of Richard Nash’s Cursor, to reissue Radium-Age science fiction in beautiful new print editions. In May 2012, we will publish Jack London’s The Scarlet Plague (May); in June, Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”); and in July, Arthur Conan Doyle’s The Poison Belt. We will announce another three titles for 2012 in the near future. To subscribe to the HiLoBooks series, or for more information, visit our homepage.

READ: HiLobrow’s previous serialized novels, both original works: James Parker’s The Ballad of Cocky The Fox (“a proof-of-concept that serialization can work on the Internet” — The Atlantic) and Karinne Keithley Syers’s Linda Linda Linda. We also publish original short stories.

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“This is a scarf I knitted based on a sample of the The…



“This is a scarf I knitted based on a sample of the The Amen Break. I took an image of the waveform of the amen break and converted it into a knitting pattern, which I uploaded onto a hacked knitting machine. The knitting pattern repeats over and over the same way that the amen break sample gets looped in so many musical compositions.”

andrewsalomone.com » Blog Archive » The Amen Break Scarf

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xintra: SHAME: US soldier, urinating on a combatant. Decent trained killers use bullets to make enemies explode into screaming purple meat politely.

xintra: SHAME: US soldier, urinating on a combatant. Decent trained killers use bullets to make enemies explode into screaming purple meat politely.
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Malcolm, by James Purdy

A really remarkable novel in its aliveness and strangeness.  It is hard to paraphrase or describe, but I would recommend it to anyone who liked both Winesburg, Ohio and Twin Peaks.

 

 


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Genius, a Bore, or Both


Great piece on the Paris Review blog by Jenny Hendrix—who is she?—on "jack green" 's "fire the bastards!," his defense of William Gaddis's The Recognitions.

I've never read "ftb," but when I worked at the PTSNBN, I found the full-page ad from 1962 that Hendrix mentions, and made a nice clean photocopy. And I would take a picture of it and post it here...but I'm not sure where it is.

(Also discussed is the Pynchon/Wanda Tinasky affair, which I remember reading about in the pages of the New York Press...)

*

By sheer coincidence, Linden at Night RPM has a Gaddis-related post up today...
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via/by R. Stuart Geiger



via/by R. Stuart Geiger

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Losing The Plot from Jan 23, 2012

TMI's "Chris" - "The Facebook Plot"
Peter Choyce - "Losing the Idea Notebooks"
your host - "Losing the Plot"
Martha Alderson - "The Plot Whisperer"
Paul Collins - "PLOTTO"
Peter Choyce - "Plottoing the Resume"

http://wfmu.org/playlists/shows/43596
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Black And White and Red All Over from Aug 23, 2010

Bruce Gilden - "Siberian Bad Guys"
Ivan Boiko - "Old Believers in Siberia"
Julia Tulovsky - "Nonconformist Soviet Art"
Your Host - "Russian Photo Books"
"chris" - "Red Dawn II: China's Revenge"
Your Host - "Hitler/Goebbels/Benjamin"

http://wfmu.org/playlists/shows/37036
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Better Dead Than Red from Jul 12, 2010

Nurangiz Khodzharova - "Lost In Translation"
Sonya S - "Andrei Platonov (part I)"
Your Host - "Ugly American"
Sonya S - "Andrei Platonov (part II)"
Alina Rudnitskaya - "Bitch Academy"
"chris" - "Red Dawn II: Russia's Revenge"
Sonya S - "Andrei Platonov (part III)"

http://wfmu.org/playlists/shows/36523
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Feb 10th at the New Museum: Untitled (mobile.app) + (one more thing..), JODI 2012 (premiere)

 

At this event, renowned Dutch collective JODI will premiere a new mobile application, outfitted for iPhone and Android, that is invested in “Motion/ Figure/ Posture Actions.” The application records users’ quotidian movements and turns them into choreography—one that captures our awkward, mundane, frustrated, addicted interactions with our ubiquitous devices. This focus on dynamics of control, as well as the psychology and behavior produced by technology, is at the core of JODI’s work. For this presentation, the collective will present and discuss the work, and hired performers will enact its choreography.

 

Friday, February 10th, 2012 7 p.m at the New Museum

$6 Members, $8 General Public (tickets

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Mistakes Were Made from Jun 21, 2010

Wisdom Of Harry - "Sports Pod"
Anonymous Lady - "Experimental Revenge Novel"
Kathryn Schulz - "Being Wrong (part I)"
Mishka Shubaly - "Wicked Hot"
Kathryn Schulz - "Being Wrong (part II)"
William Kleinknecht - "Ronald Reagan's Mistakes"
Cheryl Rogers - "Absence of Time"
Kathryn Schulz - "Being Wrong (part III)"

http://wfmu.org/playlists/shows/36255
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Chess Match (27)

“Analysis is a glittering opportunity for training: it is just here that capacity for work, perseverance and stamina are cultivated, and these qualities are, in truth, as necessary to a chess player as a marathon runner.” — Lev Polugaevsky

***

Twenty-seventh in an occasional series.

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This Week on Rhizome Community Boards: I’m Here and There, Jobs, Opportunities, and More

Recently added to the Artbase: I'm Here and There by Jonas Lund

Through a custom browser extension, Lund has opened his personal web browsing to a level of full transparency and public scrutiny. At imhereandthere.com the URL of the website the artist is currently browsing is published in real time. When the artist visits a new site the work automatically refreshes – providing a mirror to the artist's life and browser 

Events/Lectures/Exhibitions:

Jobs:

Call for Submissions:

Misc:

More...

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Breaking Out and Breaking In

Breaking Out and Breaking In: A Distributed Film Fest of Prison Breaks and Bank Heists kicks off Friday, January 27, sponsored by BLDGBLOG, Filmmaker Magazine, and Studio-X NYC.
[Image: Breaking Out and Breaking In poster by Atley Kasky and Keith Scharwath; view larger!].

Breaking Out and Breaking In is an exploration of the use and misuse of space in prison escapes and bank heists, where architecture is the obstacle between you and what you're looking for.

Watch the films at home—or anywhere you may be—and then come back to discuss the films here on BLDGBLOG. It's a "distributed" film fest; there is no central venue, just a curated list of films and a list of days on which to watch them. There's no set time, no geographic exclusion, and no limit to the food breaks or repeated scenes you might require. And it all leads up to a public discussion at Studio-X NYC on Tuesday, April 24.

The overall idea is to discuss breaking out and breaking in as spatial scenarios that work as mirror images of one another, each process with its own tools, techniques, and unique forms of unexpected architectural expertise.

How do prisoners and burglars reinterpret the built environments around them? Where does this more aggressive understanding of space differ from the constructive insights of an architect—and how can a building be strategically unbuilt so as to get at what lies on the other side? What particular kinds of spatial and temporal knowledge—where to tunnel, when to go—do these other users of buildings need to develop?

If burglary and prison breaks each require a kind of counter-manual of the city, then what might such a guide include—from precise time schedules and blindspots to the limits of surveillance—what points of weakness and unexpected parallels should it map, and what typologies of incisions or perforations would it posit to allow new routes through closed spaces?

The escape and the break-in here are both about illicit reinterpretations of space, sometimes violent, sometimes simply used against the grain, operating a building, we might say, in every way the architect—and the guards who police his or her creation—regrettably overlooked.

Conversely, how is space regulated and maintained from the standpoint of the police and the prison guard, or from the point of view of the homeowner who seeks to hide his or her private riches? What obstacles, blockades, misdirections, decoys, safe rooms, and security systems must be implemented to ensure that a given space is properly accessed?
[Image: Breaking Out and Breaking In poster by Atley Kasky and Keith Scharwath].

These are all recurring themes here on BLDGBLOG, where, over the years, we've discussed how to plan the perfect heist and how to perforate a skyscraper, as well as how to worm your way through the interlinked foundations of London; and perhaps we might say that 19th-century architect George Leonidas Leslie, who used his spatial skills to become "the head of the most successful gang of bankrobbers known," is, in a sense, our festival's mascot or patron saint.

Over the next four months, we will be discussing these questions and many more—from how certain sequences in these films were shot to the stage sets constructed to produce them—culminating in a public event at Studio-X NYC in April.

Of course, not all of these films are escapes from prisons as such or heists specifically aimed at banks; instead, we'll explore what it means to break out from an overly managed suburban life in The Truman Show and how an elaborate home invasion goes wrong in Panic Room; we'll watch the perfectly timed dream-physics kicks and corporate secrets of Inception as well as a team of German terrorists robbing the vaults of the Nakatomi Building of its negotiated bearer bonds. And our list is by no means exhaustive, with some films chosen less for their cinematic quality or the depth of their characterization than for their discussability or the originality of their spatial propositions.

So, in order of viewing, this distributed film fest of prison breaks and bank heists includes:

Breaking Out—
Friday, January 27, 2012
Grand Illusion (dir. Jean Renoir, 1937)

Monday, January 30, 2012
A Man Escaped (dir. Robert Bresson, 1956)

Friday, February 3, 2012
The Great Escape (dir. John Sturges, 1963)

Monday, February 6, 2012
Cool Hand Luke (dir. Stuart Rosenberg, 1967)

Monday, February 13, 2012
Papillon (dir. Franklin J. Schaffner, 1973)

Friday, February 17, 2012
Escape from Alcatraz (dir. Don Siegel, 1979)

Monday, February 20, 2012
Escape from New York (dir. John Carpenter, 1981)

Friday, February 24, 2012
Cube (dir. Vincenzo Natali, 1997)

Monday, February 27, 2012
The Truman Show (dir. Peter Weir, 1998)

Friday, March 2, 2012
The Escapist (dir. Rupert Wyatt, 2008)

—Breaking In—
Monday, March 19, 2012
Rififi (dir. Jules Dassin, 1955)

Friday, March 23, 2012
The Day They Robbed the Bank of England (dir. John Guillermin, 1960)

Monday, March 26, 2012
The Italian Job (dir. Peter Collinson, 1969) vs. The Italian Job (dir. F. Gary Gray, 2003)

Friday, March 30, 2012
Dog Day Afternoon (dir. Sidney Lumet, 1975) vs. The Third Memory (dir. Pierre Huyghe, 1999)

Monday, April 2, 2012
Die Hard (dir. John McTiernan, 1988)

Friday, April 6, 2012
Following (dir. Christopher Nolan, 1998)

Monday, April 9, 2012
Panic Room (dir. David Fincher, 2002)

Friday, April 13, 2012
Inside Man (dir. Spike Lee, 2006)

Monday, April 16, 2012
The Bank Job (dir. Roger Donaldson, 2008)

Friday, April 20, 2012
Inception (dir. Christopher Nolan, 2010)
Again, you can watch the films wherever you might be, from the Lower East Side to Rotterdam, from Toronto and Mumbai to Beijing, and then join the relevant comment threads here on BLDGBLOG (posted, I hope, within a day or two of the screening date). Further, look out for some original analyses on Filmmaker Magazine as the festival unfolds.

Finally, stop by Studio-X NYC on the evening of Tuesday, April 24, for a free public discussion featuring a stellar group of panelists soon to be announced.

I hope many of you will participate in this experiment in film curation!

(New Yorkers, note that Robert Bresson's A Man Escaped happens to be screening this week at Film Forum, so it might be a good idea to catch it before it leaves the theater).
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The Waves’ single “The Nightmare” came out…



The Waves’ single “The Nightmare” came out January 25, 1982. Yes, this was pre-Katrina and the Waves.

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Depeche Mode’s “See You” single came out…



Depeche Mode’s “See You” single came out January 25, 1982. Here’s the original promo video.

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Physibles

The Pirate Bay just announced a new file type available on the site: "physibles," digital files for 3D printing. It expects in 20 years you'll be downloading sneakers. In the meantime there are lawn darts and plastic toys:

We're always trying to foresee the future a bit here at TPB. One of the things that we really know is that we as a society will always share. Digital communication has made that a lot easier and will continue to do so. And after the internets evolutionized data to go from analog to digital, it's time for the next step.

Today most data is born digitally. It's not about the transition from analog to digital anymore. We don't talk about how to rip anything without losing quality since we make perfect 1 to 1 digital copies of things. Music, movies, books, all come from the digital sphere. But we're physical people and we need objects to touch sometimes as well!

We believe that the next step in copying will be made from digital form into physical form. It will be physical objects. Or as we decided to call them: Physibles. Data objects that are able (and feasible) to become physical. We believe that things like three dimensional printersscanners and such are just the first step. We believe that in the nearby future you will print your spare sparts for your vehicles. You will download your sneakers within 20 years.

The benefit to society is huge. No more shipping huge amount of products around the world. No more shipping the broken products back. No more child labour. We'll be able to print food for hungry people. We'll be able to share not only a recipe, but the full meal. We'll be able to actually copy that floppy, if we needed one.

We believe that the future of sharing is about physible data. We're thinking of temporarily renaming ourselves to The Product Bay - but we had no graphical artist around to make a logo. In the future, we'll download one.

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