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They say I made the Moon. (13)
Nowhere, Somewhere
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    The human species is rapidly and indisputably moving towards the technological singularity. The cadence of the flow of information and innovation in...

    The Total Library
    Text that redefines...

    What happened to nature?
    How to stay in touch with our biological origins in a world devoid of nature? The majestic nature that once inspired poets, painters and...

    The great enhancement debate
    What will happen when for the first time in ages different human species will inhabit the earth at the same time? The day may be upon us when people...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    ^ "Question 2010" by Katinka Mason

    ({ 172 Responses })


    The most interesting trend in the development of the Internet is not how it is changing people's ways of thinking but how it is adapting to the way that people think.

    - Steven Pinker

    + +

    Hypertext as the death of arcana, or how the click killed curiosity. The depth of the internet is, of course, limitless, a bottomless pit of html that can take us off and away on any number of unexpected byways and diversions. Yet is this expectation of diversion flattening out our experience of the physical world? The days of an internet where every stumble was a moment of true discovery are gone forever, perhaps, as curatorial zeal fast overtakes quiet collectomania as the principle online activity.

    ~ things~

    ^ "History of the Internet" (02009) by Melih Bilgil

    ^ "The Machine is Us/ing Us" by Michael Wesch

    ^ "Internet" by Jordan Clarke

    ^ "Trillions" by MAYA Design

    ^ "The State of The Internet" by JESS3

    ^ "How Green Is Your Internet?" by Patrick Clair

    ({ A People's History of the Internet, (ISOC) Histories of the Internet, Map of the Internet })

    + +

    Jonathan Zittrain: Minds For Sale (1, 2)

    Excerpt: Mechanical Turk and the Danger of Digital Sweatshops

    + +

    The internet is awash with corpses. One of the earliest uses of the website seems to have been as a memorial, whether for people or pets. There are numerous online memorials, from eGraves to do-it-yourself concepts like My Last Email. Even if we suppose that a small percentage of these sites continue to be maintained (just like graves in the real world), the internet will slowly and inexorably become a vast digital mausoleum, littered with husks of memory. Sites like YouTube and MySpace will be awash with dead users.

    ~ more things~
    ~ Millenium People ~

    There are somewhere in the order of 4.2 billion unique Internet addresses (IPs), housed on 44 million servers. These consume about 5% of all the world’s electricity and produce about 2% of all carbon dioxide emissions. This amounts to roughly 80 megatons a year and is similar in output to the emissions of Argentina or the Netherlands.

    It is comprised of about 40 million gigabytes of information, which, in its simplest form, would weigh something in the order of fifty-six millionths of a gram.

    Here the contradiction: the Internet might, theoretically, occupy less space than a single grain of sand, and yet its contribution to global warming is equal to a small country. It is both an immense geographical entity and a miniscule atomic whisper. It exists in a time and place, and yet transcends that to become timeless and aspatial.

    It is an emergent system, where a highly-engineered, yet simple, set of rules has allowed for the creation of a massive network sprawling across the planet. The structure of the Internet is a hub and spoke system, in which information is hoarded at central servers and trickled down to individual IPs, making it, in technological terms, far from democratic.

    + +

    ({ Evan Roth, F.A.T. })

    + +

    Sat, Jan 30, 2010  Permanent link
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    Sometimes the most fascinating books are the ones we cannot read. Here are two illustrated texts which have eluded and confounded those who have sought to decipher them (but then, perhaps that is the point). One is thought to have been written several hundred years ago, whose author is only speculated; the other was written only a few decades ago, whose author is both known and still living.

    The Voynich Manuscript

    The Voynich manuscript is a mysterious illustrated book written in an indecipherable text. It is thought to have been written between 1450 and 1520. The author, script and language of the manuscript remain unknown... Over its recorded existence, the Voynich manuscript has been the object of intense study by many professional and amateur cryptographers, including some top American and British codebreakers of World War II fame (all of whom failed to decrypt a single word). This string of failures has turned the Voynich manuscript into a famous subject of historical cryptology, but it has also given weight to the theory that the book is simply an elaborate hoax — a meaningless sequence of arbitrary symbols.

    ( 1, 2, 3, 4, 5, 6 )

    ~ + ~

    The Codex Seraphinianus

    The Codex Seraphinianus is a book written and illustrated by the Italian architect and industrial designer Luigi Serafini during thirty months, from 1976 to 1978. The book is approximately 360 pages long (depending on edition), and appears to be a visual encyclopedia of an unknown world, written in one of its languages, a thus-far undeciphered alphabetic writing.

    Visionary or Hallucinatory Encyclopedia?

    ( 1, 2, 3, 4, 5 )

    ~ + ~

    ¿ Dig Deeper ?

    undeciphered writing systems
    James Hampton

    ! This was originally inspired by Mr. Blank Dog's Voynich MS post ¡
    Wed, Oct 15, 2008  Permanent link
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    Sent to project: The Total Library
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    Projekt: 0 - Lonely Sun; found here

    Fascinating visual (and musical) works by Václav Pajkrt! The above image, entitled "Growth of cubic bacteria", took first place in the NVArt: Amazing Creations competition held earlier this year:

    He says his goal was to connect his experience from 3D graphics with some interesting mathematical shapes. Inspiration for his scenes comes from macro-worlds and from fascinating views from scan electron microscope.

    { Artistic, Photographic, Musical }

    via Vandit @ FLYLYF
    Thu, Sep 18, 2008  Permanent link
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    I have always been interested in human individuality and self-expression... The persons presented in my works lack individuality: the eyebrows and the eyelashes are removed, the skin is smoothed... Visually I am inspired by culture of fashion and surrealists. I often shock people. I try to create the my personal aesthetics of the works, I try to combine reality with artificiality.

    ~ Oleg Duryagin ~

    DOU is the portfolio of young Russian photographer Oleg Duryagin. He works mostly on the human figure, and, in particular, the human face. This is the object of meticulous investigation and transformation for Duryagin, since his aim is to question post-human identity. All that is flesh goes through a kind of digital metamorphosis; it is erased, smoothed, and rendered to extreme precision. The finished portraits look very sculptural, non-human, surreal, inanimate, and in many cases, you can see a transparency of the porcelain skin underlining the fragility of every portrait…

    ~ Paintalicious post via Alberto Cerriteño ~

    { Art Limited Portfolio, Aidan Gallery }
    Sun, Sep 14, 2008  Permanent link
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    Human society needs to aspire to an integration of its material, spiritual and ecological elements. Current technologies, processes and means tend to separate these facets rather than connect them. Nature uses the sun's energy to create interdependent systems in which complexity and diversity imply sustainability. In contrast, industrialized society extracts energy for systems designed to reduce natural complexity. The challenge for humanity is to develop human design processes which enable us to remain in the natural context. Almost every phase of the design, manufacturing, and construction processes requires reconsideration. Linear systems of thought, or short-term programs which justify ignorant, indifferent, or arrogant means are not farsighted enough to serve the future of the interaction between humanity and nature. We must employ both current knowledge and ancient wisdom in our efforts to conceive and realize the physical transformation, care and maintenance of the Earth.

    ~ William McDonough [x], The Hanover Principles ~

    Michael Wolf - Hong Kong: The Front Door/The Back Door Image #6

    Over the past few years, many wonderful projects have emerged from talented individuals with a healthy interest in the relationships between humanity, nature, and technology, and ultimately, their implications for the future of this world. People from all aspects of society are becoming increasingly involved in the struggle against global desolation/devastation. Using photography as their primary medium, Chris Jordan, Michael Wolf, and Edward Burtynsky have created works which have left me with a mixture of fascination and concern, awe and disgust. I have attempted to use common threads between their works to illustrate a story about sustainability, consumerism, and civilization, with the United States and China as its main characters.

    I must briefly mention that I was surprised to find that Burtynsky's work has only recently surfaced here, and not in member posts, but in our gallery. I implore those unfamiliar with him to watch Manufactured Landscapes, a wonderful cinematic exploration of his work (and another essential documentary). He is also on the board of directors over at WorldChanging (to which Régine Debatty contributes!) and recently spoke at the Long Now Foundation, proposing a 10,000 year gallery.

    In order to keep my page from becoming more cluttered than it already is, I've decided to separate the rest of this post from my Personal Cargo. Furthermore, I've split what was previously one giant post into a series of posts. Click any of the following links to continue...

    I. Refreshments - The story of stuff
    II. Take - Manufacturing Landscapes
    III. Make - Where does it come from?
    IV. Waste - Where does it go?
    V. Overpopulate - Hong Kong shows us the future
    VI. Build To Destroy - Three Gorges Dam
    VII. Grave & Cradle - What next?
    Sat, Sep 13, 2008  Permanent link
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    BACKSTORY: It all started with this film “17 things i made.” At the end of the film, viewers were invited to come make a cool 18th thing with me here in Chicago (at Millennium Park) on 8/8/08 at 8:08 pm.

    { Who Is Amy }
    Mon, Sep 8, 2008  Permanent link
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    ^ a work by Amandine Urruty

    I should be back with fresh posts soon! In the meantime, you can listen to the muxtape I made if you'd like (wait, nevermind, the RIAA says you can't). And while that's playing, I recommend either relaxing with closed eyes or, if you want to keep them open, you should peruse, FFFFOUND!, or our very own gallery. Later on, watch The Story of Stuff (or this critique) if you haven't seen it and read about the true origins of The Nonsense Nine.
    Wed, Jul 30, 2008  Permanent link
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    I'd now like to take the time to bring to your attention two deeply moving and intellectually stimulating documentaries which deserve far more exposure. Although the films deal with very different subjects, I would recommend both as absolutely essential viewing for all.

    First is a film which I had the opportunity to see during its theatrical release in Canada, nearly a year before its shockingly limited play in US theatres (despite winning numerous international film awards). I watch a lot of documentaries, but its rare that I come across one which presents information and ideas which truly challenge my mentality. The director (and first-time filmmaker), Rob Stewart, opened my eyes to a refreshingly different view not only of sharks, but of sustainability as a whole. We all need to be more aware of the impact humans are having on the environment. Sharkwater is a milestone effort in raising this awareness.'

    For filmmaker Rob Stewart, exploring sharks began as an underwater adventure. What it turned into was a beautiful and dangerous life journey into the balance of life on earth.

    Driven by passion fed from a lifelong fascination with sharks, Stewart debunks historical stereotypes and media depictions of sharks as bloodthirsty, man-eating monsters and reveals the reality of sharks as pillars in the evolution of the seas.

    Why save sharks? What makes them so important?

    Species evolving in the oceans over the last 400 million years, have been shaped by their
    predators, the sharks, giving rise to schooling behavior, camouflage, speed, size and
    communication. They have survived five major extinctions and now they are being fished
    Many countries have no sharks left because they are being illegally harvested for
    their fins and poachers are now fishing sharks from other countries, countries that depend
    on sharks for food. But no one wants to save sharks, people are afraid of them.

    Do specials proclaiming it the “summer of the shark” because of attacks and the
    JAWS perception upset you?

    It really pisses me off. You understand where they’re coming from because a dangerous
    shark makes money and sells papers. If they tell you a shark is beautiful and perfect and
    wonderful and won’t attack you that’s only going to make news once. But if they tell you
    “Shark attack. Shark attack.” That’s news every time.
    It’s ridiculous, but you know they
    are doing it just to play off people’s fears. The reality is totally different. Half the time it
    is a small shark that accidentally bites someone’s foot. You could have gotten the same
    injury from stepping on a piece of glass. It’s crazy how the media approaches it and
    they’ve given sharks such a bad rap. It’s ludicrous because so few people get bit.

    interview with Rob Stewart (PDF)

    My greatest environmental fear is that the oceans will continue to be ignored until it’s too late. There are 2.5 billion years of evolution in the oceans, and a mere 500 million or so on land. When life evolved in the ocean, the atmosphere was very hot, full of carbon dioxide. Plants in the ocean evolved, and started sequestering carbon, removing carbon dioxide from the atmosphere, releasing oxygen, and the planet began to cool. Over hundreds of millions of years, much of the carbon that was removed from the atmosphere was stored as oil and natural gas reserves in the Earth’s crust. Now we’re bringing that carbon out again and releasing it back into the atmosphere. We have made great jumps in our awareness regarding global warming, but we haven’t acknowledged the ocean’s role in global climate. The oceans are the greatest regulators of climate on the earth. Phytoplankton (tiny plants) in the oceans provide 70 percent of the oxygen in our atmosphere, and are the greatest sink for carbon dioxide on earth. We’re now destroying the oceans, removing apex predators such as sharks, dredging the oceans; without considering that this atmosphere, our precious oxygen, and our hospitable planet, is all made possible because of life in the ocean that is part of a food chain. Food chains are sensitive, haven taken hundreds of millions or billions of years to form, and we’re destroying it.

    another interview

    The film was shot in high-definition, bringing gorgeous underwater footage of both sharks and their neighbours.

    { Official site, blog, trailer and other media, Saving Sharks }

    ~ ~

    This next film is one I discovered only through the recommendation of a friend which, after having seen it, makes me all the more determined to promote it. Like Sharkwater, it deals with the atrocious behaviour of humanity and its continued disregard for long-term, conscientious thinking. However, rather than bringing to attention our destructive impact on the natural environment, we are reminded of a chapter of human history which is all too often neglected even though it defined one of the most pressing issues we face today and for the foreseeable future. Steven Okazaki's documentary about the bombings of Hiroshima and Nagasaki not only teaches what school history books generally skim over (and often distort) but, through the words of survivors (and pilots), gives a true glimpse of what it was like to experience the events first-hand, to survive, and to continue struggling 60 years afterwards. Set to one of the best soundtracks I've come across, White Light/Black Rain is heart-wrenching, intellectually provocative, and relevant to many of today's most important debates concerning the likes of technology, morality, and war.

    As global tensions rise, the unthinkable now seems possible. The threat of nuclear "weapons of mass destruction" has become real and frightening. White Light/Black Rain, an extraordinary new film by Academy Award-winning filmmaker Steven Okazaki, presents a deeply moving look at the painful legacy of the first — and hopefully last — uses of nuclear weapons in war.

    Even after 60 years, the bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know very little about what happened on August 6 and 9, 1945, two days that changed the world. This is a comprehensive, straightforward, moving account of the bombings from the point of view of the people who were there.

    Like most American, public-school educated kids, I had no background on the subject at all. I knew that bombs were dropped on Hiroshima-Nagasaki and then the war ended. But that really was about it. I think the concept of their being survivors hadn't occurred to me. But here in this room were housewives and shopkeepers, and I just thought, well, this would be a less threatening way to tell the story...

    Some people are surprised by the reserve of the survivors. But you have to remember that culturally, for Japanese to just talk about themselves in any way that might elicit sympathy or pity is something that Japanese just don't do. When the survivors speak out publicly, they often face criticism and prejudice from their neighbors and the public. People tell them to be quiet, to forget the past, not to stir up old emotions, not to remind people of the war. So it's a difficult thing to do...

    Many people in the film are still dealing with survivor guilt but somehow have found reasons to live. One of the survivors talks about looking for her mother, and seeing what she thinks is her mother because she finds a burned corpse with a gold tooth that looks like her mother, and she reaches out to touch the body and it turns to ashes before her finger reaches it. And then her sister gets radiation sickness, her hair starts falling out, and the kids at school are taunting her sister because she's bald, and the sister steps in front of a train and kills herself. This woman says that there are two kinds of courage—the courage to die, and the courage to live. And she says she decided she wanted to live, despite her having lost everybody...

    I think what we want to do with the film is not make particular political points, but just the point that the bombs affected the lives of real people, and so let's hear what they have to say. No matter how important your message is, if the film is boring, no one will hear it. And my feeling is, this is an incredibly dramatic, amazing story, and if we just let the people tell their stories, that in itself is a political act, of sorts, and that people can find their own messages.

    Steven Okazaki interview

    It's sixty-two years since the bombing and it's still a really political topic. It's still a topic that makes people uncomfortable. I developed an insecurity complex while I was making the film. Early on, I was at a party and people would ask what I'm working on and I'd say a Hiroshima/Nagasaki film, and I swear, 80 percent of the people either went, "Oh. I'm going to go get a drink" or they'd change the subject. Or they start arguing.... People have really strong feelings, but they really know nothing about the subject. I think it's natural to have a block because the images and stories are so disturbing. But I think it's surprising — people really don't know anything about it.

    another interview: transcript, video

    { Official site, Steven Okazaki, survivor artwork, IAEA }
    Tue, May 13, 2008  Permanent link
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    If something is boring after two minutes, try it for four.
    If still boring, then eight.
    Then sixteen. Then thirty-two.
    Eventually one discovers that it is not boring at all.

    "So that each person is in charge of himself. " from Chicago '82: A Dip in the Lake

    Music is Everywhere, we just have to look for it.

    { From Miroslav Sebestik's Listen : In Love With Another Sound, A Bottle Of Coca-Cola }

    Like acrostics, mesotics are written in the conventional way horizontally, but at the same time they follow a vertical rule, down the middle not down the edge as in an acrostic, a string spells a word or name, not necessarily connected with what is being written, though it may be. This vertical rule is lettristic and in my practice the letters are capitalized. Between two capitals in a perfect or 100% mesostic neither letter may appear in lower case. .... In the writing of the wing words, the horizontal text, the letters of the vertical string help me out of sentimentality. I have something to do, a puzzle to solve. This way of responding makes me feel in this respect one with the Japanese people, who formerly, I once learned, turned their letter writing into the writing of poems. In taking the next step in my work, the exploration of nonintention, I don't solve the puzzle that the mesostic string presents. Instead I write or find a source text which is then used as an oracle. I ask it what word shall I use for this letter and what one for the next, etc. This frees me from memory, taste, likes, and dislikes, By means of Mesolist, a program by Jim Rosenberg, all words that satisfy the mesostic rule are listed. IC [a program that generates the I Ching numbers, available for downloading on the Net] then chooses which words in the lists are to be used and gives me all the central words, the position of each in the source material identified by page, line, and column. I then add all the wing words from the source text following of course the rule Mesolist does within the limit of forty-five characters to the right and the same to the left. Then I take out the words I don't want. With respect to the source material, I am in a global situation. Words come first from here and then from there. The situation is not linear. It is as though I am in a forest hunting for ideas.

    { The Music of Verbal Space: John Cage's "What You Say", Norton Lectures }

    Side A from the album: John Cage Meets Sun Ra, Meltdown MPA-1 (1987). Alternates performances by Sun Ra-Yamaha DX-7; and John Cage-voc. Sideshows by the Sea, Coney Island, NY, 6/8/86. (Ubu)

    We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.

    ~ from "An Autobiographical Statement"

    Silence excerpt from The Dial-A-Poem Poets: Disconnected

    How do you feel about the intrusion of technology with art or the intrusion of art with technology?

    I think it is one of the things that characterizes the present period and that it will probably continue, and the technology will get more and more sophisticated. I think it will ultimately get to the point where we don't notice that it exists, although it will be, then, even more essential, and generally essential, to everyone's life. But I think instead of imposing itself on our attention that it will become more and more invisible. We notice — Fuller, Buckminster Fuller has noticed that we do more with less — copper, for instance, and we can notice the difference between, oh, engines of, say, 50 years ago and engines of the present time. And there appears to be an increasing ability not only to do more with less, but to do the same thing with something simpler. And I think it would be marvelous if, say, in some utopia that I hope we're going to that we would have all the advantages of technology with seemingly no presence of it.

    In other words, art should eventually become magic?

    Yes, if, for instance, I could telephone without bothering with the telephone.

    { John Cage @ UbuWeb Historical, Sound, Film }

    This post was originally inspired by squashed's third installment of Three Lists For The Lover (After Love) at motel de moka. And on that note...

    Love is memory. In the immediate present we don't love; life is too much with us. We lust, wilt, snort, swallow, gobble, hustle, nuzzle, etc. Later, memory flashes images swathed in nostalgia and yearning. We call that Love. Ha! Better to call it Madness.

    + +

    Amazing what discoveries one often makes whilst following a tangent!

    I was looking for an image of John Cage and came across a fascinating virtual collage of Cage-related information and media, created by Ralph Lichtensteiger, whose diary contains a wealth of enlightening entries. But that's only part of the main site (and here's his latest project).
    Wed, Apr 2, 2008  Permanent link
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    Rather than creating a series of toys and super-heros with weapons, we are interested in experimenting with the qualities of changing the perception as well as sensory enhancements changing your perspective or creating empathy with animals.

    We believe curiosity and exploration is one of the major desires of children and our goal is not just to create a series of devices for exploration and curiosity that might be just fun for one afternoon. Much more we are interested in providing tools seeing the world through a different lens and to learn more about ourselves. We believe those devices could possibly create empathy with animals, experiencing what they experience as well as providing an interface to communicate with them.

    This is just a start of the experiment and we believe it is possible to create also tools for play with deeper layers, learning levels and more layered interactivity that could even become an extension of your body rather than just an traditional play-object.

    ~ Kenichi Okada + Chris Woebken ~

    Animals have senses beyond human experience, they instinctively feel approaching tsunamis through low frequencies, communicate through pheromones or can navigate through magnetic fields.

    Students of Design Interactions Chris Woebken and Kenichi Okada, in collaboration with MBA students from the Oxford Said Business-school, have been developing a series of sensory enhancements toys for children to experience "animal superpowers." Each prototype allows the kid to change perspective or feel empathy with animals.

    At the work in progress show of the Royal College of Art in London a few weeks ago there were showing 3 of their prototypes:

    Ant - feeling like an ant magnifying your vision 50x through microscope antennas on your hands
    Bird - gaining a sense for magnetic fields
    Giraffe - a child to adult converter changing your voice & perspective

    They are also developing Elephant shoes that pick up transmitting vibrations from fellows and a head mounted Theremin (!) to provide children with an enhanced spatial vision similar to the one of an electric Eel.

    I played with the ant and giraffe devices while visiting the RCA show and found out that the objects do exactly what their description says: i felt humbled by the ant devices (i could not see anything of what was around me but could perceive all the tiny cracks and details on the surface of of the table i was exploring) and while doning the giraffe helmet i could only perceive the head of the tallest people in the room...

    Designed by Rokos in collaboration with Kathrin Bohm and Andreas Lang, the object lowered your vision to ground level, and outwards, by the use of periscopes. The device was set off centre on a wheel to create the sensation of hopping. The device comes with ears and a tail, so that onlookers can also understand the product's purpose.

    { Continued at we make money not art & there & here }
    Sun, Mar 2, 2008  Permanent link
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    Sent to project: The great enhancement debate
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