Sunday, 20 December 2009
The world's smallest snowman
The snowman is 10 µm across, 1/5th the width of a human hair.
The snowman was made from two tin beads used to calibrate electron microscope astigmatism. The eyes and smile were milled using a focused ion beam, and the nose, which is under 1 µm wide (or 0.001 mm), is ion beam deposited platinum.
A nanomanipulation system was used to assemble the parts 'by hand' and platinum deposition was used to weld all elements together. The snowman is mounted on a silicon cantilever from an atomic force microscope whose sharp tip 'feels' surfaces creating topographic surveys at almost atomic scales.
WOW!
In an effort to establish new platforms for public art and performance, the
multimedia duo SWEATSHOPPE has developed a new interactive technology that enables
them to explore the relationship between video, mark making and architecture. Dubbed
"video painting", this technology allows them to essentially "paint" video onto any
surface. Shooting in Queens, Brooklyn, and Manhattan, the duo spent weeks
documenting their work in urban settings to create "The Landing" the first in a
series of episodes that showcases their work as artist, technologist and performers.
This video shows 4 full uncut extra clips form the landing.
Video and Music by SWEATSHOPPE
Thank You: Arpana Rayamajhi, Jacky Tran (Quizbowl Productions) and all the popsicle lovers
Leave 'Sexters' Alone!
So what if teens are sending nakes pictures to each other via cellphone? The real problem, Conor Friedersdorf argues, sets in when grownups get involved.
The suicide of a 13-year-old who sent a topless photo of herself to a crush is stoking renewed hysteria about teen "sexting," a misnamed phenomenon that hardly requires text and doesn't involve sex. What actually happens is that hormone-addled adolescents take naked photographs of themselves and send them to a crush via their cellphones or email accounts. Being teens, the images often spread like lunchtime gossip, especially after breakups. If you've got a kid in high school, the odds are quite high that he or she has seen photographs of a naked classmate—according to a recent PEW poll, one in seven teens with cellphones admit receiving naked pictures directly.
Tragic stories that begin with “sexting” are all too frequent when principals, police officers, or district attorneys get involved.
In most cases, teens who conceal their sexting from authority figures suffer negligible adverse consequences; they're hardly the first generation to play "I'll show you mine," and even Verizon's 3G network cannot yet transmit sexually transmitted diseases or pregnancy...
unedited Rage Against the Machine on BBC
Rage Against the Machine on BBC Thursday Dec. 17 & remember that the band's royalties are going to go to SHELTER.
WTF???
Justice Elizabeth Curtain denied when sentencing Clinton Rintoull to 20 years jail for his "ferocious and brutal" attack on Liep Gony that the murder was racially motivated.
He had wrtten "fuck da niggers" on the wall of his house and announced shortly before the attack that he was "going to kill the blacks".
Liep Gony was Sudanese.
Justice Curtain of the Victorian Supreme Court here in Melbourne you are a fugn idiot and this song is for you:
Snowpocalypse! 14th and U snowball fight - 19th December 2009
You in there Fifi?
(...or just sipping yr Moet at the sidelines?LOL!)
Actually this light hearted story has an over the top Police twist
More from Fifi here.
(...or just sipping yr Moet at the sidelines?LOL!)
Actually this light hearted story has an over the top Police twist
More from Fifi here.
Saturday, 19 December 2009
Noise & Capitalism
Noise & Capitalism
Publisher: Arteleku Audiolab (Kritika series), Donostia-San Sebastián (Gipuzkoa)
Publication date: September 2009.
ISBN: 978-84-7908-622-1
Contributors: Ray Brassier, Emma Hedditch, Matthew Hyland, Anthony Iles, Sara Kaaman, Mattin, Nina Power, Edwin Prévost, Bruce Russell, Matthieu Saladin, Howard Slater, Csaba Toth, Ben Watson.
Editors: Mattin & Anthony Iles
‘Noise’ not only designates the no-man’s-land between electro-acoustic investigation, free improvisation, avant-garde experiment, and sound art; more interestingly, it refers to anomalous zones of interference between genres: between post-punk and free jazz; between musique concrète and folk; between stochastic composition and art brut. – Ray Brassier
This book, Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments.
If the conditions in which we produce our music affects our playing then let's try to feel through them, understand them as much as possible and, then, change these conditions.
If our senses are appropriated by capitalism and put to work in an ‘attention economy’, let's, then, reappropriate our senses, our capacity to feel, our receptive powers; let's start the war at the membrane!
Alienated language is noise, but noise contains possibilities that may, who knows, be more affective than discursive, more enigmatic than dogmatic.
Noise and improvisation are practices of risk, a ‘going fragile’. Yet these risks imply a social responsibility that could take us beyond ‘phoney freedom’ and into unities of differing.
We find ourselves poised between vicariously florid academic criticism, overspecialised niche markets and basements full of anti-intellectual escapists. There is, afterall, 'a Franco, Churchill, Roosevelt, inside all of us...' yet this book is written neither by chiefs nor generals.
Here non-appointed practitioners, who are not yet disinterested, autotheorise ways of thinking through the contemporary conditions for making difficult music and opening up to the willfully perverse satisfactions of the auricular drives.
Here non-appointed practitioners, who are not yet disinterested, autotheorise ways of thinking through the contemporary conditions for making difficult music and opening up to the willfully perverse satisfactions of the auricular drives.
The distribution of this book is going to be done by trading:
If you are an artist, musician, writer or engage in any creative activity, we would very much appreciate that you send a sample of your work as a form of exchange for the book. Otherwise you can write a critical response to the book and send it to Arteleku.
If you are a distributor or a label or a publisher and you want to get copies of the book for distribution, you can send single copies of different books, zines or records in exchange and Arteleku will send you copies of the book in return.
Any material sent to Arteleku will become part of Arteleku's library and people will have free access to this material.
Post: Arteleku, Kristobaldegi 14 (o nuevo P. Ainzieta), Loiola Auzoa, 20014 Donostia - San Sebastián (Spain).
Email: arteleku@gipuzkoa.net
Email: arteleku@gipuzkoa.net
Arteleku might take some time to reply and to send the books but they will do it as soon as they can.
This book can be downloaded as a PDF file:
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