Tuesday, 5 June 2012

'Stockings and boredom = tic tac toe'

Jacob Appelbaum on privacy, government surveillance and the current state of democracy

Jacob Appelbaum shares his views on privacy, government surveillance and the current state of democracy with YASSSU at the Re:publica conference 2012 in Berlin

Fuxake!!!

Via

Australian 'War on drugs' under attack

Blowback and the Consequences of Obama's Foreign Policies

Artist turns his dead pet into flying helicopter after it is killed by a car

'...Dutch artist Bart Jansen first stuffed Orville before teaming up with radio control helicopter flyer Arjen Beltman to build a specially-designed flying mechanism to attach to the cat.
Jansen said the Orvillecopter is 'half cat, half machine', and part of a visual art project to pay tribute to his cat Orville.
Jansen, part of the art cooperative Generaal Pardon, said: 'After a period of mourning he received his propellers posthumously.'
He added that Orville will soon be 'flying with the birds' stating: 'Oh how he loved birds. He will receive more powerful engines and larger props for his birthday. So this hopping will soon change into steady flight.''

'For anyone fed-up of the Dawkins Delusion that rationality and science are the answer to the human condition...'

Amelia Earhart: New evidence tells of her last days on a Pacific atoll

Helen Nissenbaum, Kazys Varnelis: Situated Technologies Pamphlet 9 - Modulated Cities: Networked Spaces, Reconstituted Subjects (2012)

The Situated Technologies Pamphlets series explores the implications of ubiquitous computing for architecture and urbanism. How is our experience of the city and the choices we make in it affected by mobile communications, pervasive media, and other “situated” technologies?
In Situated Technologies Pamphlets 9, Helen Nissenbaum and Kazys Varnelis initiate a redefinition of privacy in the age of big data and networked, geo-spatial environments. Digital technologies permeate our lives and make the walls of the built environment increasingly porous, no longer the hard boundary they once were when it comes to decisions about privacy. Data profiling, aggregation, analysis, and sharing are broad and hidden, making it harder than ever to constrain the flow of data about us. Cautioning that suffocating surveillance could lead to paralyzed dullness, Nissenbaum and Varnelis do not ask us to retreat from digital media but advance interventions like protest, policy changes, and re-design as possible counter-strategies.
Publisher Architectural League of New York, Spring 2012
Creative Commons Attribution 2.0 license
ISBN 978-0-9800994-8-5
56 pages
PDF

Cosmopolis (Trailer)

Don DeLillo Interview (In French)

Patti Smith on covering After The Goldrush

'The last song on the record, I performed live with my son, Jackson, and my daughter, Jesse,' says Smith. 'I wanted the album to end like dawn breaking, and I thought of the type of song that I wanted to write. But then I was in a café and I happened to hear Neil Young's 'After the Gold Rush,' and I thought, Neil's already written it.'
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Monday, 4 June 2012

BitTorrent Downloading Hits iPhone, iPad With Installous 5

Anarchist Republic of Bzzz

Anarchist Republic of Bzzz:

SEB EL ZIN on electric guitar, harmonica and throat. He is the composer/producer/mixer of the project. Also singer, guitarist and composer in the ethno-psyche-punk band ITHAK

ARTO LINDSAY on electric guitar and production

MIKE LADD on freestyling vocals

MARC RIBOT on electric guitar

SENSATIONAL on vocals

KIKI PICASSO graphic propaganda

Claiming the influence of the kabbalist Abdul Vector Von Hassid, this sonic nation distills on its first record a raging mix of sharp noisy post-no-wave guitars and urgent rap. Some electro colour also emanates from crazy architect Seb el Zin’s mix. Kiki Picasso’s cover places the recording in a geopolitical context where William Burroughs drops acid with Ben Laden.

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Jean Shin: Sound Wave (2007)

Melted 78 rpm records on
wooden armature
5.2 ft h x 12 ft w x 12 ft d
Installation at Museum of Arts & Design, New York, 2008
5.2 ft h x 7.7 ft w x 8.8 ft d
Installation at Brooklyn Academy of Music, New York, 2007
Records were melted and sculpted to form a cascading wave, dotted with bursts of colorful labels. The resulting structure speaks to the inevitable waves of technology that render each successive generation of recordable media obsolete. The piece also aims to physically manifest the ephemerality of music as well as one man’s musical tastes, as represented by his personal record collection.
HERE