Tuesday, 5 June 2012

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

Deborah Williams

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I love this woman's work since first seeing it down at Australian Galleries in Collingwood a fair few years ago now...

Joey Barton attacked in street in Liverpool

Bliar and the fugn BIG cockup by MI6

Zombie Apocalypse

Zombie Gnomes

XLR8R Podcast 249: A Guy Called Gerald's MUTEK Mix

Andy Hamilton 1918-2012 R.I.P.

Read and weep...(Bekhaan o geryaan ko)

Intrigue in Karzai Family Clouds Afghanistan’s Fate

(Thanx Josh!)

HA!

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♪♫ My Computer - Hole In The Road

Bonus:

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‏@billybragg

I guess whatever we were doing today, we learned that it's not the monarchy that unites us as a nation, it's the weather #LongToRainOverUs.

Street party, anyone, as Maj goes floating by

‏@DavidAllenGreen

Jeremy Hunt acted "wisely and fairly" over BSkyB says David Cameron. In real world, however, Hunt's conduct stupid and unlawfully biased.

Punk Britannia - Part 1: Pre-Punk 1972-1976

First of a three-part documentary series about the history of punk rock. The film explores the road to punk in Britain, which begins in the early 70s with a young generation already conscious that they have 'missed the 60s party' and are stuck in a Britain heading for economic woes and dwindling opportunities. But before the punk generation finally arises to have its say during 1976 come a group of pub rockers, a generation of bands sandwiched between 60s hippies and mid-70s punks who will help pave the way towards the short, sharp shock of punk, only to be elbowed aside by the emergence of the Sex Pistols, the Clash et al. Pub rock set the template - small venues, fast retro rock n roll and bags of attitude typified bands like Dr Feelgood, Ducks Deluxe, Kilburn and the High Roads and Eddie and the Hotrods. Featuring unseen archive footage and interviews with John Lydon, Paul Weller, Mick Jones, Wilko Johnson, Nick Lowe, Adam Ant, Brian James and many more.
Mick Farren: The Titanic sails At Dawn

Lee Perry - Queen Elizabeth's Pum Pum (Jubilee Mix)

HERE

Pissing down with reign in London was it?

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‏@DianaInHeaven
Piss poor effort. Compared to my funeral, it's like a fucking funeral

John Pilger: The Leveson Inquiry into the British press - oh, what a lovely game

7 things you didn't know about death

Douglas Adams: How to Stop Worrying and Learn to Love the Internet

A couple of years or so ago I was a guest on Start The Week, and I was authoritatively informed by a very distinguished journalist that the whole Internet thing was just a silly fad like ham radio in the fifties, and that if I thought any different I was really a bit naïve. It is a very British trait – natural, perhaps, for a country which has lost an empire and found Mr Blobby – to be so suspicious of change.
But the change is real. I don’t think anybody would argue now that the Internet isn’t becoming a major factor in our lives. However, it’s very new to us. Newsreaders still feel it is worth a special and rather worrying mention if, for instance, a crime was planned by people ‘over the Internet.’ They don’t bother to mention when criminals use the telephone or the M4, or discuss their dastardly plans ‘over a cup of tea,’ though each of these was new and controversial in their day.
Then there’s the peculiar way in which certain BBC presenters and journalists (yes, Humphrys Snr., I’m looking at you) pronounce internet addresses. It goes ‘www DOT … bbc DOT… co DOT… uk SLASH… today SLASH…’ etc., and carries the implication that they have no idea what any of this new-fangled stuff is about, but that you lot out there will probably know what it means.
I suppose earlier generations had to sit through all this huffing and puffing with the invention of television, the phone, cinema, radio, the car, the bicycle, printing, the wheel and so on, but you would think we would learn the way these things work, which is this:
1) everything that’s already in the world when you’re born is just normal;
2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;
3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.
Apply this list to movies, rock music, word processors and mobile phones to work out how old you are.
This subjective view plays odd tricks on us, of course. For instance, ‘interactivity’ is one of those neologisms that Mr Humphrys likes to dangle between a pair of verbal tweezers, but the reason we suddenly need such a word is that during this century we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television. Before they came along all entertainment was interactive: theatre, music, sport – the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. We didn’t need a special word for interactivity in the same way that we don’t (yet) need a special word for people with only one head...
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This piece first appeared in the News Review section of The Sunday Times on August 29th 1999
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Sunday, 3 June 2012

♪♫ Dexys - Free (Later with Jools Holland)

♪♫ Amyl Nitrate - Rule Britannia

'One Chord Wonders' sleeve by Barney Bubbles

TV Smith: “I had no problem with Stiff Records, even when I thought I was being done over. I could see the point of it, for example, the cover of One Chord Wonders. They put Barney Bubbles onto designing the cover, then when we got invited into Stiff to see what he’d done, well, I felt like I’d been stiffed. But, what you can you say, it was a brilliant cover. They created an icon out of Gaye and they put The Adverts firmly in punk rock history. There was no question that that cover – which I would definitely not have agreed to – was a massive step forward for the band.”
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TV Smith and Gaye Advert now from 'Punk Britannica'