Tuesday, March 29, 2011
The exercise is extremely instructive in that it organizes the chaos that is the industry right now. I will continue to work on other scenarios that could possibly occur as my research evolves.
[Image at left of Jeff Bezos taken from Time Magazine, 6/22/09] I also found 3 extremely enlightening articles from Time Magazine today. They are, Are Libraries the Next Napster? , Books Gone Wild: The Digital Age Reshapes Literature, and Is Amazon Taking Over the Book Business?. Each of the articles was extremely thought provoking in terms of their vision for the industry. Particularly the article concerning Amazon, in which the authors Lev Grossman and Andrea Sachs discussed the business practices of Jeff Bezos, President of Amazon books, and the future of the publishing industry. Grossman and Sachs imagine the future of the industry as "a world where publishing has two centers rather than one: a conventional literary center, governed by mainstream publishing — with its big names and fancy prizes and high-end art direction — and a new one where books rise to fame and prominence YouTube-style, in the rough and tumble of the great Web 2.0 mosh pit." I thought that the two-center model could potentially be extremely accurate in portraying the future of publishing. I would really like to explore the possibilities of an industry that takes on this two center framework.
Harken: I begin with nothingness. Nothingness is the same as fullness. In infinity full is no better than empty. Nothingness is both empty and full. As well might ye say anything else of nothingness, as for instance, white is it, or black, or again, it is not, or it is. A thing that is infinite and eternal hath no qualities, since it hath all qualities.
This nothingness or fullness we name the PLEROMA. Therein both thinking and being cease, since the eternal and infinite possess no qualities. In it no being is, for he then would be distinct from the pleroma, and would possess qualities which would distinguish him as something distinct from the pleroma.
In the pleroma there is nothing and everything. It is quite fruitless to think about the pleroma, for this would mean self-dissolution.From here Jung proceeds to explain all things through basic and further bifurcations of the PLEROMA . The logical step from the synthesis of these ideas in my mind is to draw my idea of Media into the mix. I tried to integrate these systems and concepts in the following flowchart:
I hope everyone is enjoying the sunshine!
Monday, March 28, 2011
Tuesday, March 22, 2011
Here is one visual of how it could work:
The only constant would be existence itself, I guess the experience of time. Around this is the multitude of variables that affect experience, all dependent on each piece of the puzzle. If you think of it like a video game, you can see that no interaction is constant. I kept thinking of Original Super Mario Brothers for Original Nintendo. Thinking solely about the environment of the game, there is a set of rules and a seemingly constant way to play but these rules can change with varying constants. Maybe I will take all the pipes in the game to save time, or maybe I will warp to a different world or discover a new hidden path I didn't know about. Maybe it will be two player, maybe I will lose lives and have to restart over, with the interaction beginning anew again. Maybe there will be an error half way through the game. The point is that it is always variable, no matter how constant the environment can be, our perspective and experience of it is constantly changing. You can even "hack" the system and disregard its rules completely.
Here are the sources I used for this project.
Noam Chomsky Warns Against U.S./U.K. Intervention In Libya
I used Audio Hijack Pro to capture some of the audio from streaming sources.
Hydrogen Bomb Test
Atomic Bomb Test-Operation Cue
An assumption is that interaction occurs between at least two entities. These entities may be subsystems of the same systems, parts that may function as wholes that then also (likely simultaneously) function together within a larger subsystem that in turn may function as part of an even larger system. Consider parts of the human body and human families and human communities that of course interact with non-human subsystems and systems. Such consideration establishes or helps enable awareness of an environment underway. A dynamic set of behaviors and circumstances in an environment host, shape, and are shaped by interactions of environmental membership, including temporary memberships such as visitors or intruders or those evicted (in various ways on various scales).
Interaction assumes occurrence, event; something happens in an interaction. There is some form of exchange in interaction, any possible form of exchange which can include domination, subjugation, extermination. There have been incredibly brutal exchanges in Japan, Libya, Syria, Egypt; forms of occurrence persist as reconfigurations happen again and again. These interacting systems are also interacting with other systems around the world. There are global ripples of impact that vary in intensity; geological, psychological, meteorological, emotional, political, economic, sociological, motivational, religious, galvanizing, etc. ripples and shock waves. The intensity with which you feel yourself hit with any of these ripples help configure some of the nature of your response, of your participation in the interaction with the shock wave; some of the nature of your role in a transaction with systems and subsystems of ripples, some of which continue from out of Haiti, and some of which mingle to dilution in the recency and comparative (ouch) enormity of current (the breaking) news events.
This is to say that there is still hunger in the world in locations not specifically mentioned in this post. Still people and communities without proper access to proper water and proper toilets (including some First Nation reserves in Canada). (image from CoteGauche)
Constituents of interaction play (configurable and reconfigurable)roles in interaction. There are variables that help determine the nature of these roles from moment to moment. Some of these variables include your own choices. Though there is marking by interaction on participants in interaction, the configuration (including intensity and duration of marking) varies according to determinable (to a certain extent) factors. Prior interactions help to prime responses of participants in a moment of initial participation in emerging interactions that do further shaping, marking, priming for subsequent interactions.
Denial and indifference are possible responses, possible (in)actions within a temporary system of interaction. Intensity of denial, apathy, hostility, indifference, compassion, etc. are variable, fluctuate, according to what is marking, how marking happens, etc. in emerging interactions.
Listen to Exploding Angels (music & lyrics by Ansted Moss, arranged and sung by forkergirl, 2006; also available from the Limited Fork Music podcast):
To participate in interaction is to risk a possibility of being marked in the exchange in a way that can reconfigure perception on some scale for some duration of time.
Context and interpretation are two of many variables that operate as a factor in shaping response. Context is highly variable, in a range from the subtle to the profound. Anything may form a center of context through which an allness or everything may be (temporarily) accessed, the movement outward or inward from that center as ripples and shock waves that eventually, with some form of distance (usually), dissipates to where marking and effects, though still diminishing (perhaps infinitely diminishing) becomes apparently immeasurable, apparently inconsequential.
Please watch again or the first time the ripples of Powers of Ten from the Eames Office:
Involvement in interaction is a form of collaboration. You and the subject(s) of your project system are co-participants in a system of interaction in which the roles vary and are reconfigurable, according to rules that are also variable and temporarily in place from moment to moment, each configured according to interactions with information that arrives and departs with varying intensities. Participants in your project environment may be transient. Status may fluctuate. Alliances may form and disband. Etc.
Please try to determine what the roles are, in moments (at least three) of interaction within your collaboration with your project system, for at least three participants in the collaboration. Do also try to identify as many of the participants as your can. As many as all. This determination of roles in the transaction and identification of participants in the transaction may take on any form, including written list, paper model, map, flow chart, clay, video, sound work, game, etc.
If you configure your project system as an interactive game, for instance, what might be an objective of this game? What would be the role of the project participants/players? What might be the rules of this game? How does one play it? How does one win it —if it may be won at all. How many levels? What happens on each? Perhaps a purpose is not to win, and if not, why play this game? Etc. Maximum number of players? Minimum? Remember that in most video games, the environment is not static. A dynamic environment where anything there is potentially active —Myst anyone? The environment participates in the action, moves the game along, sometimes determines outcomes, presents consequences, alternatives, dead ends, delays, traps, rewards, etc. Anything at all like Jumanji?
Feel Free to make a board game, if you like or set up some kind of (crude approximations are fine) online community experience of (some of) the game elements.
Have you played Darfur is Dying? Play September 12 here & now Then play Madrid. Read about the Global Conflicts computer games —imagine content for history, economics, political science, and other subjects experienced with decision-making and other forms of active participation instead of a textbook. Here are some examples:
Monday, March 21, 2011
I was looking at the Prada Spring/Summer 2011 line and I came across this video. Fashion or rather clothing has been something totally utilitarian. We use it to keep ourselves warm to provide us with something to protect our bodies from the external environment. Within Limit Fork discussions, we have looked at the manor in which the digital world-namely the internet- has complicated or challenged the world that we occupy. I found it interesting to see an advertisement for clothing on Youtube. It totally rids the clothing items of their utilitarian value- pushing them towards the idea of art objects. I like how their are many systems at play in this idea- the model, the music, the clothes- all comping together to articulate a specific idea.
Sunday, March 20, 2011
Simultaneity, oh simultaneity
Tuesday, March 15, 2011
The work of Hélio Oiticica is applicable to our discussion of marks as he is working in Brazil in the 60s during an extreme authoritarian government. He is marked as a white individual in this highly- racially divided environment- not to mention the class divide that is present. This government is containing art through censorship, so for Oiticica he must "bend" mediums-using everyday materials. Instead of showcasing his work in the gallery, Oiticica brings it to the slums- to shanty towns around Brazil; the same times that he chooses to live in. In this regard, one could say that Oiticica is trying to create an egalitarian approach to artistic display- one that does not contain a sense of institutional privileged.
Furthermore, Oiticica's work is less about the art object and more about the social interaction that occurs from walking through his pieces. This notion of social interaction- brings time to the forefront of his work. Their is a sense of time that becomes a collaborator that parallels Limited Fork Theory.
This video seems to satirize the nature of sensationalizing political events. One can tell that this individual is not even taking himself seriously, through the slight smirks. I don't evaluate this video as "actual" information. I do not take it seriously. Rather, the only productive way for me to evaluate this video is to consider it as a performance art piece.
What do you think?
I have not posted in much too long, so I have a lot to share in this post. First of all, I am planning on setting up an interview with one of the librarians in the library in the coming couple of weeks in order to find out more about the HathiTrust project, which is U of M's study of the possibilities of electronic publishing. I was told by another professor that Aaron McCullogh would be particularly of use in exploring digital media, as he is involved in the library's study of digital media. I am also interested in perhaps seeking out the director of U of M's Journal of Electronic Publishing. I think an interview with her would also bring to light a lot of interesting information regarding the emerging possibilities of e-publishing and the future of the publishing industry.
Last week, in my research I came upon one extremely interesting article in The New York Times Magazine regarding Stephanie Clifford and Julie Bosman entitled "Publishers Look Beyond Bookstores." The article discusses how many major publishing companies are marketing their books to retail stores, such as Urban Outfitters, Sam's Club, or Kitson. Publishers are using such stores as opportunities for the sale of lesser-known books or novelty books that might not necessarily be popular sellers in an e-publishing context. The article also brings to light the idea that certain books are apparently being left out of the transition to ebooks. The article names cookbooks and children's books as two types excluded from the digital world. I feel as though these are two books that might benefit very much from becoming digitized, however. The question of what books are being left out in the transition from paper to electronic publishing is yet another issue that deserves exploration.
I also came upon a very interesting issue regarding the relationship between libraries and epublishing. In searching through newspaper articles, I came upon one New York Times blog that led me to a whole slew of information regarding a controversy between libraries and Harper Collins. Apparently, Harper Collins has decided to limit public libraries to 27 uses of the ebooks they purchase per year. Libraries are up in arms regarding this policy, and it is easy to see why. The idea of limiting something that someone owns undoes the whole concept of book ownership. Why should ebooks be any different than print books? I understand possibly limiting the number of users who can access an ebook at one time, but to force libraries to pay extra for electronic books that they could easily find in paper version is ridiculous. I believe that Harper Collins should alter their policy, but that is simply my opinion. There is definitely more information to uncover regarding the issue and I intend to include it in my website. Here are some links regarding the issue:
Harper Collins Controversy-response of libraries
boycott harper collins.com/explanation
One (relatively) hopeful note is the presence of technology to help withstand the crisis. According to the AP, anyone can make a $10 donation by texting "Japan" or "Quake" to 80888. And google has set up a person finder with two options: "I'm looking for someone" or "I have information about someone." Anyone can ask or share. It's like putting up missing person fliers, sticking a post-it note at the lost and found, or even scratching a question on a bathroom stall--except this information is easily accessible and all in one place, one database of people trying to find each other.
late 19th century: from Japanese, from tsu "harbor" + nami "wave"
I've been distracted, enthralled and captivated by these haunting images of what's currently going on in Japan. These look like building blocks. The power of sea water.
Monday, March 14, 2011
we will see what a new day will bring
Tuesday, March 8, 2011
I didn't realize it, but Sean Penn has been intruding on my mind for a while now. I've been thinking a lot about trees (you've probably all seen me in the corner with my hot glue gun), and working on constructing a forest made of thread trees (this is also part of my thesis for the BFA program, but I think it's ridiculous for projects to not spill over into other classes, don't you? my thoughts all jumble together, especially with art). This movie trailer really made an impression on me a few months ago when I first saw it. This movie is supposed to be mainly about emotions and sensory images, and I think it's interesting to think of how film can invoke strong emotional responses. I'm interested in emotional responses in my own work, but haven't done anything with it in a while. Watching this made me remember all those things I had been thinking about, and how nature is connected to everything (at least, that's how I feel about it).
Needless to say it would be a bit strange, but it could happen in various ways:
For instance, why does Simon & Schuster advertise that Sean Penn read the Bob Dylan book Chronicles? What does this have to do with the book sale industry? How much do celebrity endorsements affect readers' purchases of books?
Or we could look at Sean Penn's biography by Richard T. Kelly entitled Sean Penn: His Life and Times. How much more popular are celebrity biographies than works of literature or fiction? Is society more geared toward "reality," more interested in the lives of real celebrities than they are in works of literary art?
Sean Penn's film Into the Wild is demonstrative of the blockbuster novel, as the movie is based off of the book by Jack Krakauer. It exemplifies the idea of turning a book into a hollywood hit. Because of the great success of movies such as Into the Wild or Harry Pottery, publishers seem to be selecting books to publish depending upon their blockbuster potential, and as a result, authors seem to be catering to their profit-oriented practices in order to get rich quick. I wish to investigate whether this is really true, whether such a system is really in place in today's publishing industry? Was Into the Wild written with the intention of being a blockbuster? Or was it simply admired by a director after it was already written?
I found a soundboard of Spicoli from Fast Times at Ridgemont High here, which I intend to integrate into my sound project. Despite Prof. Moss telling us we thankfully do not have to use Charlie Sheen, the suggestion was made and since sound files of that particular person's ravings are readily available, I think I will use his voice in addition to Spicoli's.
Art as Necessity
Art as Luxury
The way I personally define these relationships are as follows: Art is a luxury, but Expression is a necessity. In the way that good food is a luxury and mere sustenance is a necessity.