How to Speedread Properly

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There's an underlying assumption in most of the thinkpieces spawned by emergent speedreading apps: that you'll be using them to catch up on the massive assortment of thinkpieces you don't have the time to ingest.

Velocity, Spritz (which is actually proprietary tech, not yet an "app"), and the 2006 web-based spreeder all facilitate speedreading via a method known as Rapid Serial Visual Presentation (RSVP). RSVP, as spreeder marketing copy explains, focuses on "silencing subvocalization" (which, in turn, is defined in Velocity's copy as your "inner voice"). spreeder and Velocity accomplish this by basically flashing words at you really fast. Spritz adds its own "Optimal Recognition Point," often a vowel, in red so as to excise time-consuming eye movements. In each case, the eye is presented here as the blood-brain barrier, with the text ever trying to pass through it more efficiently. This is a rather unique method for dealing with the stresses of the war-like domain of the longread; now you can "read" everything.

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Some Sites and Their Artifacts: 123D Catch

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The 123D Catch website promises its users that they can "Turn ordinary photos into extraordinary 3D models;" the resulting models can be shared with other users on the 123D Catch community site. In this video, which premieres on Rhizome, Clement Valla and A.E. Benenson argue that the 3D models of 123D Catch should be understood not as recreations of photographed objects but as records of machine vision: 

Like the junk-piles known as middens to archaeologists, the 123D Catch site paradoxically conserves its objects at the moment of their fragmentation.

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Better Sexual Politics Through Noselicking: A report from Different Games

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Realistic Kissing Simulator (2013) James Andrews and Loren Schmidt

Dueling tongues protrude from simplified profiles. They worm through swinging-door lips, taking an unpredictable course as they collide; they push upwards and into a nose, flopping limply past the chin, or prodding one of the eyes, forcing it to blink. Sometimes, a lucky tongue finds its way to its counterpart's mouth, but that’s not really the goal.

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Her Quantified Self

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Courtesy of Natalie James at NJinLA.com

The alarm on her FuelBand pulses at 5:30 am because she wants to be a better person. Studies show that early risers are more proactive, more likely to anticipate problems, and more optimistic than those who sleep in. She wakes up two hours later because no one is expecting her to be anywhere. She slept for 12 hours and worries for a moment that it means she is depressed. It's still early, she thinks aloud.

From bed she scrolls through news, links, baby pictures, and other pieces of life. She composes an update to share and deletes it. She writes something else and deletes that too. She looks around the room. She's happy to be home even if it doesn't show. She chides herself for forgetting to practice gratitude. She closes her eyes and thinks about her family with gentle love and appreciation. Thank you, she whispers to the universe. Her goodwill quickly evaporates as she hears Deb, her mother, making a morning racket in the kitchen. She decides to wait until Deb leaves to get out of bed.

Lately she finds herself eating almost exclusively from Trader Joe's because it's easier to track in MyFitnessPal. She thinks they probably have some kind of deal. She eats every three hours beginning an hour after she wakes up. Right now she's consuming 1500 calories a day, but she hasn't been counting. She might need some encouragement.

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Seven Big Ideas from Seven on Seven 2014

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Frances Stark and David Kravitz during the Seven on Seven work day. Photo: Ed Singleton.

The fifth anniversary edition of Rhizome's Seven on Seven took place on Saturday. The project pairs seven leading artists with seven influential technologists in teams of two, and challenges them to develop something new–whatever they choose to imagine—over the course of a single day. The results were unveiled to the public on Saturday at the New Museum, and are recapped here.

#1. Occupy invented #normcore

In the keynote, Kate Crawford suggested that K-Hole's #normcore trend report, as well as the Snowden-leaked GCHQ Powerpoint, could be read as manifestations of the anxieties of an age of mass surveillance, those of the surveillers and those of the surveilled.

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To Bind and to Liberate: Printing Out the Internet

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Kenneth Goldsmith at Labor Gallery, Mexico City, 2013. Posted on Printingtheinternet.tumblr.com with the caption, "We printed the fucking internet."

"Printing the internet is not creative nor art. It is a waste of time and resources. Please, find something more creative to do."

So reads a comment on a petition on change.org. Directed at Kenneth Goldsmith, the petition was published in 2013 in response to a project the poet organized at LABOR gallery in Mexico City, where Goldsmith invited people from all over the world to print out the internet and send the pages to the gallery.

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Notes on Being Net Artist

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18 years of being net artist were 18 years of

        explaining difference in between net art and web art
        explaining difference in between net.art and net art
        removing the dot from net.artist
        being called media artist
        being mixed up with the austrian artist Lia
        being called cyberfeminist


        getting to know that i'm in a show from vanity search
        getting requests to send screenshots in 300 DPI
        refusing to show the work offline
        refusing to show the work without address bar
        rejecting Internet Explorer (and later Safari)

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Art Focused and Distracted: Three new media exhibitions curated by Joshua Decter

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Image of äda 'web page produced for the exhibition "Screen," 1996.

In 1996, curator, critic, and educator Joshua Decter colorfully defined "media cultures" as "a euphemism for how we reproduce ourselves, as a society, into a spectacular—i.e., ocular and aural—organism whose viscera has become technology itself."

Throughout his career, Decter has paid special attention to media cultures and their relationship with the public sphere, developing a curatorial practice that has long been distinguished by its openness to adjacent new media and net art practices. Beyond spectacle, his use of websites, apps, and other technological apparatuses sheds fresh light on artists and artworks generally considered to be decidedly analog.

I invited Decter to walk me through three curatorial projects, all ambitious group shows, that exemplify his career in digital and AFK spaces. In each, the artwork is mediated—either by conceit, didactic, or display—so as to variously diffuse and emphasize the image, addressing the nature of art and its publics under the condition of networked technologies. 

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