This post uses formatting that will probably look better online. View it here: Golden Glimpse
This post uses formatting that will probably look better online. View it here: Of potential interest: 09/18/12
- iPhone 5? Yawn. What Will the ‘Phone’ of 2022 Look Like? – Alexis C. Madrigal – The Atlantic
- Eastgate: hypertext and the linearity of history
"Others simply fear that there is no place for links within a coherent narrative, that hypertext is the exclusive province of technical manuals on the one hand and incoherent postmodernism on the other."
- What happened to hypertext fiction? | MetaFilter
"If you think that the flowering of the movement occurred too soon for the technology to carry it off successfully, turn to page 34."
- Why the book’s future never happened – Salon.com
"If you were alive and literate in the 1990s, you may remember the hype with which hypertext was touted as the next big thing: a medium that had the potential to transform storytelling in the post-Gutenberg era… And then … nothing happened."
- Interactive Fiction In The iOS Age: A Text-Based Love Story
Resources for making and consuming interactive fiction, on Mac and iOS. Better interfaces needed all around.
- Why I Stopped Pirating Music | Cult of Mac
A few nice insights into how the frictionless ease of amassing a collection of music changes your relationship to it:
"…but it’s the hallmark of someone who is approaching art as a commodity that comes from a faucet. I wasn’t investing in music with either my time, my money or my attention: I was just turning it on."
And how services like Spotify ("a way of listening to vast quantities of new music that didn’t break the bank, but also didn’t need to be hidden or equivocated around") can change it back, by removing the weird, Pavlovian satisfaction that comes from simply acquiring and storing things:
"Instead of collecting digital music files, Spotify made me sit down and listen. Before, merely downloading an album had, in some small sense, fulfilled me, whether I listened to it or not. But now I approached each album singly, not as a commodity to be pilfered in bulk and hoarded, but as something I was setting out to experience, right then and there."
- Digital Divide: Contemporary art and new media – artforum.com / in print
"So why do I have a sense that the appearance and content of contemporary art have been curiously unresponsive to the total upheaval in our labor and leisure inaugurated by the digital revolution? While many artists use digital technology, how many really confront the question of what it means to think, see, and filter affect through the digital?…"
Um, I’m fairly certain you have this "sense" because you deliberately push aside new media art and inexplicably refuse to group it with the rest of contemporary practice:
"There is, of course, an entire sphere of ‘new media’ art, but this is a specialized field of its own: It rarely overlaps with the mainstream art world (commercial galleries, the Turner Prize, national pavilions at Venice)…"
…and then proceed to ignore it for the rest of the article. Such an unbelievably strange (and symptomatic) essay to write after all that annoying talk of the New Aesthetic this past spring. If what you’re looking for are paintings (hanging in a traditional gallery, of course) that address augmented reality vision or something, there’s plenty of that bullshit, too.
- The Rise And Fall Of Grunge Typography
What would 90s web design have looked like without Raygun magazine? What would 00s web design have looked like without 90s web design?
- How CNN and Fox screwed up the Supreme Court Obamacare decision
"I told him: ‘We’re not racing you’; in a decision this long and complicated, ‘no one will remember if you move this story first or we do,’ but the ‘only thing anyone will ever remember is if we f*** it up.’"
Satisfyingly wonky timeline of how this particular news sausage got made (and made wrong).
This post uses formatting that will probably look better online. View it here: Garbages in Orbit
This post uses formatting that will probably look better online. View it here: Each Unredeemable Day
This post uses formatting that will probably look better online. View it here: Vote for LiveDisasters and/or Supercruft for the 2012 Present Prize
As you are an obvious member of my target demographic I humbly request that you vote for either of those pieces by comparing them favorably to other pieces, in a vaguely unsettling battle royale of internet art.
But because the voting process is akin to trying to view an artwork while someone continuously waves another artwork in front of your face, I have assembled a list of each participating project so that you may spend some time with each excellent work in its natural habitat, studiously determine your allegiances, and then quickly plow through the actual votes:
We Who Feel Differently by Carlos Motta
Supercruft and Live Disasters by Andrew Venell
NSKYC by Mike Bodge
http://the389.com/10/3/ by Andrey Yazev
Cloaque founded by Carlos Saez and Claudia Mate
Open_Close.txt and The Internet Makes Me Happy by Emilio Gomariz
destructables.org by Packard Jennings
C RED BLUE J by Chris Sollars
Peter Hasson: Praying Ping Pong by Jesse Nichols
www.putitonapedestal.com by Anthony Antonellis
Molteni Net Works by Maria Molteni and the New Craft Artists in Action
Sanctuary by Aaron Vincent Elkaim
Please vote by August 9th, and validate ten years of effort.
This post uses formatting that will probably look better online. View it here: Languages of Complaint
This post uses formatting that will probably look better online. View it here: Threshold & Inevitability