"Most sci-fi pic you will see today" - @bilder (Accompanying article:In South Korea, all textbooks will be e-books by 2015) via @bruces
This morning I was reading an article about Bjork’s upcoming Biophilia project and it starts by saying that her whole career “has been a quest for the ultimate fusion of the organic and the electronic.” I relate to Bjork on this, and the juxtapositions in Antlers Wifi can be seen as part of a similar quest/search. - Rick Silva interviewed in Beautiful Decay
How The Internet Transformed The American Rave Scene In the early-to-mid-1990s, it was driven not by stars but a sudden collective sense that, as the Milwaukee rave zine Massive put it in every issue above the masthead, "The underground is massive." (via Kottke)
Lost languages as teen cyphertools (Futurismic) We’ve talked about social steganography before; for teenagers and other folk restricted to communicating in public and/or monitored virtual spaces, a shared coded language becomes a necessity for the communication of ideas which you don’t want the watchers (be they parents, governments or whatever else) to be able to parse..... [Now kids are] reviving nigh-extinct local languages as a way of carving out their own cultural spaces. Example: southern Chilean hip hop videos posted on YouTube in Huilliche, a language on the brink of extinction.
"We once believed we were auteurs but we weren't. We had no idea, really. Film is over. It's sad nobody is really exploring it. But what to do? And anyway, with mobile phones and everything, everyone is now an auteur." - Jean-Luc Godard (The Guardian) See all of Film Socialisme compressed to a two minute clip and released by the filmmaker on Youtube.
People aren’t sure about what an image or object is anymore. They’re not sure how things are fixed or where they belong. If something can be a jpeg online, what is it when you print it out and put it up in a gallery? Increasingly, there’s this confusion, this anxiety, about the status of things, which seems to feed into what you’re talking about. There is a sense that the object and the subject are themselves just nodes or parts of networks of understanding, and that therefore, work can only have agency or be activated in this network—rather than as an autonomous object. There’s a real fear in that. - Mark Leckey in an interview with Mark Fisher
Next months's Harper's magazine has a excerpt of Zone One, Colson Whitehead's post-apocalyptic novel. He says in an interview with the magazine, "I was in fifth or sixth grade when the local New York PBS affiliate broadcast the original Romero movie for Halloween, and as someone who rarely encountered the Strong Black Protagonist in movies — outside of blaxploitation flicks — the movie was a revelation. Night of the Living Dead is the story of a black man on the run from the mob of white people who want to destroy him, literally devour him — in other words, it’s a crucial subplot of the America narrative." (via the Second Pass)
An interview with participants in the Stanford Prison Experiment 40 years later.
A photo essay from South Sudan last Saturday, "as it made its debut on the world stage this weekend." (The Atlantic)
Everything I Know: The Historic 42-hour Session with Buckminster Fuller
An interview with Sherry Turkle at the Aspen Ideas Festival ("If you don't teach your children to be alone, they will only know how to be lonely.")
Lev Manovich releases a pdf of the introduction to Software Takes Command (via Sarah Hromack)
Recommended: Timothy Lee's new blog Disruptive Economics for Forbes, which will focus on the social effects of technology, and particularly on the ways that technology can promote freedom and equality by lowering all manner of “barriers to entry.
The Hauntological Orchestra For Project Fukushima
Katamari Damacy developer Keita Takahashi joined the team working on Tiny Speck's Glitch.
The Hauntological Society revisits the 1977 BBC series Survivors, The show's first season focused on how the handful of people left alive after the plague cope with the shock of being cast into a world without clean water or electricity, and how current social solutions no longer work in an environment where moral considerations are secondary to the more pressing need to survive.
Brad Troemel's essay on Ben Schumacher’s art for DIS.
John Coulthart on Derek Jarman’s unrealized project Neutron an apocalyptic science fiction film he was planning following the comparative success of The Tempest in 1979.
Derek Walmsley reviews the documentary Drowned City, "a personal, intimate film dealing with those who risk their livelihoods (and lives) keeping the (pirate radio) on air. Some of the stories are familiar from urban myth or recycled anecdotes – driving around for places to put aerials, shinning up pylons – but this is one of the first times the pirates speak for themselves, albeit often with hooded faces and under the cover of darkness."