To End 2012 Merrily with Pigeons

Zoo Architecture

Pop Palimpsests

A palimpsest comes from the ancient Greek palimpsesetos, literally meaning “scraped clean and used again.” Archeologist Paul Basu used the notion to express how the constructed past is a projection of our present mindset: “practical and discursive memories from different periods become intermeshed such that one period is remembered through the lens of another.”

The History Channel's latest ads dabble in similar ideas: different times in same spaces are superposed suggesting we forget but need to remember, as well as marking how the black and white past is a creation of the colourful present.

Basu, P. 2007. ‘Palimpsest Memoryscapes: 

Materializing and Mediating War and Peace 

in Sierra Leone’ in F. De Jong; M. Rowlands 

(eds), Reclaiming Heritage: Alternative Imagina-

tions in West Africa, Walnut Creek, CA: 

Left Coast Press p. 234.

Project: Accumulation

I'm presenting the work and paper Accumulation I collaborated on 

with Drop Legs (Lesley Braun) 

in NYC tomorrow at the Graduate Student Conference on "Critical Information" at the School of Visual Arts (SVA).

Architecture's Bi-Annual Event

I was in Venice last week and it was great.

Hornaday with Baby Bison at Smithsonian

"William Temple Hornaday, Chief Taxidermist of the United States National Museum from 1882, Curator of the Department of Living Animals, and the first Superintendent of the National Zoological Park, with a baby bison known as Sandy, probably on the grounds adjoining the Smithsonian Castle. This is probably the bison calf that Hornaday brought back from his 1886 summer field trip to Montana. The calf lived only a short time."

From The Smithsonian Archives

Montreal: Pigeons Everywhere

Phillips Square, Montreal, 1960s

Dominion Square, Montreal, Québec, Canada, ca. 1950. From CSTMC/CN Collection.  

Winners of the Animal Architecture Awards

Bat Cloud is a project bringing awareness and public visibility to bats and their critical role in our ecosystem. Installed in Tifft Nature Preserve, a park-like wooded setting developed on a former landfill in the industrial zone of Buffalo New York, BAT CLOUD is a hanging canopy of vessels that is designed and constructed to support bat habitation. From afar, the piece appears like a shimmering cloud, hovering in the trees. Closer up, viewers from below would be able to see plants hanging from each vessel. At dusk, onlookers can catch sight of bats emerging from the habitation vessels.

For more: http://www.animalarchitecture.org/urban-animal-award-winners/

Presidential Summer Pants

Lyndon Johnson ordering custom-made Joe Haggar Jr. pants (because they provide more room in "the crotch, down where your nuts hang") from the White House in 1964 (right before going to a funeral):

Two Images in the New Yorker

This is the layout of last week's pages 38-39 of the New Yorker. The article is about sports, marketing, stardom and money. The New Yorker's illustration for the article is a photograph of a Banksy street art piece; it reveals the writing's main thesis. In an uncanny echo, page 39 presents a wonderful Gillette ad which, with similar cues (fence, black man, physical activity involving height, etc) let's you know what's up: just buy deodorant.

Purposefully or not, I think this is great.

Pigeons, Doves, and Magic

The Senses

The New York Times has recently posted two short videos rendering the senses in interesting ways. The most recent is the raw and simple footage of a deaf man describing his experience of the assumable Haitian earthquake, and the second, on ansomia, records, although slightly unsubtly, the testimonies of people who do not have a sense of smell. (And both bring up food.)

Beyond Nationalism: Honorable Medals and Infographic Olympiads

In the earliest modern Olympics humans excelling in the arts also received gold, silver and bronze medals.

When the International Olympic Committee (IOC) was founded in 1894 with the French Baron Pierre de Coubertin's hopes that men should be educated both physically and intellectually (competing in sports not wars), the arts were part of the games too. Five artistic competitions were introduced and architecture, literature, music, painting, and sculpture oeuvres inspired by sports would combat for gold. After 1954 this event fizzled, replaced by the slightly less competitive cultural olympiads.

The 8-Bit Games!

Anyways, I agree with Coubertin: I like critical minds more than I like nationalism, so it's nice to see all the creations that have emerged from thinking about sportive prouesses not just as physical competitions but as signs of global realities that should be challenged. For instance Gustavo Sousa has come up with these simple infographics using the Olympic flag's five rings to illustrate data from each of the five continents - from Coca Cola sales, to total populations and CO2 emissions per capita. And the Guardian reported on a team from Imperial College and the Royal Statistical Society determining in real-time the actual amounts of medals won for each country in relationship to GDP or population... so for instance while China may have officially won 24 medals, in relation to its GDP it has a petty 0,95, and while Columbia has 2, according to the study it has won an honorable 4,59.

And all the rest...

Cul-de-sac de l'Évolution: Carcharodon Megalodon

Requins, peur, mort, myths et chasse:

Published: OWT on Reprocess

Some of the images I found on Google Books were published in OWT's Manchester School of Art 13th Issue on the theme "Reprocess." According to the zine's topic they were printed over past OWT pages (in other words reprocessed): "Submissions from the OWT back catalogue form a background layer of pre-existing themes, ready to be manipulated and reprocessed by new work. This changes the context and makes new interpretations while initiating serendipitous collaborations. GF Smith Colourplan and six-colour Riso printing help add further variables. No two zines in the run of 150 are the same."

For a the rest of the zine's potential pages: http://owtcreative.com/reprocess.html

Found Public Art Fund

"Ilha das Flores": A Tomato, Thumbs and Pigs for a Short Explanation of Capitalism

Isle of Flowers (or Ilha das Flores in Portuguese) is a 1989 Brazilian short film by Jorge Furtado. Following a tomato from garden to dump, it delivers dry narration, witty editing and eclectic visuals for an unexpectingly cruel message.

Animals and Humans: What is Art, What is Beauty?

The topic and works of the Grand Palais' current exhibition seem worth a visit. Displayed slightly lower for the child in all of us, the exhibit goes over the European art scene's take on animals. In the words of the curator Emmanuelle Héran, it gathers all art depicting animals and touches upon a variety of ideas -- the cultural norms of beauty (why is a toad ugly and a horse honorable?), or the role human historical developments since the 16th c. had on our relationship to animals (for instance if during the colonial years the endless discovery of new species meant animals were symbols of bountiful imagination, today the predicament of their extinction is underlying all of their artistic portrayals). There's art, aesthetic theory, human and natural history to produce this:

Beauté animale : présentation de l'exposition by Rmn-Grand_Palais

And my favorite little creatures - birds - are represented by the iconic Dodo, whose myth is complexified here:

La véritable histoire du Dodo by Rmn-Grand_Palais

Living Art, Being Dreams and Eating Frogs: Gala and Salvador Host a Party

Design: A Traditional Journal

"Effectively it's a museum about everything, everywhere, ever": The New Cambridge University Museum of Anthropology and Archeology

Sylvia Plath, front-doors, humanity, Totem poles, objects made 1.8 million years ago, Captain Cook, death, sex in Ancient Rome, snakes and ladders and other things in the Cambridge University Anthropology and Archeology Museum's collections.

What in the World is Art: An Example from the Field

A few days before the 2012 Whitney Biennial opened, a web page with the museum's logo, template, language and a similar url (www.whitney2012.com instead of www.whitney.com) announced the institution's decision to give up on certain "generous corporate donations" by terminating its partnership with the Deutsche Bank and Sotheby's. According to this release by resigning from such benefits the Whitney was acknowledging and, especially displaying its role in upholding "a system that benefits collectors, trustees, and corporations at the expense of art workers" (I would add art lovers). The Whitney was taking a stance against the Deutsche Bank's corporate conduct (the bank just settled a legal dispute of $202 million for reselling knowingly shaky mortgages between 2007 and 2009) and deploring Sotheby's recent internal policies (the lock-out of its art handlers while making record profits and increasing its director's revenue from $2.4million in 2009 to $10.3 million in cash and benefits in 2011).

The world of art is a weird one that exists through the belief that certain "things" have magical-like forces over us. Often these magical qualities are explained by using intellectual concepts, discussing production prowess or expressing notions of aesthetics, while actually most of these "things with agencies" gain their aura through the tricky powers of financial markets. So for a museum to use its own existence to reveal the inner-workings of this weird cosmology - for instance museums may use artists because their sponsors need to sell things that may gain value if the museum uses this artist's work - was impressive, almost as impressive as good art. That excitement, however, lasted only until I learned the website was a hoax and experienced the Whitney biennial's overall blandness.

If that fake virtual press release was the most creative project to come out of the Biennial, I'm also excited to say that their hoax is part of a series of fake press releases and that their latest has just denounced the Whitney’s recent actual request for donations from blue-chip artists of work valued over $500,000.

C'était un rendez-vous: Space, Speed, Mapping

Meat

This is a literal (hence difficult) short documentary called Le Sang des Bêtes by Georges Franju about animal slaughter and meat production. Although filmed in the late 1940s in two slaughterhouses and meat markets near Paris, this should be footage to think how we (whether in France, Canada or Italy) today (or in the 1940s) consider animal-slaughter (whether that of a horse, calf or lamb) and the ethics/responsibilities and labour behind it. 

Do we inflict more 'pain' today than yesterday on the animals we eat (how can this be assessed)? Are we more alienated from the meat we eat? Where do the butchers killing these animals come from today? What are the contemporary methods used to kill these animals? What implications do these questions have on today's food production and consumption?

Everyone's Watching

Shibuya, Tokyo (Japan), 2012
Les Archives Nationales, Paris (France), 2010
Pelourinho, Salvador de Bahia (Brazil), 2011
Imperial Palace, Kyoto (Japan), 2012

Tourisme d'Antan: Couleurs, Rayures et Ruines

Extraits de la superbe collection Pathé: http://www.britishpathe.com/video/holidays-in-greece/query/delphi

Bienvenue/Welcome

I collaborated with Ming Lin and Didi Ohri on the latest edition of their anthropoartistique interventions on Montreal's foodscape: the Bienvenue/Welcome placemats. Come join the launch of the set de table tonight at the Nouveau Palais on Bernard. There will be food presented on thoughtful stuff and beats by DJ CadenceWeapon.

... And in an perfect concidence of sorts the CCA is having its own montreal food event this same afternoon: "A taste for Montréal" goes on from 4 to 9 pm in collaboration with spacingmontreal and avenue 8, and people from the SAT's foodLab and Toqué.

Death and the Virtual Platforms that Make You Look Alive Forever

Hundreds of Facebook users, bloggers, and twitterers die a day. What agency do their profiles, still present on these virtual platforms, have on the living? Do their web-based identities ease the mourning process or make it more difficult? Could the virtual be the only space where the dead and the living co-exist with similar materialities?...

The Atlantic just published a great interview of Patrick Stokes, a philosopher working out of Melbourne University about these ideas. Best quote from How Facebook Lets You Live Forever (Sort Of):

"we really have continuing moral duties to dead people even though they don't exist anymore; they exist as objects of duty. That's something Kierkegaard talks about, the fact that we have these duties to dead people, like the duty to remember them, or the duty not to slander them, and so forth. We live with this very profound ontological ambiguity with dead people: they both absolutely don't exist anymore, and yet they exist as these people that we have to love and care about."

Back from Japan

Published on Social Networks and Memory

C Magazine's spring edition on Memory just came out, with my article on the 9.11 Memorial - "Reflecting Absence or When Social Networks Memorialize."

The Rare and Popular Art of Google Books

Since my blog post on scanned fingers in Google books to question the medium/message dichotomy I found this wonderful little tumblr: called the Art of Google Books, it archives Google's virtual library's best incidents.

p.44-45 of Sketches of Young Gentlemen: Dedicated to the Young Ladies by Charles Dickens, Hablot Knight Browne (1838).

p. 270 of A Popular History of Reptiles (1843)

p. 22 of Cunningham's textbook of Anatomy by Daniel John Cunningham and Arthur Robinson, 1918.

Things and Happiness

Boris Vian et sa La complainte du progrès (1956) (The lament against progress). Le frigidaire, l'évier en fer, le tabouret à glace, l'armoire à cuillère, un four en verre, la tourniquette pour faire la vinaigrette, le canon à patate, les draps qui chauffent, ou l'arrache poulet et le bonheur sera à vous?

What's That Made Of?

Here is a fascinating designer from Holland called Christien Meindertsma. Her work focuses on cycles of production. To do so she follows materials from their origins to their consumable form. With her project pig 05049 she went to the source - the specific 05049 pig - and collected all the products resulting from him/her. The original question behind this project was if all the parts of the animal were used. The answer is yes. 05049's remains were used up entirely: finding their way into candy, paint, shine, glue, soap, breaks, tiramisu, beer, collagen and American bullets (among others). All these were photographed in a book.

She's also explored lambs and wool, flax and string, plants and paper.

It's inspiring!

Buying Individuals, Data Collections and Online Ads

From the great article A Guide to the Digital Advertising Industry That's Watching Your Every Click, published in The Atlantic by Communications professor Joesph Turow.

Mapping Movement: The Black-throated Gray Warbler Migrates

Generated by Cornell University and public contributed observations, there are a whole lot of mesmerizing interactive maps capturing a whole lot of bird migration patterns, here: ebirds. 

Two Mediums, One Story: Damien Hirst Does the Art World One Spot at a Time

Damien Hirst's International art world invasion continued on January 12th 2012 with 331 of his spot paintings on display-and-sell missions in every Gagosian gallery world-wide (that's 11 - three in New York, two in London, and one each in Paris, Geneva, Rome, Athens, Hong Kong, and Beverly Hills).

Two fantastic art critics similarly discuss this cruelly banal cultural phenomenon through two different mediums  - Peter Schjeldahl covered it in this week's New Yorker with his article Spot On and Hennesy Youngman propagated his thoughts via YouTube.

(Hennesy the younger art critic will be talking at Concordia U. in Montreal next week thursday 26th. for an event called What Does It Mean, And What Can You Do About It? )

Jan 18th Wikistrike: Free Knowledge, Copy Rights, Intellectual Property

"SOPA and PIPA represent two bills in the United States House of Representatives and the United States Senate respectively. SOPA is short for the "Stop Online Piracy Act," and PIPA is an acronym for the "Protect IP Act." ("IP" stands for "intellectual property.") In short, these bills are efforts to stop copyright infringement committed by foreign web sites, but, in our opinion, they do so in a way that actually infringes free expression while harming the Internet."

- Wikipedia

Vacuuming The Cosmological Threats of Dirt: Simulated Pigeon Shit in Las Vegas

Las Vegas' strip is an accumulation of anything's simulacra displayed in such a way that it can fit in a perfect picture frame. Wonderfully consumable, a Barthesian wonderland and very stimulating for four days, Las Vegas' simulacra is never dirty - tacky but never dirty - and always honestly thought-out, so it becomes very exciting when dirt is included in the equation.

After taking a cab from a convention center filled with electronics to Paris where I had a drink in a plastic-Eiffel Tower, I walked through a Hector Guimard-themed Casino to wait for a car to take me to Venice. Behind twenty other humans waiting for motorized saviors at the Paris (there's an unsaid ban against walking in Vegas), I noticed fake pigeon dung covering the Victor Baltard-inspired marquee. This isn't anecdotal.

As mentioned before, like the rest of Vegas, nothing is here by happenstance, everything is the result of recent thought-out and human-powered decisions. The water like every carpet and every tree was selected and transported by a group of rational humans less than thirty years ago. It is the most honest, and arguably rational, materialization of a late 20th century cultural phantasma composed of all and any signs and simulations. So seeing man-made fake pigeon dung in Vegas is very very meaningful. Perhaps it represents the American stereotype of Paris which includes more pigeon dung than the one they have for Venice (where there is no fake pigeon shit). Or perhaps Paris' train stations are the only ones worth reproducing for a hotel in Vegas hence the inclusion of its pigeons... 

Whatever the possible reasoning this instance adds an exciting new dimension to my research on pigeons and dirt as "matter out of place": the fact is that the matter signifying the presence of dirt (the pigeons) on the Las Vegas Paris' marquee is 'clean' (it isn't actual shit, but paint) and so beyond matter or context, this sanitized representation of dirt authenticates simulacrum by vacuuming any of the cosmological threats implied by the actual things it signifies.

And this is what is so charming about Las Vegas.

Horses

Horses, Screen-printed on cotton by Saul Steinberg from 1949-52 from the Cooper Hewitt National Design Museum

What Average Americans Are Doing: Sleeping, Eating, Working and Watching Television

This is how an average American over the age of 15 spends his or her 24 hours of daily existence (based on 2008 statistics). Playing with the different categories of Americans makes for a good fifteen minutes of entertainment and brain workout trying to figure out why, on average, at 8:50pm as many as 55% of the 65 or over are watching television while at as little as 8% of the 18-25 are socializing. 

Graph by Shan Carter, Amanda Cox, Kevin Quealy, Amy Schoenfeld found in The New York Times