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

He Wore Purple Too

Chromolithographed cardstock with die-cut openings, sent in 1912 from and to Schenectady NY. Found 

and part of Bard Graduate Center's American Christmas Cards, 1900–1960 exhibition.

More on Santa Claus' fashionable red not being a Coca Cola scam: here.

North Korean Mourning, Dance and Song (a Western Fascination)

"The smartest, most crevest, most physicarry fit, but nobody seems to rerarise it" dictator just died.

Exhibiting Pigeons: ''You can fool some of the pigeons some of the time, but not all of the pigeons all of the time.''

That's a quote from The New York Times of October 29th 1986.

And this image is the project I submitted for the The Occupy Wall Street week at the Art and Architecture Storefront gallery - that was presented in the exhibition that opened up friday.



Also turns out back in 1986 New York Pigeons were already fighting for a new world order of their own (a story noted by the New York Times, here).

Moïse Apporte les Nouvelles Tables de la Loi: Google Books And The Ten Commandments

This image is from the google book Musée Religieux ou Choix des plus beaux tableaux inspirés par l'histoire sainte aux peintres les plus célèbres; first tome, published in 1836 by Hivert Libraire in Paris by "Etienne Achille Réveil, un ecclésiastiques du clergé de Paris".* The actual book is part of the Oxford University's history library collection.

Pursuing its mission to archive everything for everything to be accessible to everyone, in Google Books Google scanned library collections for printed knowledge to be preserved and made more available to more people and over more time. The resulting scans, the google books, generally look like books but simultaneously aren't simple visual reproductions of books either. And while the possible affects of this venture on knowledge are unsure, what is certain is that these digital formats are new vessels of knowledge; new mediums that necessarily carry new messages.

Sometimes these virtual books' new messages are very clear and this particular Musée Religieux google book is one such extraordinary example. As the scan above shows, the Google employee's hands covered with pink mini-finger condoms caught scanning chapter 52 reminds us of the mediation that occurs between the book and the google book (or even the physical labor that any medium necessitates to carry its idea). This meta-narration was created during the scanning/mediating gesture and is only present in the new platform. The original book from 1836 never intended to suggest such a notion, nor does the present-day copy in Oxford Library.

Even more amazingly these fingers were caught while scanning "Moïse Apporte les nouvelles tables de la loi" (Moses brings the new tablets of law). According to the first testament Moses spent 80 days and nights to get these tablets (and their message) to his people (the etching on the left side of the fingers represents Moses telling his people where to place the heavy tablets). He had to climb and descend the Mount Sinai, survive up there, wait for God to communicate and inscribe the principles in stone and all this twice, because after having gotten really upset at his brother's pagan ways he smashed the first two tablets. However all this activity is said to have resulted in the 10 commandments which set some the fundamental ethical principles of Judaism and Christianity.

Relative to Moses' approach, Google seems to have something slightly more efficient happening (although not tested on the long-run), but makes one wonder: are google books and the knowledge that they make available today's stone tablets and commandments? are Google employees today's prophets? And of course are those Moses' fingers?

* which more or less translates as Religious Museum or Choice of the most beautiful paintings inspired by the history of saints to the most celebrated painters, by Etienne Achille Réveil, an ecclesiastic from the clergy of Paris. For more of those fingers go to http://books.google.ca/books?id=pDwGAAAAQAAJ&printsec=frontcover&source=gbs_ge_summary_r&redir_esc=y#v=twopage&q&f=false

Swallowing in 1951

A cineradiograph of a typical normal barium swallow. The semi-solid meal passes over the back of the tongue, past the epiglottis and into the pharynx. Found at Wellcome Collection

www.yourdomain.xxx

"After ICANN initially approved the domain in 2005, .xxx faced six years of legal and procedural hurdles before getting the final go-ahead in March 2011. Since then the ICM Registry (which polices the domain) hosted an initial closed sale for some .xxx domains. (...) While many have opposed the creation of .xxx over the years, the fact is it’s here, with domains for sale at $60 each from GoDaddy and others." - mashable

"Take The Kids Off The Streets": Jane Jacobs vs. The Modern Urban Aspiration

Love: The Medium is the Message

Notes from an Ethnography on Post-Modern Labor: Ludo-Capitalism or Computer Feudalism?

Last week the American Anthropological Association kicked off its 109th meeting in Montreal’s Palais des Congrès. As the 5000 speakers shuffled papers and cleared their throats, I was among the happy anthro-devotees going through the 632 page program to decide which panels to attend during the five days: Mobile Phones in Papua New Guinea? Favela Tourism in Pre-Olympic Rio? Breastfeeding in a Time of Post-Feminism? The Aesthetics of Egyptian Political Pop Music Videos? The Soundscape of 9/11's Heritage?... Some panels I wish I attended others I am so glad I did.

For example David Hakken from Indiana University presented his talk “From Labor to Playbor: Business Anthropology In the Time of Social Networking.” As a labor anthropologist he discussed the role – from an evolutionary perspective – of computerization on work. Today, similarly to technology breaking down the traditional lines between the private and public, computers are changing how we work, where we work, why we work and what qualifies as work.

Up till this fall Google had a game - called ESP - to label their gazillion images into categories. This game transformed an intensive, repetitive and certainly costly archiving chore into a fun (addictive) activity resulting in a better Google service, and all this produced by free labor.

Could this virtual collaborative project be the demonstration that surpassing the barriers of face-to-face labour results in better, less costly, and funner systems of efficiency. A sort of Ludocapitalism fuelled by playbor? Or rather is this a form of post-modern Taylorism? A 21st century feudalism – computer feudalism – in which our free bug reports, tweeking of open source projects and fun Google tags feed empires we are never rewarded by?

Leaving the panel I started to think that if technology can enable us to game our way through labor, then workers most probably will start acting like players. It doesn’t seem entirely unlikely that Wall Street traders sell, buy, negotiate and think in a similar fashion to the questing, grinding, hating factions or joining guilds World of Warcraft avatars do.

Both just as removed from the impact of their labor on the ‘real’ world but getting the addictive high of success that industrial Taylorism most probably never provided its workers. 

Commodifying Rituals and Patterns at the American Anthropological Association Meeting!

 

  

The Phenomenology of Colour: What Happens When We See

From Always With Honor

Bad Urban Design and Public Art Installation: the MMFA's Homogeneous Plastic Yellow Poles and Night Guard Protect Their Failed Sidewalk

Last month the Montreal Museum of Fine Arts opened a new building, a new curatorial plan for its Canadian collection and a new sidewalk/sculpture garden (which, as the press release happily stresses makes it "one of the largest collection of public art in Montreal" - Montreal being really well known for its public art this is really thrilling).

Hence to enlarge its sculpture garden and create spaces to reflect and observe it, the Museum commissioned marble steps, platforms, columns and benches for its main sidewalks - on avenue du Musée and rue Sherbrooke. As the images show, today these designs are angular, of different hight and slanted (not totally unlike the ideal skatepark) and are meant to "create a high-quality urban environment for the Museum complex that is both distinctive and homogeneous, [as well as] improve the comfort and aesthetics of the outdoor spaces, integrate public artworks, [and] improve pedestrian safety in the vicinity of the Museum."

Well it seems like the Museum has been caught off guard by how much Montrealers have found these new urban props comfortable and safe. Skatboarders, in particular. But sadly these types of pedestrians are deemed unwelcome by the Museum and so the institution has hired a night guard to make sure only their ideal art lovers come enjoy their sculptures (with their eyes only). But this wasn't enough to deter the normal human pedestrian from touching and interacting with these public installations so the MMFA has added extra yellow plastic sticks to most marble corners making sure no one ever goes near their "high-quality urban environment". (I'm guessing this yellow plastic repetition is to maintain the aesthetic homogeneity mentioned in the press release.)

It seems obvious that the Museum and its favoring of what they wish their backyard looked like rather than what the reality of urban space is, are the only ones to blame for the sidewalks' current absurdity. And as a pedestrian it's hard not be saddened about 33 million dollars that were put into what the field of yellow poles is trying to protect, in particular while budgets in the arts throughout the country are being cut.

Update of 26/11/11: After the night-guard and the plastic yellow polls, the MMFA has now invested in the panoptican power of the surveillance camera to insure the peacefulness they intended for their newly developed sculpture park. Brilliant. 

The Colour of New York's Troubles

In this very very witty and pretty graph by artist Andrew Kuo one can read smart data with a New York City biased twist.

Finally Marina's Presence in a Game!!!

Closed for over a year now, Marina Abramovic's retrospective at the Museum of Modern Art and the amount of coverage, articles and commentary documenting it seem like a distant past.

At the time I remember being struck by the general uniformity of critical response which matched her audiences attitude: either utmost seriousness or profound awe (and a striking lack of humor). The constraints of the institution - the intense security (transgressors could be banned from the MoMA for life), the difficult acoustics, the bright neons - were probably the principle causes for this monotone outcome, but overall the artist's serious form of self-making in the show - with Abramovic replicating herself through her performance and reperformances - was like turning everyone that participated into her (too grim? too dramatic?) outlook.

Pippin Barr recently came up with "The Artist is Present" game, which embodies quite well the qualms mentioned above as well as the weird steps involved in the Marina art experience (although I feel like the art experience in general to a certain extent too).