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DEAR READER
Cosmic Funnies
Claire Keane
Mike Driver
we're not kids anymore.

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Game of Thrones Daily
taylor price
YOU ARE THE REASON
2025 on Tumblr: Trends That Defined the Year

Discoholic 🪩
Lint Roller? I Barely Know Her
TVSTRANGERTHINGS
Not today Justin

pixel skylines
AnasAbdin
No title available

shark vs the universe

JVL
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@kidcode-i
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While it may feel natural for some to inhabit this media-made world, I suspect there is a fundamental change here that has a lot of people just a bit spooked. It’s no longer a case of making second nature out of nature, of building things and getting used to living in the world people build. I think it might be interesting to consider telesthesia to be something fundamentally different. What gets woven out of telegraph, telephone, television, telecommunications is not a second nature but what I call third nature.
McKenzie Wark (via inthenoosphere)
Virtual has its roots in the word vir, or ‘man’. From ancient times it is a word that has come to identify not just a person in general but the best qualities of a person—virtue. And so at various times it has meant valour, righteousness, influence, excellence. It can point to a moral quality, or an aesthetic one. When the eighteenth-century novelist Samuel Richardson speaks of an 'object of virtue’, he means a work of art. Virtue has valued different qualities in different times and places as the best of what it is to he human. Virtue has also designated different qualities in men to those it nominates for women. A man of virtue in Nicolo Machiavelli’s renaissance Florence was a man of boldness and cunning. A virtuous woman in Richardson’s England was chaste and modest. There is no particular quality that is virtue, but virtue is always a quality of people, rather than of institutions. In other words, western culture has for a long time recognised the need for the concept of virtue, even though the particular values attached to the concept change across time and place.
McKenzie Wark (via inthenoosphere)
thomoritz
Apparition, Klaus Obermaier & Ars Electronica Futurelab.
2015.4.28_14.52.51_frame_0002 Made with code / Processing
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Data Weave
Kickstarter from @notendo to make high quality woven textile garments with digital abstraction based on digital files:
Data Weave continues work I began in 2001 that reimagines contemporary digital culture through textile arts to create a continuum of traditional and modern art forms and technologies. Applying my process of color encoding binary data to textiles expands fiber art traditions and addresses current preservation challenges faced by digital media.
… Data Weave is a marriage of art forms to the extent that the Jacquard loom’s use of punch cards to weave intricate motifs inspired the use of punch cards for saving and executing programs in early computing. Data Weave extends traditions of embedding symbols in textiles to communicate information by applying my practice of color coding binaries to weaving. This process of encoding data with color produces intricately detailed, cascading motifs that are meant to be woven pixel to stitch. Each pixel represents bits of data showing how weaving can also be understood as pixel art. Furthermore, Data Weave simultaneously illustrates an alternate way of data preservation and a materialization of digital ephemera by tangibly elucidating data structures with color.
More Here
We produce, learn, adapt, repeat, and perpetuate ways not to have to think or to act consistently, from one context to the next. New York’s “stop and frisk policy,” which regularly subjected minorities to arbitrary humiliation and abuse in the name of public safety, was considered reasonable until very recently, not only by the Bloomberg mayoral administration but also by many white people who felt “safer” because of it. The Black Lives Matter movement has had to insist on the value of black lives, as opposed to “all” lives, because black lives have not registered as valuable, in the manner of “all” lives, to the white majority. When I taught at a large, private, urban university, all of the food court workers in the student union building and all of their student clientele were in their late teens and twenties; strikingly, and yet somehow invisibly, all of the food servers were black, and most of the students were white. Closer to home, most of the universities I know of, including my own, rely on the labor of adjunct professors whose names we never learn because they are not “really” our colleagues. We are incredibly good at not knowing what we know, and so were the Victorians. The same culture that developed and embraced modes for representing inequality and injustice could be horribly blind to its own oppressive practices. The same Dickens who wrote humanitarian epics wrote deeply racist essays. The same narrator in Jane Eyre who famously makes common cause with slaves describes Bertha in stock racist terms. Elizabeth Gaskell undercuts her representation of the suffering working classes in Mary Barton with caveats about the “dumb and inarticulate” masses. There are many, many examples any of us here could cite of Victorian disjointedness – so many that we tend to expect them. “Blind spots” like these are so normal that they themselves have become easy to ignore.[i]
Carolyn Betensky, “Notes on Presentism and the Cultural Logic of Dissociation” (via theagonistes)
Frank Bretschneider – Echotron
Archizoom Associati, No-stop city, 1968-70
Poster designed by L2M3 for The Bauhaus-Archiv Museum für Gestaltung
Homage to New York: A Self-Constructing and Self-Destroying Work of Art Conceived and Built by Jean Tinguely
In 1960, MoMA’s Press Office sent a press release announcing, matter-of-factly, “A machine, 23 feet long and 27 feet high, conceived and built by the Swiss-born artist Jean Tinguely so that it destroys itself when set in motion, will be shown in the garden of the Museum of Modern Art Thursday evening, March 17.” Tinguely had been asked to create one of his signature kinetic artworks, and in collaboration with other artists such as Billy Klüver and Robert Rauschenberg he assembled a great self-destructing machine monument to the end of the mechanical age. Once set off, the machine performed for 27 minutes for a crowd of invited guests, after which they sorted through the remnants—including bicycle wheels, motors, a bathtub, and a piano—for souvenirs. Curator Peter Selz remembered Tinguely’s astonishment as he collected material for his sculpture: “He had never seen anything like the junkyards and junk heaps of New Jersey.”
See images of the sculpture in action, read the out-of-print brochure, and more at mo.ma/52exhibitions. 36 of #52exhibitions #MoMAhistory #tbt
Jason Martin