April 20, 2011
December 13, 2010
Amazing; even more so after seeing this:
He seems like a nice guy.
May 20, 2010
Like Images… but, you know, ending with “-ry” instead of “-s”
- Abramović fanboy Paco Blancas has sat with her 14 times (and counting), which is apparently enough times to get MoMA to interview you for their blog.
- Roy Lichtenstein at Gagosian
When we think of still lifes, we think of paintings that have a certain atmosphere or ambience. My still life paintings have none of those qualities, they just have pictures of certain things that are in a still life, like lemons and grapefruits and so forth. It’s not meant to have the usual still life meaning.
555 W 24th St (at 11th)
New York NY 10011 [map]
212 / 741-1111
May 8, 2010 – July 30, 2010
- The new Banksy work in downtown NYC have already been, um, vandalized by the likes of IRAK and Poster Boy (supporters).
Filed under: Assorted Links · Tags: Ai Weiwei, Art, Banksy, Bjork, Chelsea, Events, fashion, food, Gagosian, graphic design, Hedi Slimane, images, LCD Soundsystem, Marina Abramovic, Matthew Barney, MoMA, NYC, Oak, openings, photography, Roy Lichtenstein, soccer, street art, Surface2Air, The Drums, words
March 16, 2010
» Aesop Rock – Daylight (4:25) – 4.1MB m4a @ 128kbps
Since this Sunday marked Daylight Saving Time, I decided to put my philosophy degree to good use by pondering the psychology and metaphysics of this semi-annual ritual.
First of all, there is technically only one daylight to be saved: contrary to folk wisdom that might suggest otherwise, daylight is an indivisible entity. In a sense, daylight is like money—which is also grammatically singular but conceptually plural (insofar as one would hope to have more than one money)—such that daylight is quantifiable, at least in terms of daylight hours. In other words, official terminology denotes that summer is ‘Time to Save Daylight’—i.e., Time for Daylight-Saving—while the colloquial (if not altogether prevalent) shorthand “Daylight Savings” is a gerund, as per the nominal usage of “Savings” for that type of bank account. (Even the Wikipedia URL for the Daylight Saving Time entry is Daylight_savings.)
The monetary metaphor is useful in illustrating how DST’s pithy essence “spring forward, fall back” belies the curious phenomenon that either occasion—the turning of the clocks in spring or in fall—can be described as gaining or losing an hour. Common parlance suggests that we have indeed acquired a full 60 minutes, yet this increment simultaneously seems to have slipped through a mysterious temporal rift in the wee hours of Sunday morning. It appears that we have both gained and lost an hour on Sunday, a discrepancy that reveals two divergent systems of belief concerning time and how it is measured: absolute vs. relative. The two views correspond to a scientific picture of an independent physical world and a pragmatic ‘lived’ experience of time, respectively.
The former system holds that time marches forward of its own accord and that to push a clock forward—from 2AM to 3AM, say—disturbs the clockwork of the universe to the effect that humans have erased an hour from their day. Here the bank analogy must be modified: on Sunday, we withdrew an hour on credit, which we will pay back in October; for the next six months, we owe one hour to the universe, or nature, or whatever. We have lost it in the interest of practicality—we need to borrow the hour for the better half of the year—though we plan on restoring balance in six months or so. For the absolutist, the hour is deferred.
Those who abide by the second perspective, on the other hand, see time as more malleable, where chronology is purely pragmatic: we gained an hour on Sunday because we now have an extra hour of sunlight—and, ostensibly, productivity—to the effect that the days themselves grow longer. By springing forward, we stake a claim to the greater daylight afforded by the rotation of the Earth, silently folding one hour into the shroud of slumber in order to extend each and every day in those six months. For the relativist, it’s possible to save daylight like money albeit not in the interest of yielding a long-term dividend: everyone cashes out the same predetermined amount at the end of each day.
Of course, both schools of thought understand that the actual demarcation of time to be incidental (i.e. pragmatic in a broad sense)—otherwise we wouldn’t have license to give and take (or take and give) hours as we please. Nevertheless, I wonder if there is any correlation between the saving(s) locution and the gain/loss dichotomy: are relativists more predisposed to regarding DST as a savings account, as opposed to absolutists who treat the extra time as a line of credit?
Does that even make sense? Rather, does it even matter?
Now for the real news:
- Advertising 2.0: This Time, It’s Personal. FaceBook is now crowdsourcing targeted advertising like social AdSense (=AdBook?). (NYT, Future Perfect) Also, Product Placement: Geolocation is so hot right now (NYT)
- Mattel Mentality x Mad Men = Barbie. WTF. (NYT)
- Google Maps now has (spotty) bike directions: Gothamist blurbs, Streetsblog mentions, Wired crowdsources; Bike Snob NYC is more thorough, with an incisive riposte to the Post
- Big ups to the Alma Mater in the Times. But seriously, the prospect of digitally tracking writers’ inspiration and composition process is quite fascinating.
- Stanley Fish on Pragmatism’s Gift.
- I’ve always been a stickler for free throws (i.e. I don’t understand why every player isn’t shooting 90+% from the line), so I was pleased to see that Wired has posted a guide on How to Nail a Free Throw.
- Old news, but here’s a couple of interesting articles on sports video games and their source material; specifically, how video games are have become increasingly true to life for athletes: League of Gamers (ESPN); Gamechangers: How Videogames Trained a Generation of Athletes (Wired)
- Speaking of video games, Virtusphere. Just watch the damn video.
- G4 (correctly, I think) identifies Chatroulette’s ‘Merton.’ NYMag’s Vulture (correctly, I think) identifies Ben Folds as a “Fin de siècle singer-songwriter.” Just watch the damn video.
- (Over)analysis of Lady Gaga’s “Telephone” music video. (Vigilant Citizen)
- What Would They Know: Matthew Perpetua interviews Liars for Pitchfork.
- Time to Get Away: LCD Soundsystem finishing up their last record. (Daily Swarm)
- Wanna Be Startin’ Something: MJ posthumously lands a massive record deal. (WSJ, NYT)
- Deitch Mark II (ArtInfo)
- Rhizome / New Museum presents Seven On Seven (April 17th).
- Marina Abramovic at MoMA: Reperformance art or selling out? See for yourself or read all about it. Plus a short intro vid on Nowness.
- Saltz on the demise of Dia / X-Initiative / Independent (NYMag)
- Ai Weiwei in Tate Modern’s Turbine Hall this October (ArtForum via the Guardian)
Filed under: Assorted Links · Tags: advertising, Ai Weiwei, Art, Biking, Chelsea, Chinese art, David Byrne, Deitch Projects, ESPN, Google, internet, LCD Soundsystem, Liars, London, maps, marketing, memes, MJ, MoMA, mp3s, Music, NBA, NYT, performance art, social studies, Sports, Technology, trailer, transportation, video, words
February 26, 2010
BEIJING — Nearly two dozen artists protesting the forced demolition of their homes and studios marched through the ceremonial heart of the capital before the police intervened and prevented them from reaching Tiananmen Square, the artists said Tuesday.
The fight over the future of Beijing’s artist villages coincides with soaring real estate values and ugly scuffles over land expropriation, several of which have led to the suicides of those facing eviction. Widely publicized in the media, the suicides have helped prompt the government to consider modifying the nation’s urban redevelopment regulations.
–Andrew Jacobs, The New York Times
…because state-controlled gentrification is a sure way to prevent a housing crisis…
December 10, 2009
“To give a price to an artwork, no matter how high or low, is always absurd.”*
Ai Weiwei is invariably described as the quintessential contemporary Chinese artist, an outspoken persona and activist whose socio-political message is matched by his strong sense of form and history. His body of work, realized in every medium from architecture to photography, is a critical reinterpretation of traditional Chinese culture in an unambiguously modern aesthetic.