Note: I'm slowly trying to build an index to categorize my channels. Key is incomplete!
* class resources
↔ internet history
◘ archives, libraries, collections
■ technology studies and spaces
◙ technology bias and modifications
Art Strike Mantra, ”We want to show you a strategy for attaining art strike nirvana. We want to show you how you can fight art as status, art as commodity, art as hierarchy. Our strategy will help you lose your egotism, self importance, self indulgence, self esteem.” –John Held, Art Strike Mantra, 1989
"if you find a conversational partner who’s willing to get a little weird, you can use the room you’re in to build a shared memory palace. when you discover an interesting train of thought, you “place” it somewhere in the room. pretty soon, you’re literally surrounded by the convo
the weird thing is you can come up with new connections or concepts by physically moving/dancing between the landmarks in your mini memory palace
you’re basically setting up an infrastructure that lets you see ideas in visual form before you know how to translate them into words"
“We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted & changed by human beings. Resistance & change often begin in art... The name of our beautiful reward is not profit. Its name is freedom.”
— Ursula K. Le Guin
"Another flaw in the human character is that everybody wants to build and nobody wants to do maintenance." — Kurt Vonnegut
Federico Pérez Villoro is an artist and researcher living between Mexico City and New York. Through texts, performances, and digital artifacts, Federico explores the materiality of language and the impact of technology in socio-political behavior. His work has been exhibited internationally and published by Printed Matter, C Magazine, Gato Negro Ediciones, and the Walker Art Center’s The Gradient. Federico has taught undergraduate and graduate courses at the Rhode Island School of Design and California College of the Arts. He has lectured and acted as a visiting critic at schools such as CalArts, The New School, UNAM, and Hongik University. In addition, Federico has advanced a number of experimental educational initiatives. He recently founded Materia Abierta, a summer program on theory, art, and technology in Mexico City. Previously, Federico developed Second Thoughts, a series of lectures, workshops, and discussions on contemporary design at Fundación Alumnos and Museo Tamayo. Alongside Roxana Fabius, he is the co-founder of (human) learning, an itinerant study group that has been hosted in spaces such as P! in New York City, Art Center/South Florida in Miami, Florida, and ZONAMACO in Mexico City. In 2013, he received an MFA from the Rhode Island School of Design.
"people’s relationship to objects are ultimately social ones."
– Christina Kreps, <em>Curatorship as Social Practice</em>
animation of archives
* user-centered approach to the construction of archives that builds a multiplicity of use-scenarios into the very architecture of the archive
engages real or potential user communities from the outset (in processing, tagging, and metadata development);
* integrates curatorial and content-production tools into access portals.
– Digital_Humanities – p. 48,
interface is 'more than a theory of interactivity' and is should instead be seen as a ‘site of contestation’. Its something I think about in regards to the presentation methods of research. In that it should be argumentative, essayistic, and discursive, and, often times, juggling contractions.
– Branden Hookway, <em>Interface</em>
“The octothorpe is beautiful! It’s beautiful!” [Robert Fulford] cries. “It’s the very definition of orderliness, and it has a pattern that seems to suggest, as some people have noticed, a city square or a piece of property, divided into equal parts. It’s a wonderful picture of equivalence; everything is equal.
“thorpe” being an old Norse word for village or town (eg. Scunthorpe), and the criss-cross pattern of the hash sign suggesting a plot of eight fields surrounding a village.
Hash. Pound. Number. Octothorpe. Grid. Crunch. Diamond. Sharp. Mesh. Crosshatch. Thud. Thump. Splat. Scratchmark. Square. Hex. Flash. Tic-tac-toe. Pig-pen.
"At least since Duchamp, it has been the case that selecting an artwork is the same as creating an artwork... The creative act has become the act of selection."
– Boris Groys, Art Power, "Multiple Authorship", p.93