attentionindustry:
Seeing stuff like this makes me smile.  Giving away something of value results in people knowing you have something of value available.

attentionindustry:

Seeing stuff like this makes me smile.  Giving away something of value results in people knowing you have something of value available.


"No effort need be made to reconcile the different scales of the electronic and the material. They can simply coexist in one object. They can grow obsolete at different rates as well. Robert Rauschenberg’s Oracle has had its technology updated three times over thirty years, but it’s materiality and cultural meaning remain unchanged. Cultural obsolescence need not occur at the same rate as technological obsolescence."


thresholdnote:

MoMA window (via 010lab)

makou:
Deer om nom nom | Best Funny Animated Gifs Updated Daily - Gif Bin

speed metal turned liquid

quodlibet:

is sensitivity only gained through s l o w n e s s? current approaches to contact improvisation (CI) would imply so; they begin by listening quietly.

in stillness we can bring awareness to the ‘small dance’. with careful attention we can comprehend the shifts in momentum. the detail of a single sensation, is valued above concurrent sensory clarity.

the ‘lab conditions’ of silent studios, can leave students disorientated in noisy contexts. they begin to favor known vocabularies of weight sharing. improvisation slips into the cracks between floors and backs.

noisy contexts? contact improvisation has a variable signal-to-noise ratio. recreational CI has a strong signal and little noise. the ‘known’ vocabulary and slow/medium speed facilitate sensory comprehension.

when improvisation takes focus, collisions are often fast(er) or unpredictable. here the signal of sensations is smothered in nose; rather than comprehension, clarity is the key. a clear signal can be reflexively responded to, comprehension takes too long.

learning is contextual; my preference is to teach CI in noisy contexts. medium to fast collisions are explored, before slowing down. the first CI work «magnesium» also takes this approach, but the similarity is unintentional.

is ‘embodied sensitivity’ lost by working at speed? no, a forward roll requires you to sense and embody; stop listening and you start hurting. instead of slowing the sensory flow, you learn to ride within it. relaxing in the multitude dilates time; many senses can be attended to.

the main hurdle to starting with speed/noise is confidence. but accepting the possibility of collisions is integral to CI. cosseting students fears constrains their practice, the core skills keep them safe.

Great take on contact improv. I’d like to see video of this.



"All human actions have one or more of these seven causes: chance, nature, compulsions, habit, reason, passion, desire."
— Aristotle (via brinyyy) (via tea-cup) (via booklover)


roamin:

Pan American

toneshared is an interesting collection of mobile phone ring tones made by musicians and artists working in the electronic and alternative scenes.  All mobile phone tones at toneshared.com are downloadable and free.

My current favourite is one from Pan American.  Pan American is a solo project of Mark Nelson, who plays guitar and sings in Labradford. The project emerged in the late 90s, a result of Nelson’s interest in exploring the possibilities of sampling, as well as his interest in dub and techno.



"Technology is the campfire around which we tell our stories."


"The times I’ve pushed myself to be a better person has made me a better artist."
— Brian K. Vaughan. Producer of Lost. Eisner Award winner for comic books Ex Machina and  Y: The Last Man. (via davidpress) (via danhacker)


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