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robertogreco : collecting   38

Scratching the Surface — 104. Cab Broskoski and Chris Sherron
"Cab Broskoski and Chris Sherron are two of the founders of Are.na, a knowledge sharing platform that combines the creative back-and-forth of social media with the focus of a productivity tool. Before working on Arena, Cab was a digital artist and Chris a graphic designer and in this episode, they talk about their desire for a new type of bookmarking tool and building a platform for collaborative, interdisciplinary research as well as larger questions around open source tools, research as artistic practice, and subverting the norms of social media."

[direct link to audio:
https://soundcloud.com/scratchingthesurfacefm/104-cab-broskoski-and-chris-sherron ]
jarrettfuller  are.na  cabbroskoski  chrissherron  coreyarcangel  del.icio.us  bookmarkling  pinterest  cv  tagging  flickr  michaelcina  youworkforthem  davidbohm  williamgibson  digital  damonzucconi  stanleykubrick  stephaniesnt  julianbozeman  public  performance  collections  collecting  research  2000s  interview  information  internet  web  sharing  conversation  art  design  socialmedia  socialnetworking  socialnetworks  online  onlinetoolkit  inspiration  moodboards  graphicdesign  graphics  images  web2.0  webdesign  webdev  ui  ux  scratchingthesurface  education  teaching  edtech  technology  multidisciplinary  generalists  creative  creativitysingapore  creativegeneralists  learning  howwelearn  attention  interdisciplinary  crossdisciplinary  crosspollination  algorithms  canon  knowledge  transdisciplinary  tools  archives  slow  slowweb  slowinternet  instagram  facebook 
january 2019 by robertogreco
Wasting Time on the Internet? Not Really - The New York Times
"Two years ago, Kenneth Goldsmith, the University of Pennsylvania poet and conceptual artist, taught a creative writing course he called “Wasting Time on the Internet.” Students would do just that, probing the tedium of the internet. But thanks to in-class use of social media, the class also became a creative ferment of improvised dance, trust experiments and inquiries into the modern nature of the self and the crowd.

The constant experimentation changed Mr. Goldsmith into a self-described “radical optimist” about the internet, too. While many of his peers worry about the effects that endless tweets and bad videos have on our minds and souls, he sees a positive new culture being built. The first poet laureate of the Museum of Modern Art, appointed in 2013, he believes we are headed into a creative renaissance, one with unprecedented speed and inclusion.

Meanwhile, the class has evolved into a seminar on collective “time wasting” that Mr. Goldsmith has held in several countries, and it returns to Penn this fall. His new book, named after the course, will be available this month.

Why write this book?

I had cognitive dissonance. Theorists say the internet is making us dumber, but something magical happened when my students wasted time together. They became more creative with each other. They say we’re less social; I think people on the web are being social all the time. They say we’re not reading; I think we’re reading all the time, just online.

I’m an artist, and artists feel things, we distrust these studies. As a poet I wanted to observe, I wanted to feel things.

You compare online experiences with 20th-century philosophies and artistic movements.

The DNA of the web is embedded in 20th-century movements like Surrealism, where artists sought to live in a state like dreaming, or Pop Art, where they leveraged popular culture to make bigger points about society. Postmodernism is about sampling things and remixing them, and that is made real in this digital world.

When I teach my students about the historical preconditions for what they are doing when they waste time together — things like Surrealism or Cubism — the theoretical framework helps them know that the web isn’t a break, it’s a continuity with earlier great thinking.

But if we’re just remixing, are we creating?

When a D.J. brings a laptop full of music samples to a club he doesn’t play an instrument, but we don’t argue that he isn’t doing something creative in mixing those sounds to create his own effect. In the online world the only thing you’re the master of is your collection, your archive, and how you use it, how you remix it. We become digital archivists, collecting and cataloging things. I find it exciting.

What will an educated person be in the future?

We still read great books, and there is a place for great universities. But an educated person in the future will be a curious person who collects better artifacts. The ability to call up and use facts is the new education. How to tap them, how to use them.

If we change as a culture, do we change ourselves?

I’ve got a 10-year-old and 17-year-old. They’re thinking differently from me. They stay connected all the time, and they’re smart, they play baseball, they read, they spend time online. They’re not robots. Basic human qualities haven’t changed. I can find Plato in online life. When I read Samuel Pepys’s diary I see Facebook posts. We just find new ways to express things."
kennethgoldsmith  internet  archives  cv  online  remixing  culture  2016  social  sharing  djs  djing  creativity  creation  curiosity  artifacts  collections  recall  search  samuelpepys  plato  howweread  howwewrite  collecting  cataloging  surrealism  cubism  howwelearn  web 
august 2016 by robertogreco
The Collection and the Cloud – The New Inquiry
"Many platforms cease to be relevant and tend to go away wholesale. In engineering terms, the data becomes no longer relevant. As a result, our pasts can exist piecemeal in distributed systems, in more or less moribund conditions, with no consistent means of access."



"The job of an archivist is work outside interfaces, working with the documents outside their native context, often to make sense of a previous generation’s cast-off data for the interest of the current and future ones. “Processing” a collection is an exercise in not only “saving” the important things and anticipating the interests of future interested parties, but in weeding out the stuff that no one wants to see. My first job as a processing archivist was in a mathematics archive. One obscure Romanian mathematician would send a box of junk quarterly, using the archives as a junk drawer. My boss gave me curt instructions on throwing away his bills and divorce papers and told me to be very selective with his vacation photos.

But who would be qualified to make such decisions about the archives of activists who in part have protested their erasure from the historical record? I think of all the brilliant, give-no-fucks activists I follow on Twitter. I would never want to speak for bad_dominicana, or those on the ground in Ferguson — so how could I begin to speak for their archives?"



"From a collections standpoint, it’s clear that the Internet Archive isn’t the Internet Archive, but an Internet Archive, very much built and collected from a certain standpoint and position of power. Those who are actively collecting in the digital realm represent a specific set of values, a perspective, and as in traditional archives, this perspective reflects a certain hegemonic order of knowledge. The Internet Archive’s Grateful Dead collection is vibrant and exhaustive, developed in the image and enthusiasm of Kahle, an avid Deadhead. Archival institutions tend to have a point of view. University archives collect records of their institution; governmental archives collect government records. The Internet Archive, and other collections of its ilk, collect from the standpoint of old-guard Internet culture.

No one I know of is collecting and preserving from a position that stands to counter this. For the generation of artists, citizens and activists who has come of age in the era of social media platforms, the power of archives is deployed in the banality of surveillance. Distance from one’s data is a design feature, and ownership of one’s data profile seems impossible. What from our digital environments can become historical and archived?

Contemporary archival practices advocate a hybrid of two approaches first some interpretation of keeping the original order of things: respect des fons, and an a posteri organizing stuff into sensible categories. Of course, many of the collections that have been in archives for decades had been organized in ways that simply did not work. I’d been asked several times to “reprocess” a collection and organize it in a way that made more sense to me or my bosses. How often do archives get shifted now when algorithms adjust?

I wonder if the data collected by platforms will at some point become more transparent, and at what cost or contextual shift. Will my daughter be able to sift through my dark data profiles and learn about the egregious number of times I looked at someone else’s profile? Will there be a new round of data mausoleums, offering to sell us peeks at the past? Is data like defaulted debt, ready to be bought and sold at a fraction of the price and subject to a secondary market?

Where are the future archives? Moreover, where are the future points of canonical extinction?"
ameliaabreu  archives  archiving  collecting  socialmedia  2015  internetarchive  brewsterkahle  vintecerf  web  online  pauljaeger  friendster  jasbirpuar  tracebody  data  cloud 
march 2015 by robertogreco
“The world is full of objects, more or less... - robertogreco {tumblr}
“The world is full of objects, more or less interesting; I do not wish to add any more.

I prefer, simply, to state the existence of things in terms of time and/or place.

More specifically, the work concerns itself with things whose inter-relationship is beyond direct perceptual experience.

Because the work is beyond direct perceptual experience, awareness of the work depends on a system of documentation.

The documentation takes the form of photographs, maps, drawings and descriptive language.”

—Douglas Huebler
time  place  documentation  cv  douglashuebler  art  experience  perception  awareness  belatedness  things  objects  cataloging  description  observation  photography  maps  mapping  drawing  drawings  systems  archives  noticing  collections  collecting  capturing 
march 2015 by robertogreco
The Library Beyond The Book - Jeffrey Schnapp - YouTube
"Harvard Prof. Jeffrey Schnapp on redundancy between digital and analogue formats, physically assembled communities, and multiple types of libraries"
libraries  jeffreyschnapp  2014  reading  books  ebooks  digitalbooks  digitalpublishing  epublishing  digitalage  future  matthewbattles  archives  databases  knowledge  pop-ups  popuplibraries  multiplicity  plurality  thirdspaces  diversity  libraryfuturism  bookfuturism  collecting  access  local  communities 
may 2014 by robertogreco
Why we should leave our fingerprints for the future. - Do Lectures
"Robin [Sloan] tells us how and why he writes. And how to get the most out of what you do."

"Lightness of inspiration [TCS example, collecting for unknown future needs]
Lightness of motion [walking when stuck, solvitur ambulando, lightness of the mind and body]
Lightness of digital [enabling a start]
Lightness of dependency [this AND that, not this OR that]
Lightness of heart [because dwelling on death can lead to depression]"

"Time is the ultimate body shop."

"When you are light you are best able to answer the deepest and darkest questions."

"Since death alone is certain and the time of death uncertain, what should I do?"
mindbody  motion  ephemeral  ephemerality  dolectures  doing  making  fingerprintsforthefuture  ambition  purpose  time  whywedowhatwedo  why  craigmod  ebooks  digital  friction  resistence  collectingforunknownfutureneeds  future  collecting  observation  noticing  howwework  meaningmaking  happiness  and  thisandthat  haiku  2011  normalheights  mrpenumbra  living  buddhism  death  life  meaning  lloydalexander  reading  howwewrite  cv  ego  tcsnmy7  tcsnmy  italocalvino  walking  small  slow  lightness  creativity  writing  fingerprints  robinsloan 
august 2012 by robertogreco
Critical Mess Collecting
"The most intriguing thing is how a collection like Michael's gets built," Reese said, by way of explaining the practical ramifications of the critical-mess theory.  "When you start on something like this, you say, O.K., here is a genre, here is a field. And I'm just going to buy it, whatever it is that I'm collecting -- signs from homeless people, imprints froom before 1801.  You don't start with a theory about what you're trying to do.  You don't begin by saying, 'I'm trying to prove x.' You build a big pile. Once you get a big enough pile together -- the critical mess -- you're able to draw conclusions about it.  You see patterns.  You might see that this one lithographer in Philadelphia does all the scientific works.  You start to see that certain early printers were much better than other printers. You start to see that homeless people in the South put together wordier signs than people in the North because people in the South like to read billboards, so they'll slow down and read the sign.  People who have the greatest intuitive feel for physical objects start from a relationship with the objects and then acquire the scholarship, instead of the other way around. The way to become a connoisseur is to work in the entire spectrum of what's available -- from utter crap to fabulous stuff. If you're going to spend your time looking only at the best, you're not going to have a critical eye."
messiness  criticalmess  criticalmesses  pattenrecognition  patterns  via:vruba  collecting  working  collections  michaelzinman  cv  howwework  howwelearn  learning  divingin  starting  startingsomewhere  piles  criticaleye 
june 2012 by robertogreco
The American Crawl : Wonderstruck – A Kids Book About Curation (and Other Stuff)
"Currently, I’ve been working on a chapter of my dissertation that, in part, looks at youth as curators and the transformative possibilities of this role. By taking ownership, labeling, collecting, and displaying ephemera within their communities, my students help guide a collective consciousness for their peers that establish opportunities for social improvement. The act of curation is a liberatory one. Or at least that’s what I’m arguing so far.

Wonderstruck finds its protagonist desperately holding onto the artifacts that make up an unclear past in search of meaning amongst them. Selznick’s narrative illuminates the personal power of curation and imbues it with the same sense of wonder that I attempted to achieve in the ARG I created. The book opens up paths of discussion that I’d love to someday host with students."
anterogarcia  brianselznick  curating  curation  curatedlearning  learning  labeling  collections  collecting  2011  teaching  wonderstruck 
october 2011 by robertogreco
Frank Chimero’s Blog - Sorting a Mass
"Right now, chronological ordering is the default way to arrange content online, & I wonder how that blanket presumption affects curation on the web. Does it make sense, because people check in frequently, or is it odd, like sorting a stack of photographs alphabetically by who is in them? There are indeed instances where sorting by time is the correct path, but it will be exciting over the next few months and years to see what happens to the web as we recognize the instances where the newest thing is not necessarily the most important thing. (And, as always, the additional problem on top of this: can this sorting process be automated?)

But can you curate on the web? Most curation comes to a point through narrative, and is narrative possible on the web? Stories require a certain amount of linearity, and we all know how the web disrupts that. Maybe it is the same problem that video games have, where interactivity subverts storytelling…"

[This article is now here: http://frankchimero.com/writing/2011/sorting-a-mass/ ]
web  curation  collecting  curating  sorting  frankchimero  storytelling  scrolling  2011  collections  bookmarks  bookmarking  flickr  interactivity  location  alphabet  hierarchy  categorization  time  chronology  chronoogical  pagination 
july 2011 by robertogreco
INTHECONVERSATION: Art Leisure Instead of Art Work: A Conversation with Randall Szott [Truly too much to quote, so random snips below. Go read the whole thing.]
"Sal Randolph talks w/ Randall Szott about collections, cooking, "art of living," & infra-institutional activity."

"undergrad art ed seemed overly concerned w/ 'how & what to make' sorts of questions…"

"in my possibly pathetic & overly romantic vision of considered life, I am quite hopeful about ability of (art & non-art) people to improve their own experience & others' in both grand & mundane ways"

"I would like to build along model of public library. Libraries meet an incredibly diverse set of needs & desires"

"art is a great conversation…tool for making meaning & enhancing experience, but it is highly specialized, & all too often, closed conversation of insiders"

"I am deeply committed to promoting "everyday" people who are finding ways to make lives more meaningful - devoted amateurs to a variety of intellectual pursuits, hobbyists, collectors, autodidacts, bloggers, karaoke singers, crafters, etc…advocate for a rich, inclusive understanding of human meaning-making."
2008  salrandolph  randallszott  leisure  art  living  collecting  food  cooking  life  slow  thinking  philosophy  unschooling  deschooling  credentials  artschool  education  learning  skepticism  everyday  vernacular  language  work  leisurearts  dilletante  generalists  cv  distraction  culture  marxism  anarchism  situationist  lcproject  tcsnmy  intellectualism  elitism  meaning  sensemaking  interdisciplinary  multidisciplinary  projectbasedlearning  projects  openstudio  crossdisciplinary  transdisciplinary  thewhy  why  audiencesofone  canon  amateurs  artleisure  darkmatter  pbl  artschools 
may 2011 by robertogreco
Only Collect; that is to say, collect everything,... | Coldbrain.
"I differ slightly from Rachel in terms of where it all lives. She uses DEVONthink, a program with which I’m admittedly not completely familiar. I’ve played a lot with Evernote, and whilst it kinda did what I wanted it to, there was always something vaguely uncomfortable about the mass of different types of information in there. Notes, screengrabs, clipped web pages, links, photos. It was all in once place, but it all seemed a bit disorganised, which was the opposite of what I wanted.

Instead, I try and use one piece of software for each task.1 I stick my bookmarks in Delicious, my lists and notes as plain text in Simplenote (by way of Notational Velocity), my photos in iPhoto and occasionally Flickr, &c. In short, one thing well."

[Something similar to this works for me too, though I'm not really sure whether it's because that's best for me or if it's because I've invested so much time in specialized buckets. And the "Only Collect" article is a gem — glad to see it pop up again.]

[Points to http://idlethink.wordpress.com/2008/11/26/only-collect/ AND http://al3x.net/2009/01/31/against-everything-buckets.html]
matthewculnane  everythingbuckets  collecting  bookmarks  bookmarking  del.icio.us  commonplacebooks  cv  notes  notetaking  devonthink  evernote  information 
october 2010 by robertogreco
Specimen
"Specimen is created by Mark Quint, owner of Quint Contemporary Art gallery in San Diego, CA.

Specimen is an online store that sells art and curiosities.

Specimen's inventory (other than the art) is primarily used and vintage, but there are some new items slipped in every so often.

Specimen runs weekly specials, highlights guest selections, buys and trades objects and maintains a wish list for our collector friends.

Specimen is about objects that deserve a second look, closer inspection and a good home."

[Alternate URL: http://www.specimen.bigcartel.com/ ]
markquint  quintgallery  sandiego  art  curiosities  togo  todo  shopping  vintage  collections  collecting 
september 2010 by robertogreco
A Collection a Day, 2010
"This is a blog documenting a project that will span exactly one year, from January 1, 2010 to December 31, 2010. On each of those 365 days, I will photograph or draw (& occasionally paint) one collection. Most of the collections are real & exist in my home or studio; those I will photograph. Some are imagined; those I will draw or (occasionally) paint.

Since I was a young girl, I have been obsessed both with collecting and with arranging, organizing and displaying my collections. This is my attempt to document my collections, both the real & the imagined. Some of my collections are so large that I will need to photograph them separately over several days. I will likely not attempt to photograph collections in which the individual pieces are large in size or awkward in shape (i.e. my art collection or vintage enamel dishware collection). The only rule is that I must photograph or draw a whole or part of a collection each day for 365 days and post the result here on this blog."
collecting  collections  2010  ephemera  photography  illustration  lisacongdon  vintage  blogs  crafts  art  design  daily  projects  classideas 
august 2010 by robertogreco
Master Planner: Fred Brooks Shows How to Design Anything | Magazine
"Wired: How does a guy who grew up in the 1940s among North Carolina tobacco farmers get into computers?

Fred Brooks: I collected maps as a kid. I had tried all kinds of ways to index my map collection, which got me interested in the notion of automatic data retrieval. In 1944, when I was 13, I read about the Harvard Mark 1 computer in a magazine, and I knew then that computers was what I wanted to do...

Brooks: You can learn more from failure than success. In failure you’re forced to find out what part did not work. But in success you can believe everything you did was great, when in fact some parts may not have worked at all. Failure forces you to face reality...

Wired: Do you have any advice for young industrial designers and software architects?

Brooks: Design, design, and design; and seek knowledgeable criticism."
via:cervus  fredbrooks  collecting  collections  maps  programming  process  failure  history  computing  advice  technology  kevinkelly  indexing  dataretrieval  data  computers  interviews 
august 2010 by robertogreco
sevensixfive: But Today We Collect Gizmos
"The application of a heuristic gizmo is an act of pattern recognition - the intuition that some set of undifferentiated circumstances is isomorphic to some other set that was previously encountered, even if the context was wildly different. ... It has been said that things hardly "exist" before the fine artist has made use of them, they are simply part of the unclassified background material against which we pass our lives. The application of gizmo metaheuristics requires a certain kind of approach to interdisciplinary work and expertise: try it first, then read the manual. Like a western tourist using chopsticks, there is an attitude of being cheerfully out of one's depth, but willing to learn, and eager to add this new technique to the repertoire and impress the folks back home."

[See also: http://snarkmarket.com/2010/5803 ]
fredscharmen  architecture  cities  collecting  patterns  urbanism  patternrecognition  tcsnmy  classideas  art  science  interdisciplinary  crossdisciplinary  recombinantgizmos  gadgets  gizmos  theadjacentpossible  hacking  hacks  glvo  mashups  frankenstein  robertsmithson  reynerbanham  vernacular  collections  objects  folkart  closed-loop  ecosystems 
july 2010 by robertogreco
russell davies: playful
"These aren't games, like the industry thinks of games, these are something a little less, these are Barely Games. And these, are what I wanted to talk about.
pretending  play  games  gaming  russelldavies  creativity  barelygames  planning  thinking  futures  design  competition  noticing  playful09  collections  collecting  tcsnmy  negotiating  negotiation  inattention  iphone  gamechanging  glvo  attention  augmentedreality  augmentedrealityfiction  ar 
november 2009 by robertogreco
Pasta&Vinegar » Playful09 write-up
"Russell Davies was perhaps the highlight of the day as his talk revolved around the contrast between “world-building” versus “bubble-building”. Based on the model railways metaphor, he described these two approaches: “world-building” corresponds to mimicking reality while “bubble-building” consists in putting the railway in your garden where you cannot try to replicate anything (it allows building a “bubble of suspense”). To him, world building is more difficult and he is more interested in “barely games”: collecting, negotiating, pretending and inattention."
playful09  nicolasnova  russelldavies  collections  collecting  play  noticing  tcsnmy  negotiating  negotiation  pretending  inattention  iphone  gaming  games  gamechanging  glvo  barelygames  attention 
november 2009 by robertogreco
Neurartic: Herb and Dorothy Vogel
"The story of Herb and Dorothy Vogel is unique not only because of their avant garde vision and discernment as collectors, but also their love and dedication. It is through their loving partnership that the viewer truly experiences this remarkable story.
art  film  collecting  herbanddorothyvogel  documentary  accessibility 
march 2009 by robertogreco
Gone (Art) Hunting - ARTINFO.com
"Now that the artificial inflation is over and the newcomers who played with art as they did with futures have gone home, those who truly love and know art have the field all to themselves."
art  crisis  inflation  collecting  via:regine 
march 2009 by robertogreco
How To Be An Explorer Of The World Helps Readers Tune Back In | Geekdad from Wired.com
"We're all blind. Overwhelmed by a thousand stimuli, busy as hell, we tune out the world. Who has time to appreciate the beauty of the world around us when we're always in a hurry? How to Be an Explorer of the World: Portable Art Life Museum aims to help busy people find a creative outlet in the midst of their routines, rather than cramming it all into special creative times. Written by writer and artist Keri Smith (author of the Guerilla Art Kit) the book features a number of "explorations" to help people reconnect with the oft-ignored detail around them."
books  kerismith  glvo  gifts  edg  srg  tcsnmy  observation  looking  senses  collections  italocalvino  cities  creativity  serendipity  collecting 
december 2008 by robertogreco
Only Collect « a historian’s craft
"Only Collect; that is to say, collect everything, indiscriminately. You're five years old. Don't presume too much to know what's important and what isn't. Photocopy journal articles, photograph archives; create bibliographies, buy books; make notes on every article or book you read, even if it's just one line saying "Never read this again"; collect newspaper clippings and email them to yourself; collect quotes; save your ideas for future papers, future projects, future conferences, even if they seem wildly implausible now. Hoarding must become instinctual, it must be an uncontrollable, primal urge. And the higher, civilizing impulse that kicks in after the fact is organization, or librarianship. You must keep tabs on everything you collect, somehow; a system must be had, and the system must be idiot-proof."

[via: http://www.kottke.org/08/12/collect-everything-indiscriminately ]
education  history  academia  learning  thinking  annotation  research  creativity  information  organization  collecting  collection  writing  practice  context  library  advice  culture  historiography  cv  methodology  productivity  lifehacks  howto  libraries 
december 2008 by robertogreco
Nascent: Mind Candy visit Nature
"On the backs of the Perplex City puzzle cards are fragments of a map. Some players have recreated this online as a 'mashable' map and annotated it. This is all completely user-generated. One puzzle card contains a code that would take one PC about 10,000
games  perplexcity  arg  gaming  math  mindcandy  puzzles  science  collaboration  maps  mapping  collecting 
june 2008 by robertogreco
This Blog Sits at the: Curator: meme in motion [see also: http://www.monkeymagic.net/2008/03/29/the-new-curators/]
"Real curators think with their collections. The collections are intelligence, memory, conceptual architecture made manifest. I love the idea that someone would take up this function in the digital world. But that’s not what I see the new "curators" doing. This richer, more authentic, more sincere rendering of the term could accomplish something astonishing. It would help sort and capture contemporary culture with some feeling for context, relative location, relative weight, what goes with what. This is the sort of thing that Pepys accomplished, unwittingly, with his diary. This notion of the curator has yet to find its champion. I don’t think we quite yet have a Pepys of the present day."
culture  curation  collections  collecting  gathering  thinking  creativity  intelligence  memory  grantmccracken 
march 2008 by robertogreco
The secrets of successful art collectors - Times Online
"What makes a great collector? Having lots of money helps but it isn’t essential. Our correspondent discovers a world of eccentricity and private riches"
art  collecting 
november 2007 by robertogreco
things magazine - We are sliding towards an irreversible obsession with totally visual communication
"Only dense, layered, information-rich text cuts it in the online world, preferably broken up with images and other information, which might explain why the blog form, in particular the visual blog, is currently so successful."
online  internet  culture  web  curation  images  visual  text  information  gamechanging  attention  ffffound  communication  collecting 
november 2007 by robertogreco
Richard Prince: Spiritual America - Art - Review - New York Times
"Richard Prince has heard America singing, and it is not in tune. The paradoxically beautiful, seamless 30-year survey of his work at the Guggenheim Museum catches many of our inharmonious country’s discontents and refracts them back to us."
richardprince  art  artists  us  culture  exhibits  readymade  cars  appropriation  postmodernism  photography  humor  colections  collecting 
september 2007 by robertogreco
bud.com: the web is your playfield
"bud.com will turn our personal data trails into a playfield for a web-based massively-multiplayer online game. Call it passively multiplayer - the reality of communication networks. Already, Web 2.0 and social networking sites keep track of our relations"
education  online  play  social  web  games  socialsoftware  internet  communication  pmog  mmog  ambientintimacy  multiplayer  distributed  collaborative  collecting  gaming  hypertext  statistics  mapping  browsing  collaboration  attention  lifeasgame  arg 
may 2006 by robertogreco

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