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robertogreco : via:soulellis   13

Webrecorder
"Webrecorder is a web archiving service anyone can use for free to save web pages. Making a capture is as easy as browsing a page like you normally would. Webrecorder automatically archives the page, along with any additional content triggered by interactions.

This open-source project is brought to you by Rhizome at the New Museum.

The Andrew W. Mellon Foundation is lead supporter of the Webrecorder initiative. Additional outreach and research is made possible by the Knight Foundation and the Institute of Museum and Library Services."
onlinetoolkit  rhizome  archives  archiving  python  tools  archive  web  internet  via:soulellis 
january 2019 by robertogreco
Southland Institute
"The Southland Institute (for critical, durational, and typographic post-studio practices) is an unaccredited two-year postgraduate workshop and evolving public online repository of educational resources, built around a central curricular helix consisting of the tools, processes, histories, and discourses of typography and critical art-making. It is also intended to be a forum for inquiry into the processes, potentials, and complications of education and its attendant structures and systems.

Participants’ own self-directed practices will be supplemented by courses, screenings, lectures, trips, theoretical readings, and discussions involving image, sound, time, typography, space, theory, structure, pedagogy, archives, and language. The program will be focused on exploring the gaps, grey areas, interrelationships, and common boundaries between these concerns, as well as their connection and relation to broader questions and circumstances.

These fundamental strands will be augmented by an evolving sequence of courses and workshops from a variety of disciplines, depending on participants’ backgrounds and interests, including but not limited to: design, art, moving image, economics, curation, landscape studies, education, writing, architecture, and sound. Connections will be explored via work, writing, conversation, typographic studies, critique, and documentation. The program is intended to provide space and time in which participants can expand the spectrum and depth of their practices, develop the critical tools necessary to navigate and articulate the paradoxes and contradictions around them, and to find the formal tools and venues best suited to conveying these explorations.

Objective:

Offering an approach to thinking about and making work rooted in historical and contemporary practices and theories of both graphic design and contemporary art, the Southland Institute is a space for self-directed research, critique, conversation, cross-pollination, and expansion along and between continua of critical, durational, and typographic post-studio practices. We are seeking participants with integrative and transdisciplinary practices and backgrounds who are interested in interweaving discourses of 20th and 21st century art, media, graphic design, literary, and critical theory.

The aim of the institute is to expand and deepen participants’ practices and provide an experience and education roughly analogous to graduate level study, while removing it from the private investment and commercial speculation of the student loan industry.

The program is intended to function on its own as a practice-based, research-driven, postgraduate educational environment, or as a supplement to other institutions or engagements with which participants may be currently or previously involved.

Participants will work primarily on self-directed projects under consultation with resident faculty and in conversation and collaboration with one another.

Conditions / Need:

The aim of the institute is to activate and explore the points of contact between disciplines and media, and to create a space for extended development, exposure, and conversation, without the heavy debt burden that often accompanies such study. The institute arises in response to several gaps that we perceive in the current landscape of higher education:

• a gap in dialog between departments and discourses at existing institutions of all sizes
• a lack of programs that actively integrate strategies and pedagogy from both graphic design and post-conceptual art
• a need for more programs that enable and encourage rigorous and sustained study and practice without incurring long term debt.
• a lack of institutions in which faculty are paid fairly and sustainably for their contributions.

Structure:

The program is 2 years long, each academic year divided into two 12-week sessions. Each session consists of two parts: one taught by a visiting educator/practitioner, the other consisting of a typography workshop in direct conversation with, and response to, the other course. Each session will begin with a reader or reading list, and end with documentation of the activities and conversation from the course, both of which (reader + documentation) will then be made public via the Southland Institute website. The semester will also include critiques, trips, presentations, and individual meetings with resident and visiting instructors.

Community Involvement:

During each year of residency, each participant will be required to organize one exhibition, and organize and teach one public workshop on a topic of their choosing.

Location:

Los Angeles, CA and online at southland.institute

Faculty:

Fiona Connor is a New Zealander currently living and practicing art in Los Angeles. Her work uses strategies of repetition to produce objects that interrogate their own form by engaging different histories embedded within our built environment. Much of Connor's practice is collaborative, and moves fluidly between curating, facilitating and object making.

Recent projects include the Newspaper Reading Club (founded in 2011), the conversion of her own Los Angeles apartment over 12 months in 2016 into a gallery titled Laurel Doody, and the founding of the Varese Group: a loose collective of associates, mentors, and fellow artists who will meet annually over five years, for one month each year, in an old house in Marzio, Northern Italy. During the past eight years, Connor has exhibited in Los Angeles, New York, Barcelona, Basel, Istanbul, Sydney and Auckland.

Joe Potts is a graphic designer and educator using found and synthesized sound, typography, images, and conditions to explore and question the structures and institutions we inhabit, in an effort to repurpose these components and imagine possibilities enabled by their reconfigurations. He currently teaches at Otis College of Art and Design and the University of Southern California, and is the founder of the Southland Institute.

Lucas Quigley organizes programs concerned with images of the production and distribution of objects and goods; unusual threads within the history of technical image-making; and the social parameters that make these descriptions possible.

Programs include the film series "Wie Man Sieht (As You See) In Memory of Filmmaker Harun Farocki," at the Goethe Institut in Los Angeles, "Andersen and Fisher" and "The Devil Probably" at Yale Union, "Exploded View … Interface … Letter & Spirit …" at LAXART. He co-authored the article "Colorless Green Ideas" in the Bulletins of the Serving Library. He has taught at California Institute of the Arts and Otis College of Art and Design, and lectured at HEAD Geneva, UCSD, and The Serving Library.

Aurora Tang is a researcher and curator based in Los Angeles, with a focus on place-based practices. Since 2009 she has been a program manager at The Center for Land Use Interpretation. From 2011-2015 she was managing director of High Desert Test Sites.

Resources:

The institute begins its existence with little in the way of property or equipment. We believe that this enables an efficiency and a focus on education itself, at a cost that is many degrees of magnitude lower than many, if not all, current offerings. Los Angeles is a city of numerous research institutions, libraries, and other accessible resources of which we encourage students to actively avail themselves.

Tuition, Affordability, Transparency, and Sustainability:

The twin financial aims of the institute are affordability for students and fair compensation for instructors. We believe in paying our instructors for their contributions, and hope to model an alternative to the ubiquitous undervaluing of educators.

Program tuition is $3500 / year.

Accreditation:

The Southland Institute is not accredited by any accrediting body, and therefore does not officially grant degrees."
via:soulellis  altgdp  lcproject  openstudioproject  typogrphy  design  art  education  artschools  alternative  losangeles  joepotts  fionaconnor  lucasquigley  aurortang  graphicdesign  artschool 
may 2017 by robertogreco
Center for the Study of the Drone – at Bard College
"The Center for the Study of the Drone at Bard College is an interdisciplinary research institution that examines the novel and complex opportunities and challenges presented by unmanned technologies in both the military and civilian sphere. By conducting original, in-depth, and inquiry-driven projects, we seek to furnish stakeholders, policy-makers, and the public with the resources to engage in a robust public debate and develop policies that best address those opportunities and challenges.

For queries and submissions, write to csd@bard.edu."
drones  bardcollege  via:soulellis 
july 2016 by robertogreco
GitBook · Writing made easy
"GitBook is a modern publishing toolchain. Making both writing and collaboration easy."

"Simple to update, publish and update your books easily using Git or the web book editor.

Version Control, GitBook is based on GIT scm. A simple "git push" is enough to publish a new version.

Markdown, books are written using the markdown or AsciiDoc syntax. We fully support TeX/Math equations.

GitHub, write your book on GitHub and publish it in seconds through GitBook.

Our Analytics measure page views and downloads giving you powerful insight.

Editor, Edit your content using a web editor, preview before updating it.

Personalize branding with personalized landing page and custom domain names.

Collaboration helps structure your workflow, securing access control ..."
via:soulellis  books  publishing  git  markdown  tex  gitbook 
december 2015 by robertogreco
Binder
"About
Binder is a simple web template.
It allows users to connect a series of already-existing web pages into one home-base with a customizable navigation. Binder is built using Javascript and JQuery, and uses iFrames.

Get Binder:
Binder is on github here. [https://github.com/clementvalla/binder/ ]
Binder can be downloaded as a .zip here.

Binder can be used with:
• Google Docs
• Tumblr
• NewHive
• PDF’s
• Wikipedia
• Youtube (using embed link)
• Vimeo (using embed link)
• and more

Binder can’t be used with:
• Twitter
• Facebook
• Sites that don’t allow iframes

Questions
Please direct any questions about Binder to: info@thisisourwork.net

Credits
This is our work with Clement Valla"

[Used for: http://printedweb.org/ ]
binder  clementvalla  webdev  googledocs  via:soulellis  pdfs  tumblr  wikipedia  youtube  vimeo  newhive  github  webdesign  pdf 
september 2015 by robertogreco
BOOKLET LIBRARY - By Cover
"These are titles available at Booklet Library.

Booklet Library is shaped by the authors, artists, and publishers who contribute their work. Our interest is in the support, provision, and promotion of a more fair cross-section of independent publications, and of (visual) difference in Tokyo.

Booklet Library is available to the public at

3-15-3 Yoyogi
Shibuya , Tokyo
〒151-0053"
art  artbooks  books  design  tokyo  japan  via:soulellis  booklets  srg  artistsbooks 
may 2014 by robertogreco
BIBLIOTHECA INVISIBILIS
"Bibliotheca Invisibilis seeks to gather all sorts of conceptualizations of the Invisible. You are invited to participate by sharing your work(s) that presents the invisible (including but not limited to invisible text).

Your works can exist (and if there's a link I'm happy to link to it), or be imaginary. The key is to share the work with (some of) its underlying conceptualization.

If you would like to participate, please send the following:

1) Title or name of work
2) Write-up on the work's concept
3) An illustration (e.g. book cover, interior text, or whatever you deem appropriate)
4) Bio and Author photo

Send information to, or ask questions of, me at Nalanda10@aol.com

Best,
Eileen R. Tabios
Library Director, Bibliotheca Invisibilis

*****

Invitation to Curate

While Bibliotheca Invisibilis will continue to be open to individual participants, we are also open to hosting a curated group of works on the theme of Invisibility. Note that the "publisher" of this Blog and the works you choose is Blogger (Blogger has certain constraints which we can discuss if you act as Curator). While you can present as many works as you wish within your curated group of works, it's best to anticipate that you should find a minimum of five different poets/artists represented. To curate a group of works (real and/or imaginary), please email me at Nalanda10@aol.com; if I don't know you, in your initial contact please share some background info (or bio) about yourself.

Best,
Eileen R. Tabios
Library Director, Bibliotheca Invisibilis"
via:soulellis  books  ebooks  invisibility  eileentabios  invisible  text 
march 2014 by robertogreco
Patent US8156160 - Poet personalities - Google Patents
"A method of generating a poet personality including reading poems, each of the poems containing text, generating analysis models, each of the analysis models representing one of poems and storing the analysis models in a personality data structure. The personality data structure further includes weights, each of the weights associated with each of the analysis models. The weights include integer values."



BACKGROUND
This invention relates to generating poetry from a computer.

A computer may be used to generate text, such as poetry, to an output device and/or storage device. The displayed text may be in response to a user input or via an automatic composition process. Devices for generating poetry via a computer have been proposed which involve set slot grammars in which certain parts of speech, that are provided in a list, are selected for certain slots.

SUMMARY
In an aspect, the invention features a method of generating a poet personality including reading poems, each of the poems containing text, generating analysis models, each of the analysis models representing one of poems and storing the analysis models in a personality data structure. The personality data structure further includes weights, each of the weights associated with each of the analysis models. The weights include integer values.

In another aspect a poet's assistant method including loading a word processing program, receiving a word in the word processing program provided by a user, displaying poet windows in response to receiving the word and processing the word in each of the windows. The poet windows may include combinations of a finish word window, a finish line window and a finish poem window. Processing the word in the finish word window includes loading an analysis model, locating the word in the analysis model and generating a proposed word in conjunction with the author analysis model.

The details of one or more embodiments of the invention are set forth in the accompanying drawings and the description below. Other features, objects, and advantages of the invention will be apparent from the description and drawings, and from the claims.



"1. A computer-implemented method of generating a poet personality comprising:
analyzing by one or more computers a plurality of poems, each of the poems containing a plurality of words;

generating by the one or more computers a plurality of analysis models, each of said analysis models representing one of said plurality of poems, by

marking by the one or more computers words in the poems with rhyme numbers with words that rhyme with each other having the same rhyme number;

generating by the one or more computers a data structure that specifies n-grams found in the text, with each analysis model haying a set of weights, bigram, trigram and quadgram exponents; and

storing the plurality of analysis models in a personality data structure including a set of parameters that control poetry generation using the personality data structure."
poetry  poets  patents  raykurzweil  google  johnkeklak  1999  via:soulellis  artificialintelligence  ai 
march 2014 by robertogreco
Facial Weaponization Communiqué: Fag Face on Vimeo
"The Facial Weaponization Suite develops forms of collective and artistic protest against biometric facial recognition–and the inequalities these technologies propagate–by making masks in community-based workshops that are used for public intervention. One mask, the Fag Face Mask, is a response to scientific studies that link determining sexual orientation through rapid facial recognition. This mask is generated from the biometric facial data of many queer men’s faces, resulting in a mutated, alien facial mask that cannot be read or parsed by biometric facial recognition technologies."
zachblas  faces  facialrecognition  surveillance  biometrics  queer  masks  2013  via:soulellis  activism  zapatistas  pussyriot  ows  occupywallstreet  blackblock  anonymous  facelessness  nypd  homelandsecurity  privacy  law  legal  nonexistence  identification  revolution 
march 2014 by robertogreco
THE SOURCE | Conversations with DOUG AITKEN [Theaster Gates]
[Alternate link for video: http://www.nytimes.com/video/t-magazine/100000002652911/the-source-theaster-gates.html ]

Gates: "I have this great problem of space. When planners use words like blight and, uh, under-developed, it’s like actually what you’re talking about is available land. It’s just like no one’s really thought about it in those terms."

Aitken: "So tell us about this place that we’re in right now."

Gates: "We call this the archive house. It was just a shell of a building and I had 250, maybe 300 boxes of books in a basement. It really is an amalgam of labor over time that I think has made an amazing reading room."

Aitken: "And this kind of extends outside where I see a garden."

Gates: "I’m hoping that some of that willingness to grow things from very little will, will become hallmark to how we do things here on the block."

Aitken: "A lot of your palette and materials really is, you know, stuff that you find around you–these two by fours, this lumber, these bricks, it’s these, uh, trees have just been milled down into bark that you can put in your kiln."

Gates: "Yeah we talk about like how should these materials work? Like should we plane them, should we mill them? Should, should we sand them? And it’s not so much a story about like recycling this or that. But sometimes it’s just about what happens when you really care for the things that are in your life."

Aitken: "And when I see an exhibition of yours, you know, there’s a white wall, it’s a pristine space. It’s a gallery, it’s a museum. It’s very interesting to kind of see the isolation of the minimalism and like see this kind of like maximal landscape become very minimal."

Gates: "As artists, we’re always given the opportunity or we make the opportunity to say what a thing means. So let’s assume that the double cross in the atrium of the MCA is made from the same materials as this building right here. They function very differently in the world. Like say double cross will live in museums my–is my hope.

Gates: "At the same time, 6901, the building across the street where the guts of that building had in fact made double cross, that it gets to live here, a most excellent building that continues to function for our neighborhood. And I love that the same materials could do either work. It could either let you sit down and watch a good film or it, can help you imagine the sacredness."

Aitken: "So I, I want to come back to something else which I’m super curious about–performance."

Gates: "Yeah."

Aitken: "Yeah. Something's brewing inside."

Gates: "So the monks, which is a combination of great jazz musicians, some gospel players, some great classically trained and soul singers mashed up to, to reflect on the history of black music and to also slow that down so that instead of the whole song we would concentrate on a phrase and then in mantra style work it out."

Gates: "So if I’m thinking about clay and I’m making a pot but it–that’s one thing–but if I sang, I was born with clay in my veins, that turns into I was born with clay–you know, and it, and it’s like let’s just stay there. Let’s just stay there, let’s stay there all night, you know?

Gates: "And then I, I look at them, I’m not–I’m not an object. And they do something and it makes me do something else that makes them do something else. That’s a freaking good connection."
theastergates  dougaitken  2014  urbanism  urban  blight  development  space  cities  archives  art  glvo  houses  collections  reuse  recycling  caring  objects  materials  performance  music  jazz  via:soulellis  place  process  patterns  archivehouse 
january 2014 by robertogreco
Claire Fontaine on “human strike” | Artists Space
"Founded in 2004, the Paris-based collective artist Claire Fontaine declares a position as a “readymade artist.” Having assumed the name of a popular French brand of notebooks, her practice centers on the production of works in neon, video, sculpture, painting and text. Her version of neo-conceptual art implicates the exchangeability and disintegration of notions of authorship. Her position stems from the awareness of the shared condition of political impotence and the crisis of singularity within contemporary society today.

Over recent years Claire Fontaine has elaborated on – through texts and artworks – the concept of “human strike.” She writes that:
“The term ‘human strike’ was forged to name a revolt against what is reactionary even – and above all – inside the revolt itself. It defines a type of strike that involves the whole life and not only its professional side, that acknowledges exploitation in all the domains and not only at work. Even the notion of work comes out modified if seen from the ethical prism of human strike: activities that seem to be innocent services and loving obligations to keep the family or the couple together reveal themselves as vulgar exploitation. Human strike is a movement that could potentially contaminate anyone and that attacks the foundations of life in common, its subject isn’t the proletarian or the factory worker but the whatever singularity that everyone is. This movement isn’t there to reveal the exceptionality or the superiority of a group on another but to unmask the whateverness of everybody as the open secret that social classes hide.”


In the context of the exhibition Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975-1979), Claire Fontaine will deliver a talk on the notion of “human strike.”
clairefontaine  art  activism  anarchism  anarchy  resistance  readymade  2011  labor  strike  humanstrike  whateverness  via:soulellis 
october 2013 by robertogreco

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