esc: Orkan Telhan and website launch party!

Thursday, December 11, 7.00pm
128 Forest St. Oberlin, OH
Click for directions.

A Post-Decartes Future

I thought one of the most interesting moments in Blade Runner was when the replicant Pris ironically states Decartes’ famous formulation, “I think therefore I am.” The irony lies in the “I am,” because “I am human” is the implied complete phrase. With the invention of artificial intelligence, however, rational thought no longer is the determining factor of an entity’s humanity. It is this philosophical problem that necessitated new postmodern metaphysical formulations, such as those of Baudrillard.

Baudrillard’s theory of the hyperreal accounts for the existence of copies, which paradoxically are not reproductions of original (real) things, but can exist in their own right—not as a copy of the real but as a part of the hyperreal. These are called simulacra. Baudrillard once claimed that New York will soon cease to be a city (real), but will in fact be a New York-themed amusement park (hyperreal).

The replicants are a good example of simulacra—they seem to be copies of humans but have surpassed being mere reproductions and have become “more human than human.”

As for the unicorn, it appears in Deckard’s dream and then at the end when Edward James Olmos’ character gives him the origami figure. The small figures that Olmos’ character gives him throughout the film seem to indicate that he knows more about Deckard than Deckard knows about himself…the unicorn at the end indicates that he knew Deckard had a dream about a unicorn. Perhaps, then, it is an implanted memory, and Deckard is a replicant. However, a more interesting clue, I think, is the stick figure man (with a penis? Is that just my imagination?) Olmos’ character gives him. The figure of the man is a copy, a replica, perhaps indicating that Deckard is in fact a simulacrum.

And for anyone else who is as much of a Sci Fi nerd as I am, I highly recommend...

Invertuality: Jules says goodbye...

search images by color

there are some applications that will allow you to perform image searches by colors:

Multicolor Search Lab Flickr Set

Color Fields Colr Pickr

blade runner

Holden: Describe in single words, only the good things that come in to your mind about your mother

Leon: My mother?

Holden: Yeah.

Leon: Let me tell you about my mother...

[Leon shoots Holden]

Deckard and Baudrillard

I really liked Blade Runner. I thought it brought up some very interesting issues about post-humanity and an age of artificiality. Overall, I thought the visual aspects of the film were well done. Since it was made in the early eighties there were some pieces that felt outdated (funny…an outdated version of the future) like the semi-low-tech computer screens and the hovercrafts emitting billows of white smoke. But the mood and the atmospheric qualities of the film matched perfectly – the wetness and smoky haze that accompanied every scene “outside.” It created an oppressive, trapped feeling.

I am curious about what people have to say about the vision of the unicorn. I think it could be a clue that Deckard is a replicant. Is it an implanted memory that never actually existed? A part of someone’s dream? Also after Rachael asks Deckard if he ever took the replicant eye-screening test, he never answers. If he is a replicant, do we assume that he is unaware of that fact?

I looked up Jean Baudrillard’s theory of simulacrum –copies of things that no longer have an original or never had one to begin with. Models of a real without origin or reality. Baudrillard is saying that in a post-modernist world (are we there?) the distinction between reality and simulation breaks down. Just like in the film it was almost impossible to tell the difference between humans and replicants. Eventually it will become impossible to tell the difference between reality and unreality. I think that this version of "reality" has begun to manifest itself - in all the different post-human ways we've talked about - but I'm not sure how far simulation will go.

Image Credit:
http://bladerunner2019.com/blog/2007/11/19/new-blade-runner-font/

helvetica + the nyc subway

The (Mostly) True Story of Helvetica and the New York City Subway

An article about the history of New York City's Subway and that ever-ubiquitous typeface Helvetica.

mad politikal dizzine

http://www.designforobama.org/

http://thisfuckingelection.com/

http://www.30reasons.org/

Zombie Day Invite!

The Bacon Tree

An open to public event by Kayla Cohen.

Bionic Contact Lens

- Photo credits

Well, speaking of post-humanity what do you think about this?

"Parviz added that the bionic lens could have many possible uses for virtual displays. The lens give drivers the possibility to see a vehicle’s speed projected into the windshield. Video-game companies also can benefit from the new device and give their players the possibility to immerse themselves in a virtual world without restricting their range of motion. And, last but not least, people on the go could surf the Internet on a midair virtual display screen that only they would be able to see." Quote credits

Presidential portraits

Presidential portraits: Art and politics collide

uppercase scarf

This scarf is composed entirely of typography - Helvetica uppercase letters, to be exact.

Typography using objects- OBJECTIFIED

http://www.wearebuild.com/blog/2008/11/whats-in-a-logo/

The man behind Helvetica is making a new documentary called "Objectified." This is the story of how the logo for the new film was created. Be sure to check out all the iterations of the word as it was designed: http://www.wearebuild.com/temporary/objectified.jpg


intense.

Things I have learned in my life so far - Stephen Sagmeister

Watch the video
Watch similar videos
Go to things i have learned in my life website

Starring Type

* Typoanimation with "circus"
* onTheMove
* Typo Moution
* "Roots"
* experimental in type in motion
* Motion Graphics 1, Pt3
* Graphic City
* Kinetic Typography
* Typolution
* Pulp Fiction in Typography

esc: Millie Chen

Millie Chen
Thursday, November 6, 8.00pm + after party
128 Forest St.
http://contrary.info/esc for additional info and directions.

helvetica

From Typocalypse: another opinion on the ever controversial font, Helvetica. The flickr set has comments on other common typefaces, too.

The Rather Difficult Font Game

http://fontgame.ilovetypography.com/

Contemporary Means of Torture

Hey Everyone!

I just wanted to throw out a concept I had for the next project and see what people thought. It was something that Claudia Pederson, the speaker from Monday night's lecture, brought up. She was discussing the Iraqi artist, Waffa Bilal, and his newest work, which was an interactive online voting piece called "Dog or Iraqi". People voted on which one - the dog or the Iraqi - would be waterboarded in an undisclosed location in Upstate New York. Bilal was voted to be waterborded and he made a video documenting it. This net art piece made me think of another artwork featuring waterboarding that I had read about this summer.

Steve Powers, a graffiti and conceptual artist, created an installation piece on Coney Island. An audience member puts in a dollar, peeks in a window, sees a scene of a Guantanamo Bay prisoner being waterboarded. The people in the scene are animatronic dummies, but the blindfolded prisoner struggles and convulses as a hooded man pours water over his face.

http://www.nytimes.com/2008/08/06/arts/design/06wate.html?_r=1&scp=4sq=Waterboarding&st=cse&oref=slogin

I am very curious about this exploration of such a horrendous torture technique in art. I think I would like to comment on it in my next project. Let me know what you think.

Thkx
Franny

Mail Art at Oberlin

All you could dream of knowing about Oberlin Mail Art: http://www.oberlin.edu/library/art/mailart/Default.html

Art librarian Barb Prior put together this website after curating a mini-exhibition on our mail art collection in the Spring. Enjoy.

typographical do's and don'ts

This page offers great hints and tips for design students: style tutorials for graphic design students by Elif Ayiter.

"Elif Ayiter is an artist, designer and educator, specialising in the development of hybrid educational methodologies between art&design and computer science." She was my graphic design teacher actually back in college, in 1996.

http://www.papress.com/other/thinkingwithtype/resources/crimes_scale.htm


also at the bottom of this page...

http://www.papress.com/other/thinkingwithtype/index.htm

there is a link that says "TYPE CRIMES LECTURE!" download it. its hysterical

Too late?

Here is my Gleaners post. I apologize for how late it is!

I saw this documentary as ultimately a film about how individuals resist negative change, not by calling for an end to the corrupt system itself, but by creating new sites of discourse within the structure, ultimately proving that power does not just flow from top to bottom in any given system.

This way of creating new sites of discourse within a structure is what Varda’s film and new media have in common. Both are responding to a revolution: in the gleaners’ case the industrial revolution and in new media’s case technological or digital. In both revolutions, the result seems to be the alienation of humanity as the result of mediation by a new force (machine or digitization). Gleaners and/or new media artists can come together in a post-machine world and reap their own benefit from the new non-human process. There is a sense that both gleaners and new media artists are on the fringe. Working outside of the system, gleaners refuse to participate in capitalism and instead almost revert to a hunting/gathering modus operandi. Working outside the museum/gallery system, many new media artists try to reach audiences directly and avoid the pitfalls of the art market. Ultimately it is this subversive, anti-capitalist drive that unites gleaners and cutting-edge artists.

Z-Trip Obama Mix

http://www.djztrip.com/obama/

its aight

Gleaning

Even though it was just a quick scene in the beginning, the shots of people in the museum, taking pictures of the portrait of the Gleaners, was a pivotal part of the message for me. What are these people doing, after all, but gleaning the image for themselves? Of course, their version is not the original painting, which makes me think about the gleaning of images that makes up film. Is this film just a series of images gleaned from Varda's journey? What makes these images Varda's? Especially when the shot is of postcards, or the art of someone she met, or of abandoned potatoes in a field. How is her act of claiming these images for herself an act of gleaning? Who owns these images? How can we even suggest that one can "own" images, in this case?

Varda's alienation of the audience

A few weeks ago in French Non-Fiction film class I saw one of Agnes Varda's films, L'Opera Mouffe which mirrored this film in many ways. In Mouffe, Varda is much more poetic and this film fits less so in the documentary genre then Gleaning. However, as confusing at times as both films seemed to be, it is apparent that Varda has a deep interest in (H)umanity. Her films are enjoyable and interesting but they still fail to address a larger theme or goal. It's either that I cannot pinpoint what Varde is trying to achieve as a filmmaker or maybe she is just making art, developing a technique without a mission or a focus. It seems as though her projects and films aren't whole to me--they definitely have a technique but they lack something at the same time. Or perhaps she does this on purpose--leaves her films so open to interpretation that its her goal for the viewer to "complete" the film themselves through their own interpretation. I feel like Varda can get away with this because she focuses on Humanity, a subject everyone is familiar with but what happens when other artists start to leave their work so open to interpretation that they start to alienate their audience?

Video Screening This Week

Fellow classmates,
I will be hosting a screening of the video works I am looking at for my honors project. They're examples of early experiments in new media, so if you're interested, you should totally come. It won't last long, and there will be cookies, if I'm not too lazy. I've posted the details below. - Martha

VIDEO SCREENING: John Baldessari's early video works

Wednesday October 8 at 4:30 in Classroom 1

Works shown:
"I am Making Art"(1971)
"Baldessari Sings LeWitt" (1972)
"I Will Not Make Any More Boring Art" (1971)

Optional discussion to follow.

About the artist:
Throughout his career, John Baldessari has defied formalist categories by working in a variety of media—creating films, videotapes, prints, photographs, texts, drawings, and multiple combinations of these. In his use of media imagery, Baldessari is a pioneer "image appropriator," and as such has had a profound impact on post-modern art production. Baldessari initially studied to be an art critic at the University of California, Berkeley during the mid 1950s, but growing dissatisfied with his studies, he turned to painting. Inspired by Dada and Surrealist literary and visual ideas, he began incorporating photographs, notes, texts, and fragments of conversation into his paintings. Baldessari remains fundamentally interested in de-mystifying artistic processes, and uses video to record his performances, which function as "deconstruction experiments." --text courtesy of Video Data Bank

The Gleaners

The first obvious parallel that I drew between this movie and new media is that with this photoshop project, each of us became a gleaner. We rooted through the online detritus of images and selected other people's leftovers to create new meals of imagery...Bringing it back to notions of authorship, isn't there a sense of releasing an image to the wind once it goes online? It becomes a possession of whoever takes the time to get into their online car, drive down the information highway, and pick it up from the website-field. And outside of new media, perhaps we're reaching a time where if we want to truly "own" anything, or to truly protect our ideas from being gleaned and reworked in other pieces of art or other people's lives, you would have to hide that idea under your mattress and keeps the lights off in your room so nobody would ever see it. Anytime you release an idea into the world, others begin feeding off of it, changing it, and using it for their own purpose--or ideally they do, if the idea is any good.

I think gleaning also relates to advances in technology and individualization in modern society. Gleaning was once a bonding activity for French women--now gleaning is a largely individual process for those who live alternative lifestyles. The type of people she interviews makes it clear that gleaning is not a mainstream activity, not like it used to be. My instinct is to blame technology for this--after all, a field can now be harvested by one man in a tractor, and the rest of us are all going to our isolated office jobs at our singular computers. The demise of gleaning represents the ways in which we can hide ourselves from the real world and real human interaction when we escape into the computer.

Unrelated to new media, I found the movie very compelling. The filmmaker had a curious eye and brought forth very diverse ideas and opinions about gleaning, a subject that sounds banal at first listen. So i end this post with a quote from her, when she describes the nature of harvesting with machines:

"Some people are quite pleased when the machine malfunctions."

Thank you, I'll take a walk in the cabbages.
Kelly

The Gleaners and I(a.k.a. the new media artist)

I’ve actually seen this French documentary before. We watched in my French class two years ago, but I didn’t think about it in the context of new media art or issues of authorship/ownership. When I looked at it through this lens it really struck me that this is exactly what I have been doing in this class – gleaning images from the internet. We take what is available, what is left over, what hasn’t been protected properly. It’s a different type of gleaning (artistic, personal, individualistic), but gleaning nonetheless.

Another interesting aspect of the documentary that I picked up on was the fact that the gleaners were always outsiders, the other. Even people that didn’t glean from necessity were seen as eccentric. Even in a country where gleaning was an established tradition for so long. Is there something inherent in gleaning that makes it an activity for those outside of the mainstream? Does this also apply to us as image-gleaners? It is something to consider.

An interesting side note: I saw this article in the New York Times today about Gilbert and George. Thought it brought up some intriguing examples of “photographic ensembles”. http://www.nytimes.com/2008/10/03/arts/design/03gilb.html?pagewanted=2&_r=1&ref=design

-Franny

Monday, October, 13

Claudia Pederson and Nicholas Knouf

Monday, October 13, 8.00pm + after party
128 Forest St. formerly named "Orchard St. Kindergarden Studio"
http://contrary.info/esc

Claudia Pederson: On computer games and Wafaa Bilal (Wafaa Bilal's recent exhibition at Rensselaer Polytechnic Institute in Troy, NY, Virtual Jihadi, was closed by the University's administration a day after its initial opening.)

Claudia Costa Pederson, PhD candidate at the history of art and visual studies department at Cornell University. Her interests center on exploring the intersections between play, creativity, critical theory, and social activism. She is currently working on her thesis that investigates digital games as devices for critical inquiry into the relationships between theoretical and scientific thought, art and technology, and institutional powers and social energies. She is also teaching a writing seminar this fall on contemporary art and technology.


Nicholas A. Knouf: on Fluid Nexus (Fluid Nexus is an application for mobile phones that is primarily designed to enable activists to send messages and data amongst themselves independent of a centralized cellular network.)

Nicholas A. Knouf is a PhD student in the Information Science Program, Cornell University, Ithaca, New York. His work explores the interstitial spaces between information science, critical theory, digital art, and science and technology studies. His current projects include a mobile phone messaging application that works independent of a centralized network, and a robotic marionette that provokes non-speech sounds as a means of encouraging the expression of the unspeakable.

- - - - - - - - - - - - - - - - - - - - - - - -

Glean wit it, Rock wit it

Dear Blog,

http://en.wikipedia.org/wiki/Gleaning

I think that it is interesting how an action that is many times associated with worship and prayer (bending down) is also an action used in times of desperate need.

It is great how gleaning has also become a act of charity which reverses the idea that gleaning is an act to be looked down upon

I also found the stuff about salvaging very interesting. My dad loves to pull stuff out of dumpsters and off the street and put it around our house. I used to be super embarased about it but I came to appreciate it. Also, I wrote my college essay about my dad dumpster diving.

Love,

Asa

getty

If you didn't know, Gettyimages is a great place for stock photos. You can type in something like "woman saving cat stuck in tree" and the turnout is pretty spot-on, no matter how specific you are. Also, the way the site's designed--mostly as a browser for companies and corporations to easily find and buy an image--is some insight to our own project about ideas of authorship, copyright, etc.

good luck on projects

http://www.gettyimages.com/Home.aspx

Let's try to never be on this site

http://photoshopdisasters.blogspot.com/

Seeing other people's mistakes reminds me of things to check for myself in my work. Plus, it's fun to have these pointed out, since it reminds us that all of these images have, in fact, been photoshopped extensively, and what to look out for in a professional piece.

Photomontage

I found this slightly hokey website about cut and paste when I was trying to find a particular piece by John Heartfield. It has some basic history and some good photomontage examples to look at, if you're interested

http://homepage.ntlworld.com/davepalmer/cutandpaste/hillen_big2.html#

Appropriation and Authorship

http://en.wikipedia.org/wiki/Sherrie_Levine

Sherrie Levine is a pretty cool artist who dealt with notions of authorship.

Check it out.

Crash

William Gibson, in his interview, was critical of the post-human state our society has come to today. However, he didn’t advocate fighting against it or returning to more simple, idyllic times. His tone was one of sad acceptance of post-humanity as the result of a distinctly “human” impulse—to create new, faster technology to supposedly better our lifestyles. One element of the film that I think reinforces his tone of critical acceptance is the setting. Gibson, the interviewer, and the filmmaker are all in a car that remains in motion, passing everyday moderately decrepit semi-urban landscapes. Such a choice of layout only seems natural in light of J. G. Ballard’s apparent influence on Gibson. While I was watching the film, Ballard’s novel Crash came to mind (I can’t remember whether Gibson mentions the novel explicitly or not). Crash chronicles the exploits of two men’s pursuit of sexual fantasies through engaging in and reproducing car crash scenarios. Throughout the novel it is clear that commonplace sexual practices cease to interest the characters. The only way they can achieve full gratification is through the mediation of their own sexualities through the car. In a way, the car becomes their own post-human prosthesis, an extension of their sexual beings. They spend much of the novel merely driving around, playing voyeur to the world inside this man-created machine that has taken over their sexual identities. I can see how this would greatly influence Gibson’s idea that digital technologies mediate our interactions with the world. Engaging with the world either from behind the wheel of a car or behind a computer screen both have results of alienation from humanity albeit perceived connection. Ultimately the artistic choice to hold the interview in a moving vehicle, conveys the impossibility of escaping a mediated interaction.

Post Human

I thought our discussion about post-humanism as a a process rather than a binary state was very interesting. Is there a point though, when post-humanism will terminate? Is there a point at which humans will be so driven by technology that they are no longer human?

The Car, Time, and Space

The thing I retained the most about the documentary was the format. There's something to be said about a large portion of the film taking place in a car. And the backseat of the car for that matter. I found the film quite disorienting--usually a car is used to take a person from point A to point B. Rather, the car was used to explore notions of time and space (we traveled back to Gibson's adolescent life and we also went to the east coast, the west coast, the woods, the city, etc.) The fact that we (the viewer and Gibson) use a relatively primitive vehicle to do this is interesting. Of course it would have been really corny to have Gibson in a simulated spaceship or time machine or something like that but I thought the car in relationship to time communicated well the idea that our notions of the future, progess, and technology are founded upon former advancements making the Future very possible and real. Also, the filmmaker could of had Gibson driving in the front of the car or in the passenger's seat but having him in the backseat said that technology will happen to us even though we often think of it as the other way around.

Post-Human?

I've been thinking a lot about our discussion of the post-human condition as it was put forth in the interview. I have a friend who has been talking to me about his own thoughts of post-humanity for a year now, but they had all involved a sort of "going back" to a primitive state. However, the term as Gibson uses it suggests something else- a dystopian future where humanity has put an end to natural selection and taken control of its own evolution. More and more, the things that I use on a daily basis are far from being natural- synthetic fibers in my clothes, and plastic everywhere, not to mention the amount of silicon chips in my phone, computers, etc. What does this mean for art? In my friend's version of post-humanity, going back to a "primitive" state meant a return to "primitivist" art. But if post-humanity really means a continued augmentation of the human body and human experience*, it is hard to guess at what art in such a world would be. Of course, the mind jumps to digital art, which complements our new digital lives, but I think that answer might be too simplistic. I am thinking more and more that maybe bio art is the answer; art that comments back on what we have become. This is not to say that I think post-humanity is necessarily evil- I am in fact a big proponent of much of technology. Yet, I do think that we are moving in a path that is hard to turn from. As Gibson put it, we have only ever existed in a mediated state; how can we imagine anything but?

*By augmentation of the human body, I mean those technologies that extend us into Gibson's post-human realm: eyeglasses correcting sight, cell phones extending our voices and ears, computers extending our memories, etc.

Internet: The Cities of the Technology Age

One of the most interesting concepts I took away from William Gibson’s interview in No Maps for These Territories, was the way the Internet has fundamentally and inextricably become part of our world, our reality. Gibson compared the invention of the Internet to the invention of cities. He suggests that the Internet has begun to change our lives in the same way that cities completely changed the way people lived ten thousand years ago. It will infuse the most basic parts of our lives. The way we take in information has already changed dramatically – I think this is what the stylistic form of the documentary was commenting on. Television and subsequently the Internet have made the shear amount of available information increase exponentially; the faster we can digest it, the better. The flashing images, the car constantly moving forward, people moving backwards and forwards out of the frame of the window – all reflected the vast amounts of information we experience everyday, whizzing past us.

no myths for these countries of the mind

My title is a quote from the beginning of the Gibson film, which came after the official title, No Maps for These Territories. The idea that we no longer have any myths for these new technological areas of thought and perception is extremely interesting. With mythologies, we construct value systems, patterns for perceiving the world, an overall structure to a culture. The fact that we are now moving into uncharted waters points to the perpetuation of isolation and alienation; a structureless future; chaos. Without these myths, we step forward on the path towards becoming post-human. We drop Grecian heroes in order to embrace the Warholian 15-minute celebrity, who is soon forgotten, and all sense of interconnectedness and community is transient in our increasingly mobile society.

Examining Bio Art

Fall Exhibition at CEPA Gallery to Feature Four International Artists
Exhibition Dates: September 19, 2008 – December 20, 2008
Opening Reception: Friday, September 19, 7 pm - Midnight

BUFFALO, NY – CEPA Gallery is pleased to announce Trans-Evolution: Examining Bio Art, an exhibition exploring the intersection of art and science. All featured artists will be present at the public opening reception on Friday, September 19 at the Market Arcade at 617 Main Street in conjunction with Curtain Up! The exhibition will present solo projects by artists internationally recognized as pioneers in the field.

Paul Vanouse (Buffalo, NY) will exhibit his latest body of work, Latent Figure Protocol, a multi-media installation centered around a live science experiment that manipulates DNA samples to create emergent representational images.

Oron Catts and Ionat Zurr of the Tissue Culture and Art Project (Perth, Australia) will present Victimless Leather and NoArk, two projects that document advancements in science utilizing living tissue.

Elizabeth Demaray (Brooklyn, NY), will display a commissioned sculptural installation entitled Corpor Esurit, or we all deserve a break today, featuring a colony of ants subsisting on meals from McDonald’s for the duration of the project.

Visit www.cepagallery.org

No Maps for these Territories - William Gibson

"I suspect I have spent just about exactly as much time actually writing as the average person my age has spent watching television, and that, as much as anything, may be the real secret here." - William Gibson

THE LUCE NEW MEDIA LECTURES - THURSDAY, SEPTEMBER 25, 2008

All lectures take place @ NOON @ THE CAT IN THE CREAM. PIZZA AND SOFT DRINKS WILL BE SERVED!
ALL LECTURES FREE & OPEN TO THE PUBLIC

Matt Coolidge of the CENTER FOR LAND USE INTERPRETATION
Matthew Coolidge is the Founder and Director of the Center for Land Use Interpretation (CLUI) in Los Angeles, a non-profit art/research organization that employs a multimedia and multidisciplinary approach to increase and diffuse knowledge about how the nation’s lands are apportioned, utilized and perceived. He serves as a project director, photographer and curator for CLUI exhibitions, and has written several books published by the CLUI, including Back to the Bay: An Examination of the Shoreline of the San Francisco Bay Region (2001), and The Nevada Test Site: A Guide to America’s Nuclear Proving Ground (1996). He lectures widely in the United States and Europe on contemporary landscape matters, and is a faculty member in the Curatorial Practice Program at the California College of the Arts, where he teaches a class about “nowhere.” Coolidge received a John Simon Guggenheim Memorial Fellowship in 2004, a Rockefeller New Media Fellowship in 2005, and in 2006 was honored with the Lucelia Award from the Smithsonian American Art Museum, an award given to one artist a year under 50 who has made a distinguished contribution to American art. The work of the CLUI has been exhibited in museums, galleries, and other institutions around the world.
http://www.clui.org

Forwarded by
Julia Christensen
Luce Visiting Professor of the Emerging Arts

Ways of Seeing - BBC TV Series - 1972

WAYS OF SEEING (final episode - advertising) 1/4
WAYS OF SEEING (final episode - advertising) 2/4
WAYS OF SEEING (final episode - advertising) 3/4
WAYS OF SEEING (final episode - advertising) 4/4

The film and the book offer useful tools for thinking critically about art and the media. No longer groundbreaking, but the philosophies and observations of John Berger still apply today.

some links

http://www.djspooky.com/
http://www.piperboy.com/
http://www.piperboy.com/playground/scrapbook.htm
http://www.flyingpuppet.com/
http://potatoland.com/

Failure

"Every failure is a masterpiece, another branch of the rhizome"
Deleuze and Guattari