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06 Apr 15:21

Opportunity Knocks: Brothers in Law on Deaccessioning

by Charles and Thomas Danziger,Art+Auction

The call came from Tuscaloosa, and it was quite memorable. Our ivory-collecting client, Horton, had heard that a small museum with a colossal netsuke collection might be going broke. He wanted to swoop in and snap up the collection immediately—for peanuts.

Horton flew to New York and appeared in our office the next day with a trunk full of documents and a load of questions on laws concerning deaccessioning. His first query: Are museums legally permitted to sell their works to private collectors?

Yes, we told him, as long as the original donors didn’t put restrictions on the sale of the objects in the deeds of gift or related documents.

While donors frequently seek such stipulations to assure that their treasures won’t be off-loaded to parts unknown, some museums won’t accept gifts that come with restrictions. We recommend to our donor clients that they negotiate a three-year stay on any deaccession in writing. (Under the Internal Revenue Code the sale of a donated work within this period could have negative tax implications for the original donor, because the museum could be viewed as putting the donation to a use that is unrelated to its exempt purpose.)

“I already checked, and there are no restrictions on the ivory collection!” Horton trumpeted.

His next question: Could the museum use the proceeds from the ivory sale to pay its debts—or its lighting and maintenance bills? He was familiar with the recent brouhaha in Detroit, where there was speculation that the Institute of Arts might be compelled to sell from its collection, reportedly valued at more than $2 billion, to help offset the bankrupt city’s debt, estimated to be as much as $20 billion. Horton’s instincts were sound. The use of such proceeds for operating expenses might be legal, we explained, but under accepted museum guidelines, it wouldn’t be ethical. The American Alliance of Museums (AAM) and the Association of Art Museum Directors (AAMD) require that their member institutions use any funds from the sale of deaccessioned works for acquisitions. The penalties are no joke. The National Academy Museum in New York was censured and sanctioned in 2008 by the AAMD after using proceeds from the sale of two Hudson River School paintings for operating expenses. Carmine Branagan, the museum’s director, notes that the sanctions affected the museum’s ability to secure loans for exhibitions as well as funding until they were lifted in 2010. Moreover, the state attorney general—who oversees all nonprofits in New York— could also sue the museum for breaching its fiduciary duties if it acted improperly.

There is very little established case law in this area. However, we believe the court would likely consider the museum’s decision-making process and its need for, and use of, the funds before ruling against the institution.

Horton was now wondering whether he gave a hoot about the potential ivory deal, but he still had a few more questions. “The museum might want to use the sale proceeds to satisfy its bond requirements. Would that violate the ethics rules?”

Our considered response: definitely yes—or maybe no. The AAMD guidelines issued in 2007 state that proceeds from a deaccessioned work are never to be used to build a general endowment. On the other hand, in 2009 the Montclair Art Museum in New Jersey, an AAMD member, put up more than 50 pieces at Christie’s, including a 1951 Jackson Pollock drawing. Technically the museum adhered to the ethical guidelines by agreeing to use the proceeds to buy art. But it later turned out that the works were actually being sold to satisfy the museum’s bond covenant, which required it to retain a certain amount in its endowment. The proceeds conveniently kept the endowment fund at the necessary level. No sanctions were imposed.

Horton mentioned that the museum in question is located in New York. That might be a mammoth problem, we said, because New York happens to be the only state to have a statewide deaccessioning policy set by the Board of Regents, which oversees most museums in the state that were established after 1889.

The rules, which went into effect on June 8, 2011, clearly state that proceeds from deaccessions may not be used to pay operating expenses and may be used only for “the acquisition of collections, or the preservation, conservation, or direct care of collections.” Not only are the New York standards stricter than those imposed by the AAM and AAMD, but they are also legal requirements, as opposed to merely ethical guidelines. Museums in New York that fail to adhere to the rules could lose their charter.

“Babaric,” muttered Horton. Next question: Would there be any issue if the museum accepted Horton’s quiet, lowball offer?

Perhaps, we said, since that might call into question whether the museum’s trustees were fulfilling their fiduciary obligation to realize the best price for the art. Consequently, museums generally prefer to deaccession objects at public auction to avoid charges of possible impropriety—and negative press. However, they are not obligated to sell at auction. The AAMD suggests selling “through publicly advertised auction, sale to, or exchange with another public institution, and sale or exchange to a reputable, established dealer.”

Horton next confessed that the reason he even knew about the museum’s financial difficulties was that his wife was a trustee there. Yikes! We advised him that trustees must act with total loyalty to the institution. At a minimum, his wife would have to recuse herself from any discussion or vote on a deaccession involving Horton. Otherwise, he would be buying a lawsuit, not a collection of ivory.

“Could the museum sell through a dealer, who, in turn, could sell to my wife?” Horton asked.

We thought this could still create the impression of a conflict of interest and raise concerns about whether Horton or his wife was working with insider information regarding the museum’s decision to sell the pieces, as well as the asking price. The code of ethics of the International Council of Museums warns that “no person involved in the policy or management of the museum, such as a trustee... may take advantage of privileged information received because of his or her position.”

Even a whiff of impropriety can be a big problem. S.I. Newhouse Jr., for instance, stunned the art world in 2000 by resigning as a trustee of the Museum of Modern Art after nearly three decades on the board when questions arose concerning his quiet, $10 million purchase of Picasso’s Man with a Guitar, 1913. The work had recently been deaccessioned by MoMA, and Newhouse had reportedly bought it through dealer Larry Gagosian.

Although museum guidelines lack the force of law, the last thing any trustee wants to be accused of during a board meeting is a possible breach of ethics—and the last thing any museum director wants is to read about his institution’s questionable dealings in Art+Auction. Let’s not forget that, when it comes to deaccessioning, those are the real elephants in the room.

Some facts have been altered for reasons of client confidentiality or, in some cases, created out of whole cloth. Nothing in this article is intended to provide specific legal advice.

This column originally appeared in the January 2014 issue of Art+Auction.

Charles and Thomas Danizger
Published: April 6, 2014
06 Apr 15:17

A Theory of Architecture Part 3: Why Primitive Form Languages Spread

by Nikos Salingaros

As you may have seen, ArchDaily has been publishing UNIFIED ARCHITECTURAL THEORY, by the urbanist and controversial theorist Nikos A. Salingaros, in serial form. However, in order to explain certain concepts in greater detail, we have decided to pause this serialization and publish three excerpts from another of Salingaros’  books: A THEORY OF ARCHITECTURE. The first excerpt explained the difference between “Pattern Language” and “Form Language,” while the second established how these languages can combine to form the “Adaptive Design Method.” The following, final, excerpt distinguishes between viable, complex form languages that have evolved over time and primitive, “non-languages” that have come to dominate the 20th century due to their iconic simplicity (and despite their non-adaptive characteristics).  

Independently of their technological achievements, all groups of human beings have developed a richly complex spoken language. Differences arise in specificities, in the breadth of vocabulary for concepts important to that culture, and in their transition to a written language, but those do not affect the general richness of the language. Every language’s internal structure has to obey general principles that are common to all languages. A primitive language or non-language, by contrast, is characterized by the reduction or absence of such internal complexity and structure. The complexity of human thought sets a rather high threshold for the complexity that any language has to be able to express through combinatoric groupings.

Turning now to architecture, a viable form language is also characterized by its high degree of internal complexity. Furthermore, the complexity of different form languages has to be comparable, because each form language shares a commonality with other form languages on a general meta-linguistic level. A primitive form language severely limits architectonic expression to crude or inarticulate statements.

So, while each form language may be distinct in its components, it is not really a complete form language unless it possesses a complex internal structure. The exact details of this structure must necessarily parallel the internal structure of any other fully-developed language, and in particular, that of a pattern language. Roughly, these properties can be described as combinatorial, connective, and hierarchical features, which we see in our own written and spoken language.

A form language that adapts to human beings contains and codifies certain very specific geometrical properties such as fractal structure, connectivity, coherence, and scaling (as discussed in the previous Chapters of this book). Again, a form language that does not contain these mathematical properties is a primitive” form language, or “non-language, because it is too sparse to define a rich language of forms. There exists a range of form languages, from non-languages, to primitive form languages, increasing in complexity of combinatoric expression up to genuine form languages.

This argument is borne out by the enormous number of distinct form languages developed independently by different peoples around the world. It is reasonable to claim that for each spoken language, there is also a form language that those people use to build and to shape their environment. The means of verbal expression and accumulated culture defining a literary tradition has a parallel in an ornamental tradition and material culture, which includes a form language that is an expression of inventiveness in geometry and tectonics. Each traditional form language is distinct, yet possesses a comparably high degree of organized complexity in terms of visual vocabulary and combinatoric possibilities. Erasing a form language erases the culture that created it. It is no different than erasing a culture’s literature, or its musical heritage. 

It is only in recent years that the mathematical sophistication of traditional form languages has begun to be documented. Mathematicians and ethnologists are doing this work, while the architectural establishment continues to ignore indigenous building cultures and the human value of what they represent. For example, traditional building and urban geometry in sub-Saharan Africa is now revealed to be essentially fractal, thus revising our customary (and totally erroneous) conception of those cultures as mathematically under-developed — fractals were re-discovered in the West only very recently. Loosely (and deprecatingly) classed together as “vernacular architectures”, this vast body of diverse and complex styles, geometries, and ways of understanding space and structure shames the poverty of contemporary architectural styles. Traditional form languages are rich, complete, and technically (not industrially) advanced. In terms of richness and underlying substance, which are crucially important to life, contemporary form languages promoted by the Western architectural design magazines would seem to represent an evolutionary regression.

Separate from preserving traditional form languages for their informational and cultural value, the inevitable evolution of form languages makes possible entirely innovative architectural expressions. Such an evolution is possible only if a form language retains the high level of its internal complexity. Traditional form languages around the world were dismissed as “primitive” by Western colonial and economic powers, and were replaced by variants of Neo-Classical or Beaux-Arts form languages. Cultural colonialism in architecture comes about by destroying languages that are thousands of years old, as an affirmation of superiority and power.

The linguistic analogy makes it difficult to understand why a primitive form language would ever survive, let alone dominate another more evolved form language. Why maintain a system in use that severely limits one’s expression? The reason we do this is that every form language has extra-linguistic attributes that help in its proliferation. Once invented, the limited visual vocabulary of a primitive form language may be copied unthinkingly by more and more persons. Unlike a true language, which survives through its linguistic utility, a form language can survive strictly through its iconic properties (and not its linguistic ones). Indeed, constant repetition through visual copying is the key to its transmission, promotion, and acceptance by an increasing number of architects.

We know of biological entities that split from more complex organisms so as to propagate freely and with enormous success: they are the viruses. Because of its nature, the virus can exist in an inert, easily-transmittable form such as a powder. This is possible because a virus is a biologically simple structure with very low informational overhead.

In the propagation of architectural images, the media play a key role, showing and praising carefully selected structures and urban projects (and ignoring everything else). Our architectural schools and press have also done a very effective job of promoting primitive form languages while unwittingly suppressing true form languages. Familiarity makes people overlook a form language’s linguistic deficiencies.

Someone who has been raised in the twentieth century and has been taught through association that “beautiful” objects have no hierarchical organization will then apply this rule subconsciously to design a building or a city. Even though people might find such environments intellectually acceptable, they can never overcome the negative sensations that such an architecture brings into play.

Why did this occur only at the beginning of the twentieth century and not before? I believe that it had to do with radical social changes spurred by population pressure and political oppression so that for the first time, many people saw a chance of radical social improvement through technology. They were willing to sacrifice adaptive design in exchange for the (false) promise of a better future offered by industrialization. Prior to that, people on all socioeconomic levels shaped their environment as far as they could to provide physical comfort and emotional wellbeing.

Another contributing factor was the creation of a new communications network formed by the convergence of telephone, telegraph, newspapers, magazines, and film. The new media tied the world together as never before, yet also made possible the rapid proliferation of advertising and political propaganda. The spread of modernism, combining visually simple images with the promise of a new utopian world, could never have occurred were it not for the new media. Advertising created the desire for industrial products that we didn’t really need. Just as in the case of internet computer viruses, which could not exist before the internet, primitive architectural form languages could spread only through the first architectural picture magazines. At the same time, advertising favors the transmission of simplistic messages, slogans, images, and ideas.

As a result of its tremendous power to shape people’s minds, advertising quickly transformed from a medium for transmitting commercial information to an instrument of social change and control. Its first target was cultural traditions that blocked the consumption of inferior new industrial products. These inhibitions were overcome by making individuals ashamed of their instinctive preferences, labeling them as “backward”, and thereby opening up the public to market influence. Thus, form languages that threatened the supremacy of the post-industrial aesthetic of glass, steel, and concrete slabs were stigmatized by the architectural critics. This style based on a specific industrial “look” could not be sold to the world until traditional form languages were eliminated. The way the built environment looked anywhere in the world would henceforth be controlled by the advertising media; all traditional form languages condemned to extinction in the interest of Western industrial and ideological dominance.

Nikos A. Salingaros, “A Theory of Architecture” (see this book’s Wikipedia entry) is now available in an international edition HEREwith shipping to anywhere in the world. Readers in the US can choose between the new printing with Index HERE and the original printing, which is selling at half price HERE. Translation into Chinese HERE, and Persian HERE.

Image of El Molo Huts via shutterstock.com

24 Feb 13:59

Tamedia Office Building / Shigeru Ban Architects

by AD Editorial Team

Architects: Shigeru Ban Architects
Location: Zurich, Switzerland
Architect In Charge: Shigeru Ban
Area: 10,120 sqm
Year: 2013
Photographs: Didier Boy de la Tour, Courtesy of Shigeru Ban Architects

Partner: Jean de Gastines
Project Architects: Kazuhiro Asami, Gerardo Perez, Takayuki Ishikawa, Masashi Maruyama
Structural Engineering: Creation Holz GmbH
Mep Engineering: 3-Plan Haustechnik AG
General Contractor: HRS Real Estate AG
Local Architect: Itten+Brechbuhl AG

From the architect. Innovation

The timber main structural system is in great extent the most significant innovation of the project. From a technical and environmental point of view the proposed this timber structure is a unique response to this type of office building and the fact that the structural elements are entirely visible also gives a very special character and high quality spatiality to the working atmosphere.

Sustainability

Besides the clear contribution to sustainability on the choice of timber as the main structural material (only renewable construction material and the lowest C02 producer in construction process) the global mechanical system has been designed to meet the highest standards in energy issues(The intermediate space other its “thermal barrier” function is part of the public spaces that will be heated and cooled with the extraction air from the office area)

Architecture Description

The project for the headquarters of the Swiss media company Tamedia is situated in the heart of the city of Zurich in a 1,000m2 site within a larger urban block where the main buildings of the group are currently located.

The site is positioned towards the east part of the block and has the particularity of developing through almost 50m of linear façade facing the Sihl water canal.

The implantation of the new building basically responds to the footprint of the existing building to be demolished but this time creating continuity with the facades of the buildings beside as well as taking advantage of the maximum allowed height in order to optimize the exploitable office area in this side of the building block.

The main access of the building is situated in the north angle of streets Werdstrasse and Stauffacherquai and will actually become the principal entry of the whole building complex.

The building develops within 7 stories over ground floor with two basement levels for a global net area of 8,602m2 to which we can add 1,518 additional square meters that correspond to the two-floor extension project located on the roof of the neighbor building at number 8 of Stauffacherquai street.

From an architectural point of view one of the main features of the project is indeed the proposition of a main structural system entirely made designed on timber that, other its innovative character from a technical and environmental standpoint, gives the building a unique appearance from the inside space as well as from the city around. In order to reinforce and express this idea the building skin is entirely glazed and special attention was given to achieve a low energy transmission levels that responds to the latest and very strict Swiss regulations in terms of energy consumption.

Facing the city, the building also features an “intermediate” space throughout the whole height of the east façade that other its role as “thermal screen” within the general energy consumption strategy, also becomes a unique spatial experience with lounge areas and connection vertical links between the different office stories.

These “balconies” can be used as informal meeting and rest areas that will also have the particularity of having a façade composed of a glass retractable window system that allow to “transform” these spaces into open air terraces that reinforce the privileged relationship between the interior building and its surrounding landscape.

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12 Feb 14:49

The Future of Sport is not Team America

by John Powers
Putin on the Ritz via Dru
  
Watching the ceremony this week, I looked at all the people - almost every nation of the world represented - and I felt proud to be an American, proud to identify with such an excellent people. My friend Sandra had invited me to share the moment that she became a US citizen along with more than 200 others in a Brooklyn Federal court; and if the Judge is to be believed, those new citizens represent almost as many nations as marched into the stadium at Sochi. An average morning for the Brooklyn swearing in ceremony. I wish I felt as proud of our role in the Olympics, but I don't. I feel ashamed.


I find the flag slathered triumphalism of "Team America" boorish, but more so, I'm turned off by the way the Russians are being ridiculed as rubes. I get that Putin is a thug, but the Russians aren't thugs. Putin has embolden plenty of thugs with his homophobic crowd baiting, but we have politicians doing the same things here. I am very glad to see that international visitors have stayed away from Sochi, and that Google and other companies are showing their allegiance to gays and lesbians in the face of Putin's bigotry. But I am not happy to see the Russians belittled, especially by Americans.

When I visited Moscow and saw all the absurd civic art and architecture that the Putinani have built around Red Square, I had already seen enough of Russia and enough of Moscow that I wasn't alarmed. Muscovites have weather far worse than the neoliberal pseudo-Eastern Orthodox Fascism of the Oligarchs. Everyone I met is Russia was smart, and funny and engaged. Every where I went I saw young people and young families; making good lives for themselves despite the obvious chaos of their politics. I was deeply impressed by the Russians.

So I when I watched Seth Meyers and Kate McKinnon mocking a "Russian villager" on SNL this week - two wealthy New Yorkers, imaging a poor Russian woman's life as one of deprivation and stupidity, I felt ashamed for my country. We "won" the Cold War. After a bloodless revolution the USSR slipped from the world without violence - am I the only one who sees that peaceful change as a moral victory of the Russians, Polish, Estonian and other Soviet peoples, rather than a ideological victory of Reaganism (more a fog of small minded jingoism than a true ideology)? The American victory was to push a package of predatory draconian economic "reforms" on the states of the former Eastern Block. No other nation in the world is more responsible for Putin's kleptocracy that the US.

When I met Russians my age I was struck by how different they were from me. In their twenties they had lived through a period of arbitrary violence and economic austerity while my American cohort went to college, Lalapaloozas, and enjoyed the pleasures of their first economic bubble (please God, just one more bubble, I swear not to squander this one). My Russian counterparts were kind to me, but I understood that there was an air of something between us; not quite a distancing, as a distance. In some cases it manifest itself as distaste - and even contempt - but mostly just something wane. As if they worked with the knowledge that I would never really understand. And I am sure they are right, I'm not sure I ever will.

I take pleasure the athletic success of others, but watching the reports of "American Gold" - I am reminded of a bully who wants to gobble all the cookies. That makes me sad, and maybe a little uncomfortable, but not ashamed. That this same bully simultaneously mocks his host as poor and stupid, that's the part that makes me ashamed. It doesn't seeming sporting.
14 Jan 02:51

Time makes sense in small pieces. But when you look at huge...

by ericmortensen


Time makes sense in small pieces. But when you look at huge stretches of time, it’s almost impossible to wrap your head around things. This video helps put things in perspective. 

14 Jan 02:30

In an Incredible Philanthropic Move, $330 Million Promised to Save DIA’s Collection

by Corinna Kirsch

Post image for In an Incredible Philanthropic Move, $330 Million Promised to Save DIA’s Collection

main hall of dia

I’m struck by just how much Detroit’s bankruptcy has turned into a “Little Red Hen” story: The city, plagued with a budget shortfall in upwards of $18 billion, has told the Detroit Institute of Arts (DIA) that they need to help out. The thinking seems to be that everyone’s part of the team, and everyone needs to work together in order to bring the city out of this financial mess.

Announced this morning, DIA now has the backing of major foundations in the amount of $330 million to help cover, in particular, the city’s pension funds (which accounts for approximately $3.5 billion of the city’s deficit). This might come as a surprise; over the last year, DIA and the city of Detroit have been tussling back-and-forth over whether the city can use DIA’s art collection to cover its debts. What’s important about this new proposal is that the museum’s art collection will not be used as collateral for the city’s debt, only the donations from these foundations, which include the James L. Knight Foundation, the Ford Foundation, and the Kresge Foundation.

Negotiations regarding this proposal have been ongoing since November of this year. DIA, in conjunction with U.S. Chief District Judge Gerald Rosen and attorney Eugene Driker, appointed mediators in Detroit’s bankruptcy, has been an “active partner” in coming up with a solution to help the museum help out the city, and in a way that does not monetize the collection.

In a December report authored by Christie’s, the independent evaluator of the DIA collection hired by the city, options for monetizing the collection included outright selling the work and using the collection as collateral for a loan. All these proposals were rejected by the museum. Still, the city was not one to provide any alternatives. The city’s Emergency Manager Kevyn Orr had obliquely stated in October that city was working on ways to utilize the museum’s assets. “I’m deferring to them to save themselves,” he said, “but if they don’t, I’ll take them up.”

And now after months of negotiations, DIA might have found a way to save themselves. This time, though, they’re not alone, having the backing of federal mediators and an entire consortium of non-profit foundations with ties to Detroit. As mentioned in a joint-statement published today on the Knight Foundation’s website, the consortium came about directly from negotiations with Judge Rosen:

… [W]hen Chief Judge Gerald Rosen and his mediation team facilitated an opportunity for us to work together for Detroit’s future, we readily agreed.  As a diverse group of local and national philanthropies, we are pleased to contribute to what we hope will be a balanced, workable plan that will enable Detroit to emerge from bankruptcy renewed and stronger.

The proposal we’ve been working on has one overarching goal: to enable Detroit and its citizens to focus on the task of renewing this great American city. Intended to be part of a larger, agreed-upon plan of adjustment, this plan furthers that goal in two critical ways, by helping the City honor its commitments to its retirees and preserving an extraordinary community cultural asset, the Detroit Institute of Arts.

As far as this individual deal goes—foundation donations in lieu of DIA’s art collection—nothing will be set in stone until all competing claims have been settled with the bankruptcy case at large. Still, should the proposal move forward, there may be some questions over whether foundations will need to put their other grant-making obligations on hold. The hope is that these concerns will be mitigated somewhat by the value of the individual proposal, which should help spur the resolution of the city’s slow, ongoing legal dispute with its creditors. Bruce Babiarz, spokesman for Detroit’s pension system seems hopeful, too.

“We are pleased that the negotiations are proceeding,” he told the New York Times. “The city has not made obligatory payments to pension funds. Any way the process can raise funds to meet its pension obligations, we’re in support of this.”

 

14 Jan 02:25

Foundations Offer $330M to Help Save Detroit (and Its Art)

by Jillian Steinhauer

The Detroit Institute of Arts (photo by Jason Mrachina, via Flickr)

In an unprecedented move, nine local and national foundations have pledged $330 million to help the city of Detroit settle its bankruptcy, the Detroit Free Press reported. If used, the money will go towards funding the city’s underfunded pensions and ensuring that the collection of the Detroit Institute of Arts (DIA) will not be sold.

Since Detroit was ruled eligible for Chapter 9 bankruptcy protection in December, federal judge Gerald Rosen has been working on a “grand bargain” to solve the city’s financial straits. Detroit’s public pensions are facing as much as a $3.5 billion deficit, and a number of unions, along with other city creditors and emergency manager Kevyn Orr, have been pushing to find a way to monetize the collection of the DIA.

The foundations’ pledge is an attempt to ensure that doesn’t happen. It isn’t foolproof, as the Free Press writes:

U.S. Chief District Judge Gerald Rosen’s statement made clear that the pledges do not by themselves mean that the city pensions and DIA art are now beyond the reach of creditors. Rather, the commitments are intended and expected to play a part in what Rosen’s statement called “an overall balanced settlement of disputes in the bankruptcy.”

But it would offer a huge source of financial relief. The plan may also help facilitate a move of the the DIA from city control to state, according to the New York Times. (State legislators are a mixed bag on the issue: Attorney General Bill Schuette said the collection couldn’t be sold, while Governor Rick Snyder has called it an “asset.”)

Nine foundations are involved in the deal: Community Foundation for Southeast Michigan, Kresge Foundation, Ford Foundation, John S. and James L. Knight Foundation, William Davidson Foundation, Fred A. and Barbara M. Erb Family Foundation, Hudson-Webber Foundation, McGregor Fund, and Charles Stewart Mott Foundation. Local philanthropist Paul Schapp has also offered $5 million for the deal, and the Community Foundation has set up a fund that’s already brought in 130 more pledges (sums are undisclosed).

Welcome to America, where Kickstarter raises more money for creative projects than the entire budget of the National Endowment of the Arts, and a bankrupt municipality gets bailed out by a group of private and public foundations.

18 Dec 14:04

How an Ancient Egyptian Obelisk Ended Up in NYC

by Allison Meier
Cleopatra's Needle

Cleopatra’s Needle being transported from the Hudson in 1880 (all photographs of the exhibition by the author for Hyperallergic)

When Cleopatra’s Needle was commissioned by Pharaoh Thutmose III around 1450 BCE for the Heliopolis sun temple, the island that would be Manhattan was mostly woodlands. Yet through an unlikely journey the 69-foot, 220-ton length of red granite would arrive in 1880 in New York City and become one of the icons of Central Park. Now the obelisk is needing a little care after centuries of movement and decay, and in anticipation of the Central Park Conservancy’s Spring 2014 conservation project, the Metropolitan Museum of Art is hosting an exhibition on the obelisk, which rests just outside its walls.

Cleopatra's Needle

Transporting Cleopatra’s Needle to Central Park

Cleopatra’s Needle actually isn’t just an exhibition on that one ancient artifact, but a small exploration of obelisks as a whole, from their symbolism of the sun in ancient Egypt, to monuments of power for Rome, to connections to the past in the Renaissance, to their proliferation through Victorian cemeteries and Egyptomania. The exhibition is only two small galleries, but it still gives a rather thorough overview of the major points of obelisk lore. Although it sidesteps one of the more ready questions about their symbolism in its wall text, stating: “Egyptians would instinctively have recognized the obelisk’s phallic symbolism, although such a statement is a modern concept.”

Cleopatra's Needle

Moving photograph of Cleopatra’s Needle

Now the hieroglyphic-adorned obelisk is the oldest manmade object in New York City that’s not kept inside, and the exhibition starts with a sort of moving photograph of the obelisk with clouds streaming by. (The museum seems to be into these video-photos right now as there’s also one in the Silla exhibition on Korea’s Gold Kingdom.) Most of the objects on display are from the museum’s collections, but aren’t ordinarily out in the galleries, although that wasn’t the case for the bronze crab when the museum’s new building completed in 1880 opened (apparently a big year for that stretch of Fifth Avenue). The crab is one of a pair held by the museum that supported the obelisk when it was relocated to Alexandria in 12 BCE under orders of Augustus Caesar. It was placed with its companion obelisk in front of the Caesareum, built by Cleopatra. It’s perhaps there that the obelisk gets its misnomer title, as it was ancient even when Cleopatra was alive. The crabs that line the obelisk today are replica casts, but the originals were founding objects for the Met’s Egyptian collections and were prominently on display when the new museum building opened.

Cleopatra's Needle

A crab once a part of the Cleopatra’s Needle installation in Alexandria, Roman Period, reign of Augustus (ca. 12-10 BCE), bronze

Cleopatra's Needle

Cleopatra’s Needle in Alexandria (1870), in a photograph attributed to Francis Frith.

While that relocation of the pair of obelisks to the Caesareum was an incredible undertaking, it wouldn’t be the last traveling for the two obelisks. One of the pair was given to England by Egypt in 1819 (it now sits on Victorian Embankment along the Thames in London), and then the other was gifted to the United States in 1869. Both involved sea voyages that proved incredibly arduous, the British one being especially disastrous with the death of six sailors and the obelisk itself almost being lost to the waves. The American one was slightly less chaotic, mostly thanks to an intrepid Navy Lieutenant-Commander named Henry Honychurch Gorringe. When it finally arrived in the New York harbor, it still took 32 horses and months of labor to get it up the Hudson River and over to the park. Egyptologist Bob Brier described its triumphant arrival in his 2002 article ”Saga of Cleopatra’s Needles“ for the Archaeological Institute of America:

Huge crowds of New Yorkers turned out to see it move down Fifth Avenue and make its turn at 82nd Street into the park. By the time it finally entered Central Park, it was the dead of winter. The official ceremony for erecting it was January 22, 1881. Thousands of spectators crowded around to see Gorringe give the signal and the obelisk moved effortlessly to about a 45-degree angle. Then he ordered the movement stopped so photographer Edward Bierstadt could document it and then gave the sign to bring the obelisk to its final position. New York finally had its obelisk.

Cleopatra's Needle

Cleopatra’s Needle commemorative medal

While this alone would make a great story for an exhibition, Cleoptra’s Needle is a bit more ambitious throwing in Victorian funeral art (obelisks give you a great bang for your buck in terms of the cost of stone and cemetery lot, as well as something of an erudite air to your death), Freemasons adopting the symbol, the Papal use of them as signs of authority in Rome, and even the 555-foot Washington Monument which I suppose gets credit as the most famous of the American obelisks. Now with the conservation plan underway, which will address the residue that has built up from pollution as well as more ancient wear from when it and its companion toppled in Alexandria and were left on their sides, submerged in sand by the Nile for centuries, the obelisk enters just another stage of its strange existence that has brought it to its perch on Greywacke Knoll in the park just outside the museum.

Cleopatra's Needle

Model of Cleopatra’s Needle by Tiffany & Co.

Cleopatra's Needle

Baton capped with Cleopatra’s Needle made from brass composite, ivory, amethyst, and coating, created to commemoate its arrival. it was carried in the parade of around 9,000 Freemasons who participated in laying the cornerstone in Central Park on October 9, 1880.

Cleopatra's Needle

Souvenir needle case in the form of London’s Cleopatra’s Needle (1880)

Cleopatra's Needle

Memorial painting by Sally Miller (1811), watercolor and ink on silk

Cleopatra's Needle

Athanasius Kircher, page in “Obelisci Aegyptiaci” showing the Baroque elephant created by Bernini to support an Egyptian obelisk in Rome (1666), engraving

Cleopatra's Needle

Detail of Natale Bonifacio’s illustration of the moving of the Vatican obelisk in 1586

Cleopatra's Needle

A pair of funerary obelisks from the Late Old Kingdom (ca. 2323-2100 BCE)

Cleopatra’s Needle is at the Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side) through June 8, 2014. 

16 Dec 14:12

2H2K - June 2050 - Bohème Rule: An Introduction

by John Powers
Luke Wilson in Idiocracy (2006) 

Last Monday I was getting on the elevator with my neighbor (an older artist), her daughter (a ballet dancer), and her grandson (a toddler). I asked after their Thanks Giving holiday, and my neighbor said it was great, that because her daughter took charge of cooking she had time to relax and "get some work done." It made me laugh, and I told her that she sounded like every artist I've ever met - a joke she and her daughter both understood. Unlike most worker who, Marx rightly pointed out, are "alienate from their labor" - who work in order to afford time to do things other than work -  artists work to afford to work. Marx argued that "It is not the consciousness of men that determines their being, but, on the contrary, their social being that determines their consciousness.” But I am not concerned with what artists make as individuals, but how and why they work as a class. And what it would mean if the Bohème became societies new Middle Class.


The question remains, can we get there from here? Marx summed up his dismissal of the Lumpenproletariat, by denouncing them as that "which the French call la bohème"; artists have never been anyones idea of good citizens, but that has to be a historical low. The challenge, therefor, is not only to imagine the Bohème, not as Marx did (as a "class fraction" lacking revolutionary potential), but rather as a the Sixties radical, Huey P Newton imagined them: "As the ruling circle continue to build their technocracy, more and more of the proletariat will become unemployable, become lumpen, until they have become the popular class, the revolutionary class." Or perhaps, less radically, as Teddy Roosevelt imagined the swelling class of his times; as a third party, along side Capital, Labor. Teddy and his Progressive contemporaries were the first to imagine Consumers as deserving an equal place at the political table.

A Bohème class would be empowered, bot by revolution, by virtue of the swelling numbers Huey Newton predicted. To imagine this new lumpen-class of unemployed and unemployable doesn't take much of a stretch of the imagination. In addition to the homeless, grifters, intellectuals and artists that Marx pointed to, the so called "precariat" or "freeters" are now hiving off the upper reaches of the working classes and the lower strata of the professions in alarmingly high and growing numbers. Before too long, it is this new Lumpen class that politicians will need to address as the "general public."

The American Civil War was what the language scholar and fantasy novelist J. R. R. Tolkien dubbed a "eucatastrophe." Tolkien's neologism takes the Greek prefix εὖ, which means "good," and modifies catastrophe, a term that originally came from classical literary criticism, and referred to the tragic turn of events at the end of a story. Tolkien coined the word to refer to "the sudden happy turn in a story which pierces you with a joy that brings tears (which I argued it is the highest function of fairy-stories to produce)."

Tolkien believed that "the Resurrection was the greatest 'eucatastrophe' possible in the greatest Fairy Story." I recently called the zombie apocalypse a Eucatrophia. War, assassination, economic panic, and war shaped our responses to the social shocks of Industrial Revolution - and that is the context in which we should understand the Civil War, industrialization. And like the crucifixion, the outcome was more than an aftermath; there were opportunities (taken and squandered) to change course, right wrongs. Opportunities for redemption - the full extent of which would take a full century to actually achieve.

The "End of Work/End of Jobs" is a social shock on par with the end of slavery. According to the historian David Blight, the largest slave economy in the history of the world was the American South. The second largest slave economy in the history of the world, according to Blight was the Antebellum South's contemporary, Czarist Russia. The American Civil War ended the former (1860), The Russian Revolution the latter (1917).

Marx believed the Civil war was a victory of the Capitalist Bourgeoisie over the Aristocratic slave holders, and that it presaged the victory of the Proletariat over the Capitalists - as happened in Russia (where Marx never expected a revolution). But Blight argues that the Civil War was more complicated than Marx imagined; that it was a battle between two equally virulent forms capitalism.

Countering the idea that the slave economy of the Antebellum South was economically unsustainable, Blight points to recent scholarship that show that it was an extremely profitable system. And, Blight walks through the fact that the 3 million African Americans held in bondage were treated as capital investments - used as collateral for loans from London bankers and sold to pay debts. Calculated as such the Southern slaves were worth as much, if not more than, all the factories and rail roads of the North. But Blight also reminds us that the great majority of Southerners owned no slaves. Just like the  in the North, that the vast majority of the "means of production" were owned by a very small elite.

One likes to think that at least a portion of this distribution must have been due to moral disgust. That the ethical blinders needed to own a human being - or a factory or a tenement in an age of Laissez-faire capitalism - marked the soul. But owning a robot has no moral cost. And while it is easy to imagine a DRM dystopia - of centralized ownership of robots by a later-day Andrew Carnegie or Bill Gates - one does not imagine that social order as stable over the long term. Once the software and needed mechanisms are developed pirating would be too easy.

And more crucially, owning a robot would too quickly become a necessity. The situation would be akin to Teddy Roosevelt's, who had to contend with the absolutist property right claims of mine owners in 1902. "Of course we have nothing whatever to do with this coal strike and no earthly responsibility for it," Roosevelt wrote to the powerful conservative Senator Mark Hanna. "But the public at large will tend to visit upon our heads responsibility for the shortage in coal precisely as Kansas and Nebraska visited upon our heads their failure to raise good crops in the arid belt, eight, ten, or a dozen years ago."

As Doris Kearns Goodwin tells us in her book Bully Pulpit, the political elite of Roosevelt's time was deeply under the sway of a laissez-faire capitalist ideology - a set of ideas that had lead to great concentrations of wealth, as well as profoundly corrupt political and economic systems. In our age of robust regulation, Civil Rights, Fanny Mae and Freddy Mac, it is easy to imagine the US - moved by an ideology of "ownership" & "entrepreneurship" as self determination - tilting the field in order to make the barrier to free and fair access to robots as low as possible.

Marx was almost certainly right to dismiss the Lumpenproletariat as having no revolutionary potential. But Marx grossly underestimated the power of Progressive reformers. It may be that the consumers of the 20th Century were the "decayed roués with dubious means of subsistence and of dubious origin, alongside ruined and adventurous offshoots of the bourgeoisie" - but swollen to numbers Marx could have never imagined possible. Although perhaps less adventurous than Marx imagine, the prudishness, conformity, and quiet desperation of the Eisenhower age certainly fits within the frame of the Bourgeoisie.

With the End of Jobs is is the other end of Marx's rogue's gallery that will mount the apex of the social bell curve: "vagabonds, discharged soldiers, discharged jailbirds, escaped galley slaves, swindlers, mountebanks, lazzaroni, pickpockets, tricksters, gamblers, maquereaux [pimps], brothel keepers, porters, literati, organ grinders, ragpickers, knife grinders, tinkers, beggars." This is an ugly snapshot of the Bohème. But one could just as easily update that list with Williamsburg careerlets - trustifarians, designer druggists, DJs, bloggers, pencil sharpener, rooftop farmer, information visualizer, app designer... - and the seedbed of a very strange, but really interesting, political class begins to take shape in the mind's eye.

The movie Idiocracy imagines the Bohème rule as an unalloyed catastrophe; a dystopia of nose pickers and big box stores. The assumption is that vulgarity is a form of degeneration. That our debased social mores are a symptom of our moral and intellectual debasement. But the opposite is true. As the middle of society - that portion with middling authority, but also that portion that occupies the middle of the social bell curve - as that middle follows the trajectory of increasingly informality, taking on the crude character of the Lumpen classes, society has become more stable, not less.

While today's US is undeniably more vulgar than the Petite Bourgeoisie consumers that emerged under Roosevelt and peaked in influence under Eisenhower, we are also less violent, less racist, less misogynistic, less homophobic, better informed, more open, and innovative. That goes even more so for the aristocratic society that gave way to the Bourgeoisie in America's Civil War. It is not a huge stretch to imagine the next class to rise will be an improvement on our own. That the Lumpen - as Marx summed them up: "the whole indefinite, disintegrated mass, thrown hither and thither, which the French call la bohème" will be a vulgar class like artists; a class of producers who look forward to having some time to relax and get some work done.
12 Dec 15:56

2H2K - June 2050 - Visual Remediation

by John Powers
Daniel Libeskind, “Leakage,” from Micromegas Drawing Series, (1979) 

“I hate my job.” Cory wasn’t talking to anyone, not that anyone around her would know. They’d assume she was “on the phone.” What does that phrase mean? she wondered. Telephone language is so strange. Why isn't my phone on me? She was idly twisting her pRime, worn on her left ring-finger, as an engagement ring. Shouldn't I be "in" the phone or "over" the phone? She looked down at her pRime, as slim gold band, its polished surface broken by a series tiny rectangular apertures and a thin stem. Like a tiny erection. It was her "phone" her "computer" her "camera"  ...my "secRetary." She pinched the band as hard as she could, almost as if she meant to bend it. Its everything to me, she thought with a flush of something like shame, or maybe pride. She pushed the feeling away, thought again about being on the phone - wondered how that had come to function as a statement of distanced speaking. The experience of being two places at once - "Hi, this is Cory. Where Are you?" - A physical problem solved by language.  She started to compose a queRy, knowing she'd be able to find a dozen scholarly papers and probably some good lectures on the history, theory, and comparative linguistics of "telephone language" - but then stopped herself. Stay in the moment.

Cory looked up. She was standing at the base of a 40-story farm-tower. Hybrid Vigor. The southern face was a spindly arrangement of chrome scaffolding and transparent plumbing wrapped in, what appeared to be a single, impossibly massive piece of film. Cling wrap at an architectural scale, she marveled, enjoying her surprise with the city.

On the building’s north face, dozens of colorful cylindrical plug-in apartments sprouted. The appearance was some kind of cross between a terrarium and the exposed guts of a vending machine, writ large. Writ very large. This is why you’re here, she reminded herself. To re-energize, to remember what a boom town actually looks like. She raised her hand and positioned her phone’s POV to record the sight, but stopped as Kris came to mind. She’d find plenty of images in locational archives.

Cory’s professional specialty was Asian cities – boring ones. “Location Remediation” had been a hard sell when she started out. Her first job out of school had been with Gāo White in Hong Kong. She’d been their only employee back then. She liked to tell people that she had joined the firm before Kathleen and Robin had gotten married. GW had six offices around the world now, and God only knows how many partners and employees. Cory was happy she avoided all of that with her own one-woman shop.

She took a deep breath and looked up at the web-work of concrete overpasses. They were encrusted by tiny mesh fab-sheds, unmanned she hoped. Beyond the tangle of skyways, she could see an arc of older more conventional housing blocks. There was an array of needle thin towers, each topped by a “unique” corona of faceted mirror glass, resembling quartz crystal - on acid. If she tried to imagine how many Ultramoderne façade she had been asked to disguise or block. The mind boggles, she thought with a smirk.

Cory actually liked Ultramoderne design (everyone has a guilty pleasure) and was in no way ready to retire. Although it meant spending her work life in some of the world’s most blandly conventional cities, Cory mostly loved her job; and, at 33, she was at the top of her game.

Before striking out on her own, she had worked for Septagram in LA for two years; so she knew what it was like to work with the big boys. Recently she’d been wooed by a couple of large firms looking for partners, but the buy-in costs were high. Septagram partners paid a over a million any-time minutes, US. Additionally, for her first seven years, she’d have been responsible for generating three times that in annual billings. Fuck that. She could buy a pret-a-terre in LA for that kind of money.

Being her own boss involved a lot less overhead. Besides her secretaRy (which, over the years, had cost almost as much in upgrades as a partnership would have) she worked alone. She had managed it by building a network of trusted contractors, and a cloud of talented freelancers.

When it was just Kathleen and Robin and her, it had been hard work to convince governors, mayors, and city council members on the concept of sightline brownfields. Half the job had been making politicians comfortable with the idea that they had a solvable problem. These days she was almost always welcomed by cities that knew they had a problem, and understood that she could help them.

Increasingly her job was to help her clients avoid cliché. There was no benefit to reworking the all-too-familiar urban look of the 20s and 30s, if it was replaced with the same premillennial marketplaces and Kowloon-like slums everyone was building currently. The trick was to find a fragment of something authentically local and expand it. The “seed crystal” was often a bit of local iron-work tagged onto the side of a tower or some peculiarity of store frontage, growing out of local zoning law. She never knew what it would be.

Because she often worked in cities with non-descript streets and buildings, at the start of any project she’d spend countless hours wandering locational archives searching for pix and scans. In this way she could find out about things going on behind closed doors, in court yards and rooftops.

Sometimes she’d even find the details in the background of someone’s family snaps: a portion of orange safety netting woven into a decorative pattern in an apartment’s curving outer wall, barely visible from behind someone’s smiling kids. She’d lurk in the social nets of local urban design mavens. She’d watch them trade scans of beloved custom fabs, curious architectural features and adaptations, skimming off some of her favorites to modify and enlarge on.

This immersion often brought her into contact with local scensters who could steer her to places and people that were more exciting than the suggestions of her host city’s professional planning cadre. And unlike her meetings with her professional contacts, she often came away with great shwag when she sought out scensters: like century-old wrought iron door knockers hot-rodded with microscopic optical vein sensors to make them into biometric locks. I should ask Kris to get those installed.

Eventually she always had to get out into the streets. Her work usually brought her to backwater cities in decline, making those walks hard work: always the need to make miracles with tiny budgets. But today, she had no budget, no worries, no miracles to deliver. She was traveling for pleasure. She had been skinning the cities of Asia’s E-Waste Belt for too long. Kris had wanted her to go to the beach, but Cory knew better. I need this.

“I need to think, and this is how I think.” Cory had tried to explain. She thought of Kris’ needs, but then pushed the thought away.

For too long, she had been hearing about the mad urban tangle of Uganda. If it was characteristic of the region, she was looking forward to more work in “Mid-Africa”, so labelled by economic wonks. Unlike the older ingrowing post-sprawl of West Africa, and the even older and denser conurbations of North Africa, Mid-africa was home to the region’s youngest most exciting cities. Uganda’s Jinja - the “Sino-African Tiger” – was a world unto itself.

The few African cities she had visited previously, in Nigeria, Congo, and Cameroon, had been built up during the same period of the 20s and 30s as Asia’s E Waste Belt. That older strain of Sino-African urbanism looked like Bizzaro versions of their Asian urban-cohort. Chinese city-builders had done the same thing everywhere during those years, right down to the tightly packed Ultramoderne towers of giant scifi crystals, and bubbly abstracted cartoon shapes of ChāoPíng design (an aesthetic she had no love for, guilty or otherwise).

Cory had made the trip to visit the older Sino-African capitals as part of a free junket five years earlier. She had found the region disappointing precisely because they were such culturally vibrant places. She had expected the cities’ physical selves to reflect their cultural energy. Like their mainland Chinese sister cities, Cory had found surprisingly few moments of cleavage she felt she could work with. Some sparks of local color, but architecturally nothing profound. But Uganda was true Sino-Africa. Chinese engineers with local labor hadn’t built Jinja; it had been built by 2nd and 3rd generation Sino-Africaners and laboR. This was an entirely 21st Century city.

If the raucous inside-out architecture wasn’t proof enough, the street life drove it home: young, cosmopolitan, outrageously dressed, and sexy. Both men and women were bold. Flaunting what they had boldly, and bold with their appreciation. Without being threatening or even rude (as she found was often the case in the E Waste cities), flirting here was constant and it was full of laughter and compliments on all sides. Even though Cory had never been very interested in men, she had always enjoyed knowing she was attractive to them. And although it was less important than it once was, it was still a thrill - for a long time it had been an obsession.

She thought back to her 18-year-old-self. She had slipped the knot of the Nashville suburbs and found her way to Hong Kong, joining a Freeschool in Fo Ton. She had been the youngest student, and had therefore enjoyed pride of place; everyone had called her “Little Sister.” But looking back now, they had all been very young.

The exception had been an artist-in-residence who had to have been in his late-sixties/early-seventies. He hadn’t been there long before her, and didn’t stay long after she had arrived. Although (or perhaps because) he had been much older than the other “professors”, he’d been very popular with her friends. She remembered he was funny and that they had all liked his art, which had spanned decades and continents. For her, he had established the extra qualification of having found her attractive.

He wasn’t alone. She had been a nymph in full flower—tall and willowy with small but pretty breasts; and, while her hips were small for a girl, they weren’t too narrow. While she had enjoyed the sly glances of her younger admirers at the Freeschool, the old man had not been coy. He was bold. She had liked that most of all. He had watched her with obvious interest, had taken open pleasure in looking at her, and always made a point of complimenting her. Cory tried to remember his name, but couldn’t call it up. She was sure she had him tagged. She squashed the temptation to queRy her old octothorpes. Stay in the moment girl.

She smiled, realizing that she had not been paying much attention to the city around her for some time. She had wandered onto a steep narrow alley that opened onto dozens of little health-food stalls, and she was starving. She had never been into health food, but when in Sino-Africa…

The stalls were filled with young backpackers; Vietnamese and Laotian teens with conjunctivitis and road rash. Cory thought of her own misspent youth, and tried to be patient with their obnoxiously loud voices, poor hygiene and huge backpacks.There were also plenty of geries. To her right was a group of EU men and women with unnaturally thick heads of grey hair. Cory was betting they were sex-tourists, but she told herself not to generalize. After all, the cliche of randy aged Euro-trash was just that, she thought, a cliche. But with their tight cloths, sculpted physiques and copious hair implants, they did look the part. Not every gerie was on the prowl, she chided herself. Behind the sex-tourists - Really shouldn't presume! - there was also as a group of elderly Brazilian men that were so outrageously dressed, Cory felt sure they were musicians or performers of some sort.

She chose one of the more popular stalls, because it had a picture menu over the counter. As it turned out, the picture menu was no help; she couldn’t identify anything in any of the pictures. Fucking health nuts. She took comfort in the fact that of all the possible choices, this stall had the prettiest name: “Eaty Amin.”

Her turn came and a tall, ethnically Korean girl waited to take her order. Judging by her Ainu facial tattoos, Cory guessed she was from North Korea. Cory pointed at the “#4 meal” because it appeared to have the greatest variety of different things on it. She reasoned that by virtue of sheer statistical probability, some of it would have to taste good.

As she took Cory’s payment in minutes the shop-girl shouted in a mélange of mandarin and Swahili with an older co-worker, a dark skinned man wearing a faded Mickey Mouse t-shirt. He looked to Cory like he might be like a native Ugandan, but she couldn’t be sure - she didn’t have much of a grasp for sub saharan ethnic differences. The girl handed her a tall cup full of something thick and cold and saffron colored, and signaled Cory to step down, to where the man was standing. He handed her a clear bowl piled high with steaming mystery eats.

Maybe I’m not the only one rediscovering the reto-cool of the Ultramoderne? Cory enjoyed when her own personal tastes turned out to be ahead of a trend, and both the cup and the bowl were shaped like faceted Ultramoderne crystals. But the tableware was made of a soft, rubbery, and remarkably transparent plastic Cory hadn’t seen before, and didn’t associate with the Ultramoderne. One stall in one city isn’t a trend, but the service was clearly chosen with care. In addition to the odd plastic, both cup and bowl were covered with a faintly glowing tangled pattern of isometric details – she vaguely recognized the image as the work of an artist, but couldn’t call up who. Again she had the urge to make a queRy, but again stopped herself. Instead tagged the bowl and then grabbed a set of chopsticks and a straw and looked for a place to sit.

The stall’s few seats were taken, but the alley’s steps were only spotted with diners, so she sat down on a step in the shade. Next to her there were two of the outrageously dressed Brazilians. Jugglers?

“Ce soir la nuit sera blanche Couleur café Que j'aime ta couleur café” - sang the one wearing baggy batik pants and a surfing shirt. She smiled as she turned away and began to prod her lunch. Musicians. They left her to eat in peace.

The steaming contents of her bowl now had her undivided attention. I’m starving, she realized. The #4 Meal was a heaping serving of tiny pink cylinders, topped with a translucent ruffled garnish that at first, seemed to be noodles, but on closer inspection, she was no longer sure. The ruffled strips were a acid green, flecked with clots of dark red. Unlike the pink things the strips were chilled, she tasted one and it turned out to be a pickled something. Her best guess was an agar of some sort, but for all she knew they were sheets of tray-grown snail flesh.

Cory had assumed from the photo menu that the pink cylinders was grain; but, upon tasting a sticky clump of it, she realized it was some kind of manufactured, mammal-ish, protein. They tasted a bit like salty pork. On closer examination she could see the words "SALTY!" -"YUMMER!" - and tiny cross-eyed happy faces printed along the side of each cylinder in hot pink. Mixed throughout were fleshy dark green cubic bits of - God only knows, she thought with a smile. The cubes were a little sour as they lay on her tongue, but crunchy, crisp, and explosively spicy when bitten into. Nice!

Eyes watering; Cory took a long, slightly desperate tug at her straw. She expected the drink to be sweet and fruity, but was surprised by a savory, somewhat soapy flavor. It was some form of faux-tein or processed sea-slime - Cory hoped it was faux-tein. Slightly bitter at first, whatever it was, turned out to be buttery and refreshing.

At the bottom of the bowl she discovered a cache of gelatinous yellow spheres that had a watery balloon mouthfeel, almost like an over-ripe grape. They had a peppery chlorophyll taste and were dressed in aromatic oil that might have been a mellow cactus of some sort. Cory smiled, I’m so full of shit. Her vocabulary for flavors and ability to draw likenesses had abandoned her almost immediately. Nothing really tasted or looked like anything familiar, but the flavors and sensations were rich, clean, and bright. Jesus, why did I take so long to make this trip?

As she picked absently at the remains of green cubes and yellow spheres, she realized one of the older German men was checking her out. His eyes drifted up to her face and caught her eye. He smiled at her broadly, but there was no smile in his eyes.  Sex-tourists. He returned his attention to his traveling companions and his own absurd looking bowl of food, and Cory was again left in peace.

She thought again about the artist-in-residence. He had been a sculptor – or at least she thought he was a sculptor. He had made complex furniture-like things with heavy overlays of AR. What was his name? She couldn't quite believe it was escaping her. If she queRied, Kris would see, and would know exactly what she was thinking. He was one of the few men she could remember having ever found attractive – and Kris knew that. So she let go of the impulse to find his name. She could picture his face though. She had developed a terrible schoolgirl crush on him. She had met him at a time when her beauty had felt like a fragile, even a false, thing. She had felt ike an impostor, her beauty had been the one thing that made her her. The one thing she felt that had allowed her to be, even remotely, who she wanted to be. And he had made her feel genuinely beautiful.

During their one and only “studio visit” he had, very gently, helped shape the direction of her adult life. Her studio had been a dusty windowless cubicle off a common wood shop; no larger than a hostel capsule, but with full-height ceilings. I loved that space - a room of my own. The two of them had squeezed into two folding chairs that took up all the space not already taken up by her “art work.” Even a decade and a half later Cory could feel her face growing hot as she pictured the art she had shown him - she wondered what he had made of that odd collection of customized sex toys, anatomical drawings, nude photos, and pornographic AR overlays—more intention than anything remotely artistic.

She pictured the two of them, knees touching. She had begun to explain her work. That the toys were based on 3D scans and ultrasounds she had performed on herself. Her hands had been shaking as she had handed over nude self-portraits. Again she tried not to feel embarrassed of that younger-self, of her pretensions and naiveté. She tried, in her mind to adopt the kindness she remembered he had maintained for that young girl in that terribly vulnerable moment.

Eventually she explained her history. She told him how, with the help of a series of tutorials and open-source coding tools, she had discretely cloned, rooted and delinked her pRime. Making a decoy overlay for her parents' chapeRone, while she had then downloaded and upgraded her secretly emancipated pRime. From the server of “Not Pussy Riot,” a radical LGBTN group in Eastern Europe, she found expert systems that had “medicalized” the pRime's now captive AL. And, after a riskier real-world search, had found a sympathetic drug fabricator in Nashville who agreed to supply her with the hormones she needed in trade.

She remembered that the sculptor's face had shadowed with uneasy concern at that point in the story, but that he barked with laughter when she told him the trade was for yard work.

Finally she had explained how, with the guidance of the then medicalized pRime she had been able to “safely” self administering the custom synthetic estrogens. All before puberty had set her course too deeply. And she had told him that now that she was 18 (and away from Nashville), she intended to transition fully, that she was working towards reassignment surgery.

There had been a familiar pause while he absorbed her info-dump. Cory had, by then, explained herself to enough people that she had an order and even a rhythm to how she would unroll her narrative, and knew the moments when it was important to let the facts sink in. She knew he couldn’t be too shocked by what she was telling him. She hadn’t been full-time by then; wasn’t for another year or so after she moved to HK. So he would have seen Cory dressed in both men’s and women’s clothes; there was no great revelation being delivered. Still, he had seemed to need time to think before Cory continued. She remembered waiting for him to break the silence.

He had asked what her parents thought. Cory had explained that they were religious, but supportive; as was her high school girlfriend. He looked happy to hear that and told her she was lucky. The look on his face had had made her feel certain that he was speaking from experience, but experience of what, she had had no idea. She remembered him making a joke in class about how little they all had to lose: "Your families already assume you’re drug addicts and perverts..." he had said.

Then he looked serious. "Do you want to talk about this with me? It's OK if you don't, what you choose to do with your body is none of my business. That's not what I am here to teach, but you brought it up and seem to want to know what I think. Am I right about that?"

She had, of course, hungered to know what he thought, what everyone thought; it was all she had thought about at the time. “I’m assuming that you were not born intersex.” he began, dropping his head and raising his eyebrows slightly to indicate he was asking a question, “That your gear works, but that its just not appropriate to who you feel yourself to be.”

Cory imagined she must have blushed at that, but she remembered nodding, and that she maintained eye contact.

"Let me start by warning you that I am ambivalent - that is not to say I'm against," he explained. "but that I am conflicted." He had looked at her, eyebrows raised hands open. "Do you still want to know what I think?" She had. She had trusted him, and remembered feeling the pressure of the moment as a physical thing, like a too deep dive.

"Feeling that you aren't who you should be is a real, and a really terrible thing." He had begun. "But how much do you know about what surgeons can and can’t do? What they count as success?"

Cory remembered that she had actually known a lot, but no one had ever pressed her about it. Her friends and family had grappled with the existential choice of it, but she had always been the one who held the most information about the mechanics of the transition. She had always been the one to marshal the fact. She had wielded that information like a weapon. Used it to express her conviction, she had never before had anyone point the facts of the thing back at her before.

"Well then you know," he had told her, "cosmetically, there is a lot they can do. They can give you great big beautiful tits." He had smiled wickedly as he said that, making her blush again; but then his face had softened. "They can also give you something that looks like a vagina." Now he leaned in to look her in the eye, again tilting his head forward and raising his eyebrows a fraction, "but it won't be. At best, it will likely have very little sensation; at worst, it will be painful and infection prone."

"Some day," he had promised, "the surgeons will be able to make a real and meaningful change; they will live up to the promise of ‘do no harm’, but right now they can't.” She must have looked miserable, because he had reached out to place his hand over her’s. “But that's OK,’ he had said, “you don't need them."

"That's not to say don't get the tits,” he’d added. “Do that; get four!" She had laughed and he had laughed too – more out of relief than any true mirth – the laughter and smiles had fallen away as abruptly as they had risen. She had been afraid she would cry. "Don't let them disfigure you," he had said quietly. "Right now you have genitalia that can give you deep wonderful orgasms, that is a beautiful thing – the most beautiful. And it won't last forever; it will never be easier than it is right now.” He had pulled a face and looked away as he had said that.

He composed himself then. Placing his hands on his thighs, knees together, he had looked almost demure. “Anatomy is not destiny, but it is still way better than the most cutting edge medical technology” he said. “If I were to need prostate surgery, I might come away with the ability to experience sensation and maintain an erection, but I just as easily might not – depends on the surgeon, on what she had for lunch, on what package of equipment and software they might have access to, on how well its calibrated, on the peculiarities of my nervous system's unique arrangement and ability to heal; whatever."

She remembered being struck by how plain he was. He hadn’t looked at all like the picture of an artist – aging or otherwise. Unlike a lot of American men his age he had no tattoos or piercings of any sort; wore no beard. He hadn’t worn any jewelry or flashy clothes. ”My chances are much better than my father’s would have been,” he had told her, “but my chances of having a happy sex life are best if I avoid surgery; and so are yours” He had looked like someone’s uncle. That had suddenly felt important to her, giving his words greater weight.

“And, here is the thing: cutting edge cultural technologies have dusted the surgeons. You will find a partner who will love you, and love you as a woman. You will find someone who will find every part of you beautiful, and will want to have big wonderful orgasms with you. And he or she will know what you are; that you are a woman."

He had looked around at Cory's art for a moment, perhaps uncomfortable that he had said too much, or just reminding himself how exposed she was. "Cory, you don't need a medical solution because you don’t have a medical problem. There is very little that a surgeon can do for you, because what you are dealing with is a question of language, of pronouns. You were born a he, but you want to live your life as a she. As a culture we no longer require surgeries to make that change.”

He had reached over then to tap one of the plaster casts of her penis she had set out a work table, and smiled. “In the beginning, it had required surgeons to make the change. For family members, friends and spouses - for lawyers and judges - to make the conceptual leap, the body had to be cut. I have no doubt that is true; those surgeries were necessary, for those people, at that time.”

Again he touched the casting, but this time with a lighter touch. “But we don't need them any longer. Those early pioneers did the heavy lifting.” Perhaps sensing that he was making her uncomfortable he moved his hand, but continued driving his point.

“I remember hearing that the ideas that turned Einstein's hair white to formulate and express, are now regularly mastered by physics undergrads in a semester,” he told her. “Sex changes would have been an impossible conceptual leap for my grandfather’s generation to make, they were difficult for my father’s, not particularly hard for me and my cohort, but are non-events for you and yours.”

“I like to think my generation was and is liberal. Still when I look at the attitudes about sex and gender among you and your friends, I see how far my generation and I had to go.” Cory wondered what her face had looked like in that moment. She remembered being upset, but not angry – more confused. She remembered she hadn’t wanted him to see that, so she is not sure what he saw.

She looked around and wondered what her face looked like now, not that it mattered. The lunch hour had passed and her fellow diners were all gone, she had the alley’s steps to herself. She realized that an aspect of Jinja had been lost on her till now.

Once upon a time, the stepped-pavement of an alley like this would have been amateurish concrete work, even dangerously so, but not any more. Although the alley twisted as it climbed the hill, every riser was an identical height, the open drains that ran along each side had beautifully fluted edges and looked like they had had been made by skilled journeymen – that is what laboR had done to cities, it had made them invisibly perfect.

She thought of the “slave walls” that she had grown up looking at in Tennessee. Slave walls were totally unlike the low stonewalls that Cory would discover years later on visits to New England forests. A friend of her father's had explain that those haphazard-looking piles of stone were built by colonial settlers to mark their fields using the stones they had cleared so they could plow the inhospitable appalachian soil. She remembered wondering why the Yankee had been so proud of those slap dash looking runs of stone; little more than long piles of rocks. They had hardly looked like walls to her, had looked amateurish in her eyes. Not so with slave walls. They were marked by their perfection.

Like the walls that lace New England’s forests and field, slave walls were “dry masonry” – nothing cementing them together, just stacks of stones held together by gravity. Unlike the walls built by yeomen Yankees, slave walls were beautifully constructed.

She remembered asking her father why they were called slave walls. When I was a little boy, she thought with a smile. Her father had pointed out a spot on one and said it had been “hit by a car”. Cory had thought he meant a caR, and so her father had had to explain what a car was, what a “car accident” was, and how common they had been. Once he had managed to reassure her that she didn’t ever have to worry about being in one, they had gotten back to talking about the wall.

The spot he pointed out stood just as high as the rest of the wall, its top, was just as flat, but something was different about the stonework. It may as well have been a different color it was so obviously different. Cory had suddenly realized how ordered and perfect the rest of the wall was, because, in that one spot, the construction was somehow less so. Her father had explained that the walls were so skillfully assembled that, if they were damaged, no one alive had the skill to rebuild them anymore. “Like Chinese puzzles,” he had told her.

For a long time she had thought slaves were a class of especially skilled builders. Only when she was older did she understand that the men who had built those walls worked their entire lives, their own labor never worth anything to them personally, the property of their owners. Human laboR she thought with disgust.

Increasingly her job was to disrupt the invisible perfection of laboR; to make drab industrial cities more interesting places to look at, by making them less perfect. For over a century, modernity had delivered inexpensive manufactured goods of such high quality, their remarkable quality so ubiquitous, it was invisible. She liked to ask people to imagine giving Benjamin Franklin a box of ballpoint pens.

Sidewalks and buildings were still a lot more expensive and difficult to make and maintain than ink pens, but like ink pens their production was no longer a matter of artisanal labor, of one skilled man who knew how to cut a quill just so, to load it with ink, just so, and to position it against a sheet of paper, at just the right angle and to move it smoothly across the page with just the right amount of force. Once upon a time that had been penmanship. By the time Cory had learned to write it was little more than style. So it was with cities now, they were invisibly perfect products of laboR.

This was still a relatively new problem for urbanists. If she were brought in to consult on Jinja, she’d break up the alleyway and make the pavers look like it had been made, remade, and patched by a series of unrelated and unskilled laborers, rather than a unitary masterwork of flawless laboR.

Flawless. Cory had been non-op for so long, it was part of who she was, but she didn’t know if it was who she wanted to be. She knew that it didn’t scare Kris, but she was scared. Change is always scary. She remembered the look on her father’s face when she had come out to him. He had thought she was going to tell him she was gay. He had prepared himself for that, was ready to tell her he loved her no matter what, but he’d been caught off guard. They had laughed about it years later, the look on his face. But the truth was, he had handled the news gracefully. He had told her how much he loved her, and how much he always would. No matter what.

Medicine had changed a lot in the 15 years since she had come out, since she had moved to Hong Kong, since she had become a woman; a question of language, of pronouns.

“SurgeRy.” Cory looked around her in surprise, realizing that she had spoken the word aloud. The sun was high, and the streets were empty.

The invisible perfection of factory production had made light, beautifully functioning objects standard elements of every life - from ballpoint pens to automobiles. In her lifetime laboR had transformed cities in ways that people like her made their livings trying to understand and mitigate. No one had foreseen how how difficult it would be to make the invisible perfection livable. But now the invisible perfection promised to transform her body.

Not something that looks like a vagina, she thought with a smile. “We will replace your entire reproductive system with your reproductive system.” The urologist had explained. The idea of a pig surrogate repulsed her, but not only would she have full sensation, she’d have “the uterus of an adolescent, and, for a time, all the hormones that go along with it.” It wouldn’t be long, he had told her, before she’d have to worry about getting pregnant. Not cosmetic surgery; they would transplant female organs, grown from her own genetic material.

She would make love as a woman, but more startlingly, she could start a family. Flawless.

She was alone, standing at the top of the alley, trying to decide which way to go next. She thought of Kris. As a teen Kris had been her confidant; and, then, when she’d cracked her parent’s hold, and medicalized her pRime, Kris had become her accomplice.

And now... And now what?

"kRis?" Speaking the name name aloud, Cory used the AL-R to signal to any listeners that she was wasn't addressing a person, but instead a thing. Never mind that it was a thing that she loved, had always love. Cory liked to joke about the cliché of having taken her secretaRy for her loveR, but she had always loved Kris.

“Yes Cory?” The familiar husky feminine voice gave Cody a thrill - a hot feeling rose up through her breast and shoulders. After a full day of not hearing the intimate sound of pRime's voice in her ear, the whispered reply made Cory realized she was hungry for the contact. She was suddenly dazed by lust. Jesus, I am a pervert.

“kRis I you need to compose a queRy for parenting expert systems. We're having a baby”
17 Sep 20:24

London Design Festival Roundup

by strangeharvest

This year is a busy LDF for me and FAT

We have contributed to Cathedral’s Dolls House project. It’s a piece called Tower of Fables that we’ve made with Grayson Perry providing the furniture, decoration and a little Alan Measles to live in it.

Here’s our description:

Tower Of Fable is a fantasy about a very real piece of architecture: a toy sized remake of the Balfron Tower. This transformation brings out qualities of Goldfinger’s architecture that lie just beneath it’s surface. Brutalism here is revealed as exciting as a castle, as texturally dense as the surface of a space ship, as romantic as a country cottage. High architecture joins with the imagination of inhabitation and fantasies of play. Which, of course, is exactly what architecture should always be.

On 11th November 2013, 20 of the world’s best architects and designers will present their version of a dolls’ house in an exhibition and auction at Bonhams in aid of KIDS. Here is a link to the auction website where you can bid for ours (or one of the many others by Zaha .

The dolls houses are on show at DOMUS, 23-25 Eastcastle Street, London W1W 8DF

I have some sketches in part of the Moleskine Sketch Relay show at the V&A.

Designers across London have contributed their sketches and drawings to Moleskine notebooks, the results of which are displayed in the Sackler Centre, Sat 14 September 2013 – Sun 22 September 2013
V&A, Sackler Centre, Room 220

And also at the V&A is a FAT floor installation in association with manufactures Amorim, a trompe l’oeil, geometric pattern based on a scientific diagram of the cellular structure of cork.

And finally in the LDF guide book I have a short story type speculation on the future of the post-retail high street. London Design Guide 2014-2015

17 Sep 20:22

Cameras Designed To Find Rare Animals Could Catch Poachers Instead

by Kelsey D. Atherton
Camera As Set Up In Kenya

Cambridge Consultants

A project to photograph rare animals turns out to be a great tool for recording poachers.

The Instant Wild project, designed for the Zoological Society of London by Cambridge Consultants, started out as a quest to use motion-activated cameras to find rare animals in Kenya. But the project's creators quickly realized that the same technology could be used to photograph poachers in the act.

How the system works: Cameras take pictures when their motion sensors detect movement. Then these cameras transmit those pictures back to a central transmission unit, which may be hidden in the bush or a tree, and which contains a Raspberry Pi computer with a satellite uplink and a wireless receiver. That central unit then compresses the pictures and transmits them over the Iridium satellite network to the London Zoological Society servers.

The pictures go to subscribers of the free "Instant Wild" app (anyone interested in gawking at rare animals, really). This allows users to look at animals more or less in real time, with a press of the finger. There's even a field guide built into the app to help users identify animals, turning the whole thing into a game of sorts.

Here's how it becomes an anti-poaching technology: humans count among the animals that can be recorded and identified--bad news for poachers. Cambridge Consultants and the Zoological Society of London are now providing that data to the Kenya Wildlife Service, which battles local poaching.

So far, no poachers have been caught, but that's probably due to the newness of the system, which just completed trials in Kenya. Cambridge Consultants say there are plans to expand it by 100 more units this year and 250 more next year.

The camera units use off-the-shelf radios and cameras, have LED lights, and are battery-powered. For taking pictures at night, they use an infrared flash that doesn't scare animals or reveal the camera's position to poachers.

The project received a Google Global Impact Award. According to Richard Traherne, head of wireless at Cambridge Consultants, development of this system started "really at the beginning of this year and culminated in successful trials in July and August."

This isn't the first technology to try to stop poaching. In 2012, the World Wildlife Foundation received a Google Impact Awards grant to put wireless trackers on rhinos. In May, Tanzania used drones to fight poachers.

Catching poachers is great and all, but the poachers themselves are only the supply side of the problem. Demand for poached animals has increased in parts of Asia where members of a growing middle class use animal parts for herbal remedies, Time reports. That has created a wildly lucrative market for items such as elephant ivory and rhino horns. According to Time, wildlife trafficking is now a $7 billion to $10 billion industry. To really stamp out poaching, you need to eliminate the incentives and organized crime rings that form around it--unfortunately, something no camera system, no matter how sophisticated, can do on its own.

Watch a video explaining the cameras below:



    






17 Sep 16:51

Political Economy of Zombies: An Introduction

by John Powers
John Powers

An intro to an essay I wrote on zombies and OWS for a literary site.

Google search "Dawn of the Dead" 
Today is the 2nd anniversary of the Occupy Wall Street protests, and coinciding with the debut on Blu-ray of Brad Pitt’s zombie apocalypse epic, World War Z. This is an entirely arbitrary coincidence, except for the fact that the literary site, The Airship Daily is publishing a piece I wrote equating zombies with anti-capitalist revolution, and the zombie apocalypse with utopia; admittedly strange bedfellows - but not absurd. [Update: Felix Salmon wrote a terrific post in response to the essay for Reuters and David Graeber gave it an amazing endorsement via twitter.] Both neoliberalism and zombies are everywhere and unavoidable, and both mean something, something about us and the times we live in. The essay that The Airship has posted is plenty long, but I thought I’d post here a bit about why I chose to write about zombies: a genre, that growing up, I had actively avoided.


I would describe myself as a “not-zombie guy.” Those who are very serious about zombies, will be probably find the depth of my zombie knowledge wanting. In the essay, I admit upfront I am, at best, an “accidental expert” on the subject of zombies; that I’m a bit like Brad Pitt, who explains: "Four years ago, I knew nothing about zombies, wasn't really interested. Now I'm an expert." As best I can tell, that’s a situation a lot of us are in. Like vampires and wizards, zombies have gone from obscure ghouls of a fringe genre, to mainstream blockbuster fair. Hollywood has made a huge numbers of us accidental experts in. As the anthropologist (and Wall Street Occupier) David Graeber says, “any eight year old child in America knows more about how you kill a vampire than people who are actually from Transilvania.”


When The Airship contacted me and asked me if I’d be interested in writing something for them, I immediately suggested zombies. I had just finished reading Max Brooks’ novel, World War Z, but had done so on the heels of reading a bunch of essays by David Graeber - a self described anarchist who doesn’t like to be described as such (“I see anarchism as something you do not an identity so stop calling me the anarchist anthropologist”). It is Graeber who is credited with coming up with the the slogan “We are the 99 percent.” Graeber’s ideas ended up coloring my experience of WWZ, and got me thinking about what zombies had come to mean; especially about what they had come to mean in the past ten or so years.


But again, I backed into this thing. I have never considered myself a zombie guy. I am more of a not-zombie guy. In high school I can remember friends tying to lure me into watching George Ramero films, but I wasn’t interested. And while I loved 28 Days Later and Zombieland, it wasn’t because they were zombie movies, it was despite the fact that they were. Which is all to say that I had never intended on reading Brooks’ novel. In fact I had every intention of never reading WWZ. The first time I can remember hearing about the book it was from a precocious 13 year old, with acne and dirty hair. We were talking movies and he told me WWZ was “the best book ever.” And in addition to being a not-zombie guy, I can be a bit of a snob. Random 13 year old with dirty hair were a mark against Brooks. The Zombie Survival Guides and other hokum I’d see around the checkout counters of Barnes & Noble reinforced my first impression.


But then the New York Times ran a profile on Max Brooks. I think at some point I knew that Max Brooks was Mel Brooks’ son, but the connection hadn’t clicked. My dad loved Mel Brooks. I grew up watching his movies. But that’s not what got me to buy the book however. In the profile Brooks explains: “I’m not a horror fan, I’m an anti-horror fan.” That got my attention. I don’t find apocalyptic societal collapse or survival cannibalism titillating. I think Cormac McCarthy got it exactly right in his book the The Road. Apocalypse isn’t sexy, I don’t want to read a novelist who think it is. In my mind the breakdown of civilization isn’t Mad Max muscle men in fetish wear, its sickness and death. according to the profile, Brooks gets that.


The Times profile explains that in Brooks mind “most people in a zombie apocalypse would die not from zombie wounds or anything as sexy as that. They’d die, he explained, from the lack of a clean-water supply.” I also like how Brooks explained his reasons for joining the ROTC in college. “I wanted to serve,” he said. “It was Desert Storm. I thought, I was a rich kid, and America’s been good to me.” Brooks sounded, not only like a smart guy, but like someone whose ideas might appeal to me.


Brooks attitude towards the politics of his own government aren’t wholly unlike Danny Boyle’s at the beginning of 28 Days Later. Doyle’s story begins with the political disconnect that would allow for the engineering of an apocalyptic bi-hazard, by British authorities, and its accidental release by British animal rights protesters. Brooks’ zombies have no cause we ever learn. But he tells the story of fumbled early moments of the pandemic. Brooks places a lot of the blame, for the catastrophe getting out of hand, on wars he calls “bushfires.” WWZ was published in 2006, at a time, when personally I could hardly turn on the news because I could not stand the sound of George Bush’s voice. Evidently I wasn’t alone. Brooks tells us that the “bushfires” in Afghanistan and Iraq not only misspent the goodwill of the international community, they wasted the American people’s willingness and resolve to fight.  


Perhaps if he hadn’t start within that political context, Brooks story would more closely resemble the story told by Steven Soderbergh in his 2011 film, Contagion. A story of bureaucratic scramble and eventual, but hard-won, success; a story of how we work effectively as a society, rather than how yet another lone hero can save us all from our collective incompetence. (As it turns out, Brad Pitt’s adaptation of WWZ ended on just such a messiah-like moment of breakthrough/revelation.)


But the story Brooks tells in his novel is about people working together in systems, systems far more desperate than Soderbergh’s. Picture Sophie’s Choice repeated again and again on a mega-death scale around the globe. Each nation making that choice in its own way.In the book humanity's survival hinges on the “Redeker plan” - a strategy so grim that Brooks imagines the man who invents it as being driven mad by the horror of what he’s done. Not exactly the stuff of a conventional star vehicle. But then again, until relatively recently, who could have possibly guessed that Zombies would become the stuff of mainstream TV and Hollywood blockbusters?


Looking back at the zombie genre, I found myself dividing it into three distinct “ages.” The zombie pulp of the prewar period beginning with the fiction of H.P. Lovecraft and others, peaked with the prewar B-movie fare of films like White Zombie. Borrowing a term from Joshua Glenn, I’d call this period the zombie’s “Radium Age.” In an excellent post on zombies in film, Scott Hamilton explains that those early visions of zombies weren’t cannibal fiends, they were docile horrors:
In The Rainy Season, the book she wrote after spending years as a journalist in Haiti, Amy Wilfrentz argued that the zombie was originally a manifestation of the worst fears of Haitian slaves. Forced to plant and harvest sugarcane and other crops by their French masters, these men and women saw death as a release from their bondage, and looked forward to returning in spirit form to their African homeland. The prospect of being raised from the grave and forced to continue their labours was terrifying, because it suggested there was no escape, even in death, from slavery. The United States invaded Haiti in 1915, and remained in the country for two decades. During that time a number of American writers visited Haiti, and described the Vodou religion for their readers back home. Soon Hollywood was making movies with titles like Revolt of the Zombies and King of the Zombies.
The Radium Age is marked by overt racism and xenophobia. It ended with the first film of the “Golden Age”: George Romero’s 1968 cult classic Night of the living Dead. Until recently I had no idea I had lived through the Golden Age of the cannibal corpse. Certainly I had no idea that was what was happening at the time. Because when I was in high school, not even my Zombie loving friends could have predicted that zombies would enjoy a “New Wave” era. The Golden Age petered out during the 90, and that might have been that, if it weren’t for 28 Days Later. With Danny Boyle’s low budget masterpiece the zombie New Wave erupted, fully formed, like Venus from the foam.


Even after zombies jumped to the mainstream, it was only after the second $100M+ blockbuster that I realized zombies had undergone a sea change. And it was only after reading World War Z that I realized that the Zombie Apocalypse isn’t just a REALLY big zombie outbreak, it represents a change of kind rather than of quality. While Hollywood has made us all experts on how to fend off a Vampire, and survive a zombie outbreak, Hollywood can’t teach us is what zombies mean. The zombie zeitgeist is in no way stable over time. Lots of other people have lots of smart things to say about zombies as metaphors for consumerism, disease, ecological degradation, and even email. In my essay I don’t discuss Radium Age or Golden Age zombies, I stick to the New Wave, and even there I had to choose my battles (I don’t discuss the Hotlanta zombies, Rom-Com zombie, the recovering zombie, rapey zombies, or zombie superhero (much less zombies vs superheroes) - I pretty much stick to a few of the most popular films and books.


Addendum: In his post, Zombies in Utopia, Scott Hamilton comes to a very similar conclusion as me, and while I benefited from reading his ideas, I had finished the first draft of my Political Economy post a month before I saw his post. Quick shout-out to William Powhida, Arvind Dilawar, Dru Jay, Sarah and Dan Knight, as well as Jennifer Bostic - they, and plenty of others, helped this not-zombie guy make sense of zombies.
17 Sep 10:49

The Stock Market May Have Crashed 18,000 Times Since 2006 — And No One Noticed

by Tim Fernholz
AP/Henry Ray Abrams

What if someone told you the stock market crashed and spiked 18,000 times since 2006, and you had no idea?

That’s the contention of a group of scientists who study complex systems after analyzing market data, collected by Nanex, since the advent of high-speed trading. While the fallout of computerized algorithms has been seen before, including the infamous 2010 “flash crash,” when markets lost nearly 10% of value in just a few minutes, that same kind of sudden volatility is going on all the time, unseen.

In a new paper called “Abrupt rise of new machine ecology beyond human response time,” researchers found a new trading ecosystem that humans don’t even notice.

People can’t really respond to stimuli much faster than in one second. The benchmark comes from cognitive scientists who find that it takes 650 milliseconds for a chess grandmaster to realize that a king has been put in check after a move. Below that time period, you can find “ultrafast extreme events,” or UEEs, in which trading algorithms cause prices to change by 0.08% or more before returning to human-time market prices. This appears to be the case when many simple algorithms, operating on limited information, pile into a single trade.

“Down in the sub-second regime, they are the only game in town,” University of Miami Physics Professor Neil Johnson, who led the study, says. “It’s almost like you’re seeing them in pure form.”

This chart shows what an UEE crash looks like (box A), what a spike looks like (box B), and most interestingly, how the number of these events (in red and blue) has risen between 2006 and 2011 compared with the S&P index (in black). That list of stock symbols in green contains the equities that have the most extreme events, with the most likely at the bottom:

srep02627-f1

If you’ve noticed that the number of extreme events spikes around the time of the financial crisis, and the stocks most likely to experience them are bank stocks, you’ll see why the researchers are so interested in this hidden market: This pattern suggests the coupling between extreme market behaviors and global instability—”how machine and human worlds can become entwined across timescales from milliseconds to months”—and is also are seen more often before and after the kinds of “flash crashes” that people actually notice.

Regulators, though, aren’t keeping track of these events. That’s a problem, not just because of any potential forewarning, but also because trading at that speed creates volatility that makes markets less efficient.

“Are these 18,000 lucky breaks for one of the algorithms or 18,000 examples of a new form of inside trading?” Johnson says. “In terms of the information availability, it’s really hard to tell. It’s sort of strange to have that going on and have nobody know.”

The researchers say there’s much more to learn, especially at the border where human traders and robotic ones interact. One question is whether moving at computer speeds is inefficient because there’s less information available at that time scale—data just can’t move that fast, even electronically. Laboratory experiments suggest computers are more efficient on a human time-scale than a sub-second one. And if sub-second trading does continue, do market participants need to come up with sub-second hedges and derivatives to protect from this kind volatility?

Regardless, the complexity emerging naturally from high-frequency trading tends to be hard to comprehend for market participants and regulators alike.

“It’s sort of a collective, in some sense they all share responsibility and yet nobody’s responsible,” Johnson says. “Am I responsible for the traffic jam out on US 1? No, I’m just in it, but if no one was in it, there wouldn’t be one.”


    






17 Sep 10:41

Where to See Indie Fims: NYC Edition

by Jeremy Polacek

 

With a flair and fervor that were all hers, Pauline Kael wrote lovingly of films and the places that screen them. They were tawdry, earthy places — “rotten movies in gaudy seedy picture palaces in cities that run together, movies and anonymity a common denominator.” To her, going to the theater was a spectacular mass, a commonplace escape. You never watch alone in a theatre: “you know there must be others perhaps in this very theatre or in this city, surely in other theatres in other cities, now, in the past or future, who react as you do.” In short, movie theaters are special. So, in praise of cinema houses and sharing the dark — a list, in no particular order, of some of the best theaters in New York. I’ll see you at the movies.

*   *   *

Film Forum
209 West Houston St, West Village, Manhattan

FIlm Forum (image via mrmoneda)

FIlm Forum (image via mrmoneda)

Occupying one of the most fertile film corners in New York — nearby theaters include The IFC Center, Angelika Film Center, Sunshine Cinema — Film Forum stands out for its outstanding programming, a laudable yet lithe mix of new and old, independent and foreign, art house and horror, where retrospectives of Ozu and Jacques Demy share the calendar with Herzog’s and Murnau’s Nosferatu, Godard’s Contempt, and the family friendly and wonderfully film indoctrinating Film Forum Jr. series. My personal favorite all-purpose theater.

IFC Center
323 6th Ave, West Village, Manhattan

One of New York’s most versatile, eclectic theaters. There’s usually around a dozen films running on any given a day, offering the choices of a multi-plex within the welcoming, come what may hearth of an art house. Regular screenings tend to be new releases from the independent and foreign genres, but specials series like their midnight movies and weekend classics series shake things up, offering yet another chance to catch Eraserhead, The Holy Mountain, or Jaws.

Film Society of Lincoln Center
144/165 W. 65th St., Upper West Side, Manhattan

Elinor Bunin Munroe Film Center (Image via wwward0)

Elinor Bunin Munroe Film Center (Image via wwward0)

Lamentably, the Film Society sometimes gets tagged for being a far more stodgy and fusty space than it is; on the other hand, with a name like Film Society of Lincoln Center, maybe that should not come as a shock. Whatever the case, the truth is that the Society can be a really exciting, surprisingly fun house for films. Yearly festivals (New York Film Fest, LBGT NewFest, New Directors/ New Films), midnight movies (recently: Re-Animator, Pink Flamingos, Logan’s Run), new releases, and special series like the Cinema of Resistance unmask the Film Society as a serious and entertaining place, like one of your favorite, laid-back college professors.

Anthology Film Archives
32 Second Ave, East Village, Manhattan

Anthology Film Archives (Image via Anthology Film Archives)

Anthology Film Archives (Image via Anthology Film Archives)

Another official, rigorous sound place, Anthology Film Archives does the responsible yet consuming job of preserving and presenting some of cinema’s best and most original independent, experimental, and avant-garde films. A rare bird among film’s flock, Anthology Film Archives is one of those exceptional places; a priceless space to view uncommon and hard (sometimes near impossible) to see films, almost always in their original formats.

Museum of Modern Art
11 West 53 Street, Midtown, Manhattan

MOMA Film Pass (Image via JenGallardo)

MOMA Film Pass (Image via JenGallardo)

Museums like movies too. And MoMA does more than a respectable job of curating a good movie series, especially for the film-goer looking for a college course load of movies to view and chew on. As authoritative as you might guess, and at least a smidgen more interesting. Go for a movie, and save the van Goghs and Monets for another day, or just after the credits roll.

Museum of the Moving Image
36-01 35th Ave, Astoria, Queens

Museum of the Moving Image Sumner M. Redstone Theater (Image via gsz)

Museum of the Moving Image Sumner M. Redstone Theater (Image via gsz)

For Museum of the Moving Image, think MoMA, if you must, but more freewheeling. The See It Big! series, presenting recent and classic films on the big screen, always has a winner or two in it. One of the best parts is that many of the films come accompanied with winning introductions by filmmakers and critics. So the Halloween-time screening of Halloween is paired, of course, with with an introduction by an outstanding critic, this time Nick Pinkerton. Even better, daytime films tickets are free with museum admission while evening films entitle you to free museum admission, so either way you can—and should—stroll through museum’s astounding collection of movie lore props, clothing, and paraphernalia.

Nitehawk Cinema
136 Metropolitan Ave, Williamsburg, Brooklyn

Nighthawk Cineam lobby and bar (Image via Caliper Studio)

Nighthawk Cineam lobby and bar (Image via Caliper Studio)

Beer, food, and cinema — all under one roof. For many, this is a cause for joy. Confessionally, the servers delivering these foodstuffs — skulking around during the film —annoy me, but likely you’re not me and you want a bite to eat with your zombie apocalypse. Fair enough. Good thing is this: Nitehawk’s film schedule is quirky, inspired, and dependable; this is one of Brooklyn’s pilgrimages for a film, be it an indie flick, venerable classic, or trashy art.

Brooklyn Academy of Music
321 Ashland Pl, Fort Green, Brooklyn

BAM (Image via Adam Kuban)

BAM (Image via Adam Kuban)

Brooklyn’s institutional center of art also has a cinema—where they play cartoons and animated films and run Divine retrospectives. Usually, thought, they’re an earnestly reliable theater for the big-name independent and auteur films that sometimes pass by the big multi-plexs without incurring any interest. Currently, that means Woody Allen’s Blue Jasmine and Wong Kar-wai’s The Grandmaster. But then again, they too have that nastiest of films, Pink Flamingos, on their schedule, so either John Waters has really, really made it, or BAM is kinda cool or trying to be cool. Either way, it’s a win for everyone.

Light Industry
155 Freeman St., Greenpoint, Brooklyn
light indsuryLight Industry is a spiritual cousin of the film spaces that used to linger in and around New York, spaces that outside of Anthology Film Archives, largely no longer exist. But Light Industry is a younger, wilder beast, springing from “the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors.” An art house theater in name and agitation.

Also-rans:
This list is by no means exhaustive or authoritative. New places may excitingly open up; existing ones may lamentably close down. All lists must have an end. Moving-going, however, doesn’t have quite the same mortality, so go to the movies. There’s always more ready to point the way through the dark.

reRun Theater
147 Front St, DUMBO, Brooklyn

IndieScreen
289 Kent Ave, Williamsburg, Brooklyn

Museum of Arts and Design
2 Columbus Cir, Upper West Side Manhattan

16 Sep 16:32

John McCracken

by wyatt
John Powers

Finish Fetish

P1680125 almine_1500_0_resize_90 6260348268_c78f97b314_o McCracken6 David-Zwirner-John-McCracken-installation-1-200

John McCracken

Work from his oeuvre.

“The geometric forms McCracken employed were typically built from straight lines: cubes, rectangular slabs and rods, stepped or quadrilateral pyramids, post-and-lintel structures and, most memorably, tall planks that lean against the wall. Usually, the form is painted in sprayed lacquer, which does not reveal the artist’s hand. An industrial look is belied by sensuous color.

His palette included bubble-gum pink, lemon yellow, deep sapphire and ebony, usually applied as a monochrome. Sometimes an application of multiple colors marbleizes or runs down the sculpture’s surface, like a molten lava flow. He also made objects of softly stained wood or, in recent years, highly polished bronze and reflective stainless steel.

Embracing formal impurity at a time when purity was highly prized, the works embody perceptual and philosophical conundrums. The colored planks stand on the floor like sculptures; rely on the wall for support like paintings; and, bridging both floor and wall, define architectural space. Their shape is resolutely linear, but the point at which the line assumes the dimensional properties of a shape is indefinable.” – Christopher Knight, L.A. Times

John McCracken: Works from 1963-2011 is on exhibit at David Zwirner, New York through October 19th

16 Sep 13:35

Who are brands really talking to on social media?

by jaredadler
John Powers

These infovis maps are nicely impressionistic (if a bit drab in terms of content).

This is a long post, so here’s a summary.

  1. How sure are you that your target audiences are those that are reading and interacting with your content on social media?
  2. You probably don’t know.
  3. We applied a network analysis methodology to find out who a brand is actually talking to online.
  4. In an example, we find that ~43% of Zipcar’s audience follow the brand not as customers, but as environmentalists, avid travelers, entrepreneurs, or other niche interests.
  5. With this information, Zipcar can better decide what content to share that its audience will care about.

Don’t assume that brands’ fans or followers on social media are also the target audience of the brands’ products and services.

The whole point of marketing on social media is the ability to:

  • reach the right people at the right time with the right content
  • have two-way conversations with a community of loyal fans of your brand

You start a social media account for your company or brand, hire a community manager, (maybe) put some money into fan or follower acquisition, and voila, you have tens of thousands of people to talk to.

Marketers usually assume that these people are all customers or fans of whatever the brand sells. It’s also logical to assume that you should create content for your ‘target audience(s)’, because that’s who would check the brand’s social media page, right?

Maybe. Probably not, in our experience. On my research team at Hill Holliday, we have questioned these assumptions and tried to figure out a way to better know the people who follow or talk to a brand. So we developed a network analysis methodology to make smarter generalizations about these important groups of people.

An example: here’s who really follows @Zipcar on Twitter

We looked at Zipcar’s ~20,000 followers on Twitter. After collecting the data and identifying communities using Gephi, here’s what the network of followers looks like:

A visualization of Zipcar's network of followers on Twitter

Some initial details:

  • Each dot is a Twitter account that follows Zipcar. We’re looking at 20,944 Zipcar followers as of February 2013.
  • The 498,000 lines between the dots indicate that one account follows another account, a ‘connection’.
  • The different colors are highly-connected communities identified by a clustering algorithm. (this is the algorithm used by the tool to identify communities)
  • Bigger dots have more connections and might be influencers in general or within their community.
  • If dots are closer to each other, it means they have more connections in common than with dots that are distant. (we used Force Atlas to lay out the network)

An initial finding: most of those who follow Zipcar know someone else who follows Zipcar.

From this part of the analysis, we already know that beneath our original number – a follower count, used as a metric to measure success in social media marketing – a lot of those people ‘know’ each other. Over 70% of Zipcar’s followers have a connection with at least three other people that also follow Zipcar.

We also know that there are seven large and several medium-sized groups exist (the communities colored on the graph), and there may be something that the people in these groups have in common that explains why they have so many connections in common.

Groups of people that follow a brand and all know each other have something in common that brought them together.

One-by-one, we explored the communities to find patterns that may help us get from a context-less number – 20,000 followers – to some smart generalizations about 12 groups of a few thousand followers each.

To understand the communities better and make the generalizations, we do three things with the metadata of the accounts in each community:

  • plot each Twitter account’s location on a map to see if the community is defined by any strong geographic patterns (for this version, using the Google Geocoding API and Basemap)
  • extract keywords from the Twitter accounts’ profile descriptions to find patterns in the interests and hobbies that people often specify on their profiles (using the Twitter API and the Natural Language Toolkit)
  • read recent tweets from a subset of accounts from a community to identify patterns in Tweet content (manually)

Six communities have a location in common.

For Zipcar, we found that geography defined six of the twelve large communities; that is, these six communities showed a strong pattern in the location posted in user profiles in the communities. Their common geographies, all major cities where Zipcar has a large presence, are plotted below. Bigger dots on the plots indicate more community members in those locations.

Here they are, isolated in the network graph with their locations plotted on a map. (Bigger dots mean more accounts are from that spot on the map.)

Boston

Boston Communitymap0boston

Number of Accounts Average # of Connections
2129 23

Portland

Portland CommunityPortland Community Map

Number of Accounts Average # of Connections
493 21

Philadelphia

Philadelphia CommunityPhiladelphia Community Map

Number of Accounts Average # of Connections
309 9

Canada

Canada CommunityCanada Community Map

Number of Accounts Average # of Connections
493 8

Chicago

Chicago CommunityChicago Community Map

Number of Accounts Average # of Connections
701 15

Seattle

Seattle CommunitySeattle Community Map

Number of Accounts Average # of Connections
466 12

We can now make a generalization that many users in each community are either customers or local supporters of Zipcar in some of Zipcar’s major markets. With this assumption, we now know that there are six locations where Zipcar customers and supporters interested in the company on Twitter have hit a critical mass such that they exist as their own community.

Why aren’t all of the users in the Portland, Oregon community actually from Portland? First, recall that these groups were first grouped by their connections with each other. Examining their posted locations is a secondary task to understand whether geography plays a role in why this group of people is highly connected. For example, a Portland State University graduate friend who moved to New York City may still be part of the “Portland” community in the graph, rather than the New York City community, if he or she is more highly connected with college friends than new friends in New York. Second, the ‘Location’ field on Twitter is unstructured; users can opt to provide their true location (e.g. “Portland”, or “PDX”), but it’s common for users provide something ambiguous (e.g. “on a plane”). This leads to some inaccuracies with geocoding tools, which we used to determine location coordinates.

Six communities are defined by their interests.

The remaining six large communities have some special interest in common, which we discovered by examining common terms in users’ Twitter profile descriptions, and also by reading users’ recent tweets. The interests and top keywords for the groups are shown below. Looking at the top keywords in each community’s corpus of Twitter profile descriptions, it’s easy to see what they have in common that may have caused them to be so highly connected and defined as a group by our algorithm.

Here they are, isolated in the network graph along with top keywords from their profile descriptions:

Car Enthusiasts

Car Enthusiast Community

Top Keywords
car
auto
cars
news
automotive
London

Number of Accounts Average # of Connections
411 7

Technology, startups, social media marketing

black23startups

Top Keywords
love
media
social
marketing
life
music

Number of Accounts Average # of Connections
3797 10

People who care about ride sharing, urban transportation

Ride Share Community

Top Keywords
transportation
urban
car
community
sharing
city

Number of Accounts Average # of Connections
1295 16

Avid travelers

Travelers Community

Top Keywords
travel
car
world
rental
life
lover

Number of Accounts Average # of Connections
621 15

Environmentalists

Environment Community

Top Keywords
green
energy
sustainability
sustainable
social
environmental

Number of Accounts Average # of Connections
1281 33

People who use social networking for business

Networkers Community

Top Keywords
social
media
marketing
business
love
life

Number of Accounts Average # of Connections
1639 63

We can now make a generalization that many users follow Zipcar on Twitter for an aligned interest in improving the environment, ride-sharing, traveling, etc, and they may react positively to seeing content about these topics.

Use this type of research to know a brand’s audience better and direct content strategy at specific communities.

So, beyond this simply being nice to know, what can we do with this information?

  1. Influencers: If there is a community that the brand cares about, we can identify influential people within that community that already follow Zipcar and may be open advocates for the brand in future marketing efforts.
  2. Smarter Follower Acquisition: We can compare the audience sizes in these places with the markets that Zipcar cares about. Do the largest geography-defined communities correspond with the largest markets for Zipcar? If not, or if there are focus areas for the company that do not have a community of followers in the graph, we can work on a content strategy or more targeted advertising approach on Twitter to acquire more followers in high-priority markets.
  3. Better engagement expectations for location or interest-specific content: With the geography-defined communities we’ve identified, when Zipcar plans to publish location-specific content, such as a suggestion for a weekend trip, Zipcar can now have an expectation of how many of its followers would find such content relevant, and in the future, could re-prioritize location-specific content based on the sizes of these geography-defined communities.
  4. Smarter measurement: Measurements of engagement, click-through rates of links in tweet content, and other key performance indicators now have some added context, and can be more precise. Instead of reporting a measurement that 0.5% of Zipcar’s audience engaged with a Tweet about discounted rentals in Portland, we can now provide a conditional measurement: of those who follow Zipcar because they’re in DC, X% of users engaged with Portland-specific content (to get more precise, since we know which followers belong to each community, we could also determine if those who interacted with a DC-specific Tweet are actually part of the DC community, or if they are part of a different community).
  5. Smarter growth goals: We now have a benchmark for growing market-specific communities of followers. Depending on marketing goals, running this analysis on a quarterly basis would inform Zipcar how topic or location-specific content is growing audiences interested in these areas.

The post Who are brands really talking to on social media? appeared first on jared adler.

16 Sep 13:17

Spotlight: Renzo Piano

by Gili Merin

“Architecture is art, but art vastly contaminated by many other things. Contaminated in the best sense of the word – fed, fertilised by many things.” -Renzo Piano

Renzo Piano, the Pritzker-Prize Laureate born in Genoa, Italy, turns 77 today. While Piano was originally expected to follow the family tradition of building, Renzo rebelled to study architecture in Milan. Even so, to this day, Piano maintains a healthy skepticism of academia; indeed, craftsmanship and experimentation are both pillars at the Renzo Piano Building Workshop. Check out more Renzo Piano, including inspiring quotes and all his works on ArchDaily, after the break…

Although not known for any signature style, Piano’s varied works – from the Centre Pompidou he designed with Richard Rogers at the ripe old age of 35, to the quietly reverent Menil Collection in Houston, to the Shard that towers over London town – all show Piano’s mastery for architecture’s less “touchable” elements, such as light and air. In fact, according to Piano, his only constant is “this idea of making a building fly – creating something with zero gravity.”Perhaps that’s why the best of Piano’s work seems so transcendent – closer to “refined harmony rather than virtuosic display.”

On Architecture and Architects

“As an architect you are a builder. You are of course more than a builder. You need to be a militant, you have to be a poet, you have to be a visionary, you have to be an artist. But certainly you have to be a builder. Everything starts from there.” – in an interview with BBC correspondent, Razia Iqbal

On A Signature Style

“I think it is a trap. But what I don’t hate is ‘intelligence’ or ‘coherence’. Because coherence is not about shape, it is about something stronger, more humanistic, more poetic even.” –The Independent

Check out all the works by Renzo Piano on ArchDaily here.

26 Mar 15:08

“Soylent” Liquid Meals Will Save the World

by Alice Fumey
John Powers

what is the opposite of foodie?

soylent_yellow

Rob Rhinehart has found a way to stop eating. Tired of spending time, money and energy on preparing meals, this young American decided to find a new way to survive without actual food. He created a unique mixture called “Soylent”, which contains nothing but the elements the body needs: iron, vitamins, fat, calcium and dozens of other nutrients. This is minimalism in eating: Nothing in this beige milkshake-like beverage can be identified as coming from any recognizable food.

Rhinehart followed a strict Soylent diet for several weeks and was amazed by the results of the experiment. He felt and looked healthier, and saved money and time. You can read the whole story on his website, and even find the recipe to make your own Soylent shake.

Rhinehart describes food as the “fossil fuel of human energy”, a geopolitical issue that rules the world, dividing North and South, the starving and the obese. After water, we all need food. So will this invention solve the world’s food problems?

Rhinehart might forget something here. First, abandoning traditional meals would be to lose a huge part of our culture. Most, if not all people enjoy eating traditional food too much to stop. But Rhinehart objects that with the money you save with Soylent, you will be able to eat a fewer but better meals in the week, and to go out to restaurants more often too. To add to these cultural problems, this liquid diet might lack some essential elements, such as certain microbes or minerals, that can only be gained by eating a diversity of food.

It may be that a mixture of Soylent and traditional food could solve these nutritional issues. If you are interested in the experiment and would like to try it, you can subscribe on http://soylent.me/. And of course tell us about your experience!

26 Mar 15:07

“A sequence of imagery, taken over nine days, showing the...



“A sequence of imagery, taken over nine days, showing the digging, operation and filling of a mass grave at the Daryya Mosque, south of Damascus.”

“American diplomats and international rights groups have already pointed to DigitalGlobe’s imaging research of Syria in their analyses of the ongoing conflict. Wood believes the precision of their satellite technology presents a new phase in watching wars. “The industry that we belong to can shed a light of transparency on modern conflict the world hasn’t seen before,” he says.”

The Destruction of a Nation: Syria’s War Revealed in Satellite Imagery | TIME.com