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Runnin, wa?

Tallin Manual

When the Joker Was a Contemporary Artist

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Afterwards, the Joker enters an art contest and is pitted against artists with somewhat familiar names, includingPablo Pincus, Jackson Potluck, Leonardo Davinski, and Vingent van Goes. After winning the contest by applying a single dot of purple paint onto a canvas the Joker decides to open up an art academy of his own to teach his students “the secrets of Modern art.” This is of course a plot, it is The Joker after all, in which one of Batman’s archenemies only accepts extremely wealthy citizens as his students in hopes to gain access to their money.
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Глушит машину ноутбуком!

improving wifi signal

this morning improved the wifi signal in the house by strategically placing an aluminum tray.

the art of sleep - young-hae chang heavy industries

East Japan Earthquake Archive

VIA

Open letter to djs playing in our country - make sure you dont copy tracks!

Dear Dj's

You might not know that Germany has officially joined the ranks of countries that now has a Digital DJ License. German law and the german licensing company, GEMA, make things a bit more complicated than you might expect. So, this is your chance to catch up, or have a laugh, whatever you prefer.

What all of this means is, that if you play a track that is a copied version of something you bought legally (or got for free as a promo), for example on a CD you burnt or on a USB stick, you might have to pay GEMA a license for copying. Even if you play tracks from an external hard drive this license applies. It applies to tracks you might copy from a backup to your computer too. For tracks to require a license, it is not necessary that you play them while you are doing your best DJ set ever in germany, but to carry them with you with the intend of playing them while in a club is enough.

Now this does not apply to all your tracks you might have copied this way. As far as we know, if you copy a track in Germany, like for instance in a hotel room while on tour, just every track you copied in our country will be a track to which this license applies.

Now, how is this supposed to work? And why might it apply to you?

In general, every one of these tracks will cost you 0,13 Euro. You may even buy package-deals from GEMA for 50 Euro per 500 Tracks. Should you be terribly unlucky and your hard drive crashes, you will have to pay a fee of 125 Euro for all tracks, if you have more than 1000. Btw. you are not allowed to tell GEMA what tracks you actually play, so there will be no chance, that any of the money you are supposed to pay, will ever end up in the hands of the artists you support.

Still with me? Ok. So how would you pay this you might ask? GEMA imagines you will make a contract with them, that might even enable them to look through your computer, just in case you did anything wrong. Yes, we think this is strange too.

Will they really enforce this crazy license, and if so, how? Well, nobody knows so far, as it will only start the 1st of april (not an april fools joke though). We just thought we might give you a heads up, if anybody ever asks you in our country if you copied some of the tracks you play recently, or should you feel the urge to post on your social media outlets anything like: just got these crazy tracks from my friend and will play them tonight.

Yes this license applies to tracks you got from friends that are in the GEMA or any other licensing company and even to your own, if you have a contract with one. So don’t even think about playing tracks that you just produced on the road in germany.

James Blake - Digital Lion

Artista Callejero tocando una valla

HU prez Áder on 4th amendment

Anita Sarkeesian, Too Many Dicks, 2010.

Cutmeoff!

HERE

Is my computer on?

HERE

LeDuchamp

turn the road of Duchamp

HERE

I watched riddlydiddly.....

400 sec and goin ... HERE

Woodkid - Run kid run

Woodkid - Run Boy Run (Official Video HD) from WOODKID on Vimeo.

For you

Solidarity banners




HERE




Flyin' Lotus - Dance Floor Dale - Parisian Goldfish

Unmenschliche Musik

Procedural representations of Sex in videogames

  HERE

A few messages ago, talking about an interdisciplinary collaboration in game development, Renate Ferro mentions the clash of culture between students from art school, tasked with the conceptualization of new games, and engineering students, in charge of their technical implementation:

"Feedback from the gaming students provided insight that the collaborative plans were too "difficult" to realize with their relatively new programming skills. I rather doubt that now. The artists gave up disappointed that their collaborative ideas and conceptual drawings were for nothing."

I'd say that the project, from what I gather, was a recipe for disaster from starters. Videogame development is an iterative process that requires a certain familiarity with computation and game design in general. Fresh perspectives from other fields should be encouraged, but setting up a hierarchy of artists/ideators and engineers/makers, especially when gender divide and different campus cultures come into play, is a really bad idea. As permaculture suggests, the most interesting things happen in the margins, where different ecosystems collide and mingle. We should cultivate these liminal spaces in our institutions and in society in general, but this has to involve a certain fluidity of roles. Programmers need to be able solve the most peculiar "problem" which is to create new and interesting problems. Artists need to get their hands dirty with code and adopt a process that is as user-centric as it is egocentric. I wouldn't dismiss the possibility that artist-driven designs were actually extraordinarily difficult to implement. Media and technological platforms are not infinitely malleable. They have structural features that can make the resolution of certain problems extremely easy, while seeming completely unfit for the resolution of other kind of problems. Technologies have a history crystallized in their DNA.

The first computing machines were invented to calculate trajectories of bombs and to assist the Nazi in identifying and tracking Jewish people. It's not surprising that the descendant of those IBM punch cards are apparatuses tracking and profiling consumers while the history of computer games is mostly a history of ballistic. Since SpaceWar!, bastard child of the Cold War's military industrial complex, games have been privileging Newtonian materialism, and worlds made of objects moving in space and clashing with each other. From these early day of computing there has been an accumulation of knowledge enhancing certain social functions of software like predictive simulation, 3D immersion, long distance communication, cataloging and sorting... all of which are driven by military/industrial desires (although, obviously, can serve other emerging purposes and are subject to hacking and hijacking). In a recent talk about procedural representations of sex in videogames (http://www.molleindustria.org/blog/fucking-polygons-fucking-pixels-on-procedural-representations-of-sex/)

I hyperbolically claimed that we created technologies which make the simulation of a grenade launcher way easier than a caress. It's not technological determinism, but rather the recognition that a techno-cultural form like videogames, made by hardware, software, protocols, formats, interfaces, algorithms but also tropes and cultural expectations, may oppose a good deal of resistance when derailed to an unusual direction. This is something I often experience. When working on Unmanned, which not coincidentally thematizes some of these issues, I was interested in complicating the obvious equivalence "drone warfare == videogames". I wanted to make a nuanced game about introspection, verbal communication and existential dissonance. In all its awkwardness, I'm mostly satisfied by the result but I felt frustrated and miserable during the whole development process. I felt like I was trying to force feed the machine with a terribly unmodular and qualitative material it couldn't digest. On the other hand, I had a lot of fun developing my latest game (to be released soon), which is an ironic take on a top down shooter. I was solving problems that have been solved many times before: trajectories, movements in space, collisions and so on.

Computers and game frameworks evolved to deal with them. If you are a techno-essentialist, or a game-essentialist, you may be tempted to surrender to the medium's destiny: there are certain things games just don't do very well, and you would be better off writing a book or singing a song. But that would be a rather depressing view. Technologies are also shaped by their misuses.

 Paolo  via mail

Pony Tulpa Thread Simulator

Welcome to the desert of the real

Welcome to the desert of the real from paolo pedercini on Vimeo.

A prayer to Google

A Prayer to Google from paolo pedercini on Vimeo.

Molleindustria

Molleindustria from paolo pedercini on Vimeo.

Corridors

Corridos the game has two neighborhoods semi-factually based on two nearby neighboorhoods on the us mexican frontier; a section of downtown tijuana and an adjacent mall in us san ysidro. The neighborhoods were modeled by looking at maps and taking photos.

 HERE

Tropical America

HERE

What is a Tulpa?

Alright, so it's time to re write this a bit, just because I feel like I didn't go in depth enough describing what a tulpa is, as opposed to what it is not. Anyways, this is just a quick update on this entire thing, and of course I'm leaving some things from the old version behind. Note that the following is all about a psychological interpretation of tulpae.

What a tulpa is has two main parts, the first part is sentience, and the second part is hallucination/ projection.

The sentience is basically a product of your unconscious mind; you create by fleshing out through personality work and narration. You're basically taking an already existing part of your mind, and defining it until it becomes what you experience as sentient. Now the tulpa is not actually its own sentient being, the tulpa is a product of your mind that you are experiencing as sentient. Really, there is no difference between the two, since the outcome for you is the same. That being said, by defining these personality attributes and talking to your own mind until it is able to talk back you're creating a false personality within your mind- one that is not a personification of your subconscious, but rather a being built on it.

This sort of sentience entails: autonomous thinking, decision making skills, the tulpa having its own set of likes, dislikes, pleasures and emotions, the tulpa having different thoughts from you, and the like. The tulpa will be able to talk and function on its own. But note that because the tulpa is a being of your subconscious, they are always within your mind, and do not exist elsewhere. Even if they have a body that is merely a projection of a form that is being controlled by them from the mind. Really the form is NOT the construct, the sentience is. The body is not really for their benefit, it's mostly for yours.

Note that you cannot have a proper tulpa without working on personality and narrating. You have to give time for sentience to develop, or else you'll end up with something known as a servitor: basically just a form with no sentience controlling it, a hologram. However, you can have a tulpa without a form; they are more optional.

The next, part of what a tulpa is, is the form. Basically, you make a form of your choosing to allow the sentience to control, which you will experience as a separate being. Of course the tulpa will still exist within your mind, but, they will be controlling this form which further personifies them and allows you to interact with them in the real environment. You're making this form within your mind, working on it so intensely that you are able (after a grand amount of time) to impose them on your environment and have the tulpa be able to control the form.

That's a basic explanation of what a tulpa is.

Now I would like to debunk some myths regarding tulpae and innate mental illness. The first one I'm going to tackle is Dissociative Identity Disorder, formally known as Multiple Personality Disorder. This disorder is characterized by time gaps where the person doesn't know what happened, or where time has passed and the person has apparently done something and not remembered. The other major symptom also includes other ‘personalities' or consciousnesses taking over your body. The disorder is caused by traumatic events, usually in childhood.

Here's why creating a tulpa is not DID. You can't manifest DID by belief and imposition. Alternate personalities are within your mind, not imposed on your surroundings in a vessel of sorts. Tulpae cannot take control of your body if you do not will it. Tulpae (even in a possession state, which is purely theoretical at the time of writing) would not cause you to black out while you're in control. An alternate personality depends on your body to have its own form. Note that you cannot have MPD and subsequently make it into a tulpa.

Secondly, a tulpa is not schizophrenia. Some people like to call it self enforced schizophrenia but this in and of itself is an oxymoron. You can't give yourself schizophrenia. People ask about it on /x/ all the time, and are met with utter disgust. You can't give yourself a mental illness you're born with. That would involve drastically changing the chemical make up of your brain.

You can apply this thinking to most mental illnesses people inquire about. A large chunk of insanity manifests in not knowing that you're insane. You realize that your tulpa is part of your mind, and you treat is as such. Insanity ensues when the lines between reality and fantasy blur. By looking at things from an explainable stand point you keep your perspective and see that the tulpa is just a vessel and representation of your subconscious and its interworking mechanisms.

When you make a tulpa, some people are foggy or mislead about what you're actually doing to your mind. First, you begin the sensory excursion, and with repetition, you can imagine it perfectly. Nothing is so strange about making an image very familiar to your mind's eye. Then, you start talking to it. When you don't create responses for the tulpa, your mind actually begins to see the thing you're sending the messages to as another being. This is when it experiences itself subjectively.

The part of your subconscious you have sectioned off then becomes to take a shape of its own, furthering the schism. Your tulpa is now sentient. After, when you begin to impose the tulpa, you're playing on the sensory details you've already been focusing on until this point. You were imagining them in your head before, now you're actually enforcing them on your senses.

So, in short, that's a basic breakdown of what a tulpa is.

The content on this page cannot be redistributed without linking to the original source and crediting Dane/FAQ man. VIA

Harlem Shake Illegal in Saint Petersburg, Russia’s Cultural Capital

A teenager was charged with holding an unauthorized assembly after being detained at a Harlem Shake flash mob in St. Petersburg on Sunday. Vasily Zabelov, 17, is seen on a video on the Fontanka.ru website being led by two policemen to a police car following the flash mob, which drew hundreds to a site near the Galereya shopping center next to the Moscow Railway Station on Ligovsky Prospekt.

In answer to a question from a reporter asking what Zabelov was being detained for, one of the policemen in the video tells the reporter to contact the police’s press service. Speaking on Tuesday, Zabelov said he was held for two-and-a-half hours at a police precinct before charges were pressed. He said that his case will be heard by the commission of minors’ affairs, rather than in court, because of his age.

He described himself as the event’s chief organizer, saying that he used some help from a friend to get sound equipment and a camera. According to Zabelov, the event drew 300 people, who were then joined by passers-by, increasing the number to 500. He said he was a student welder at the Russian College of Traditional Culture. Earlier, Zabelov told the RIA Novosti news agency that he faced a fine of 10,000 to 50,000 rubles ($325-$1,630) and that he would appeal to online communities if fined. Zabelov said he took his detention “in a negative way.” “In my view, the government should give people the right to relax and have some fun. It’s not a political rally or anything, is it?” he said.

Harlem Shake is an Internet meme that peaked in popularity last month. Groups of costumed people gather unexpectedly at different, often unlikely locations across the world to perform a wild dance to the track “Harlem Shake” by American DJ and producer Baauer. Videos of the event are later uploaded to the Internet. The police said that “policemen stopped the unsanctioned event,” Interfax reported, but the police’s claim was denied by Zabelov and other participants who say police stepped in after the event finished.

Two St. Petersburg residents were said to have called police, saying that that the event obstructed pedestrians. In the past 12 months, St. Petersburg police have dispersed — and detained some participants of — a number of unlikely non-political events held by local teenagers. These included a pillow fight, a snowball fight and a Michael Jackson memorial event.


  VIA

Olde Payphone channels their inner goat.

Birthday of Pier Paolo Pasolini

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Monsieur Yoda - Combo

Lol

Old-school Batman drops suspect at police station

LONDON – Some Critical Engineering: A man dressed as Batman has brought a suspected burglar into a police station in northern England. West Yorkshire Police said Monday that they do not know the identity of the man who appeared in “a full Batman outfit” and turned in a 27-year-old suspect to police in Bradford, England. CCTV images released by police show a caped crusader – fully-clad with the comic hero’s boots, gloves and logo across his chest – standing alongside a man in a red hooded sweatshirt.

VIAhttp://metronews.ca/news/world/581406/old-school-batman-drops-suspect-at-police-station/

THE CRITICAL ENGINEERING MANIFESTO

0. The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.

1. The Critical Engineer considers any technology depended upon to be both a challenge and a threat. The greater the dependence on a technology the greater the need to study and expose its inner workings, regardless of ownership or legal provision.

2. The Critical Engineer raises awareness that with each technological advance our techno-political literacy is challenged.

3. The Critical Engineer deconstructs and incites suspicion of rich user experiences.

4. The Critical Engineer looks beyond the 'awe of implementation' to determine methods of influence and their specific effects.

5. The Critical Engineer recognises that each work of engineering engineers its user, proportional to that user's dependency upon it.

6. The Critical Engineer expands 'machine' to describe interrelationships encompassing devices, bodies, agents, forces and networks.

7. The Critical Engineer observes the space between the production and consumption of technology. Acting rapidly to changes in this space, the Critical Engineer serves to expose moments of imbalance and deception.

8. The Critical Engineer looks to the history of art, architecture, activism, philosophy and invention and finds exemplary works of Critical Engineering. Strategies, ideas and agendas from these disciplines will be adopted, re-purposed and deployed.

9. The Critical Engineer notes that written code expands into social and psychological realms, regulating behaviour between people and the machines they interact with. By understanding this, the Critical Engineer seeks to reconstruct user-constraints and social action through means of digital excavation.

10. The Critical Engineer considers the exploit to be the most desirable form of exposure.



  VIA

God Save The Burger!

The Social Ties That Unbind - An Xiao

Who Shall I Be Today? (via keboch.wordpress.com)
Using social media in an unbounded way has served many artists well. Take, for instance, the story of Ma Yongfeng. A Beijing-based artist known for his conceptual works, he maintains a variety of online personas depending on the type of piece he is producing. His most well known is Forget Art, a collective of artists playing with redefining public art and public space. But he’s also adopted the persona of the Youth Apartment Exchange Program, a Weibo-based social media art practice, not to mention his own online persona as Ma Yongfeng, the artist. Each identity reveals a facet of him without tying him down to a specific practice.

Closer to home are examples like Jayson Musson, who uses the online persona Hennessy Youngman to full effect. While Musson is relatively quiet and unassuming, his brash, online alter ego allows him to mock the art world in his popular Art Thoughtz series. Everyone is in on the ruse, but if YouTube required that even online personas be tied to one’s real name, it’s hard to imagine Musson achieving the same kind of effect. Much as artists have used pseudonyms to enable a wider variety of creative expression, Musson has embraced a more unbounded use of artist names online.

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Scientifically Accurate Spiderman

Scientists Uncover Invisible Motion in Video

“Once we amplify these small motions, there’s like a whole new world you can look at,” he said.

HERE