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336.
名稱gwrxEmail:
 留言時間:2017-03-05 08:15:22
留言內容
https://nol.ntu.edu.tw/nol/coursesearch/print_table.php?course_id=125%20M3200&class=&dpt_code=1250&ser_no=68250&semester=105-2&lang=CH

一般性參考資料
Boellstorff, Tom, Bonnie Nardi, Celia Pearce and T. L. Taylor
2012 Ethnography and Virtual Worlds: A Handbook of Methods. Princeton.
Coleman, Gabriella
2010 “Ethnographic Approaches to Digital Media”, Annual Review of Anthropology 39: 487-505.
Hine, Christine
2015 Ethnography for the Internet: Embedded, Embodied and Everyday.
Nardi, Bonnie
2015 “Virtuality,” Annual Review of Anthropology 2015: 14-31.
Pink, Sarah, Heather Horst, John Postill, Larissa Hjorth, Tania Lewis, and Jo Tacchi
2016 Digital Ethnography: Principles and Practice. London: Sage.
Hjorth, Larissa, Heather Horst, Anne Galloway, Genevieve Bell
2016 The Routledge Companion to Digital Ethnography. London: Routledge Companions.

重要參考期刊
Journal of Computer-Mediated Communication
New Media and Society


335.
名稱gwrxEmail:
 留言時間:2017-02-12 18:17:34
留言內容
https://docs.google.com/document/d/1H9I0zjUtZoU-ZkYNHVxNV0dT40gMXpb0YxuTqVyDEvE/edit?usp=sharing
我的作品目前的創作方式是每天畫一點,因為每天需要做的事情太多,如果花太多時在創作上,會有罪惡感。現在這個創作方式,其實有點像是機率當中的Markov chain,每天我開始創作的點是根據上一次的停止的地方,決定下一步要怎麼做,而不是一開始就決定要如何進行下一步的創作。雖說主題是一開始就決定的,但是主題本身如何發揮,則是根據前一狀態下進行下一個狀態。因為本身有習慣的創作方式,所以通常上一個點如何影響下一個點,是有一定的機率,也就是當作品會有一定的風格。所以如果機率改變,也就是短暫不再是Markov chain,就進入了新的Markov chain的狀態。整體來說,創作方式是固定的,但是每次的機率是有可能被變動,不過整體來說是平穩的發展。這方法有點像是半自動式創作,不過根據我原本的生活經驗與閱讀,我想其轉變為更具有離散性格的機率分布。這樣的方式進一步來說,是創作方式自我宣稱我的作品是有效的作品,機率分布則是證明的方式。藉由可被驗證的方式來宣稱作品的有效性,同時否定了藝術的自我宣稱姓,同時肯定了藝術必須自我宣稱,達到了二難且進退無路的新狀態,否定了機率的可能性。


334.
名稱gwrxEmail:
 留言時間:2017-02-09 08:20:15
留言內容
https://www.academia.edu/31080054/What_might_an_anthropology_of_the_internet_look_like?auto=download&campaign=weekly_digest
不過可惜是用類比跟演化論的角度去談網路
當用類比去談網路的時候
會因為網路的確是具有某些性質,如溝通與交談,發現他與之前的差異,如非face-to-face,而認為這是網路的特質
而忽略了當大量的非face-to-face交談與流言在網路流傳時,這些文字就不是溝通與交談,而是某種真實(請到哲學系)與事實(請到考古系)

下面的這段如果是用David Harvey的時空縮短來講
會比用virtual更能貼近網路的影響
因為virtual已經是真實了
支付寶/阿里巴巴的線上平台的存在沒有比實體貨幣弱於交易特性
而且家戶/creole society是否適用於此,還是需要他進一步說明的

Daniel Miller and Don Slater have good news for traditional ethnographers: the internet does not make any difference. In The Internet: an ethnographic approach, their fieldwork-based monograph on Trinidad, they rightly argue that cyberspace should not be treated as a separate sphere of social activity; but, instead of exploring the dialectic of virtual and real experience, they reduce the former to the latter, claiming that what matters is the location of internet users in everyday life, where they can be studied by ethnographers, of course. This leads them to ignore business-to-business exchange (b2b) altogether and to approach e-commerce solely through business-customer interaction on websites. In order to generalize from a small sample of households, they assert the unity of ‘Trinidadians’ as a national group in defiance of fifty years debate about the racial and class composition of creole society. So the old Malinowskian recipe appears to be alive and well in the insular Caribbean. But there has to be more to it than that.


333.
名稱gwrxEmail:
 留言時間:2017-02-05 17:46:45
留言內容
Recommender System and Web 2.0 Tools to Enhance
a Blended Learning Model
Natasa Hoic-Bozic, Member, IEEE, Martina Holenko Dlab, and Vedran Mornar, Member, IEEE
Abstract—Blended learning models that combine face-to-face
and online learning are of great importance in modern higher
education. However, their development should be in line with the
recent changes in e-learning that emphasize a student-centered approach
and use tools available on the Web to support the learning
process. This paper presents research on implementing a contemporary
blended learning model within the e-course “Hypermedia
Supported Education”. The blended model developed combines a
learning management system (LMS), a set of Web 2.0 tools and the
E-Learning Activities Recommender System (ELARS) to enhance
personalized online learning. As well as incorporating various
technologies, the model combines a number of pedagogical approaches,
focusing on collaborative and problem-based learning,
to ensure the achievement of the course learning outcomes. The
results of the comparative study show the effectiveness of the
proposed model in that students who performed personalized
collaborative e-learning activities achieved better course results.
These findings encourage the further application of the model to
other computer science courses.
Index Terms—Blended learning model, collaborative learning,
recommender systems, Web 2.0.


332.
名稱gwrxEmail:
 留言時間:2017-02-02 22:54:28
留言內容
https://github.com/Microsoft/CNTK
IEEE TRANSACTIONS ON INTELLIGENT TRANSPORTATION SYSTEMS, VOL. 18, NO. 1, JANUARY 2017 Personalized and Situation-Aware Multimodal Route Recommendations: The FAVOUR Algorithm Paolo Campigotto, Christian Rudloff, Maximilian Leodolter, and Dietmar Bauer

Abstract—Route choice in multimodal networks shows a considerable variation between different individuals and the current situational context. Personalization and situation awareness of recommendation algorithms are already common in many areas, e.g., online retail. However, most online routing applications still provide shortest distance or shortest travel-time routes only, neglecting individual preferences, as well as the current situation. Both aspects are of particular importance in a multimodal setting as attractivity of some transportation modes, such as biking, which crucially depend on personal characteristics and exogenous factors, such as the weather. As an alternative, this paper introduces the FAVourite rOUte Recommendation (FAVOUR) approach to provide personalized, situation-aware route proposals based on three steps: first, at the initialization stage, the user provides limited information (home location, work place, mobility options, sociodemographics) used to select one out of a small number of initial profiles. Second, based on this information, a stated preference survey is designed in order to sharpen the profile. In this step, a mass preference prior (MPP) is used to encode the prior knowledge on preferences from the class identified in step one. Third, subsequently, the profile is continuously updated during usage of the routing services. The last two steps use Bayesian learning techniques in order to incorporate information from all contributing individuals. The FAVOUR approach is presented in detail and tested on a small number of survey participants. The experimental results on this real-world dataset show that FAVOUR generates better quality recommendations w.r.t. alternative learning algorithms from the literature. In particular, the definition of the MPP for initialization of step two is shown to provide better predictions than a number of alternatives from the literature.


331.
名稱gwrxEmail:
 留言時間:2017-01-29 07:45:15
留言內容
https://courses.csail.mit.edu/6.006/fall11/notes.shtml

MIT algorithm


330.
名稱gwrxEmail:
 留言時間:2017-01-27 22:13:21
留言內容
"We have highlighted so far some HCI issues that have been tackled in RS research
and which are discussed in this handbook. In summary, we have noted that how the
system presents and visualizes the computed recommendation is obviously a critical
factor for the acceptance of the recommendations and the RS.
Presentation and explanation techniques are not easily separable; a good presentation
technique is also capable of explaining recommendations but also in motivating
the user to make further requests, including requests for explanations. One
common aspect in the technologies presented so far is the fact that recommendations
are presented as a list of items. The length of this list can vary but the output of the
core recommendation algorithm is normally a ranked list and this has been always
exploited in the presentation." Recommender System Handbook, p21


329.
名稱gwrxEmail:
 留言時間:2017-01-27 22:10:57
留言內容

"In practice, users need recommendations because they do not have enough
knowledge to make an autonomous decision.", Recommender System Handbook, p17

"[105] and other similarly oriented researchers do not diminish the importance of
the recommendation algorithm, but claim that its effectiveness should not be evaluated
only in terms of the accuracy of the prediction, i.e., with standard and popular
IR metrics, such as MAE (Mean Absolute Error), precision, or NDCG (Normalized
Discounted Cumulative Gain) (see also Chapters 8 5, 9). Other dimensions should
be measured that relate to the acceptance of the recommender system and its recommendations." p18



328.
名稱gwrxEmail:
 留言時間:2017-01-27 22:04:30
留言內容
這篇是比較技術性的推薦系統研究
Parallel context aware recommender system using GPU and JCuda
Richa; Punam Bedi
2016 International Conference on Advances in Computing, Communications and Informatics (ICACCI)
Year: 2016
Pages: 1383 - 1389, DOI: 10.1109/ICACCI.2016.7732241


327.
名稱gwrxEmail:alex@ma.com
 留言時間:2017-01-24 15:20:16
留言內容
所經歷的一切都是在打底
讓未來更精彩


326.
名稱gwrxEmail:
 留言時間:2017-01-20 10:25:00
留言內容
1. Introduction to anthropology fieldwork
This paper offers a case of Orchid Island to explain how participant observation of
anthropology is different from other disciplines.
余光宏
1996c 參與觀察與參加觀察:以蘭嶼經驗為例略論參與觀察的階段與深度。國立臺灣大學
考古人類學集刊 51:59-72。
(https://www.ioe.sinica.edu.tw/WebTools/FilesDownload.ashx?Siteid=530167135246736660&
Menuid=530167136416504370&fd=ResearcherPublication&Pname=etygh-0015j.pdf)
2. Chinese Kinship in a Taiwan Rural Village
This paper studies kinship in a Taiwan rural village via analyzing verbal expression in
anthropology fieldwork.
林瑋嬪
2001 漢人 ‘親屬’ 概念重探:以一個台灣西南農村為例。中央研究院民族學研究所集刊90: 1-38
。( http://homepage.ntu.edu.tw/~anthro/download/article/wplin/wplin_2001.pdf )
3. Becoming Chinese - How a Minority is becoming Han Chinese via Oral History
This paper is an history anthropology studies. It adopts participant observation, written and oral
history to show Qiang (a minority) represents them as Han Chinese via integrating their mindset into Han
history.
王明珂
2001 歷史事實、歷史記憶與歷史心性。《歷史研究》5 (2001): 136-147。
(http://ethno.ihp.sinica.edu.tw/download/download_2001W.pdf)
4. Chinese Mafia in Malaysia
This paper describes how Chinese culture and language were transformed to a secret symbol
system that used by gangsters.
麥留芳
2007 早期馬來亞華人會黨之田野資料。民族學研究所資料彙編 20 : 1-37, 2007。
(file:///C:/Users/Emile_liu/Downloads/FM20-01.pdf)
5. Migration in Chinese Society
This paper explores how a chinese society recruits migrations as their members in kinship term.
劉榮樺
2001 外國太太在台灣—以屏東萬金為例的人類學研究。人類與文化 34 : 9-25。
(http://gwrx.itaiwan.net/matsu-first.pdf)


325.
名稱gwrxEmail:
 留言時間:2017-01-12 08:10:39
留言內容
Title: Industrial Program Comprehension Challenge 2011: Archeology and Anthropology of Embedded Control Systems
Year: 2011
Source: 2011 19th IEEE International Conference on Program Comprehension
Authors: Andrew Begel, Jochen Quante
Critics: 這篇文章目的是要徵求應用the best “archaeological” techniques for understanding the complexity of industrial software, and foster appreciation for the delicate “anthropological” scenario which drives the behavior of the software engineers, management, and customers. 文章內容提到開發流程以及要解決的問題,是蠻有意思的方向,不過似乎像是硬要把考古學跟人類學加上去。


Title:Techno-Ethics: Upon Shifting Selves and Translocal Networks Constructing the Metropolis
Year: 201ˊ
Source: Ethics in Engineering, Science and Technology (ETHICS), 2016 IEEE International Symposium
Authors: Philip J. Chmielewski
Critics: 這篇文章目的提到人類學如何用於工程倫理,他提到"Michael Lambek has pursued ethnographic projects in both Switzerland and Madagascar. In his recent work concerning the interrelation of ethics and action, he has emphasized the information character of ethics.Lambek delineates two forms of human action -- the mimetic and the forensic. The forensic emphasizes practice, that is, continuous activity. Mimetic action is performance expressed in discontinuous acts. “Performance instantiates the criteria that organize and evaluate practice . . . .”。人類學家不只運用資訊的詞彙於田野研究,同時人類學的研究也可以幫助理解不同文化的人如何面對ICT(Information, Communication and Teachnology),如"Native American anthropology offers yet another approach to system and device ethics. The figure of Coyote frequently can be understood to represent the socially ambivalentcapacity of cunning."


324.
名稱gwrxEmail:
 留言時間:2016-10-16 17:30:21
留言內容
假設我做了以下的一百篇的文獻回顧
1.家屋理論
家屋社會中的成員藉由家屋本身成為社會的成員,但是過去的研究都只侷限於社會中部分家屋成員的活動研究,這是人類學的研究方法的限制,無法對大量家屋的資訊做研究
2. conceptual metaphor
隱喻被廣為運用在生活中,所以研究者與被研究者對於家屋社會的描述可能也是具有隱喻性,隱喻的重要性在於集體的想像,但是研究者是否反而被眼前的隱喻導引到錯誤的研究方向?必須有個能綜觀的方法去觀看聚落內與聚落外的的各個家屋之間的可能關係

3. random walk, random variable and markov chain
我預想的方式是將我原本是為家屋的無線網路端點,在既有的已經打破區域邊界的顏色再現上,我想要找到的切入點是假設家屋之間是有些有關連,有些沒有,則第一個可以取得資訊是BSSID,第二個資訊則是大概的所在位置,第三個資訊則是SSID。因為大量資料的隨機分佈機率與可能的分佈機率,是可以藉由找到規則與方法去描述他們的之間的連結。連結不一定有相關,但是我想找到相關性以外的描述家屋社會的方式。

4.deep learning
藉由deep learning,我想找到Stochastic gradient descent的相關parameter,從這個parameter看出如何得到預期的結果是需要如何設定,這將會是達到家屋社會綜觀的切入點



323.
名稱gwrxEmail:
 留言時間:2016-10-15 08:13:44
留言內容
二元對立(binary opposition)不等於二元對抗(binary resistance)
政治人物的語言習慣用二元對抗來合理化其行為
1. 年金: 年輕人跟老年人的對抗,軍公教跟一般民眾的對抗
2. 兩岸: 中國跟台灣的對抗,民主跟極權的對抗,自由跟鎖國的對抗
3. 重陽敬老金: 老年人跟年輕人的對抗,老人共餐制度與敬老金
4. 社會階級:紅五類跟黑五類的對抗,資方與勞方

Claude Levi-Strauss的結構人類學是尋找基本單位去理解複雜文化上的共同概念,而分類的被模糊化與交換,擴張了文化的多樣性,結構人類學用其分析不同文化如何處理這些概念的方式。政治人物的二元對抗則是用的內容複雜的簡單分類,建立起新的社會對抗方式,藉由對抗取得對方原本的資源,資源成為有限而無法擴張。

https://monoskop.org/images/e/e8/Levi-Strauss_Claude_Structural_Anthropology_1963.pdf 結構人類學電子檔



322.
名稱gwrxEmail:
 留言時間:2016-10-14 12:41:26
留言內容
動機
我的博論援引了人類學家Claude Levi-Strauss的家屋社會研究,將無線網路基地台視為不同家屋。Levi-Strauss檢視了過去人類學從既有的西方親屬分類概念去理解北美原住民的親屬組織,始終無法找到符合西方概念的基本親屬單位。他最後指出家屋是作為當地原住民的基本親屬社會單位,家屋本身就包含了父系與母系、政治與經濟等社會機能,家屋同時具有物質性(家屋建築本身)與非物質性(家名)的財富,他也進一步指出法國貴族與日本也有類似的以家屋為親屬的社會單位的特性。我認為無線網路基地台也有類似的特性,其本身具有區分成員的特性,也有著物質性的物體本身與非物質性的存取網路資源能力。而無線網路使用者我將其視為cyborg,人機混合體,因為其藉由無線網路基地台與無線網卡而獻身於網路世界。

我當時試圖藉由實際到不同城市收集無線網路基地台的資料,以及對當地的社會的參與觀察,擴大人類學的視野從小聚落,擴展到大型都市,藉由大量的無線基地台的使用與分布,理解不同城市的無線網路社群的文化與人際關係。現在回顧當時的研究,在後期遇到一個當時無法突破的瓶頸,也就是對於大量無線基地台在空間上的分布,無法有更進一步的了解這大量的分布除了在地理上與所在空間的屬性(如圖書館)外的其他資訊,這也是人類學過去所沒有觸及的領域,也就是大量聚落或者是家屋之間的連結方式(廣向或者是縱向)。如鄰近聚落的關係是隨機或者是非隨機,非隨機也包含了地點的選擇方式,如何將這些資訊以抽象的方式加以連結他們之間的關係,這是當時百思不得其解的。

現在我試著用random variable的discrete以及continuous的方式去描述點跟點之間的連結機率,重新分析無線網路基地台作為家屋社會的基本社會單位,他們所存在的connected component以及markov chain下的連結性為何。


321.
名稱gwrxEmail:
 留言時間:2016-10-12 08:20:10
留言內容
人類學的困境
在從事人類學研究的時候,人類學家的田野調查方式類似recursive DFS,藉由深度訪談想要找到文化的特色,這部分既包含了culture shock,同時也包含了本身對於主題的預設。但也因為是DFS,所以能獲得的縱向資料夠深,但是橫向資料則是不足。能同時對橫向跟縱向資料都能有掌控的人類學家最著名的應該是Levi-Strauss跟Boas等早期人類學家,他們懷著比較不同文化差異的觀點,所以能多元涉獵,擴大人類學視野。而在他們之後的人類學家,則朝著對單一主題的持續比較不同田野地的差異或者是其在同一個時間軸的變化,也形成了各個研究能處理的議題逐漸窄化,欠缺了平面的綜視。我希望能加上BFS,或者將時間向度轉為空間向度,擴展文化的比較的視野。


320.
名稱gwrxEmail:
 留言時間:2016-10-08 08:07:31
留言內容

> 如果用離散算部落內最多有多少人會聚集在一起生活
> 就可以看到直接訊息的傳遞範圍
> 接著再用minimum spanning tree
> 部落內的個別團體之間的聯繫比重
> 就可以看到不一樣的部落內的權力與訊息的分佈
> 再對照從田野取得的資料
> 就可以比較論述上的理想值跟實際地理上現值的差異
> 探討這個差異所形成的訊息與權力的落差帶來的社會變動的影響



319.
名稱gwrxEmail:gwrx2005@gmail.com
 留言時間:2016-08-11 12:49:22
留言內容
A-Frame(https://aframe.io/)成功打造了一個方便且快速的網頁版本的VR,它簡化了three.js(http://threejs.org/)的複雜度,讓使用者可以用幾行文字就做出自己的VR世界,甚至不需要戴上特殊的裝置,而它也提供了相容於其他裝置的功能,當按下VR眼鏡的圖像,你就可以藉由VR裝置(HTC Vive或者是Cardboard)與Chromium(https://webvr.info/get-chrome/)看到VR的世界。但與藉由"心智"去"觀看"的其他行為,如白日夢,VR環境是需要被建構成為視覺上可以被接受,體感上可以被感知的環境,製作者必須確切了解材質與空間建構的知識,雖然目前有些設備可以協助拍攝360度的影片或者是圖片,可以非常便利使用在VR環境中,但是如果要建構一個VR環境,所需要的知識遠大於想像與催眠。如同電影產業,你可以藉由心智去看到飛天的超人,但電影不可能要你假裝超人在飛天,而是必須真的以某種方式告訴觀者真的有飛天的行為。這樣的論述方式與呈現方法,會隨著技術的成熟而不斷改變,不同個世代的人會因為技術的刺激,而有不同的視覺記憶與體感經驗。藝術家在攝影技術出現之前,其人像畫被視為"真實"描繪了個人,但是當攝影技術出現之後,相像的人物畫像的真實不再是以往類似攝影的真實,而是更讓人去思考"真實”除了代表相像以外,也隱含著看不見的相像。VR不是白日夢般的視覺感受,雖然Google戲謔地將他們VR平台稱為白日夢(https://vr.google.com/daydream/),但他們隱含著真實的如何再次被定義與呈現,如果是玩VR,那可以不需要太多的知識,只是享受就好,如果要討論VR在社會科學中的意義,我們是需要更多的討論與論證,將其納於研究的脈絡下,而不是真的是在做白日夢。


318.
名稱7428bea31e03ae73935352ef9baca898Email:7428bea31e03ae73935352ef9baca898
 留言時間:2016-08-05 13:15:21
留言內容
7428bea31e03ae73935352ef9baca898


317.
名稱gEmail:
 留言時間:2016-08-04 10:02:29
留言內容
我覺得百工人類學家是一個不太好的概念。以前宰相劉羅鍋電視劇當中,描述劉羅鍋在學英文,把My Dear,跟中文的麥地產生關聯,認為漢語是主幹,外語是支脈。這其實跟百工人類學家的概念很像,就是百工當中都有著人類學家的影子,跟過去漢人研究者覺得原住民也存在中國的宗廟與社稷的概念”臺灣土著族的宗廟與社稷
凌純聲 著 • 1958 • 期刊文章 • 卑南族、排灣族、魯凱族、台灣原住民 • 中央研究院民族學研究所集刊第6期 1-57
本文乃發表臺灣土著族現實的宗社資料,包含宗廟與社稷,而為敘述明瞭起見,文中將先略述中國古代所謂宗廟與社稷其要義,列舉中國古代宗社的文化叢所內涵的文化特質。臺灣土著共分九族,其中宗廟與社稷二者顯明並存的...(http://c.ianthro.tw/search?qs=t114&in=1011)”
認為百工都是人類學家,是忽略了不同職業的各自特質與發展脈絡,並不是行為上有類似的行為,就都是人類學家。人類學研究不同的文化,讓我們擴展視野,但是把每一職業都變成人類學家,則是讓我們無法看到不同職業的特色,讓我們成為只具有同一視野的研究者,用重複的論點去解釋不同的現象,這對於學科的發展是沒有幫助的。Geertz說人類學家無法成為當地人,所以必須透過深描去描述與研究不同文化,我個人比較偏向這個觀點,盡力去認識與理解,才比較可能接近這個世界。這個世界的有趣之處在於它的多元性,沒有必要讓每一個人看起來都一樣。



316.
名稱gwrxEmail:
 留言時間:2016-03-31 06:53:48
留言內容
http://onlinelibrary.wiley.com/doi/10.1111/1467-9655.12339/epdf
This article explores the relationship between friendship, personhood, and ethics among girls in aLondon school. While a Western ideal of friendship is posited as a personal, private, and spontaneousrelationship between autonomous individuals, I argue that girls’ friendships are a complexentanglement and interaction between forensic and mimetic dimensions of the self. Girls’ ideals offriendship, and practices of making friends, suggest forensic pre-constituted selves acting with volitionin order to become closer to other selves. However, bitching, exclusion, and breaking friendshipsforeground mimetic dimensions as girls shape each other and themselves according to genderedethical criteria. Examining these analytical strands offers insight into how individuality is producedthrough sociality in everyday life


315.
名稱gwrxEmail:
 留言時間:2016-03-25 22:27:56
留言內容
How to capture the ‘wow’:R.R. Marett’s notion of aweand the study of religionBirgit Meyer Utrecht UniversityCurrent scholarship in the social sciences and humanities, including the study of religion, shows amarked appraisal of bodily sensations, emotions, and experiences as eminently social andpolitico-aesthetic phenomena (rather than reducing them to a matter of mere individual psychology).How to grasp the genesis of shared perceptions and feelings, and even some kind of ‘wow’ effect, inrelation to a posited ‘beyond’ has become a central issue for scholars of religion today. Placed againstthe horizon of the material turn in the study of religion, R.R. Marett’s approach to religion as an‘organic complex of thought, emotion, and behaviour’ and his concept of awe gain renewedtopicality. Engaging with Marett’s ideas in the context of broader debates about religious experience,in this article (which is based on my 2014 Marett lecture) I call attention to the surplus generated in theinterplay of religious things and bodily sensations and explore its role in politics and aesthetics ofreligious world-making. My central point is that Marett’s work offers valuable resources for anapproach to religion that neither takes for granted the existence of a god or transcendental force (as inontological approaches), nor invests in unmasking it as an illusion (as in critiques of religion asirrational), but instead undertakes a close study of the standardized methods that yield the fabricationof some kind of excess that points to a ‘beyond’ and yet is grounded in the here and now. http://onlinelibrary.wiley.com/doi/10.1111/1467-9655.12331/epdf


314.
名稱adalatEmail:adalat
 留言時間:2016-01-10 17:34:46
留言內容
hallo


313.
名稱宇宙Email:15485695541@qq.com
 留言時間:2016-01-08 18:48:02
留言內容
ssj pls


312.
名稱gwrxEmail:
 留言時間:2015-12-27 17:37:47
留言內容
http://www.cs.cmu.edu/~ckingsf/bioinfo-lectures/flowext.pdf
flowchart


311.
名稱gwrxEmail:
 留言時間:2015-07-25 17:00:48
留言內容
【科技關你事】垃圾桶大變身
紐約將處處有Wi-Fi
64,222
最後更新: 0724 17:55 / 建立時間: 0724 11:50
(互聯網)





13K
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普通人平時避之則吉的垃圾桶,日後可能搖身一變成為人人簇擁周圍的熱點,因為美國紐約正測試將垃圾桶改裝成Wi-Fi熱點,旅客只要靠近垃圾桶便可以收發郵件或上網查地圖。

「BigBelly」去年冬天在曼克頓市中心,放置兩個擁有Wi-Fi功能的垃圾桶,每秒的上網速度可達50至75 Mb,即9分鐘內可以下載一套高清電影。公司正向市長辦公室提出申請,在更多地方安裝Wi-Fi垃圾桶測試,若一切順利,可望在今秋全面推行。

Wi-Fi垃圾桶更非常環保,採用太陽能發電,它配備多個感應器,檢測垃圾桶的味道及容量,以便通知工人清理,並在快滿瀉時自動壓縮垃圾。由於Wi-Fi熱點的位置貼近地面,意味無線信號不會被高樓大廈影響。

紐約市同時計劃將電話亭逐漸加入Wi-Fi功能,提供「LinkNYC」服務,遊客除了可在亭內免費充電、免費打本地電話外,更可利用亭內的平板電腦查找資訊。「LinkNYC」將於年底投入服務,日後去紐約旅行,遊客只需找到電話亭及垃圾桶便可上網了。

Popular Science網/中央社 http://hk.apple.nextmedia.com/realtime/international/20150724/54009315


310.
名稱BenhaEmail:dr.mohamedghanem@yahoo.com
 留言時間:2015-07-16 05:26:38
留言內容
Great


309.
名稱gwrxEmail:
 留言時間:2015-07-07 10:49:38
留言內容
http://n.yam.com/greatnews/arts/20150706/20150706137024.html 【大成報記者黃文科/台北報導】臺北市信義區公所文化藝廊1樓&6樓,於104年7月6日至104年7月31日止(週一至週五上班時間),邀請劉榮樺展出【唯有愛 Only Love 】個展,歡迎前往參觀指教!

劉榮樺君(以下簡稱展者),大學與碩士班就讀於台大人類學系與研究所,後來到英國里茲大學拿到藝術創作博士,博士階段的作品為視覺化城市的無線網路風景。他的作品是將實體的建築物或者是風景轉變為抽象的平面空間概念;目前的作品分成三類,網頁作品、平面作品,以及音樂。

這次展出的畫作是展者在英國時期的網頁作品,以及英國回台灣之後的畫作。在英國的時候,作品為網頁藝術,透過將無線網路的編號轉換為網頁上的方格色塊,呈現不同都市的斑斕風景。展者將從網頁上所習得的硬邊線條的色彩風景,轉變為油畫與水彩上不規則線條、色塊與斑點,產生新的視覺感受。

藝術者劉榮樺藉由這一連串的作品,展示從線上到線下的藝術視野,惟有對藝術的愛,激發出尋找不同媒材用以表達自己對藝術的認識。信藝區區長游竹萍誠摯地邀請社區大眾一起蒞臨觀賞新銳藝術家的藝術創作。

(網址:http://www.xydo.taipei.gov.tw)

蕃Plus+1+1


308.
名稱gwrxEmail:
 留言時間:2015-06-08 22:58:22
留言內容
What is the data for anthropology?
Deep learning and thick description

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


307.
名稱gwrxEmail:
 留言時間:2015-05-25 08:07:11
留言內容
幾年前聽到一個爸爸跟國小的兒子,當然要學台灣史,因為台灣史比中國史短很多,學起來很輕鬆。當時很震驚,不過現在很多人只憑自己的想像去拼湊歷史的碎片,或許是因為不用看歷史是更輕鬆。所以我想盡量記下爺爺跟我說的一些故事,讓台灣的歷史除了從開台祖跟富有地主的觀點去講故事外,還有窮苦佃農的一些事情。
1.我記得我爺爺非常討厭日本人,當時要從鄉下到台中,騎腳踏車要繳牌稅,而日本人的惡劣態度,讓個性不太跟人爭的爺爺很生氣,每天做工的錢,很大一部分都要花在稅金上。

2.爺爺不識字,因為沒錢上學,不過自己還是自學去認識一些字。

3.跟爺爺在相鄰土地的佃農,因為看到我們家的高麗菜(還是竹子?)的收成好,就放火燒了我們的收成,我記得爺爺講這件事,即使是過了好幾十年,仍然是生氣不已。


306.
名稱gwrxEmail:
 留言時間:2015-02-07 12:03:57
留言內容
陷入泥沼的人生


305.
名稱gwrxEmail:
 留言時間:2015-02-06 16:01:49
留言內容
http://monoskop.org/Monoskop


304.
名稱DPWQ4OIUor7RiuJJ+h8MJtvc5OkEmail:
 留言時間:2014-07-25 14:41:24
留言內容
DPWQ4OIUor7RiuJJ+h8MJtvc5Ok


303.
名稱gwrxEmail:
 留言時間:2014-05-20 10:25:51
留言內容
http://www.socialbakers.com/facebook-statistics/taiwan


302.
名稱gwrxEmail:
 留言時間:2014-03-16 23:18:33
留言內容
http://tifa.ntch.edu.tw/2014/tw/theatre/inside-out-a-tale-of-allure-and-enchantment/


301.
名稱gwrxEmail:
 留言時間:2014-03-16 23:15:49
留言內容
http://static.googleusercontent.com/media/research.google.com/en//archive/bigtable-osdi06.pdf


300.
名稱gwrxEmail:
 留言時間:2014-02-23 01:19:46
留言內容
伯牙因為無知音而碎琴
不要去奢望有人願意一起吃苦與了解自己
認清現實
去規劃未來怎麼走
如果沒有知音而願意繼續彈琴
也是一種路


299.
名稱gwrxEmail:
 留言時間:2014-02-03 21:41:28
留言內容
「你放心,這火不會燒到村子裡,因為每一個村一定會有一些傻瓜去救火」。果然這場火,就在一群傻瓜經過一晚的努力,第二天一早就被撲滅了。然而,一直到現在,我還是清楚記得而無法忘懷那晚的情景:一群傻瓜,滿臉的煙灰,全身是汗,在火場上閃爍著光芒。

黃應貴,文明之路(卷三),p270



黃先生的結尾真得很令人感動啊


298.
名稱gwrxEmail:
 留言時間:2014-01-20 23:46:01
留言內容
yeah, they are a "group" and I am just an part-time individual.


297.
名稱gwrxEmail:
 留言時間:2013-11-13 23:42:07
留言內容
口口犬
在沒人參觀的博物館導覽著我的孤獨


296.
名稱gwrxEmail:Rex
 留言時間:2013-04-17 11:40:18
留言內容
http://zxs19861202.iteye.com/blog/1613249


295.
名稱gwrxEmail:
 留言時間:2013-04-08 15:04:49
留言內容
startActivity(new Intent(Intent.ACTION_VIEW,Uri.parse("market://search?q=pub:udn.com")));


294.
名稱gwrxEmail:
 留言時間:2013-04-02 16:11:32
留言內容
ibm - http://public.dhe.ibm.com/ibmdl/export/pub/software/mobile-solutions/worklight/wdeupdate/


293.
名稱gwrxEmail:
 留言時間:2013-03-30 07:31:15
留言內容
In that project, art plays three roles: (1) generated from data
processing; (2) producing data; (3) creating knowledge landscapes.
The first role involves data visualisation that highlights data
attributes, such as the amount and the interrelation.
The second is that art actively produced rather than represent data.
In the other word, art creates data to explore the possible data
processing.
Finally, art via exploring data processing created new ways to
construct knowledge landscapes.
Through these roles, art becomes a special methodology to penetrate in
data processing, even becoming data and data processing themselves.


292.
名稱gwrxEmail:
 留言時間:2013-03-21 06:56:41
留言內容
Research Seminar Series: School of Fine Art, History of Art, Cultural Studies
20 March 2013: 3.00 – 5.00 pm
Room 2.10, Baines Wing, University of Leeds
Telling by hand: weaving, drawing, writing

Tim Ingold

It is often supposed, following Michael Polanyi, that skilled practitioners know more than they can tell. What cannot be articulated, according to this argument, must perforce remain untold, and therefore tacit. Here I argue, to the contrary, that practitioners can tell of all they know, precisely because telling is a mode of performance that abhors articulation. Focusing on the work of the hand, I show how it combines two related aspects of telling: the verbal relating of stories and the coupling of sensory awareness with material variations. This is demonstrated and exemplified through an experiment in weaving string. As with weaving, both drawing and writing are ways of telling by hand. They entail a visual-manual engagement with equipment and materials that is fundamentally haptic. In just this respect, drawing differs from the optical projection of images (as in the operation of the camera) and handwriting from the mechanical transcription of words (as in the operation of the typewriter). With both the camera and the keyboard, the sentient involvement – or feeling – of telling by hand has given way to touch sensitivity at the fingertips. Do sensitivity and sentience, or touch and feeling, necessarily pull in contrary directions, or is it possible to envisage a direction of technological enhancement that would bring them into unison?





Tim Ingold is Professor of Social Anthropology at the University of Aberdeen, and a Fellow of both the British Academy and the Royal Society of Edinburgh. Ingold has carried out ethnographic fieldwork among Saami and Finnish people in Lapland, and has written on comparative questions of environment, technology and social organisation in the circumpolar North, as well as on the role of animals in human society, on issues in human ecology, and on evolutionary theory in anthropology, biology and history. More recently, he has been exploring the links between environmental perception and skilled practice, with a view to replacing traditional models of genetic and cultural transmission with a relational approach focusing on the growth of skills of perception and action within socio-environmental contexts of development. These ideas are presented in his book The Perception of the Environment (2000). Ingold’s latest research pursues three lines of inquiry that emerged from his earlier work, concerning the dynamics of pedestrian movement, the creativity of practice, and the linearity of writing. These all came together in his book Lines (2007), along with three edited collections: Creativity and Cultural Improvisation (with Elizabeth Hallam, 2007), Ways of Walking (with Jo Lee Vergunst, 2008) and Redrawing Anthropology (2011). Ingold is currently writing and teaching on issues on the interface between anthropology, archaeology, art and architecture. His latest book, Being Alive was published by Routledge in April 2011.


291.
名稱gwrxEmail:
 留言時間:2013-03-21 06:56:03
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SIGGRAPH 2013 Seeking Dailies Content
Left Brain + Right Brain



SIGGRAPH 2013, the premier international event on computer graphics and interactive techniques, is currently accepting submissions for its Dailies program. SIGGRAPH 2013, taking place 21-25 July in Anaheim, California, will accept Dailies submissions until its April 2 deadline.

Dailies submissions are all about the challenges of making computer graphics and may include:

A model or shader

A rig or animation

A shot you lit

A stunning effect

A killer cinematic

A particularly lucid visualization

Submitted work can be professional, student, or a personal project as long as you can discuss how the work demonstrates excellence. Accepted submitters will explain their work for nearly two minutes. View examples of Dailies presentations.

New for 2013

Even if you cannot be in attendance for the conference, you still have the opportunity to showcase your work. Submit a brief video of your best work with a sound track describing the submission. The top videos accepted will be shown during the Dailies presentation.

For more information on submitting, click here.




290.
名稱gwrxEmail:
 留言時間:2013-03-07 21:56:11
留言內容
http://www.youtube.com/watch?v=yNdrcRfTo0s


289.
名稱gwrxEmail:
 留言時間:2013-02-28 07:41:14
留言內容

書名 Handbook of music and emotion : theory, research, applications / Patrik N. Juslin and John A. Sloboda
出版項 Oxford : Oxford University Press, 2011

館藏地 索書號 條碼 狀態 說明
總圖2F音樂圖書區(西文) ML3830 H195 2011 [鄰近架位館藏] 3448485 可流通


288.
名稱gwrxEmail:
 留言時間:2013-02-17 08:15:48
留言內容
The successful candidate will be a member of the team responsible for developing low latency high frequency automated trading systems.

Responsibilities and Duties

Design and implement high frequency trading systems on Linux platform
Interact with traders and quant strategist to gather system requirements
Provide Tier 3 support


What you offer

University Degree in Computer Science
5+ year of Ansi C & Linux server side development
Experience of developing high frequency trading systems on Linux
Solid understanding of thread & network Socket programming
General Support knowledge
Experience with Linux kernel
Good command of spoken and written English


287.
名稱gwrxEmail:
 留言時間:2013-02-13 08:27:22
留言內容
http://www.zeroland.co.nz/art_ezines.html art magazine


286.
名稱gwrxEmail:
 留言時間:2013-02-12 23:48:17
留言內容
http://sound.condorow.net/midi.html


285.
名稱gwrxEmail:
 留言時間:2013-01-30 13:08:50
留言內容
Attached to this is a view that the world, if it is to be capable of being represented in language, must be an arrangement or an array of objects which have various possibilities being combined with one another.
Antony Quinton, p84, "Men of ideas-some creators of contemporary philosophy" by Bryan Magee in 1978


284.
名稱gwrxEmail:
 留言時間:2013-01-27 08:58:02
留言內容
http://www.wikicfp.com/cfp/servlet/event.showcfp?eventid=28480©ownerid=46883


283.
名稱gwrxEmail:
 留言時間:2013-01-18 07:52:47
留言內容
midi to score
http://www.myriad-online.com/cgi-bin/download.pl?lang=EN&prod=HA


282.
名稱gwrxEmail:
 留言時間:2013-01-15 08:03:44
留言內容
http://tw.news.yahoo.com/%E8%87%AA%E5%8B%95%E8%BD%89wifi-%E4%B8%AD%E8%8F%AF%E9%9B%BB%E5%95%9F%E7%94%A8-233409611--finance.html
自動轉WiFi 中華電啟用
-字
+字
中央社 – 2013年1月15日 上午7:34
(中央社記者江明晏台北15日電)中華電信今天正式啟動3G自動轉Wi-Fi連線上網,首波適用對象為中華電信mPro950型綁約的iPhone客戶,估計50萬戶受惠。
中華電信表示,今天起啟動無線保真技術(Wi-Fi)自動認證功能(EAP-SIM),首波適用對象為中華電信mPro950型綁約的iPhone客戶,需為iPhone 3GS以上機型,不需擔心使用第3代行動通訊系統(3G)或Wi-Fi網路產生額外收費。
非mPro950型中華電信iPhone綁約客戶仍可由網頁輸入emome帳號及密碼登入使用。
中華電信表示,將陸續發送簡訊給適用客戶,客戶收到簡訊後,點選服務網址並確認同意服務條款後,即完成EAP-SIM自動認證設定,未來只要iPhone客戶開啟Wi-Fi功能,即可自動連上中華電信Wi-Fi熱點,由3G自動轉為Wi-Fi連線上網。
目前中華電信已有超過3萬個Wi-Fi熱點可支援EAP-SIM功能,今年預計新增1萬個熱點。
中華電信預計今年2月開放3G無限瀏覽網際網路850型的iPad綁約客戶使用Wi-Fi自動認證;此外,針對Android行動裝置客戶,中華電信已開發可免費下載的「CHT Wi-Fi」App,客戶可至HamiApps、Google Play軟體商店搜尋,完成安裝即可使用,客戶只要透過APP一次性帳號與密碼設定後,即可自動登入中華電信Wi-Fi。
中華電信目前也正與Android手機製造商進行相關測試,未來將視測試結果,儘快將Wi-Fi自動認證服務延伸至Android行動裝置,讓更多客戶方便暢遊3G及Wi-Fi行動網路。1020115
Facebook 馬上按讚 加入Yahoo!奇摩新


281.
名稱gwrxEmail:
 留言時間:2013-01-11 07:16:43
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Dear colleagues,

Apologies: the Atlantropa talk will take place in Parkinson B22.

Please publicise this talk to anyone who might be interested. It will take place from 5pm-7pm on Monday 28th January, in Parkinson B22. (Poster attached.) All welcome.

Please direct any inquiries to Dr Ingo Cornils (i.cornils@leeds.ac.uk)

Atlantropa - a missed opportunity of the future
Ricarda Vidal (KCL)
In 1927 the German architect Herman S?rgel started work on the creation of a new continent: Atlantropa, a merger of Europe and Africa created by damming the Strait of Gibraltar and partially desiccating the Mediterranean. Based on a racist colonialist world system where a unified white Europe would control the African continent and its resources, Atlantropa provided a solution to European problems of over-population, unemployment and lack of natural resources. Further, the notion of a Europe unified in the creation of the new continent addressed fears of political instability and the threat of a new world war. Making use of his skills as a poet and writer, S?rgel vigorously promoted his project with exhibitions, posters, talks, articles, journals, film and radio plays and a documentary film. While he managed to gain the support of renowned architects, engineers and construction companies as well as some politicians, he ultimately failed to get enough political and financial !
commitment from any government to start construction on the dam. The project was finally dismissed as unfeasible a few years after his death in 1952.

This talk will examine S?rgel?s ambiguous relationship with fiction, which he used freely as a propaganda tool and a way of personal expression but which he was always careful to distance his project from. Atlantropa was not to be confused with the science fictions of Jules Vernes or H.G. Wells, but to be taken seriously as a scientifically sound and technologically feasible plan. However, as I will argue, S?rgel?s emphasis on the tools of fiction in the promotion of his plans contributed to the fact that these were ultimately confined it to the purely utopian. I will use examples from S?rgel?s writing as well as his posters and maps, some of which were deliberately fantastical creations.


280.
名稱gwrxEmail:
 留言時間:2013-01-07 20:00:41
留言內容
現在工作地方附近有一家路邊攤
味道跟我吃了十幾年的店一樣
很感謝老天爺讓我在這裡又遇到了消失的味道
我會盡力在這個工作崗位待久一點


279.
名稱gwrxEmail:
 留言時間:2013-01-03 23:00:11
留言內容
http://www.bbc.co.uk/iplayer/episode/b01phhy5/The_Value_of_Culture_Two_Cultures/


278.
名稱gwrxEmail:
 留言時間:2013-01-03 09:08:13
留言內容
《左手驗右手?》Taipei Free網路服務 委外驗收
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自由時報 – 2013年1月2日 上午4:30
議員質疑公信力 資訊局:不合格複驗才委託民間廠商
〔自由時報記者劉榮、翁聿煌/台北報導〕台北市Taipei Free公眾區免費無線上網服務建置後,上網連線易斷線、龜速的問題飽受詬病,市府去年砸下近一億兩千萬元預算擴充服務範圍,但建置廠商因逾期完工遭重罰,約半數工程款被市府止付;市府資訊局更被踢爆,將驗收作業委託民間業者進行,民進黨議員大罵:「工程費被扣了一半的工程驗收,竟然可以委外,等於左手驗右手,拿Taipei Free當政績,還有公信力嗎?」

號稱可讓市民隨時隨地免費無線上網的Taipei Free擴充建置預算,高達三.六億元,合約共分三期分三年編列,第一期合約將在今年二月底到期,連線品質引發的民怨,還曾登上市長信箱民怨排行榜第一名。
北市資訊局長詹德存坦承,近一.二億元的決標金額,廠商光是被止付的租金(即工程款),就近六千萬元,另外還有違約扣款,合約到期前,將會成立審查委員會,如果服務水準未達標準,不排除解約。
北市議員童仲彥指出,Taipei Free建置擴充以來,號稱上網速度可以從原來的512K升級到10M,但包括各主要幹道、各大商圈夜市的服務範圍,原本應該要在去年五月完成,一直拖到九月才驗收,業者裝置的無線網路發射器(俗稱AP),因為涵蓋範圍不足,民眾只要在上網時移動,很容易就斷線。
北市議員王世堅十月間帶著平板電腦在市府進行實測,更發現連市府大廳及前後大門都找不到訊號,最後在市長接待外賓的吳三連廳,才連上網,他諷刺:「Taipei Free根本是吹捧自嗨,應該改叫台北無力。」
多位綠營議員發現,資訊局去年十一月竟發包一筆近兩百萬元的驗收工程,委託民間對Taipei Free服務進行專案巡檢及監督審驗,合約期到今年四月底,「太離譜了,連工程驗收都可以委外,那以後乾脆開放市府局處互相監督驗收就好了,左手驗收右手的工程,品質誰能掛保證?」
詹德存表示,Taipei Free的主要驗收是由資訊局分成五組,與建置廠商安源資訊進行共同抽驗,第一期的驗收合格率高達九成三,基地台或連線品質若不符合服務水準,複驗才委託民間廠商進行,並非全部驗收作業都委外。
針對逾期完工,資訊局表示,廠商透過公共工程調解委員會尋求調解,目前初判違約罰金高達四百多萬元,針對連線品質未達合約標準,業者已將AP數目增加到將近六千組,巡檢回報的穩定度也高達九成以上。http://tw.news.yahoo.com/%E5%B7%A6%E6%89%8B%E9%A9%97%E5%8F%B3%E6%89%8B-taipei-free%E7%B6%B2%E8%B7%AF%E6%9C%8D%E5%8B%99-%E5%A7%94%E5%A4%96%E9%A9%97%E6%94%B6-203025835.html


277.
名稱gwrxEmail:
 留言時間:2013-01-03 08:31:31
留言內容
徵才機關
國立清華大學
人員區分
教育人員
官職等
職稱
專任教師
職系
名額
1
性別
不拘
工作地點
30-新竹市
有效期間
101/12/24~102/02/15
資格條件
1.申請者學術領域專長:文化人類學,優先考慮南島社會與文化及公共人類學。 2.職級:助理教授級以上。 3.起聘日期:2013年8月1日起 4.申請者必需具備下列資格之一: (1)任職於國內外各大學或研究機構之專職教學或研究人員 (2)具備國內外相關領域博士學位者
工作項目
教學及研究
工作地址
新竹市光復路2段101號 國立清華大學人類學研究所
電子地圖
聯絡方式
(含檢具文件)
申請所需資料(除推薦函外,以下資料各一式六份。如未依照規定繳齊資料,一律視為資格不符): (1)詳細履歷(請註明欲申請之職級) (2)研究所成績單(僅限於助理教授申請者) (3)研究旨趣與教學理念之說明 (4)可授課程之課程綱要(至少四門) (5)博士論文及出版之著作 (6)三封推薦信,由推薦人直接寄至下列地址及收件人 所有申請人請於2013年2月15日前將申請資料寄達下列地址。(申請資料恕不退件) 林淑蓉所長 收 30013 新竹市光復路2段101號 國立清華大學人類學研究所 聯絡人:盧小姐、聯絡電話:03-5720049


276.
名稱gwrxEmail:
 留言時間:2012-12-25 07:28:48
留言內容
http://sensesofcinema.com/2002/21/farocki_workers/
Translation by Laurent Faasch-Ibrahim

The English translation of this piece originally appeared in NachDruck/Imprint (Berlin: Verlag Vorwerk, New York: Lukas & Sternberg, 2001) and is published here with the kind permission of the publisher.

The film Workers Leaving The Lumière Factory In Lyon (La Sortie des Usines Lumière à Lyon, 1895) by the brothers Louis and Auguste Lumière is 45 seconds long and shows the, approximately, 100 workers at a factory for photographic goods in Lyon-Montplaisir leaving through two gates and exiting the frame to both sides. Over the past 12 months, I set myself the task of tracking down the theme of this film – workers leaving the workplace – in as many variants as possible. Examples were found in documentaries, industrial and propaganda films, newsreels, and features. I left out TV archives which offer an immeasurable number of references for any given keyword as well as the archives of cinema and television advertising in which industrial work hardly ever occurs as a motif—commercial film’s dread of factory work is second only to that of death.


275.
名稱gwrxEmail:
 留言時間:2012-12-24 08:04:48
留言內容
http://filefestival.org/site_2007/pagina_conteudo_livre.asp?a1=761&a2=761&id=2


274.
名稱gwrxEmail:
 留言時間:2012-12-22 08:00:59
留言內容
http://english.fju.edu.tw/lctd/list/TheoristsIntro.asp?T_ID=15


273.
名稱gwrxEmail:
 留言時間:2012-12-21 09:52:24
留言內容
Pang, L. (2008) China Who Makes and Fakes: The semiotics of the counterfeit. Theory, Culture & Society, 25 (6), pp.117-140.

The session will be led by Dr Lee Edwards who will provide a short introduction to the reading. Please email Melissa Nisbett to confirm your attendance and to request an electronic copy of the text: m.nisbett@leeds.ac.uk


272.
名稱gwrxEmail:
 留言時間:2012-12-11 22:58:13
留言內容
http://www.waikato.ac.nz/library/study/guides/mhra.shtml


271.
名稱gwrxEmail:
 留言時間:2012-12-04 18:07:31
留言內容
今天看到一個中風的計程車司機
想到自身的事情
覺得很佩服也很感傷
要努力為他人活著


270.
名稱gwrxEmail:
 留言時間:2012-11-13 07:31:13
留言內容
http://web3.dgpa.gov.tw/want03front/AP/WANTF10001.aspx?P=067bf339b30bb1d65bc6087e0d3423d7d3a73a16fc8e80a7


269.
名稱gwrxEmail:
 留言時間:2012-11-12 13:16:52
留言內容

書名 Art in theory, 1900-2000 : an anthology of changing ideas / edited by Charles Harrison and Paul Wood
出版項 Malden, MA : Blackwell Pub., 2003
版本項 2nd ed

館藏地 索書號 條碼 狀態 說明
總圖2F密集書庫 N6490 A7167 2003 [鄰近架位館藏] 3393522 可流通


268.
名稱gwrxEmail:
 留言時間:2012-11-07 15:48:40
留言內容
"The transferring of real objects onto canvas is the art of skilful reproduction, and only that. And between the art of creating and the art of copying there is a great difference. The artist can be a creator only when the forms in his picture have nothing in common with nature. For art is the ability to construct, not on the interrelation of form and colour, and not on an aesthetic basis of beauty in composition, but on the basis of weight, speed and the direction of movement"

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.

Etiketter: Aesthetics, Art, Art Theory, Beauty, Colour, Composition, Form, Futurism, MALEVICH Kasimir, Painting, Reproduction, Suprematism
Ingen kommentarer:


267.
名稱gwrxEmail:
 留言時間:2012-11-06 08:17:44
留言內容
Ultra Active Technology Limited
ULTRA ACTIVE TECHNOLOGY LIMITED (UAT) 超敏科技 located in Wanchai is one of the leading solution providers of Video Conferencing and AV System inHong Kong. UAT is dedicated to providing customers with high quality Video Conferencing and AV System Integration. If you also respect high quality services, we welcome you to join us. Salary is commensurate with your experience.
Software Engineer

Responsibilities and Requirements:
Degree in Electronic, Computer Science, IT or Electrical
Software programming to control Audio Visual System
Knowledge in AMX / Crestron is an advantage
Conduct user training and prepare user manual
Independent, self-motivated and strong sense of responsibility
Good team spirit and interpersonal skills
We offer attractive remuneration package, training, training subsidy and annual leave. Interested parties please send your full resume with expected salary by email to recruit@uatg.com or fax to 2357 5328.
All personal data provided will be used for consideration of your job application only.


266.
名稱gwrxEmail:
 留言時間:2012-11-01 15:53:29
留言內容
痛哭的人


265.
名稱gwrxEmail:
 留言時間:2012-11-01 08:01:03
留言內容
老天爺會指引你
當然你偏移
他就會用或嚴厲
或暗示的方式把你導回


264.
名稱gwrxEmail:
 留言時間:2012-11-01 07:47:48
留言內容
http://mobile.tutsplus.com/tutorials/android/capture-and-crop-an-image-with-the-device-camera/


263.
名稱gwrxEmail:
 留言時間:2012-10-31 22:56:25
留言內容
果然我人生是一連串不順的組合


262.
名稱gwrxEmail:
 留言時間:2012-10-25 16:15:00
留言內容
http://www.elasticsearch.org/


261.
名稱gwrxEmail:
 留言時間:2012-10-25 13:37:44
留言內容
job
http://www.per.cuhk.edu.hk/jvadm/jv_for_new_site.asp?id=1213/071(737)/2

The Department is looking for candidates in the following fields of specialization: theory, social network, organization, social stratification, global & transnational sociology, economic sociology, gender & sexualities, cultural sociology, and environment.

Applicants should have (i) a doctoral degree in sociology; (ii) proven ability of effective teaching in a variety of courses; and (iii) an established record of scholarly publications and research. Applicants for Associate Professorship should also have extensive teaching and research experience at university level. Preference will be given to those with research interests in Chinese or other Asian societies.

Appointments will normally be made on contract basis for up to three years initially commencing preferably August 2013, which, subject to mutual agreement, may lead to longer-term appointment or substantiation later.



260.
名稱gwrxEmail:
 留言時間:2012-10-25 10:49:29
留言內容
http://web3.dgpa.gov.tw/want03Front/AP/WANTF10001.aspx?P=067bf339b30bb1d6cd6ec83c6b614cc563a8f4a23cdd3bfb


259.
名稱gwrxEmail:
 留言時間:2012-10-23 18:03:26
留言內容
https://gist.github.com/2144164


258.
名稱gwrxEmail:
 留言時間:2012-10-21 18:41:43
留言內容
http://www.inc.cuhk.edu.hk/research/journal-papers


257.
名稱gwrxEmail:
 留言時間:2012-10-18 16:47:05
留言內容
if (document.styleSheets[0].cssRules)
crossrule=document.styleSheets[0].cssRules
else if (document.styleSheets[0].rules)
crossrule=document.styleSheets[0].rules


256.
名稱gwrxEmail:
 留言時間:2012-10-17 21:49:30
留言內容
http://www.per.cuhk.edu.hk/JobVacancies/TeachingAdministrativeandProfessionalPosts/tabid/202/Default.aspx
http://pers.hkbu.edu.hk/index.php?page_id=6&menu_id=222&f=job
http://www.polyu.edu.hk/hro/job_external.htm
http://jobs.hku.hk/index.php?dg=150


255.
名稱gwrxEmail:
 留言時間:2012-10-16 07:26:05
留言內容
【工作內容】Responsibilities:
1) Android platform multi-standard video codec development
  and performance optimization for smart phone applications.
2) Develop Android OpenMax, OpenCore, StageFright related
  for supporting multi-standard video codec.
3) (OR) 3D video or 2D to 3D conversion related.

【徵求條件】Qualifications:
1) BS/MS/PhD degree with EE/CS/other scientific major.
2) Familiar with at least one of following video standards:
  MPEG-4/H.263/H.264/VP8/Real Video 8/9/10/etc.
  (OR) familiar with MVC/3D video or 2D to 3D conversion.
3) At least one year working experience related to ARM Cortex A*
  series video codec development and optimization.
4) Familiar with C, assembly, Linux environment,
  and OpenCore/StageFright.
5) Good teamwork spirit and communication skill.


254.
名稱gwrxEmail:
 留言時間:2012-10-15 12:13:32
留言內容
http://developer.verizon.com/content/vdc/en/verizon-platforms/verizon-android-apps/verizon-android-technical-resources/verizon-android-deep-linking-overview.html


253.
名稱gwrxEmail:
 留言時間:2012-10-10 08:58:16
留言內容
http://developer.android.com/guide/webapps/webview.html#BindingJavaScript


252.
名稱gwrxEmail:
 留言時間:2012-10-02 20:41:11
留言內容
http://stackoverflow.com/questions/1386562/how-to-get-started-on-tdd-with-ruby-on-rails


251.
名稱gwrxEmail:
 留言時間:2012-10-01 13:22:08
留言內容
http://ruby.railstutorial.org/chapters/modeling-and-viewing-users-one#code-validates_uniqueness_of_email_case_insensitive_test


250.
名稱gwrxEmail:
 留言時間:2012-09-21 07:04:15
留言內容
http://docs.cksource.com/CKEditor_3.x/Developers_Guide/File_Browser_(Uploader)


249.
名稱gwrxEmail:
 留言時間:2012-09-21 06:47:30
留言內容
http://www.good.is/posts/transform-a-public-space-project-sneak-preview-of-submissions/page:2


248.
名稱gwrxEmail:
 留言時間:2012-09-09 23:34:30
留言內容
2003 屏東縣牡丹鄉高士村舊社台灣大學人類系考古遺址調查( (田野發掘、標本整理與分析; 並根據發掘成果撰寫碩士論文 )
1999 台北淡水紅樹林遺址中研院史語所考古環境評估((田野發掘與標本整理) )
1999 台北市植物園遺址中研院史語所考古遺址調查 (田野發掘與標本整理)
1999 台中武陵農場中研院史語所七家灣搶救發掘(田野發掘與標本整理)
1999 南投埔里中研院分院預定地考古環境評估(田野發掘與標本整理)
1998 新北市樂生療養院自然科學博物館考古搶救發掘 (田野發掘與標本整理)


247.
名稱gwrxEmail:
 留言時間:2012-09-02 17:19:52
留言內容
http://engineering.linkedin.com/nodejs/blazing-fast-nodejs-10-performance-tips-linkedin-mobile


246.
名稱gwrxEmail:
 留言時間:2012-08-27 07:29:29
留言內容
http://stackoverflow.com/questions/8250665/redis-node-js-and-javascript-callback-scoping-flow


245.
名稱gwrxEmail:
 留言時間:2012-08-25 07:41:25
留言內容
http://javascriptplayground.com/blog/2012/06/node-express-todo-app-redis


244.
名稱gwrxEmail:
 留言時間:2012-08-22 10:56:00
留言內容
解决:apache 整合redmine 启动报错 mod_passenger.so: failed to map segment from shared object: Permission denied
Posted on 2010-09-19 20:38 季枫 阅读(719) 评论(0) 编辑 收藏
?
1
2
3
4
[root@localhost apache2]# /etc/init.d/httpd restart
Stopping httpd: [FAILED]
Starting httpd: httpd: Syntax error on line 210 of /etc/httpd/conf/httpd.conf: Syntax error on line 1 of /etc/httpd/conf.d/ruby.conf:
Cannot load /usr/local/ruby/lib/ruby/gems/1.8/gems/passenger-3.0.0.pre2/ext/apache2/mod_passenger.so into server: /usr/local/ruby/lib/ruby/gems/1.8/gems
/passenger-3.0.0.pre2/ext/apache2/mod_passenger.so: failed to map segment from shared object: Permission denied
[FAILED]

执行:
?
1
[root@localhost apache2]# chcon -R -h -t httpd_sys_script_exec_t /usr/local/ruby/lib/ruby/gems/1.8/gems/passenger-3.0.0.pre2/ext/apache2/mod_passenger.so


243.
名稱gwrxEmail:
 留言時間:2012-08-17 22:30:11
留言內容
https://github.com/flockonus/simple_auth_express_mongoose/blob/master/models/models_main.js


242.
名稱gwrxEmail:
 留言時間:2012-08-14 16:32:39
留言內容
http://www.uploadify.com/documentation/


241.
名稱gwrxEmail:
 留言時間:2012-08-14 05:46:06
留言內容
http://mongoosejs.com/docs/api.html


240.
名稱gwrxEmail:
 留言時間:2012-08-08 08:45:24
留言內容
Web Search Evaluator


DESCRIPTION

Web Search Evaluators work on interesting projects that are geared to improve search engine results for their country. The work generally includes reviewing and evaluating internet search results based on specific search terms and providing a rating. The evaluation work is typically done using online automated tools.
Web Search Evaluators work 4 hours per day (Monday-Friday) and have the flexibility to choose the hours they wish to work each day. This project requires a commitment to work 20-22 hours per week. Project work is expected to extend through August 17th, 2013, with a possible further extension.


239.
名稱gwrxEmail:
 留言時間:2012-08-07 23:45:09
留言內容
http://jodd.org/doc/jerry/index.html
Jerry is a jQuery in Java. Jerry is a fast and concise Java Library that simplifies HTML document parsing, traversing and manipulating. Jerry is designed to change the way that you parse HTML content.


238.
名稱gwrxEmail:
 留言時間:2012-08-03 16:08:04
留言內容
http://stackoverflow.com/questions/2874743/android-volume-buttons-used-in-my-application


237.
名稱gwrxEmail:
 留言時間:2012-07-31 20:25:34
留言內容

書名 A chemical study of oils and fats of animal origin [electronic resource] / by M.E. Chevreul ; translated and annotated by Albert J. Dijkstra ; edited by Gary R. List and Jaime Wisniak
主要作者 Chevreul, M. E
出版項 France : Sᡲl Dijkstra-Tucker, 2009


236.
名稱gwrxEmail:
 留言時間:2012-07-28 18:09:00
留言內容
http://devashish.co.in/tag/expressjs/


235.
名稱gwrxEmail:
 留言時間:2012-07-28 07:01:42
留言內容
Roles & Responsibilities:

Develop Web 2.0 application or online game backend system.
May need to travel to region like Japan / USA / Taiwan.

Requirements:
Higher Diploma or above in computer science / IT, or related disciplines.
Strong programming skill in Java or Javascript or Ruby or Python.
Familiar with modern RDBMS or other NoSQL systems like Redis/MongoDB.
Experience with Node.js will be a big advantage.
Motivated to participate in HTML5 application development, Agile/Scrum development process and TDD methodology will be a big advantage.
Knowledge in iPhone , Android and Facebook application would be an advantage.
Able to tap new technologies and applications for new business challenges.
Ability to write well-abstracted and reusable code.
Self-motivated, analytical, responsible, good team player.
Great interest with playing game is highly welcome.
Senior engineer in another technology field will also be considered. Learning time will be given.
Candidates with less experience may also be considered for the junior position.
Working Day: 5 days work with flexible working hours.
Interested candidates please apply in STRICT CONFIDENCE with resume and salary expected to : Next Media Animation Limited, 1/F., 8 Chun Ying Street, Tseung Kwan O Industrial Estate, Tseung Kwan O, New Territories, Hong Kong or by e-mail to nles@nextmedia.com

(Please quote reference code on the application letter)
(The data collected would be used for recruitment purpose only.)


234.
名稱gwrxEmail:
 留言時間:2012-07-19 10:13:50
留言內容
Ideology, then, is for Marx an imaginary assemblage (bricolage), a pure dream, empty and vain, constituted by the ‘day’s residues’ from the only full and positive reality, that of the concrete history of concrete material individuals materially producing their existence. It is on this basis that ideology has no history in The German Ideology, since its history is outside it, where the only existing history is, the history of concrete individuals, etc. In The German Ideology, the thesis that ideology has no history is therefore a purely negative thesis, since it means both:

1. ideology is nothing insofar as it is a pure dream (manufactured by who knows what power: if not by the alienation of the division of labour, but that, too, is a negative determination);

2. ideology has no history, which emphatically does not mean that there is no history in it (on the contrary, for it is merely the pale, empty and inverted reflection of real history) but that it has no history of its own.


233.
名稱gwrxEmail:
 留言時間:2012-07-19 10:13:12
留言內容
For them, the dream was the imaginary, it was empty, null and arbitrarily ‘stuck together’ (bricolé), once the eyes had closed, from the residues of the only full and positive reality, the reality of the day. http://www.marxists.org/reference/archive/althusser/1970/ideology.htm


232.
名稱gwrxEmail:
 留言時間:2012-07-19 07:21:02
留言內容
Lenin and philosophy, and other essays / Louis Althusser ; translated from the French by Ben Brewster
New York : Monthly Review Press, 1972, c1971


館藏地 索書號 條碼 狀態 說明
總圖2F人社資料區 B4249.L384 A69 1972 [鄰近架位館藏] 1508887 可流通
總圖2F人社資料區 B4249.L384 A69 1972 1798104 可流通


231.
名稱gwrxEmail:
 留言時間:2012-07-18 22:07:47
留言內容
工商時報【記者林淑惠╱台北報導】
行政院出手推動產官合建WiFi,無線上網全台大擴建!行政院政務委員張善政昨(17)日透露,繼iTaiwan之後,行政院已委由研考會擬妥無線上網服務永續發展政策,將率先開放行政院所屬機關、並採產官合作模式,在全台各地擴建WiFi熱點。
由於這是iTaiwan之後,行政院全台擴建WiFi無線上網最大規模計畫,不僅鼓勵既有一類及二類電信業者參與,亦開放新進業者加入WiFi經營行列,而除了行政院所屬機關率先推動,也鼓勵地方政府參照跟進。
這項全台擴建WiFi熱點計畫,未來將以「iTaiwan」作為無線上網服務的統一識別名稱(SSID),有系統的擴建全台WiFi網路。
市場人士表示,這項措施對於正文、合勤、啟碁、中磊、德勝科、廣達、海華、友訊等WiFi相關概念股,將是一項大利多。
張善政昨日表示,推動WiFi永續發展的用意,是希望透過WiFi全省擴大投資建設熱點,補足3G網路覆蓋不足問題,既有3G業者也能夠利用WiFi進行數據分流、紓解目前3G網路雍塞窘境,因此,將鼓勵業者包裝3G+WiFi網路,以套裝費率提供WiFi付費式經營模式。
目前除了既有中華電、遠傳兩家一類電信公司以及二類電信業者安源通訊投入WiFi網路建置外,台灣大、亞太電信、威寶以及新進業者,正評估參與這項計畫可行性。
行政院研考會指出,5月底上網公布「行政院及所屬各機關(構)辦理無線上網服務永續發展作業原則」後,已針對該項計畫召開一次座談會,吸引一類、二類及網通廠商積極參與。
WiFi建置經費來源,由行政院所屬機關(構)自行編列預算支付,委由民間興建,或者產官合建經營無線上網服務。
行政院將優先針對轄屬大眾運輸節點、觀光旅遊景點、文教館所、醫事機構及其它人潮眾多之地點,提供設置無線上網熱點。
業者認為,目前建置電信網路遇到的最大問題就在用地取得不易,行政院這次主動開放各機關(構)室內或室外公共區域,供民間業者建置商用無線上網服務系統,等於是出面為業者克服用地取得最大難題,也大大提高民間參與投資意願。

http://tw.news.yahoo.com/%E6%94%BF%E9%99%A2%E8%A6%81wifi-%E5%87%B8%E6%AD%B8%E5%8F%B0%E7%81%A3-213000473--finance.html?_esi=1


230.
名稱gwrxEmail:
 留言時間:2012-07-17 23:12:20
留言內容

書名 Posthuman metamorphosis : narrative and systems / Bruce Clarke
主要作者 Clarke, Bruce, 1950-
出版項 New York : Fordham University Press, c2008
版本項 1st ed

相關連結
Table of contents only
館藏地 索書號 條碼 狀態 說明
總圖2F人社資料區 PN1995.9.C9 C53 2008 [鄰近架位館藏]


229.
名稱gwrxEmail:
 留言時間:2012-07-17 23:10:37
留言內容
劃一題名 Kunst der Gesellschaft. English
書名 Art as a social system / Niklas Luhmann ; translated by Eva M. Knodt
主要作者 Luhmann, Niklas, 1927-1998
出版項 Stanford, Calif. : Stanford University Press, 2000

館藏地 索書號 條碼 狀態 說明
總圖2F人社資料區 BH39 L8313 2000 [鄰近架位館藏] 2143531 到期 07-06-12
總圖2F人社資料區 BH39 L8313 2000 2325728 可流通
總圖2F人社資料區 BH39 L8313 2000 2735152 到期 08-20-12

稽核項 422 p. ; 24 cm
叢書名 Meridian, crossing aesthetics
劃一叢書名 Meridian (Stanford, Calif.)
ISBN/價格 0804739064 (alk. paper)
0804739072 (pbk. : alk. paper)
附註 Includes bibliographical references (p. 319-402) and index
標題 Aesthetics
Art and society

臺大書卷講

目前暫無分享,成為第一個閱讀分享的人

Search in FindBook


228.
名稱gwrxEmail:
 留言時間:2012-07-15 12:10:14
留言內容
http://www.mgh.de/bibliothek/opac/?wa72ci_url=/cgi-bin/mgh/regsrchindex.pl?wert=schmid,+karl&recnums=786:1505:5726:6847:9135:10284:11266:11270:11313:11813:12956:13082:16158:18558:19283:21367:22191:22578:24428:24768:28336:31419:32606:33776:39873:40930:43560:44513:45197:47408:47688:50357:50364:50588:52421:54374:55847:56135:56137:56310:89161:94770:101625:102240:103602:114241:117297:118606:126165:127075:128621:130692:131469:132167:132811:136313:138019:138182:138422:138705:138719:138995:140635:140795:140962:141162:142013:142107:142265:142314:142480:142674:143443:146122:148511:149420:149825:158754:159698:159778:160316:161127:189362:205856:208020:212463:214659:216000:216195:216303:216445:216628:285292:285361:294413:299864:306249:306281:306624:307904:308068:355436:360452:362945&index=1&db=opac


227.
名稱gwrxEmail:
 留言時間:2012-07-15 08:26:09
留言內容
Phantoms of remembrance : memory and oblivion at the end of the first millennium
1
勾選


Phantoms of remembrance : memory and oblivion at the end of the first millennium / Patrick J. Geary
Princeton, N.J. : Princeton University Press, c1994
點閱目次或全文
更多...

館藏地 索書號 條碼 狀態 說明
總圖2F人社資料區 D16.9 G35 1994 [鄰近架位館藏] 2635917 可流通


226.
名稱gwrxEmail:
 留言時間:2012-07-11 06:48:51
留言內容
file upload with the filter of file extension
http://stackoverflow.com/questions/181214/file-input-accept-attribute-is-it-useful


225.
名稱gwrxEmail:
 留言時間:2012-07-10 17:03:31
留言內容
1. Nodejs/Javascript as back end language
2. Database: redis (nosql)
3. Nginx as proxy server and load balancer
4. ExpressJS as web framework
5. Twitter Bootstrap for html/css rendering
6. Git for version control and app deployment
7. Centos 6.0 64 bit (linux) running in a Linode virtual machin


224.
名稱gwrxEmail:
 留言時間:2012-07-08 08:21:48
留言內容



Difference and repetition / Gilles Deleuze ; translated by Paul Patton
New York : Columbia University Press, c1994


館藏地 索書號 條碼 狀態 說明
總圖2F人社資料區 B2430.D453 D4513 1994 [鄰近架位館藏] 1852159 可流通
總圖2F人社資料區 B2430.D453 D4513 1994 3001578 到期 08-14-14計畫用書長期借


223.
名稱gwrxEmail:
 留言時間:2012-07-07 23:56:59
留言內容

書名 Posthuman bodies / edited by Judith Halberstam and Ira Livingston
出版項 Bloomington : Indiana University Press, c1995

館藏地 索書號 條碼 狀態 說明
總圖2F人社資料區 GT495 P67 1995 [鄰近架位館藏] 2584115 可流通


222.
名稱gwrxEmail:
 留言時間:2012-07-02 10:23:37
留言內容
Duchamp had speculated most vividly on color in his famous last painting,
Tu m’ (1918), which, as Buchloh has put it, “dispatches color in outright opposition to the work of Matisse.”12 The array of industrial colors that rains down from
the top left-hand corner laid color out as an industrial commodity—the colors
taken straight from an artist’s catalog of oil paints. The engagement of a sign
painter to paint the pointing finger at the center made this even more emphatic.
Tu m’ codifies in schematic form the earlier readymade Apolinère enameled
(1916–17), which actually is an enamel sign. This has less to do with the sacrifice
of color to an anti-aesthetic strategy so much as the death of color by color. At
stake here is the renunciation of a certain kind of aesthetic color, not color itself (Eva Hesse and Color
BRIONY FER
October Winter 2007, No. 119: 21–36.
Abstract | PDF (10168 KB) | PDF Plus (312 KB))


221.
名稱gwrxEmail:
 留言時間:2012-07-02 09:50:05
留言內容

書名 Random order : Robert Rauschenberg and the neo-avant-garde / Branden W. Joseph
主要作者 Joseph, Branden Wayne
出版項 Cambridge, Mass. : MIT Press, c2003

相關連結
Table of contents
館藏地 索書號 條碼 狀態 說明
總圖2F密集書庫 N6537.R27 J67 2003 [鄰近架位館藏] 2732246 可流通


220.
名稱gwrxEmail:
 留言時間:2012-07-02 08:08:16
留言內容
I take an object and amend it in such a way to make it dysfunctional.
I go from one readymade and manipulate it into a self-contained object
with its own sculptural language.
These, and similar works such as Untitled (Strung Out) (2010) reference a
formalist and Minimalist vocabulary, a sense amplified by the artist’s
ambivalence towards foregrounding conventional titles for these appropriated
readymades. As Henry puts it, articulating such a conscious intention behind his
objects might ‘lead the witness’. Instead the activated spectator is left to
speculate on the intuitions and metaphors suggested by and through the work.


219.
名稱gwrxEmail:
 留言時間:2012-07-02 08:00:01
留言內容
s. If
Jasper Johns, Robert Rauschenberg, and Ellsworth Kelly had, in their own distinct
ways, internalized the “color problem” in painting in the 1950s, then it is Hesse who
most vividly translates it into a sculptural problem in the mid-sixties.14


218.
名稱gwrxEmail:
 留言時間:2012-06-30 22:57:49
留言內容
書名 Russian constructivism / Christina Lodder
主要作者 Lodder, Christina, 1948-
出版項 New Haven : Yale University Press, 1983

館藏地 索書號 條碼

總圖2F藝術資料區 N 6988.5 C64 L63 1983 [鄰近架位館藏] 1433155 可流通


217.
名稱gwrxEmail:
 留言時間:2012-06-30 12:32:10
留言內容
"The
fact that the planes are white or painted in bright blue, yellow and red
emphasizes the weightless freedom of the composition. Within a few
years, painting the wolls of the same room different colors was to become
a practice all over the world. It began with de Stijl."Barr, A. H., Jr. (1952). De Stijl. The Bulletin of the Museum of Modern Art, Vol. 20, No. 2, De Stijl (Winter, 1952-1953), pp. 6-13.


216.
名稱gwrxEmail:
 留言時間:2012-06-25 20:03:32
留言內容
(( 報社、人力銀行 請勿來電 !!!! ))

◆公司名稱 : 保亞企業有限公司
◆職缺名稱 :工廠作業員、家庭代工
◆工作內容 :塑膠彈簧圈 製作、加工
(例如:彈簧線頭尾黏起來、加上鐵扣之類的, 彈簧線圈是小東西)

◆徵求條件 :勤奮、細心、動作快、學歷不拘
◆需求人數 :2-3人
◆工作地點 :作業員--芝山捷運站附近;家庭代工---家裡
◆工作時間 :作業員: 9:00-18:00
◆休假制度 :週休二日
◆薪資範圍 :
作業員:18,780元,每小時103元,產量高者另有獎金。
家庭代工薪資:論件計酬。各產品計價方式、及最低要求數量不同。詳請當面詢問老闆。

面試者需當場試作。

◆聯絡人:吳小姐
◆聯絡時間 :9:00-18:00
◆聯絡方式:電洽,應徵作業員者請自備履歷表,家庭代工者請自備身分證件
◆其他備註 : 無誠勿試


215.
名稱gwrxEmail:
 留言時間:2012-06-25 20:00:03
留言內容
http://taipei.kijiji.com.tw/c-Jobs-Offer-work-from-home--W0QQAdIdZ390368178



刊登日期 2012.06.23
地址 220台灣新北市板橋區仁化街
查看地圖
◆公司名稱 :翔太包裝廠
◆徵求條件 :全職
◆需求人數 :不限
◆工作地點 :自行收送
◆工作時間 :全天配合
◆薪資發放日 :每月25日
◆聯絡人:歐小姐
◆聯絡時間 :中午以後
◆聯絡方式:0958958253
(聯繫我時,請一定要說是從奇集集看到的)
◆其他備註 :


214.
名稱gwrxEmail:
 留言時間:2012-06-24 08:09:56
留言內容
"[Cezanne] was the first to develop color areas which produce both distinct and indistinct endings - areas connected and unconnected - areas with and without boundaries - as means of plastic organization." Josef Albers, Interaction of color, p32


213.
名稱gwrxEmail:
 留言時間:2012-06-23 21:42:17
留言內容
http://16.pro.tok2.com/~dona/memo/foobar2000plugin.html


212.
名稱gwrxEmail:
 留言時間:2012-06-23 20:48:56
留言內容
http://www.hydrogenaudio.org/forums/index.php?showtopic=89218&st=0&p=760391&#entry760391


211.
名稱gwrxEmail:
 留言時間:2012-06-23 19:29:36
留言內容
書名 Rules how to compose; a facsimile edition of a manuscript from the library of the Earl of Bridgewater (circa 1610) now in the Huntington Library, San Marino, California. With an introd. by Manfred F. Bukofzer
主要作者 Coperario, John, 1570 (ca.)-1626
出版項 Los Angeles : E.E. Gottlieb, 1952


210.
名稱gwrxEmail:
 留言時間:2012-06-22 18:10:09
留言內容
http://stackoverflow.com/questions/7802645/in-android-how-to-get-the-progress-time-of-the-video-played-under-videoview



209.
名稱gwrxEmail:
 留言時間:2012-06-22 10:29:58
留言內容
http://www.metmuseum.org/pubs/bulletins/1/pdf/3258606.pdf.bannered.pdf

The strictness of
the man and his theories are at
every point
tempered by his passion and warmth, by
his dedication to
communicating a wide
range of humanistic moods and
feelings
to
Variant: Two Whites, Two Yellows, Two
Greens, by Josef Albers (born 1888),
American. 1947-1957. Oil on Masonite,
37 x 39 %s inches. Lent by
the artist
his audience


208.
名稱gwrxEmail:
 留言時間:2012-06-22 10:25:40
留言內容
http://editeur-en.hermes.com/hermes-editeur.html

For the first edition, the choice of Josef Albers seemed clear. This artist of German origin was not only one of the great colour theorists. His works are also deep reservoirs of sensation, emotions and feelings that take hold of us even when we do not understand them. His work for the Homages to the Square series rests on a simple principle: to create a series of infinite chromatic variations within an unchanging form, the square, composed in a certain way. Editing these six Josef Albers scarves – or silk squares - took us to the limits of our savoir-faire. Yes the technique is ‘frame’ printing, but at its most challenging, using the technique known as ‘edge-to-edge,’ in which large areas of colour are printed on the silk so that they touch each other but do not overlap. This is done without the usual serti that ‘closes off’ the colour. We should not forget that before he emigrated to the United States, Josef Albers spent nearly ten years teaching at the Bauhaus, primarily in glass. Afterwards, he retained a passion for the artistic crafts. That was part of his humanism. I like to think that he would have enthused about this new technical adventure, that he would have travelled to Lyon to work with our printers and, perhaps, have channelled their skills in unexpected ways, as he liked to do


207.
名稱gwrxEmail:
 留言時間:2012-06-21 17:36:03
留言內容
"請公婆別(自私自利/吃人夠夠)和岳父母<搶用>人家女兒孝順: 請公婆自己想辦法<生女兒>" from ptt


206.
名稱gwrxEmail:
 留言時間:2012-06-21 14:35:50
留言內容
http://www.dotblogs.com.tw/chou/archive/2009/06/06/8699.aspx


205.
名稱gwrxEmail:
 留言時間:2012-06-21 09:48:15
留言內容
c# raytracing
http://www.codeforge.com/article/59990


204.
名稱gwrxEmail:
 留言時間:2012-06-20 12:31:42
留言內容
對於西尾而言,與其直接說出「世界毀壞了」,還不如將語言毀壞,來傳達出近似於「世界毀壞了」的相似作用,這麼做能震懾人心。-p49,當神話開始思考


203.
名稱gwrxEmail:
 留言時間:2012-06-15 14:55:53
留言內容
新作品
http://fireant.itaiwan.net/dac2012/float.php
旋轉而成的織品


http://fireant.itaiwan.net/dac2012/float_2.php
輸入文字產生回聲與漂浮文字


202.
名稱gwrxEmail:
 留言時間:2012-05-20 21:22:27
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http://archive.org/details/acontributiontot00marxuoft 電子書網站 旁邊的書籍檔案格式還蠻有趣的


201.
名稱gwrxEmail:gwrx2005@gmail.com
 留言時間:2012-05-20 18:29:58
留言內容
The philosophy of Antonio Negri: Resistance in practice


200.
名稱gwrxEmail:gwrx2005@gmail.com
 留言時間:2012-05-20 17:48:13
留言內容

After the great divide : modernism, mass culture, postmodernism / Andreas Huyssen
Bloomington : Indiana University Press, c1986


館藏地 索書號 條碼 狀態 說明
總圖2F密集書庫 NX456 H89 1986 [鄰近架位館藏] 1479669 可流通


199.
名稱gwrxEmail:
 留言時間:2012-03-27 07:19:20
留言內容
http://en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe


198.
名稱gwrxEmail:
 留言時間:2012-03-24 07:31:03
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Three Embedded Artist Residency Opportunities:
Deadlines: 2 April

Sound and Music's Embedded artist residency programme, supported by the Esmee Fairbairn Foundation, places a selection of artists from a range of disciplines into real-world artistic contexts with leading national creative organisations. Aimed at talented artists at an early stage in their careers, Embedded is a bespoke programme, providing practical hands-on experience and significant creative opportunities. We currently have calls for applications open for the following three Embedded residencies:

Forestry Commission England

Forestry Commission England are the tree people V the experts in forests and woodlands, looking after a diverse range of environments, more than 1,500 forests and woods in England, including 40 key forests and 24 visitor centres. This residency will offer an opportunity for an early career artist to explore the nature of a residency, enabling them to develop their skills through connecting with and contributing to the work of Forestry Commission England, and allowing both partner organisations to benefit from a sustained relationship with a music/sound creator. Forestry Commission England has a long track record and extensive experience as a commissioner of site-specific work.
Click here to find out more and apply >>

Pitt Rivers Museum/Oxford Contemporary Music

The Pitt Rivers Museum cares for the University of Oxford's collection of anthropology and world archaeology. This residency will offer an opportunity for an early career artist to explore the nature of a residency, enabling them to develop their skills through connecting with and contributing to the work of the Pitt Rivers Museum and OCM, and allowing both partner organisations to benefit from a sustained relationship with a music/sound creator. The selected artist will spend time engaging with Museum staff, its collections, projects, research and outreach work and with OCM staff while using the Museums anthropological resources and gallery spaces as a starting point/inspiration for the development of new music or sound-based work for a range of contexts.
Click here to find out more and apply >>

Manchester Camerata

Sound and Music and Manchester Camerata are offering an opportunity for an early career composer to spend a year in residence with the ensemble. This year-long association will allow the chosen composer to develop a broad range of skills through spending time with and contributing to the life of a professional ensemble in all aspects of its work, including its performance work, learning programme and administration, and the ensemble to benefit from a sustained relationship with a composer contributing across a range of areas. The role will include work alongside the Manchester Camerata team to explore and develop new creative approaches to the presentation of new work. The role may include specific audience development work in one of the Cameratas residency towns outside Manchester.
Click here to find out more and apply >>


197.
名稱gwrxEmail:
 留言時間:2012-02-10 20:31:25
留言內容
CALL FOR PAPERS
InterFace is a symposium for humanities and technology. In 2012 it is being hosted by Birmingham
Institute of Art and Design (BIAD) at Birmingham City University on the 28th, 29th and 30th of June 2012.
The Conference will be an invaluable opportunity for participants to travel to the countrys second city to
collaborate and share ideas with some of the industrys most promising academics. The symposium aims to
foster collaboration and shared understanding between scholars in the humanities and technology, especially
where their efforts converge on exchange of subject matter and method. With a focus on the interests and
concerns of Masters, Ph.D students and early career researchers, the programme will include networking
activities, opportunities for research exposition, and various training and workshop activities.We aim to have as
many female speakers at the symposium as possible; therefore, we strongly encourage women in to submit
their abstracts. This year, the event hosts a range of 15 minute presentations, poster presentations, workshops,
installations and a concert across two and a half days. Authors wishing to participate in the event are required
to submit 200-300 word abstracts, outlining their work and idead. Submissions are encouraged for, but not
limited to the following subjects:
Oral/Poster Presentations - Workshops:
E network analysis;
E raising awareness about the creative use;
E bibliographic software;
E data visualisation;
E linked data;
E creative use of social media;
E problems and issues using technology;
E user studies and social research;
E the use of internet and social media as a creative tool;
E being creative with technology;
E creativity in the technological process;
E stimulating creativity with technology.
Compositions/Installations: We are interested in compositions/performances as well as installations in the
field on music technology. The concert will take place at Birmingham Conservatoire on the 29th of June. This
may include musicians, sound and video artist and artist in reflecting on their own creative practice in relation
to issues and use of technology. Topics may include the following but not limited to:
E hacking;
E live electronics;
E live coding;
E networking;
E interactive performances/installations;
E sound ecology.
E
The deadline for applications is Monday 20th February 2012.
The committee will select participants from among the applications received and successful applicants will be
informed on Thursday 1st of March 2011. A participation fee G45 will be charged to cover costs of lunches,
refreshments, venue, and speakers. There is no fees for submission.
Key Dates:
E Monday 20th February: Deadline for applications
E Thursday 1st March: Notification of successful applications
E Monday 28th May: Deadline for Final Paper submission
E Thursday 28th June: InterFace 2012 begins
We look forward to receiving your application.
The InterFace 2012 Committee
http://www.interface2012.org.uk/


196.
名稱gwrxEmail:
 留言時間:2012-02-01 23:41:23
留言內容
The sound and the melody
In my new work "Colour Orchestra" (http://fireant.itaiwan.net/20120123/show_colour_p3.php), I tried to explore relation between the sound and the melody.
In this work, the work will play automatically (in Chrome and Safari), the audience can listen to the sound when each colour fades out and fades in. The colour implies the duration and direction, the implications contribute to compose the sounds as a song. But this song can not be transferred as ordinary songs or music that we can tell others with our singing. When the audience wanted to remember the sounds or the music, it will be disturbed by the colours and unpredictable sounds.

The sounds can not be shared by our singing and mnemonics was given up. The only thing we do for the melody is chasing the sounds and waiting for it.


195.
名稱gwrxEmail:
 留言時間:2012-02-01 09:20:55
留言內容
http://fireant.itaiwan.net/20120123/show_colour_p3.php oOıoܺ}G@~

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ҥHoOQɪ


194.
名稱gwrxEmail:
 留言時間:2012-01-30 00:09:49
留言內容
God please help me


193.
名稱gwrxEmail:
 留言時間:2012-01-23 21:36:10
留言內容
http://fireant.itaiwan.net/20120123/show_colour_p2.php
http://fireant.itaiwan.net/20120123/show_colour_p1.php
my new work


192.
名稱gwrxEmail:
 留言時間:2012-01-19 07:30:46
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In 2012 Work, Employment and Society celebrates 25 successful years of publishing quality research in the sociology of work and employment!

To mark this landmark, we are planning a series of activities to mark the WES contributions to debates in work and employment over the last 25 years. The celebrations will culminate in a Special Issue of the journal to be published in February 2013.


The Editors are inviting submissions for consideration in the 25-year Special Issue. Submissions should either reflect on key debates launched by WES, review hot topics of interest to scholars of work and employment or analyse the direction of travel of the sociology of work and employment over the past 25 years. Papers that are broad in scope, review extant WES debates or re-appraise seminal WES contributions will be particularly welcome.


Read the full call for papers, including key topics of interest:
http://www.britsoc.co.uk/publications/pubsvacancies.htm


191.
名稱gwrxEmail:
 留言時間:2012-01-13 22:23:56
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The Two Cultures: Visual Art and Science c.1800-2011

Interdisciplinary Postgraduate Conference, 26 April 2012
History of Art Department, University of York

It is bizarre how little of twentieth-century science has been assimilated into twentieth century art.
C.P. Snow, 1959

In his 1959 lecture The Two Cultures C.P. Snow asserted that the intellectual life of western society was
increasingly being split into two polar groups: the sciences, and the humanities. The notion that visual
artists and scientists are two entirely isolated strata of human activity and experience has proliferated
since the nineteenth century, and continues to plague academic institutions and political policy today. The
term scientist was coined in 1834 as a means of designating those who worked professionally in the various
sciences. The scientist was described by direct analogy to the artist; suggesting that these now seemingly
dichotomous areas of scholarship were in fact intended to exist in direct relationship to one another.

This conference seeks to challenge Snows separatist assertion, and explore the ways in which visual
artists have acknowledged, appropriated and assimilated the ideas and theories of the ever-expanding
field of science in their work since c.1800, the moment at which the professionalization of the sciences
engendered a seemingly irrevocable split in the academy. As a result, we hope to recoup a sense of
interdisciplinary fluidity amongst the international fields of visual arts and sciences, in order to build as
complex and nuanced a picture as possible of the exchanges and interconnections between the two cultures
over the past two centuries.

We invite abstracts for papers of 20minutes by postgraduates that address the theme of relationships
between the visual arts and the sciences 1800-2011. We welcome submissions from students working across
the humanities, fine arts, social sciences, and applied sciences, but ask that the papers specifically address
such relationships from the perspective of visual or material culture. Possible themes for discussion might
include, but are by no means limited to:

Collaborations and communications between artists and scientists.
Representation and/or use of scientific concepts, vocabularies or technologies by an artist in the
creation of works.
Modern medicine and representations of the body.
Representations of warfare, machinery and technological development V their physical and
psychological effects/treatments.
The influence of post-Darwinian structures/theories on the visual realm.
The effect of/responses to new media such as photography, film, and internet.
The advent of cybernetics and computers, from early experimental use to contemporary digital
media.
The ways in which the relationship between art and science intersects with issues of class, gender,
sexuality and ethnicity.
The attitude of art education to science and vice versa.
How established genres such as landscape and still-life have responded to scientific developments.

Abstracts should be no longer than 300 words. We ask that applicants also submit a brief biography in addition
to their abstract. The deadline for submission is February 24th 2012. All submissions should be sent to Kirstin
Donaldson and Robert Sutton at TwoCultures2012@gmail.com along with any questions regarding the
conference or abstracts.


190.
名稱gwrxEmail:
 留言時間:2012-01-08 15:29:11
留言內容
LeWitt, "Comments on an Advertisement Published in Flash art" p98,1973

"My own work of the past ten years is about only one thing", "logical statements using formal elements as grammar."


189.
名稱gwrxEmail:
 留言時間:2011-12-29 22:35:31
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Wi-FiIh NCCG̦nP@bnJ
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ܫXAثeqH~̤jѰOΤKOWi-FiLuWAĤGqH~̫hpɩΥ]OΡAO覡ʥF޲zAP~̪b]Lk۳qAoOݭnץaAƱ楼өAȥiHqA̦nΤH@bnJPWi-FiAO̧@NϥΡChttp://tw.news.yahoo.com/wi-fi%E7%86%B1%E9%BB%9E%E5%A4%9A-ncc-%E6%9C%80%E5%A5%BD%E5%90%8C-%E5%B8%B3%E8%99%9F%E9%83%BD%E8%83%BD%E7%99%BB%E5%85%A5-013730585.html;_ylt=ApsUdOxXN1E9C35BjuZwR3XoBdF_;_ylu=X3oDMTRnYjZvaXNwBG1pdANUb3Bzcm90eVRlY2ggQXJ0aWNsZXNlY3Rpb25saXN0BHBrZwM5ZDY1YTI0OS0wYjc4LTNiYmUtOGM0NS03YmM0YzE4MDM5NGMEcG9zAzEEc2VjA01lZGlhU2VjdGlvbkxpc3QEdmVyAzI5NGEzODYwLTMxZTQtMTFlMS1hZDRlLWVkY2U1OTZmNTFmMw--;_ylg=X3oDMTNoMmt0Y2E1BGludGwDdHcEbGFuZwN6aC1oYW50LXR3BHBzdGFpZAMzZTFlM2Q5My0yY2Y1LTNiZjAtYTUzNC03MmQxZDJmMjIxZGYEcHN0Y2F0A.enkeaKgHznp5HlrbjnmbzlsZUEcHQDc3RvcnlwYWdlBHRlc3QD;_ylv=3


188.
名稱gwrxEmail:
 留言時間:2011-12-02 14:18:41
留言內容
yڥiHPɷҥjǮa

HǮa

Na

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187.
名稱gwrxEmail:
 留言時間:2011-09-22 06:48:03
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Message: 2
Date: Mon, 19 Sep 2011 16:52:26 -0500
From: BishopZ
Subject: From Sociological Art to The Aesthetics of
Communication, A lecture by Fred Forest
To: nettime-ann
Message-ID:

Content-Type: text/plain; charset=ISO-8859-1

M I T ? L I S T ? V I S U A L ? A R T S ? C E N T E R

>From Sociological Art to The Aesthetics of Communication, A lecture by
Fred Forest

Tuesday, September 20, 2011 @ 6:30PM // Bartos Theatre

Wiesner Building, E-15 Lower Level // 20 Ames Street, Cambridge, MA


French media artist and theorist Fred Forest (born in 1933) is one of
the earliest pioneers of video and media art. His work with
interactive environments using computer and video elements, began as
early as 1968. At the forefront of interactive art and new media,
sociology, and institutional critique, his work frequently immaterial
and relational, raises questions about the nature and function of art
in a market-driven age of information. A retrospective of his work was
held at the Slought Foundation in Philadelphia in 2007. Forest has
exhibited and presented at institutions including, the Centre Georges
Pompidou, Espace Pierre Cardin, and the Musee d'Art Moderne de la
Ville de Paris. Currently artist in residence in New York at Residency
Unlimited supported by the Institut Francais, Fred Forest is
implementing a global interactive project at the Centre d'art Albi,
France and has several upcoming projects scheduled in the United
States August and September.



The List Visual Arts Center wishes to thank?The Cultural Service of
the French Consulate in Boston, Residency Unlimited, and the
MIT-France Program for their generous assistance in making this talk
possible.

All programs are free and open to the general public.


186.
名稱gwrxEmail:
 留言時間:2011-09-17 22:19:29
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Message: 1
Date: Sun, 11 Sep 2011 22:42:53 -0400
From: Rich Pell
Subject: Visiting Faculty Position ? Electronic and Time
Based Art at Carnegie Mellon
To: nettime@kein.org
Message-ID:
Content-Type: text/plain; charset="windows-1252"; Format="flowed";
DelSp="yes"

Visiting Faculty Position ? Electronic and Time Based Art

Beginning August 2012

Carnegie Mellon University School of Art

The School of Art at Carnegie Mellon University is seeking to fill a
two-year full-time visiting position in the School of Art?s Electronic
and Time Based (ETB) area, recently ranked #1 in multimedia by US News
& World Report. We are seeking a dynamic individual working in
technology-based art with experience in gaming and emerging digital
art forms. Expertise and experience in other media is also welcome.
Conceptual strengths, contextual sensibilities, critical inquiry and a
multidisciplinary orientation are sought to teach freshman to graduate
levels and work with an enthusiastic faculty team to continue
developing the ETB area.

The School of Art is one of five schools in the College of Fine Arts,
which also includes the Schools of Architecture, Design, Drama and
Music. Its undergraduate and graduate curricula require media,
concept, community affiliation, and visual culture exploration as well
as university academic study. Areas of concentration include Drawing,
Painting, Printmaking and Photography; Sculpture, Installation, and
Site-Work; Electronic and Time-Based Work and Contextual Practice.
The School consists of 23 full-time faculty, 9 staff members, about
200 undergraduates and 18 graduate students. In addition to BFA and
MFA degrees in Art, interdisciplinary degrees are offered in
collaboration with other colleges in the university. The School co-
administrates a university gallery, the Miller Gallery, and is
actively involved with the STUDIO for Creative Inquiry and Center for
the Arts in Society, unique centers for interdisciplinary arts
research and education affiliated with the College of Fine Arts.

Qualifications: Advanced Degree or equivalent. University level
teaching experience required beyond teaching assistantships. A
versatile artist with a significant digital/electronic, time based
media art background and exhibition record. Carnegie Mellon is an
Affirmative Action /Equal Opportunities employer committed to diversity.

Appointment Levels: Visiting Assistant Professor. Two-year position
begins late August 2012 with possibility of an additional year

Salary and Benefits: Commensurate with experience

Additional Programmatic Information: http://www.cmu.edu/art/

Applications To Include:

? Letter of application with teaching philosophy

? Curriculum Vitae

? Names/addresses/telephone numbers of 3 references (no
recommendation letters). Documentation of artwork: Submit up to 10
minutes of time-based work. Submit video on DVD. Submit audio work on
audio CD, or in any Please use a permanent felt-tipped marker to label
discs, rather than adhesive labels, which may cause problems in slot-
loading CD/DVD Drives. Computer-based work is viewed on Mac OS X
systems unless otherwise noted. Please enclose self-addressed stamped
envelope for return of materials.

Send to: ETB Faculty Search

School of Art, College of Fine Arts, CFA 300

Carnegie Mellon University

5000 Forbes Avenue

Pittsburgh PA 15213-3890



Application review will begin January 23rd, 2012


Rich Pell
Associate Professor of Art
Carnegie Mellon


185.
名稱gwrxEmail:
 留言時間:2011-09-17 08:36:53
留言內容
ۤEM(http://www.giddens.tw/blog/post/35715893)
"ڷ|NڪbΩ_gbTWAۨBӨhA

ҩYϲFA٬OڦۤvC"


184.
名稱gwrxEmail:
 留言時間:2011-08-29 23:23:29
留言內容
Judd, D. (1963). Books. Arts Magazine, 38(2), pp.73.

ѦW Arts magazine
X [New York, NY : Art Digest Co., 1961-1992

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183.
名稱gwrxEmail:
 留言時間:2011-08-29 10:10:36
留言內容
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182.
名稱gwrxEmail:
 留言時間:2011-08-28 22:15:21
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181.
名稱gwrxEmail:
 留言時間:2011-08-25 09:36:05
留言內容
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180.
名稱gwrxEmail:
 留言時間:2011-08-24 14:01:06
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http://www.pcworld.com/article/139330/musicsharing_plans_for_london_underground.html

Music-Sharing Plans for London Underground
By Jeremy Kirk, IDG News Nov 7, 2007 8:00 am

Three computer scientists are hoping to turn London's Underground subway system into a thriving network for sharing music unencumbered by copyright.

The project, London Undersound, would let commuters download and upload tracks to each other via Bluetooth and Wi-Fi, said Johanna Brewer, a doctoral student in informatics at the University of California at Irvine, who is currently doing research in London.

London's Underground subway system is a dead zone for mobile phones. No signals penetrate the grimy 19th century tunnels and there are no transponders within to allow calls or text messages. Nonetheless, people still tap away on their mobiles offline, composing text messages and playing games, Brewer said.

And despite the sometimes gruff demeanors of commuters, there is a social network, with people sharing items such as the newspaper and interacting with each other, Brewer said.

"There's a lot of very implicit and unspoken sharing practices that go on," said Brewer, who conducted studies on social interaction on the Underground. "There was this sort of special feeling people had about the Tube in that they felt a concentrated mix of humanity."

The mass of people combined with ubiquitous mobile devices make the Tube a perfect place for sharing media. Brewer and two colleagues, Arianna Bassoli and Karen Martin, also doctoral students, envision London Undersound as a system where people will be able to upload and download tracks at Underground stations.

Each station would have a unique set of tracks specific to that area of the city, making the act of traveling and then the sharing of music part of a social experience, Brewer said. Using their mobiles, people would be able to share tracks via Bluetooth while they're riding the Tube, as well as upload music at Underground stations.

Technically and legally, the project is complex. The three researchers are designing a handset application written in Java for Symbian or Linux OSes that would enable the sharing of tracks between users. Brewer said they originally thought it would be possible to install servers at Underground stations, but that idea posed too many difficulties.

Now they're looking into equipping people with Nokia N800 tablet PCs within the stations. Those tablets could distribute tracks over Wi-Fi or another wireless protocol. The handset application would let users scan the song libraries of other people within Bluetooth range and download a track, albeit with the permission of the person.

"Each station acts as a localized repository," Brewer said. "As people begin sharing tracks with one another in a peer-to-peer fashion, you can download them from anyone you happen to see on the platform."

There are many networking and routing issues that come with lots of people using wireless devices in a small area, Brewer said. As an increased number of devices interact with one another, it quickly becomes a dense, saturated network, she said.

On the legal side, "obviously, there are a host of copyright issues," Brewer said.

The researchers are not pushing for Undersound to be for mainstream, established acts but rather emerging artists interested in establishing a link between where they live, their music and their identity. Filters could be used to keep out copyright material, she said.

Undersound is also in discussions with Creative Commons, the organization that studies ways to protect the creator's rights but also balance use of the work, for licensing models.

"We're hoping to give more meaning to the music and allow artists to express themselves in a more realistic way rather than [putting fliers] all over London," Brewer said.

See more like this: london, underground, tube, undersound, music sharing
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http://icmc2011.org.uk/attend/concerts/

Concert Schedule
SUNDAY 31ST JULY
8pm V Concert 1, St. Pauls Hall
Jon AppletonPacific Rimbobo9
Jon Appleton X radio baton
Simon WatersRotary/Lateral (Rondo)13
Bill Vine, Ferdia Stone-Davis X wine glasses
Da Jeong ChoiMons Montis9
Damien Harron X percussion
Richard DudasPrelude and Fantasy7
Helen Whitaker X alto flute
Aaron EinbondTemper8
Heather Roche X bass clarinet
Konstantinos KarathanasisDionysus12
Damien Harron X percussion
Scott WilsonVorticallyK12
Carla Rees X quarter-tone bass flute
MONDAY 1ST AUGUST
12.30pm, 2pm V Concert 2a & 2b, Phipps Hall
Natasha BarrettReality and Secrets no. 219
acousmatic
Chikashi MiyamaQuicksilver7
audio-visual
Alexander SchubertLaplace Tiger12
Alexander Schubert X drum kit
Flo MenezesMotus in fine velocior V in memorium Stockhausen13
acousmatic
Jean PicheAUSTRALES10
audio-visual
Giampiero GeminiFlamma Inveniat9
multimedia, Heather Roche X clarinet
8pm V Concert 3, St. Pauls Hall
Mikel KuehnChiaroscuro10
Aoife Nic Athlaoich X cello
Jeff Herriotta glance at the sun6
Johnathan Impett X trumpet
Damien Harron V percussion
Kari BesharseDissolution13
Andrew Digby V trombone
Anthony De RitisSheng8
Aoife Nic Athlaoich V cello
Marta GentilucciRadix Ipsus17
Jonathan Impett V trumpet
Andrew Digby V trombone
tbc V electric guitar/bass guitar
Sebastian Berweck V piano
Damien Harron V percussion
Mark Wagstaff V percussion
Aoife Nic Athlaoich V cello
Aaron Cassidy V conductor
Cort LippeMusic for Tuba and Computer15
Melvyn Poore V tuba
Charles NicholsMultiplication of Machines, I. Pistons5
Darragh Morgan V violin
10.30pm V Concert 4, The Graduate
Simon Atkinsoninteriorities iii10
acousmatic
Mike FrengelHotbird10
Mike Frengel - electric guitar
Robert van Heuman / John FergusenWhistle Pig Saloon15
Robert van Heumen V laptop with tactile controllers
John Ferguson V Hybrid guitar with motion sensitive electronics
Nicolas VarchauskySpeaker Performing Kiosk [The Huddersfield Sessions]20
Nicholas Varchausky V Performer
Donna Hewitt / Julian KnowlesGracht10
Listening Room 1a
David EaglePassages and Scenes, Reflections and Memory25
Augusto MeijerBioluminescence15
Ambrose SeddonThe Nowness of Everything14
Andrew Martin SmithEchoes in the Darkness3
Nikos StavropolousNyctinasty10
Listening Room 1b
Panos AmelidisRitual Attacks12
David BerezanGalungan11
Andrew ConnorStudy No. 24
Louise Harrisfuzee8
Andrew HillPerpetual Motion9
Ben MurphyExpanding9
Annelie Maria NederbergSHIFT [still views of a snowy horizon]11
TUESDAY 2ND AUGUST
12.30pm + 2pm V Concert 5a & 5b, Phipps Hall
Yu-chung TsengMetascape ii- the Inner-voice of the Chinese Opera Cymbal7
acousmatic
John YoungLamentations16
acousmatic
Patrick Saint-DenisTrombe7
multimedia
Guillaume CampionQuadriforis10
acousmatic
Adam StansbieEscapade10
acousmatic
James CarpenterTangle10
acousmatic
8pm V Concert 6, St. Pauls Hall
Howard KentyThe Master and the Sandgrabber7
Cheng Yu V pipa (4-stringed lute)
Wang Xiao V erhu (fiddle)
Li Guangtai V guzheng (21-stringed zither)
Nicky Sweeney V violin
Aaron Cassidy V conductor
Elainie LilliosVeiled Resonance14
Theofilos Sotiriades V soprano saxophone
John MalliaInterzonal Hap 210
Wang Xiao V erhu
Li Guangtai V guzheng
Heather Roche V clarinet
Julien-Robert SalvailChute libre10
Richard Craig V flute
Heather Roche V bass clarinet
Jonathan Impett V trumpet
Sebastian Berweck V piano
Damien Harron V percussion
Darragh Morgan V violin
Nicky Sweeney V violin
Lisa Dowdall V viola
Aoife Nic Athlaoich V cello
Aaron Cassidy V conductor
John CroftKne laura che trema13
Richard Craig V alto flute
Lisa StreichASKAR9
Darragh Morgan V violin
Nicky Sweeney V violin
Lisa Dowdall V viola
Aoife Nic Athlaoich V cello
10.30pm V Concert 7, The Graduate
Diemo SchwarzOutprovisation15
Diemo Schwarz V laptop
Thor Magnussonixi lang live coding15
Thor Magnusson V laptop
Angela GuytonTSC 325
Angela Guyton V painter
Rodrigo Constanzo V drums, electronics
Anton Hunter V electric guitar, electronics
Stelios ManousakisFantasia on a single number20
Stelios Manousakis V live electronics
Listening Room 2a
Jessica AslanThe Augmented Piano13
Andrew BabcockAnagogue10
Florian HartliebIm vorden Zimmer des hinteren Raums12
Sebastian PeterStamboul City Blues20
John ThompsonStatus Transgression4
Robert ThompsonOut of the Vivid Air13
Listening Room 2b
Taebok ChoThink of Tool11
Alex DowlingSpeak the Speak7
Guy HarriesHatch30
Min Eui HongBetween Sleep and Wake6
David HymanOther Music To Dance To6
Damon Thomas LeeStumm8
WEDNESDAY 3RD AUGUST
11am, 4.30pm V Concert 8a & 8b, Phipps Hall
Horacio VaggionePoints Critiques16
acousmatic (diffused by Annette Vande Gorne)
Peiman KhosraviConvergences12
acousmatic
Bret BatteySinus Aestum9
audio-visual
Valerie DelaneyLa cite de verre8
acousmatic (diffused by Julien-Robert Legault Salvail)
Sam SalemDead Poets21
acousmatic
Dan A. TramteNomos Delta7
acousmatic (diffused by Elainie Lillios)
Listening Room 3a
David BirdTidal Streams10
Travis EllrottWithin12
Peter LeonardThe Voice Dictates5
Paula MatthusenNavigable7
Dante TanziInto another space20
Benjamin O'Brienall two clarinet11
Listening Room 3b
Christopher Arizapulsefact #29
Juan G. EscuderoZ10
David Mapp/LeeRichardson/Rob GodmanAlyona60
Elliott Grabill/Vin GrabillPranayama III7
Joseph HydeVanishing Point12
Anton SaarioNomadische Luftspiegelung fur Eva9
Stephen StanfieldA Cancelled Glow6
THURSDAY 4TH AUGUST
12.30pm + 2pm V Concert 9a & 9b, Phipps Hall
Eric LyonSelected Noise Quartets8
Performed by the Noise Quartet:
Steve Davis V drums
Eric Lyon V piano
Franziska Schroeder V saxophone
Paul Stapleton V electric guitar
Bruce HamiltonPental9
acousmatic
Alo Allikmikro:strukt12
acousmatic
Dale PerkinsCuckooborough8
acousmatic
Shawn GreenleeEndolith15
laptop improvisation/ live coding
Jordan MunsonThose That I Fight I Do Not Hate8
Scott Deal V bodhran
8pm V Concert 10, St. Pauls Hall
Joao Pedro OliveiraEntre o Ar e a Perfeicao10
Richard Craig V alto flute
Sebastian Berweck V piano
Ai Kamachi21st Red Line9
Yumi Kurosawa V 20-string koto
Tatsuo Nagami V musical technical programming
Satoru Higa V visual programming
Jarosław KapuścińskiOlis Dream7
Jarosław Kapuściński V piano
Camille Norton X poetry
Se- Lien Chuang / Andreas WeixlerMomentum Huddersfield10
Heather Roche V clarinet
Eleri Ann Evans V saxophone
Se-Lien Chuang V bass recorder
Andreas Weixler V laptop
Per BlolandOf Dust and Sand10
Eleri Ann Evans V alto saxophone
Sebastian Berweck V piano
Mike SolomonNorman (age 1)10
tbc X clarinet
Dan WeymouthUnexpected Things (for violin, piano, computer-altered sound and audience participation)13
Darragh Morgan V violin
Sebastian Berweck V piano
10.30pm V Concert 11, The Graduate
Lou BunkBeing and Becoming12
Xenia Pestova V toy piano
Jesse AllisonVessel of Meditation7
Jesse Allison V singing bowl, electronics
Lauren Sarah HayesKontroll15
Lauren Hayes V prepared piano
Robert BlattSignal, Entropy, Noise20
David Pocknee V electric guitar
Richard Scotts Lightning TrioGroup improvisation15
Richard Scott V WiGi/Buchla Lightning, analogue synthesizer
David Birchall V guitar
Adam Linson V contrabass
Listening Room 4a
Robert David BentallVanity Procedure11
Juan Jose EslavaUnder Construction12
Georges ForgetUrban Adagio14
Henrik FriskRepetition Repeats all other Repetitions14
Sangbong NanAwaken10
Listening Room 4b
Diego GarroPatah15
Sam Haydenschismatics15
Rob van RijswijkVOX35
Margaret SchedelThe Beautiful Dont Lack the Wound12
FRIDAY 5TH AUGUST
12.30pm, 2pm V Concert 12a & 12b, Phipps Hall
Manuella BlackburnKarita oto15
acousmatic
Mark PilkingtonCameradown14
audio-visual
Todor Todoroff / Laura C. GuerraBeyond the Divide9
audio-visual
Felipe OtondoCiguri9
acousmatic
Maurice WrightDarwiniana9
audio-visual
Edgar BarrosoBinary Opposition9
audio-visual
8pm V Concert 13, St. Pauls Hall
Simon EmmersonStringscape17
Darragh Morgan V violin
Kevin ErnsteBirches15
John Graham V viola
Timothy HarendaAbsence6
Darragh Morgan V violin
Alex HarkerFluence14
Jonathan Sage X clarinet
Ricardo ClimentKoorean Air8
Darragh Morgan V violin
Heather FraschMetal Re-sculpte12
Eleri Ann Evans V baritone saxophone
Listening Room 5a
Mathew BarnardThe Piano Makers16
Stephen David BeckUnhinged8
Oliver CarmanSaxy!9
Manfredi ClementeStudio I V Omaggio ad Eraclito3
J Corey KnollMetallurgy10
Tim Scott MoyersApricot9
Federico SchumacherEl Espejo de Alicia11
Maggie YueSmall Change8
Listening Room 5b
Ka Ho CheungLa possibilite de la metropia10
Arne EigenfeldtComing Together: Notomoton10
Kuei-Fan LinRutux11
Ryan OlivierColorful Movements8
Michael PoundsHighway Coda5
Masatsune Yoshiosurround-sound lights no. 322
INSTALLATIONS (venues TBC)
Patricia Alessandriniadagio sans quatuor
Ivica Ico BukvicSinging Darwin
Andre BartetzkiA Show Case for SC Tweets
Joyce Koh / PerMagnus LindborgThe Canopy




c 2010V11 ICMC


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Posted By taiwanmusicology on July 13, 2011
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http://taiwanmusicology.org/
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171.
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http://en.wikipedia.org/wiki/Counterpoint

In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent (polyphony). It has been most commonly identified in classical music, developing strongly during the Renaissance and in much of the common practice period, especially in Baroque music. The term originates from the Latin punctus contra punctum meaning "point against point".


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Message: 2
Date: Wed, 06 Jul 2011 11:31:37 +0200
From: Geoff Cox
Subject: call for participation: in/compatible.research
To: nettime-l@mail.kein.org
Message-ID: <4E142B79.2030509@hum.au.dk>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

Call for participation: in/compatible.research
International PhD workshop and conference, organised by Digital
Aesthetics Research Centre/Centre for Digital Urban Living, Aarhus
University, in partnership with the transmediale festival for art and
digital culture, and Universit?t der K?nste, Berlin.

November 16-18, 2011
Vil?m Flusser Archive, Universit?t der K?nste, Berlin.

"Transmediale.12 postulates that incompatible beings drive the logic of
contemporary cultural production. in/compatible beings are understood as
aesthetic things and processes that do not necessarily connect on the
terms we are used to. The festival wants to raise the question of what
happens when such incompatible beings are brought to the fore rather
than hidden away in the dark underbelly of digital culture?"

In the context of developing a platform for knowledge exchange, and
research across the arts and sciences, transmediale and Aarhus
University have established a partnership to foster new forms of
collaborative peer-review and knowledge dissemination. The first project
will be a PhD workshop and conference departing from the theme of the
25th transmediale festival upcoming in early 2012: in/compatible. This
theme addresses unresolved tensions in-between different technologies,
their cultures of production and use, as well as the tensions between
different approaches to contemporary media culture.

"The simultaneous monumental failure and global ubiquity of technology
seems to move us beyond the polarity of utopia and dystopia. Instead we
are entering the blurred environments of the unadapted, monstrous and
'uncorporated'. These increasingly unclear tension-states between open
and closed, military and civilian, idealistic and commercial, are giving
rise to a new kind of 'techno-cultural uneasy'. The in/compatible in
this context is a singular moment where it becomes evident that certain
technologies or models of thought are not possible to use in
combination. Artists, practitioners and thinkers engage this imperfect
nature of technology. They give it a cultural shape, developing a
critical reflexivity that responds to the ever-changing social and
economical terrains of the networked world."
(From Open Call for Works, transmediale 2012: in/compatible. Read the
full thematic call at http://www.transmediale.de/festival/call-for-works)

The aim of the in/compatible.research PhD workshop and conference is to
explore the compatibility and incompatibility of various objects,
processes and systems. For DARC, the workshop is a continuation of
research in interface criticism and the role of artistic practices and
aesthetic theory within interface culture. One of the assumptions is
that critical insights and new possibilities derive from the various
incompatibilities of interfaces (including those between humans and
machines, as well as within humans and machines). For transmediale, the
workshop represents a beta project of its new "resource for transmedial
culture," which is a framework for transmediale related events happening
before and after the festival. The resource is a new distributed working
methodology of the festival based on continuous knowledge development
and community involvement throughout the year; thus the workshop is both
an independent event and a research-based exploration of the forthcoming
theme of transmediale.

We are looking for proposals from PhD researchers to take part in this
international workshop and conference to explore the forthcoming theme
of transmediale: in/compatible.

A total of 15 PhD international researchers will be selected and asked
to participate: firstly initiating a discussion process in a blog, and
then in the PhD workshop held at the Universit?t der K?nste, Vil?m
Flusser Archive in Berlin, Nov. 16-18. The outcome of the process will
be published in a transmediale thematic publication and presented as
part of the programme of the festival in 2012. In the selection of
participants, we are looking to address the theme of in/compatibility in
terms of the diversity of research traditions and disciplines
represented, including practice-based research. Across the same days as
the PhD workshops, an international research conference will be held to
create a platform of exchange between scholars, researchers and artists
exploring the in/compatible topic.

We are looking for contributions that broadly align to the following
headings:

INCOMPATIBLE INTERFACES
Various socio-technical systems communicate with each other in networks,
but how do they distribute sense perception and relations of power and
control, and not least what are the aesthetic and critical responses to
these distributions (such as glitch, sousveillance or FLOSS)?

INCOMPATIBLE METHODS
There are ever more competing ways of understanding and addressing
knowledge production, so what is the role of emergent practice, artistic
research methods and more traditional research methods across the arts
and sciences (such as media archaeology, speculative realism and
aesthetic theories)?

INCOMPATIBLE MARKETS
In the collapsing distinctions of production and consumption, and with
new models of socialisation and exchange, what are the alternative
economies and business models that emerge (in the context of the
marketisation of research, creativity and sociality)?

Applications will be reviewed by a panel comprised of representatives
from Aarhus University and transmediale. The workshop is free, but
participants will need to cover their own travel and accommodation
expenses. For fundraising purposes, letters of support can be issued
upon request. 5 ECTS credits are offered for full participation. Some
places will be reserved for students coming from the organizing
institutions.

We are seeking proposals consisting of a biography (500 characters), a
statement on current research/description of PhD project (1000
characters), and an abstract for a paper presentation (1500 characters).

Proposals should be sent using the online form:
http://www.transmediale.de/content/incompatibleresearch-call-participation

Deadline: Aug. 15
Acceptance: Sept. 15

Organised by:
Digital Aesthetics Research Centre, Aarhus University, DK
(http://darc.imv.au.dk)
Centre for Digital Urban Living, Aarhus University, DK
(http://www.digitalurbanliving.dk/)
transmediale festival for art and digital culture, Berlin, DE
(http://www.transmediale.de)

Promoted by:
transmediale resource and Vil?m Flusser Archive, Berlin.

Hosted by:
Universit?t der K?nste, Berlin (http://www.udk-berlin.de).

Nov. 16-18, 2011

For more information, go to http://darc.imv.au.dk/?page_id=2401

--
Center for Digital Urban Living
Aarhus University
Wiener 137
Helsingforsgade 14
DK-8200 Aarhus N
Denmark

W: http://www.digitalurbanliving.dk/
E: imvgc@hum.au.dk
skype: geoffreycox


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Notions of the Program in 1960s Art ? Concrete, Computer-generated
and Conceptual Art
by Darko Fritz

The book Art++, edited by David-Olivier Lartigaud presents text by
Darko Fritz "La notion de ? programme ? dans l?art des ann?es 1960
? art concret, art par ordinateur et art conceptuel". Paper was
presented at the conference Art-oriented programming 2 (Programmation
orient?e-art 2) at the Amphith??tre Richelieu of the Sorbonne,
Paris, 20th October 2007.

> pdf from the book [French]
http://darkofritz.net/text/darko_fritz_ART++.pdf

> pdf [English, txt only]
http://darkofritz.net/text/Fritz_Notions_of_the_Program_in_1960s_Art.pdf

_____________________________________


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http://www.youtube.com/watch?v=VO3mcGenhfo
The music was made by New York Wi-Fi access points and images were composed of the colour from Wi-Fi access points and the photos in NYC. The music and colours created a links between Wi-Fi machines and urban landscapes.


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http://www.mamac-nice.org/francais/exposition_tempo/musee/judd/dossier.html
Issue des œuvres constructivistes de Naum Gabo, dAnton Pevsner, et des sculptures modulaires dAlexander Rodtchenko, influencee egalement par les travaux du Bauhaus de Josef Albers, mais aussi de Max Bill ou de Richard Paul Lohse, la sculpture de Judd se definit par des volumes aux formes reduites (fondes sur la simplicite modulaire et la standardisation des formes), aux materiaux primaires (variant ainsi epaisseur, refraction, couleur, texture, et opacite), construits de facon industrielle, et a caractere anti-personnel (la realisation etant confiee aux autres).

Following the works of constructivist Naum Gabo, Anton Pevsner, and AlexanderRodchenko modular sculptures, influenced also by the work of the Bauhaus Josef Albers, Max Bill, but also or Richard Paul Lohse, Judd's sculpture is definedvolumes by the reduced forms (based on simplicity and standardization of modularforms), the primary materials (thus varying thickness, refraction, color, texture, andopacity), built on an industrial scale, character and anti-personnel (theimplementation is left to others).


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http://www.editorialmanager.com/at/


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 留言時間:2011-07-03 08:39:29
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http://www.meetup.com/Art-of-Digital-London/events/23372751/?a=socialmedia


161.
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 留言時間:2011-07-03 08:35:45
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{bng@gmass-production house and house societies峹


160.
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 留言時間:2011-07-03 08:10:31
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{bMߦbjraiW


159.
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 留言時間:2011-06-26 23:15:13
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ѦW Vers une architecture du livre : Le Corbusier : edition et mise en pages, 1912-1965 / Catherine de Smet
Dn@ Smet, Catherine de
X Baden, Switzerland : Lars Muller Publishers, c2007

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`2FKѮw NA1053.J4 S462 2007 [F[]] 2971306 iyq


158.
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 留言時間:2011-06-23 09:19:45
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@DW Vers une architecture. English
ѦW Toward an architecture / Le Corbusier ; introduction by Jean-Louis Cohen ; translation by John Goodman
Dn@ Le Corbusier, 1887-1965
X Los Angeles, Calif. : Getty Research Institute, c2007

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Table of contents only
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157.
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 留言時間:2011-06-22 07:12:26
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In 1922, with his cousin Pierre Jeanneret, Le Corbuseir set up an office at 35 rue de Sevres, Atelier 35S. At the age of thirty-six Le Corbusier published Vers une architecture (1923, Towards a New Architecture), a compilation of articles originally published in L'Epirit Nouveau. In this architectural bestseller Corbusier praised automobiles, airplanes, steamships, and mass-production, drawing the conclusion that we must "look upon the house as a machine for living or as a tool". The Pavillion of the New Spirit at the Paris Exhibition of 1925 offered Le Corbusier a change to introduce his ideas to the general public. His white, cubist dwelling unit consisted of standardized elements, except that a tree grew inside it and painting of Braque, Juan Gris, Picasso, and others hang from the walls.

Le Corbusier's theories had a strong social concern: "The machine that we live in is an old coach full of tuberculosis. There is no real link between our daily activities at the factory, the office or the bank, which are healthy and useful and productive, and our activities in the bosom of the family which are handicapped at every turn." Thus architecture is an instrument of restructuring the whole society, the rational alternative to revolution. In his villas, on the other hand, Le Corbusier put art before social reform.

The limitations and possibilities of the main building materials, ferroconcrete and steel, imposed homogeneity in building design, perhaps more than the material itself required. Plain white surfaces, an essential part of Le Corburies's aesthetics, had also deeper symbolic meanings. His ultimate aim was to create the spirit of constructing and living in mass-production houses. Architecture was the mould of modern spirit and modern man of the machine-age civilization. Le Corbusier's theories were enthusiastically read in the Bauhaus design school in Germany. However, Le Corbusier himself argued that Gropius and the Bauhaus pay too little attention to architecture and standardization.


156.
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 留言時間:2011-06-20 12:34:57
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@L c2003
Situating El Lissitzky : Vitebsk, Berlin, Moscow / edited by Nancy Perloff and Brian Reed
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Russia: an architecture for world revolution / by El Lissitzky ; translated by Eric Dluhosch
Lissitzky, El, 1890-1941
Russland; die Rekonstruktion der Architektur in der Sowjetunion. English
]\ - `B1Mäw - Py NA1188 L513 1984 -
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155.
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 留言時間:2011-06-11 08:06:35
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https://sellercentral.amazon.com/gp/on-board/workflow/Registration/login.html?passthrough%2F&passthrough%2Faccount=soa&passthrough%2FsuperSource=OAR&passthrough%2FmarketplaceID=ATVPDKIKX0DER&passthrough%2Fld=AZFS-30


bamazonW


154.
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 留言時間:2011-05-28 07:24:45
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http://tw.news.yahoo.com/article/url/d/a/110528/4/2sbl5.html


153.
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 留言時間:2011-05-24 21:42:50
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152.
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 留言時間:2011-05-12 07:07:09
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http://discover.odai.yale.edu/ydc/


151.
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 留言時間:2011-05-10 07:07:39
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.




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 留言時間:2011-04-22 23:50:43
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Digital/New Media Reader

WHO: established researcher who has achieved a high standard of scholarship in theory and/ or creative practice and has a substantial record of income generation and ongoing research of national and international quality and esteem.
WHAT: Reader in Digital/New Media
PAYMENTS: G45,336 - G52,556 pa
DETAILS: to lead the development of research and practice in this important field of enquiry at the University of Lincoln. The successful applicant will play a key role in the development of a research centre in this subject area, drawing together and building on the existing expertise of staff and research students and, wherever appropriate, across Schools and Faculties.
APPLY: visit website to apply online, or contact via email or 01522 886775, quoting


149.
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 留言時間:2011-04-22 23:29:39
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http://www.arasgallery.com/profile.php?id=24



richard paul lohse
b. zurich, 1902
view all works
paintings and sculptures
original prints & multiples
biography
exhibitions
biography

RICHARD PAUL LOHSE was born in Zurich (Switzerland) in 1902. After completing his studies at a school of graphic arts and advertising in Zurich, Lohse worked for an advertising agency until 1927, which enabled him to pursue his interest in the publication of the international artistic and political avant-garde movements. His first artistic works were of a figurative and post-cubism bent. In 1937 he became the cofounder with Leuppi of the Association of Modern Swiss Artists, Allianz, which acted in promoting publications, exhibitions and the diffusion of avant-garde art in general. Within this association -in collaboration with Max Bill and Verena Loevesberg he formed the "Zurcher Konkrete" group. In 1942 he defined the formula of his conception of rigorously constructive painting. "His horizontal and vertical structures follow each other in serial and modular orders within the rectangular limits of the canvas. The essential content of his work is a rational interpretation of the relationship between artistic practice and the problem of the form of social organization, in short a human attitude towards the balance of law and freedom" (Fr. W. Heckmanns). Lohse's career has been characterized by a constant precision of method and by the clarity of his theoretical and critical writings, not without political implications concerning the condition of art in modern society. Clearly expressed in his works and in his writings is the idea that structure is not a preliminary scheme but becomes a total phenomenon in the image. Assuming oneness as the genetic factor of the painting, he passes progressively from oneness to the group, from the group to the series and to the system. For Lohse the field of the canvas is a field of interacting modules, and since the color and the form are no longer opposite poles, the formal structure presents itself as a structure of colors. This poses the question -fundamental in our time even outside the field of art -of the relationship between structure, series and system, in the sense that the system, no longer tied to proportions, is also unlimited seriality. The combinatory method, the key to all his work, is therefore fundamental. Lohse is an outstanding figure of the now legendary "Swiss School" and his work has been exhibited all over the world, whether in personal exhibitions or those of group of tendency, both in museums and in private galleries: mention can be made of the exhibitions at the Kunstverein, Ulm, in 1960, at the Staedelijk Museum, Amsterdam, in 1961, at the Museum of Modern Art, Rio de Janeiro, in 1966, at the Denise Rene gallery, Paris, in 1967, at the Moderna Museet, Stockholm, in 1971, at the Kunstmuseum, Dusseldorf, in 1972. Since 1962 Lohse has been a member of the exhibition committee of the Kunsthaus of Zurich.


148.
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 留言時間:2011-04-22 23:23:18
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http://www.kandaki.com/CM-media.php?cat=1&aut=13


147.
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 留言時間:2011-04-22 22:52:45
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http://www.google.com/search?q=Richard+Paul+Lohse&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&hl=fr&tab=wi&biw=1280&bih=588


146.
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 留言時間:2011-04-22 22:22:22
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ѦW Art after conceptual art / edited by Alexander Alberro and Sabeth Buchmann
X Cambridge, MA : MIT Press, c2006

s
Table of contents only
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`2FKѮw N6494.C63 A735 2006 [F[]] 2971292 iyq


145.
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 留言時間:2011-04-22 22:17:17
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http://www.guggenheim.org/new-york/collections/collection-online/browse-by/movement


144.
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 留言時間:2011-04-22 07:41:34
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http://www.georgeadamsgallery.com/artworks/Roy_De_Forest/pdf/335_art.pdf


143.
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 留言時間:2011-04-22 07:24:10
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http://www.asc-cybernetics.org/2011/


142.
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 留言時間:2011-04-20 23:16:37
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141.
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 留言時間:2011-04-18 22:38:21
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140.
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 留言時間:2011-04-18 08:47:24
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Curated Art Collections (6.30pm-8.30pm)


Democracy 2.0 curated by Kurator
with work by: Les Liens Invisibles | Oliver Ressler | UBERMORGEN.COM

Time Landscapes curated by Beryl Graham
with work by: Susan Collins | Cary Peppermint and Leila Nadir | Thomson & Craighead | Rachel Reupke
Free Yourself? curated by Ruth Catlow and Marc Garrett (Furtherfield.org)
with work by: Rob Myers | Moddr |Julian Oliver and Danja Vasiliev | Karen Blissett

Three Radios curated by Patrick Simons
with work on: Soundart Radio | Abelian | Resonance104.4fm


Hosted by Fi Henshall
Discussion: Rob Gawthrop and Patrick Simons (7.15pm)
Food, Wine and hopefully more Discussion (7.45pm)
Vox Pop Interviews: Delpha Hudson (throughout the evening)


Discuss Online........
Texts by Verina Gfader on a few of the artworks being shown at the event are featured on the Electronic Village Galleries Website
Many of the artworks featured at the event are viewable online. You can post your thoughts and interpretation of the works on the Electronic Village Galleries Website http://evg.dematerial.org

Come and Have Your Say........
VOX POPULI : Vidocumentation by Delpha Hudson will be through vox pop interviews, negotiated with the public at the event, through dialogue. Audiences will be asked which digital work they most like or dislike, and why. Drawing on the idea of 'found sound or footage, the vox pop interviews will not be controlled or edited by post-production processes, just placed on the web.

Have a look at what's on and come along if you can!


Electronic Village Galleries Penryn is part of a pilot project devised by Kate Southworth at University College Falmouth which is supported by Arts Council England. Electronic Village Galleries aims to develop a distributed platform that supports artists to host new media art events in their local village or town hall, and which links together local art communities in Cornwall and the South West of England with network and new media art and its global communities. Its an experiment, so please join in and help to shape it!

http://evg.dematerial.org/





Re-rooting digital culture - media art ecologies
Unconference event


Date:6-8pm Friday 13th May
Venue:University of Westminster, Regent Street Campus
Tags
activism collaboration community conference media art ecologies networked participation unconference
TO BOOK YOUR PLACE NOW please email ale[at]furtherfield[dot]org

Introduction
Over the last decade the awareness of anthropogenic climate change has emerged in parallel with global digital communication networks. In the context of environmental and economic collapse people around the world are seeking alternative visions of prosperity and sustainable ways of living.

While the legacy of the carbon fuelled Industrial Revolution plays itself out, we find ourselves grappling with questions about the future implications of fast-evolving global digital infrastructure. By their very nature the new tools, networks and behaviours of productivity, exchange and cooperation between humans and machines grow and develop at an accelerated rate.

The ideas for this transdisciplinary panel have grown out of Furtherfield's Media Art Ecologies programme and will explore the impact of digital culture on climate change, developing themes adopted in grass-roots, emerging and established practices in art, design and science. The discussion will inform a second event in September at ISEA 2011 where we will be joined by artists Tom Corby and Helen Varley Jamieson.

Chair: John Hartley

Speakers: -

Michel Bauwens - On how Peer to Peer thought and technology point towards alternative production methods and a sustainable future.

Catherine Bottrill - On working with producers and consumers to consider the environmental long-tail of digital culture.

Ruth Catlow - On ecological approaches to tools, networks and behaviours in a digital art community.

Who this is for: any interested members of the public, cross-disciplinary (science, art, technology) practitioners, academics, students, researchers with an interest in digital culture, technology, sustainability.

Where: CREAM (Centre for Research in Education Art and Media), University of Westminster
Building: 309 Regent Street Campus
Room: RS 152 Cayley Room
Date/ Time: Friday May 13, 2011 from 6:00pm to 8:00pm
Maximum Seats: 60


BIOS

Catherine Bottrill - Associate Director, Research Julie's Bicycle
Catherine's PhD research at the University of Surrey is studying the response of the UK Music Industry to climate change. The research is examining the efforts of the industry to organise itself to collectively take action to reduce greenhouse gas emissions. The study is exploring the possible opportunities, limitations and contradictions for the industry to support a cultural shift towards sustainable energy lifestyles. The research investigates the perspectives of music businesses, artists and audience.

Michel Bauwens - Founder of The Foundation for Peer 2 Peer Alternatives
Michel works in collaboration with a global group of researchers in the exploration of peer production, governance, and property. He has been an analyst for the United States Information Agency, knowledge manager for British Petroleum (where he created one of the first virtual information centers), eBusiness Strategy Manager for Belgacom, as well as an internet entrepreneur in his home country of Belgium.

Ruth Catlow - Co-founder and Co-director of Furtherfield
Ruth is an artist, curator and educator. As co-founder and co-director of Furtherfield.org a grass roots media arts organisation and its gallery (formerly HTTP) in North London, she works at the intersection of art, technology and social change with artists, curators, musicians, programmers, writers, activists and thinkers from around the world. She is currently developing the artistic programme and organisational infrastructure with a focus on Media Art Ecologies, aspiring to engender shared visions and infrastructures for other possible worlds. Ruth is Course manager for digital art and design degrees at Writtle School of Design, where she is currently developing a new BA and MA in Fine Art and Environment.

John Hartley - Art and Ecology Strategist
In his recent role as Arts Council Englands Arts and Ecology Strategy Officer, John supported the development of practice and infrastructure in the face of changing contexts. Also on the Arts Councils Arts and Ecology partnership with RSA, on the GLA steering group for Greening London's Theatres and the DCMS Climate Change Project. John led on developing ACE's self-assessment toolkit to help arts organizations implement effective energy management programs. Implementation of the program can reduce energy usage and carbon emissions, potentially reducing energy costs by up to 20%. He is now a free-lance consultant, also a practicing artist, directs a collaborative experimental music group and has co-written a book published by Transworld.

Re-rooting digital culture is part of Furtherfield's Media Art Ecologies Programme. This unconference event is partnered by CREAM (Centre for Research in Education Art and Media)

login to reply 620 reads


http://www.furtherfield.org/event/re-rooting-digital-culture-media-art-ecologies


139.
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 留言時間:2011-04-17 19:26:30
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http://wn.com/apparition_klaus_obermaier_ars_electronica_futurelab?orderby=relevance


138.
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 留言時間:2011-04-17 18:45:29
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http://lab.softwarestudies.com/2011/04/new-book-philosophy-of-software-code.html?utm_source=twitterfeed&utm_medium=twitter


137.
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 留言時間:2011-04-07 20:49:55
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http://web1.nsc.gov.tw/newwp.aspx?act=Detail&id=0990619002&ctunit=24&ctnode=38&mp=1

http://web1.nsc.gov.tw/newwp.aspx?act=Detail&id=1000316016&ctunit=24&ctnode=38&mp=1






136.
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 留言時間:2011-03-28 00:44:53
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135.
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 留言時間:2011-03-27 07:18:54
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distribute as appropriate -jh

Does the internet need critical theory? Does the internet have critical theory? What is would non/traditional critical theory/ies have to say about the internet? How do the schools of critical theory engage with the internet? and Why bother with critical theory in this day and age? Those and others are the topics of the project on the Critical Theory of the Internet. Some of you may have heard me mention this project before. It is meant to be a fairly large project, parallel to one of the recent handbooks, only it will be free, and it will be open, much like my last book "Putting knowledge to work and letting information play", which has had over 3000 downloads so far from my servers.

The critical theory of the internet project will be a publication distributed electronically via the internet, comprised of works, textual and or internet-based mixed media. It is going to be produced and distributed through the Center for Digital Discourse and Culture via the internet.

This call is for expressions of interests to be a topical or area sub-editor and thus be a member of the editorial board of the volume. The volume is intended to find utility in having breadth and depth, and since I could not do that alone, sub-editors will be necessary.

As a sub-editor, you will be responsible for collecting, obtaining permissions to publish, and editing 3-7 'papers' or 'works' of 4000-15000 words on a specific area of your interest in critical theory that will comprise an identifiable 'section' of the volume. A section for instance could be 'Frankfurt School Traditions' , 'Critical Theories of Learning', or 'Labor'. You are also encouraged to submit a paper yourself. You also will likely be invited to attend a workshop or two at various conferences to discuss your work, etc.

As a sub-editor:
You will have to be able to work within google docs to the extent possible with your 'works'.
You will have to be able to meet deadlines within reasonable standards.
You will be responsible for marshaling the texts through a period of open peer review.
and
Hopefully you will do this with good judgment and applicable grace.

The timeline for the project is not immediate, nor rushed, I expect it will take 3-4 years to come to final completion.

An expression of interest will comprise of:
your name
your topic in 100 words or less (main idea and how it relates to critical theory and the internet)
your academic, artistic, or other credentials (especially if we've not worked together before)

sent by April 3rd 2011

questions and expressions of interest can be sent to jeremy@tmttlt.com



Jeremy Hunsinger
Center for Digital Discourse and Culture
Virginia Tech


Live without dead time.
-graffitti Paris 1968


134.
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 留言時間:2011-03-15 10:55:16
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http://changyy.pixnet.net/blog/post/26989011


133.
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 留言時間:2011-03-15 07:23:57
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http://www.thisisnotagateway.net/

This Is Not A Gateway is a not for profit organisation that creates platforms for critical projects and ideas related to cities. Our four main areas of production are

SALONS | ANNUAL FESTIVAL | PUBLICATIONS | LIBRARY & ARCHIVE


132.
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 留言時間:2011-03-11 10:42:11
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W3C today publishes a new standard that will enable people to use XML in brand new ways. The Efficient XML Interchange (EXI) standard dramatically improves the performance, network efficiency, and power consumption of applications that use XML. EXI is a very compact representation of XML information, making it ideal for use in smart phones, devices with memory or bandwidth constraints, in performance sensitive applications such as sensor networks, in consumer electronics such as cameras, in automobiles, in real-time trading systems, and in many other scenarios. Extensive testing shows that EXI performs consistently better than previous XML formats, data compression, and even packed binary data formats. As such, it brings the full range of XML benefits to even the most demanding applications. Read the full press release and Member Testimonials. Learn more about XML at W3C.


131.
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 留言時間:2011-03-09 15:28:23
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http://distriread.com/


130.
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 留言時間:2011-03-03 08:02:38
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Also, and probably the worst part, is that it bans public access Wi-Fi so that libraries, universities, local pubs, cafes, churches, community halls, etc. dont become loopholes for copyright infringement in the three-strikes age as proposed by the Digital Economy Bill.

http://www.zeropaid.com/news/88594/uk-govt-approves-3-strikes-website-filtering-bans-public-wi-fi-to-become-law-in-uk/


129.
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 留言時間:2011-03-03 01:04:20
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http://pdfserve.informaworld.com/775793__927632622.pdf


128.
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 留言時間:2011-03-02 23:12:34
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Time to explore different ways to bring affordable, high-speed broadband service
June 19, 2008 at 11:01 PM by Esme Vos
The London Times criticizes the UKs broadband strategy (or lack thereof) by citing to a small Dutch town, Nuenen, whose fiber to the home network is the envy of many communities in Europe. Nuenens model is unusual: a public-private cooperative owns and runs the FTTH network and the subscribers have voting rights. Last year, the network generated a profit of 1 million on revenues of 4 million. But, the Times asks (and indeed most of us are asking too), why isnt there even a debate about the different models of public-private partnerships?
Harold Feld says in the US, there is absolutely no debate because the Chicago School X which equates a deregulated market with a competitive market and sees no role for government in economic policy beyond enforcing contract X continues to set the agenda and our broadband policy debates remain relegated to debating tweaks around the edges. In Europe, they can actually talk intelligently about a wide variety of possible approaches. Whereas here, we cannot even get past the underlying question of whether government has a role at all X let alone recognize the possible diversity of public/private approaches. Abroad, the debate is what should we have as a broadband policy.
http://www.muniwireless.com/2008/06/19/best-model-for-bringing-affordable-high-speed-broadband-service/


127.
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 留言時間:2011-03-02 23:05:32
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Municipalities around the world have installed free Wi-Fi zones, including
New York and Chicago; one is planned for the entire city of Philadelphia.
11
The cities
argue that generally available access to the Internet through wireless connections has
become an urban amenity, arguably a necessity in sustaining and developing the local
economy. Municipal Wi-Fi also provides the opportunity to improve social services and
Internet access in disadvantaged communities that often are not served by fiber optic
networks. The debate about public-sector provision of what some consider to be a
private-sector service is expected to continue. Increasingly, Congress can expect pressure
from advocates from both sides to clarify the language of the Communications Act or to
take some other action that addresses the issue.
http://www.au.af.mil/au/awc/awcgate/crs/rs20993.pdf


126.
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 留言時間:2011-03-02 22:57:16
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Limited Municipal Broadband
In spite of the existing drawbacks, there exists an opportunity for municipal systems to indeed meet
goals of increasing broadband access and, at the same time, remaining accountable to taxpayers.
If local cafes can provide free wireless access, rolling it into their cost of doing business, theres no
reason to believe city agencies cant follow the same concept. First, its far easier than raising millions
in funding for a five to ten-year network project where payback is contingent on annual revenue
growth and subscriber uptake. Even as the city of Chicago debates a major wireless network
initiative, its library system is setting up hot spots in all its branches, funded and paid for out of the
citys IT budget. Moreover, wireless access expands the librarys current mission to provide free
Internet service to the community, for which it also provides free use of PCs and wired broadband
connections. Those with laptops and PDAs can use them anywhere in the building. The indirect
benefit of wireless access is that it frees up more of the librarys wired computers for those without
the hardware resources.
When the plan was announced, Chicago Public Library Commissioner Mary Dempsey said:
No other city provides free Wi-Fi on this scale. This partnership with the Department of
Business and Information Systems (BIS) purchasing the equipment and the Chicago Public
Library installing and maintaining it is a great example of how city agencies can work
together and the citizens of Chicago reap the benefits. 8
7
ibid.
8
Chicago Public Library Announces Major Technology Initiatives, Chicago Public Library Press Release,
Dec. 4, 2004, as posted at http://www.chipublib.org/003cpl/computer/splash/splash.html

For a fraction of the cost of the Philadelphia, Atlanta and Las Vegas systems, and without the legal
and legislative budget hassles, in the next few months the city of Chicago will make wireless
broadband available in some 79 diverse neighborhoods where the library has branches.
When planned correctly, municipalities can encourage wireless growth without embarking on huge
and risky projects of dubious benefit to the general population.
Overbuilt but Uncompetitive
All this is occurring as the telecommunications industry is at key point. Before committing to largescale, duplicative network build-outs, cities must be aware that convergence, the long-talked-about
merger of telephones, personal computers, content, entertainment and portability, is beginning to
happen.
Milestones on this road include the growing popularity and utility of the Voice over the Internet
Protocol (VoIP), the introduction of digital video recorders such as TiVo that can connect to PCs,
and the introduction of cell phones that can display full-motion video.
Wireless networks must be viewed in the context of this new consumer IT value chain.
Unfortunately, there remains a tendency to treat wireless networks as stand-alone V discrete and apart
from other types of broadband networks such as fiber optic systems, hybrid fiber/coax and
fiber/copper networks that serve residences and businesses. Even third-generation cellular is
regarded as something apart.
This point of view persists as a holdover from a regulatory regime that compartmentalizes network
operators by the technology they use, i.e., copper, coaxial cable and wireless, not the services they
provide, but that no longer fits market reality.
From a commercial standpoint, access technology and bandwidth no l

From a commercial standpoint, access technology and bandwidth no longer matter much. Service
providers are attempting to integrate services and applications with a goal of eliminating barriers
between wireline, wireless, narrowband and broadband platforms. Rather than treat wireless as a
separate network and service, commercial service providers are doing their best to create business
models that makes wireless an extension of the broadband service users enjoy at home and enterprises
rely on at the corporate campus.

http://newmillenniumresearch.org/archive/wifireport2305.pdf


125.
名稱gwrxEmail:
 留言時間:2011-03-01 16:47:27
留言內容
http://nixsolutions.com/blog/development/iphone/in-app-purchase-tutorial/


124.
名稱gwrxEmail:
 留言時間:2011-02-28 07:46:06
留言內容
http://www.wirelessstories.nl/

17 FEB. 2011 / 10.00 X 17.30 UUR
STADSSCHOUWBURG AMSTERDAM, LEIDSESTRAAT 26
TOEGANG IS GRATIS

Alle #wirelessstories tweets ›
Foto's conferentie ›
Video's ›



Van flashmobs tot GPS Citygames, van urban screens tot digitale graffiti, en van rondleidingen via smartphones tot Augmented Reality.

Enerzijds raakt de fysieke ruimte voller en voller met elektronische, vaak onzichtbare maar niet minder aanwezige communicatie- en observatienetwerken. We organiseren ons sociale leven met de mobiele telefoon, vinden onze bestemming met GPS, krijgen toegang tot het openbaar vervoer dankzij RFID, terwijl CCTV-camera's ons gedrag observeren. Anderzijds wordt de digitale ruimte steeds 'fysieker'. Applicaties als Foursquare, Facebook Places en Google Maps koppelen bijvoorbeeld sociale netwerken en databestanden aan geografische locaties. De fysieke wereld van de stad en de virtuele wereld van het internet lopen meer en meer in elkaar over. Dit heeft grote gevolgen voor zowel de manier waarop we de openbare ruimtes ervaren, als voor de wijze waarop nieuws en verhalen worden uitgewisseld. Lees verder...

Download de flyer [712 KB]

Sinds 2000 organiseren het Mediafonds en het Sandberg Instituut gezamenlijk een succesvolle masterclass. Mediamakers en ontwerpers werken daarbij in teams aan nieuwe vormen van vertellen. De elfde editie staat in het teken van nieuwe media in de publieke ruimte. Op donderdag 17 februari start de masterclass met een openbare conferentie over dit thema getiteld 'Wireless stories'.



123.
名稱gwrxEmail:
 留言時間:2011-02-27 20:53:36
留言內容
You can call NSSearchPathForDirectoriesInDomains using a domain-mask parameter other than NSUserDomainMask or a directory constant other than those in Table 3-1, but the application will be unable to write to any of the returned directory locations. For example, if you specify NSApplicationDirectory as the directory parameter and NSSystemDomainMask as the domain-mask parameter, you get the path /Applications returned (on the device), but your application cannot write any files to this location.


122.
名稱gwrxEmail:
 留言時間:2011-02-24 14:00:52
留言內容
http://www.cocoadev.com/index.pl?UsingZipFilesExamples
/*

Please change the scratch folder etc to appropriate ones.

*/


-(void)usageExample
{
// create sample data
NSString* text = @"test";
NSData* data = [text dataUsingEncoding:NSUTF8StringEncoding];



// Zip test 1

/*
NSData* convertedData = [self zip:data];

[convertedData writeToFile:[NSHomeDirectory() stringByAppendingPathComponent: @"Desktop/zip result"] atomically:YES];


*/

// Zip test 2

NSFileWrapper* zipwrap = [[[NSFileWrapper alloc] initDirectoryWithFileWrappers:NULL ] autorelease];

[zipwrap addRegularFileWithContents:data preferredFilename:@"data1" ];
[zipwrap addRegularFileWithContents:data preferredFilename:@"data2" ];

NSData* convertedData = [self zip:zipwrap];

[convertedData writeToFile:[NSHomeDirectory() stringByAppendingPathComponent: @"Desktop/zip result"] atomically:YES];




// Unzip

NSFileWrapper* wrapper = [self unzip:convertedData];

if( [wrapper isRegularFile] )
{
NSLog(@"this is a regular file wrapper");


}
else
{
NSLog(@"this is a directory wrapper");


NSDictionary* regularFileWrappers = [wrapper fileWrappers];

NSLog(@"contains %@", [regularFileWrappers allKeys] );

}

[wrapper writeToFile:[NSHomeDirectory() stringByAppendingPathComponent: @"Desktop/unzip result"] atomically:YES updateFilenames:YES];

}



-(NSData*)zip:(id)raw //raw must be NSData or NSFileWrapper
{
NSString* scratchFolder =[NSHomeDirectory() stringByAppendingPathComponent: @"Desktop/"];


NSString* sourceFilename = @"data";
NSString* targetFilename = @"zipped data";

NSString* sourcePath =[scratchFolder stringByAppendingPathComponent: sourceFilename];
NSString* targetPath =[scratchFolder stringByAppendingPathComponent: targetFilename];


BOOL flag = NO;


if( [raw isKindOfClass:[NSData class]] )
flag = [raw writeToFile:sourcePath atomically:YES];


else if( [raw isKindOfClass:[NSFileWrapper class]] )
flag = [raw writeToFile:sourcePath atomically:YES updateFilenames:YES];


if( flag == NO )
{
NSLog(@"Fail to write.");
return NULL;
}

/* Assumes sourcePath and targetPath are both
valid, standardized paths. */



//----------------
// Create the zip task
NSTask * backupTask = [[NSTask alloc] init];
[backupTask setLaunchPath:@"/usr/bin/ditto"];
[backupTask setArguments:
[NSArray arrayWithObjects:@"-c", @"-k", @"-X", @"--rsrc",
sourcePath, targetPath, nil]];

// Launch it and wait for execution
[backupTask launch];
[backupTask waitUntilExit];

// Handle the task's termination status
if ([backupTask terminationStatus] != 0)
{
NSLog(@"Sorry, didn't work.");
return NULL;
}

// You *did* remember to wash behind your ears ...
// ... right?
[backupTask release];


NSData* convertedData = [[[NSData alloc] initWithContentsOfFile:targetPath] autorelease];

//delete scratch

[[NSWorkspace sharedWorkspace] performFileOperation:NSWorkspaceDestroyOperation
source:scratchFolder
destination:@""
files:[NSArray arrayWithObjects:sourceFilename, targetFilename,NULL]
tag:NULL];


return convertedData;
}


-(NSFileWrapper*)unzip:(NSData*)zipData
{
NSString* scratchFolder =[NSHomeDirectory()
stringByAppendingPathComponent: @"Desktop/"];

NSString* sourceFilename = @"zipped data";
NSString* targetFilename = @"unzipped folder";

NSString* sourcePath =[scratchFolder stringByAppendingPathComponent: sourceFilename];
NSString* targetPath =[scratchFolder stringByAppendingPathComponent: targetFilename];



BOOL flag = [zipData writeToFile:sourcePath atomically:YES];

if( flag == NO )
{
NSLog(@"error");
return NULL;
}


//Unzip

//-------------------
NSTask *cmnd=[[NSTask alloc] init];
[cmnd setLaunchPath:@"/usr/bin/ditto"];
[cmnd setArguments:[NSArray arrayWithObjects:
@"-v",@"-x",@"-k",@"--rsrc",sourcePath,targetPath,nil]];
[cmnd launch];
[cmnd waitUntilExit];

// Handle the task's termination status
if ([cmnd terminationStatus] != 0)
{
NSLog(@"Sorry, didn't work.");
return NULL;
}

// You *did* remember to wash behind your ears ...
// ... right?
[cmnd release];



//unzip
//

NSArray* contents = [[NSFileManager defaultManager] directoryContentsAtPath:targetPath];


NSFileWrapper* wrapper;

if( [contents count] == 1 )
{
NSString* onepath;
onepath = [targetPath stringByAppendingPathComponent:[contents lastObject]];

NSData* data = [NSData dataWithContentsOfFile:onepath];

wrapper = [[[NSFileWrapper alloc] initRegularFileWithContents:data ] autorelease];


}
else if( [contents count] > 1 )
{

wrapper = [[[NSFileWrapper alloc] initDirectoryWithFileWrappers:NULL ] autorelease];

unsigned hoge;
for( hoge = 0; hoge < [contents count]; hoge++ )
{
NSString* onepath;
NSString* onefilename;

onefilename = [contents objectAtIndex:hoge];
onepath = [targetPath stringByAppendingPathComponent:onefilename];

NSData* data = [NSData dataWithContentsOfFile:onepath];

[wrapper addRegularFileWithContents:data preferredFilename:onefilename ];
}
}



//delete scratch

[[NSWorkspace sharedWorkspace] performFileOperation:NSWorkspaceDestroyOperation
source:scratchFolder
destination:@""
files:[NSArray arrayWithObjects:sourceFilename, targetFilename,NULL]
tag:NULL];


return wrapper;
}


121.
名稱gwrxEmail:
 留言時間:2011-02-24 13:50:01
留言內容
Here are the two methods I'm using to report back network status (in my .m):
- (BOOL)isDataSourceAvailable {

static BOOL checkNetwork = YES;
static BOOL _isDataSourceAvailable = NO;
if (checkNetwork) { // Since checking the reachability of a host can be expensive, cache the result and perform the reachability check once.
checkNetwork = NO;
Boolean success;
const char *host_name = "google.com"; //pretty reliable :)
SCNetworkReachabilityRef reachability = SCNetworkReachabilityCreateWithName(NULL, host_name);
SCNetworkReachabilityFlags flags;
success = SCNetworkReachabilityGetFlags(reachability, &flags);
_isDataSourceAvailable = success && (flags & kSCNetworkFlagsReachable) && !(flags & kSCNetworkFlagsConnectionRequired);
CFRelease(reachability);
}
return _isDataSourceAvailable;
}

http://www.ericd.net/2009/05/iphone-detect-online-network-status.html


120.
名稱gwrxEmail:
 留言時間:2011-02-24 10:14:51
留言內容
http://blog.objectgraph.com/index.php/2010/04/05/download-an-image-and-save-it-as-png-or-jpeg-in-iphone-sdk/


119.
名稱gwrxEmail:
 留言時間:2011-02-21 17:52:47
留言內容
http://www.youtube.com/watch?v=Bet3wHK2EH8&feature=relmfu


118.
名稱gwrxEmail:
 留言時間:2011-02-19 00:05:07
留言內容
ۤvFQHFѻPw
OhOHP
רObh~Ѥ

HͬOaƸnưb@_
nƤQPa
Oڭּ̧֨


117.
名稱gwrxEmail:
 留言時間:2011-02-18 19:14:17
留言內容
ӴA̧
ڰL\ha


116.
名稱gwrxEmail:
 留言時間:2011-02-18 13:11:19
留言內容
http://aptogo.co.uk/2010/07/protecting-resources/


115.
名稱gwrxEmail:
 留言時間:2011-02-17 22:04:05
留言內容
ڪs˻PLOPܲ`


114.
名稱gwrxEmail:
 留言時間:2011-02-15 17:52:21
留言內容
iOS has a comprehensive collection of tools and frameworks for storing, accessing, and sharing data. Core Data is a full-featured data modeling framework for object-oriented Cocoa Touch applications, while SQLite is perfect for low-level relational database work. Applications can share data using a URL-based system that works across all of iOS. Web apps can persist data in a client-side cache with the HTML5 data storage API. iOS apps even have access to a devices global data such as contacts in the Address Book, and photos in the Photo Library.


113.
名稱gwrxEmail:
 留言時間:2011-02-12 08:29:14
留言內容
L


112.
名稱gwrxEmail:
 留言時間:2011-02-06 16:28:13
留言內容
http://speap.sciences-po.fr

> Sciences Po Ecole des Arts Politiques: Call for applications
>
> Masters of Experiments on Arts and Politics 2011-2012
> One year ? part time
>
> Founded in 2010 by Bruno Latour in Sciences Po Paris, the master
> models
> itself on the pragmatic tradition, its framework of experimentation
> and
> inquiry combine arts? and social sciences? practices. In partnership
> with the Centre Pompidou and the Harvard University Graduate School of
> Design, the Master of Experiments on Arts and Politics is aimed at
> young
> international professionals with 2 to 5 years practical experience,
> who
> will work together on projects concerned with real stakes and
> trained by
> world-famous specialists (writers, artists, philosophers, historians,
> anthropologists?). The program is aimed at academics, social
> scientists,
> artists (in the broadest possible meaning, including design and
> architecture), as well as professionals working in the arts and
> politics.
>
> Deadline for the application is the 5th of April 2011
>
> http://speap.sciences-po.fr
>
> Contact : +33 1 45 49 76 88



FOR IMMEDIATE RELEASE
ART, VISUAL ART, NEW MEDIA, EXHIBITION

Contact: Micha C?rdenas, Associate Director of Art and Technology
Sixth College, University of California, San Diego
mcardenas a+ ucsd d0t edu

Where: Pepper Canyon Hall 257
Online exhibition at http://cat.ucsd.edu

When: February 2nd ? March 18th, 2011
Opening reception and conversation with the artists, Wednesday
February 1st, 2011, 2-3pm, light refreshments will be served.


MySpectacle, the Proliferation of Spectacles

The Culture, Art and Technology (CAT) program at the Sixth College of
UCSD is proud to present the new ARTifact gallery exhibition for the
Winter 2010 quarter, MySpectacle, curated by Micha C?rdenas, Associate
Director of Art and Technology for Sixth College. The ARTifact gallery
exists as a physical gallery in the CAT core offices as well as an
online exhibition space at the CAT website, cat.ucsd.edu. The gallery
acts as an integrated learning laboratory, transforming the working
environment of CAT students, staff and faculty into a hybrid space in
which contemporary art can be part of the dialog of interdisciplinary
undergraduate learning curriculum in Sixth College.

The shift from analog to digital media opens up new opportunities for
artistic intervention and analysis, as well as new systems of social
control and image manipulation. The works in MySpectacle directly
engage with questions of the changing nature of representation,
spectatorship and participation in an age of proliferating digital
representations. The show serves as a conversation piece and a
concrete example of the concepts being discussed in the CAT core
curriculum this quarter.

By looking at the shift in media distribution of major historical
events, we can understand the shift from a monolithic spectacle to the
proliferation of representations?resulting in a broad set of changes
to politics, law and entertainment. In the CAT program this quarter,
Kelly Gates? CAT 2 course ?Capturing the Visual World? considers the
shift from analog to digital photography and the ramifications across
a broad set of domains. The Software Studies Initiative?s images in
this show create new tools for cultural analytical practices by
utilizing massive databases of images, in this case all the covers of
Time magazine from 1923-2009. By allowing the viewer to see such a
large number of images simultaneously, a number of historical patterns
emerge. Another image from Software Studies looks at the Freakangels
manga, sorting the panels horizontally in publication order and
vertically according to brightness. The visualization allows viewers
to reconsider how comics are read and how illustrated representations
can be understood. This work speaks directly to the students of CAT 2
with Emily Roxworthy, whose class ?Animation, Simulation and
Performance? explores war documentary comics and their ability to
create empathy.

War imagery is a significant portion of media spectacle today and such
imagery lies directly at the intersections of politics, technology and
art. Considering the My Lai massacre in Vietnam, Seymour Hersh covered
the execution of large numbers of civilians by U.S. troops and
broadcast worldwide by CBS News with a resulting political response
that many say helped end the Vietnam war. Today, when images depicting
torture of prisoners in the Abu Ghraib prison were released, people
saw them not only on CBS news by Hersh again, but also on innumerable
websites, through emails viewed on iPhones, shared and debated on
Facebook and culture jammed in the iRaq ipod ads by artists Forkscrew
Graphics. The next step in this proliferation of war spectacles was
the cell phone video of Saddam Hussein, which was leaked not by a
journalist, but by a prison guard with a cell phone. The multitude of
representations mirrors the complexity of the social and artistic
movements responding to these images. The resulting institutional
response is just one example of the desire for total information
management and perfectly groomed corporate identities in the face of
expanding networks of media distribution. Charles G. Miller?s work in
this show explores the nature of these corporate facades, and the
embedded, implicit violence in the local suburban landscape. While the
explicit image of these corporations such as General Atomics is one of
a clean, spotless high tech corporation, the reality of their
scientists? involvement with projects such as the Manhattan Project,
resulting in the bombings of Hiroshima and Nagasaki, is an implicit
level of Miller?s imagery and a topic of Roxworthy?s course. In
addition, Jay Mark Johnson?s piece in the show, ?Swept Away #2? gives
a personal, human scale view of Belgrade, a city which has seen so
much war, but manipulates the representation of the landscape so as to
refer to any number of possible points in history.

Most recently Wikileaks has been making headlines for releasing data
about the wars in Iraq and Afghanistan, but one can understand this
shift more broadly than just news. One can see it in the
representation of violence shifting from broadcast videos of actual
war violence to the commodified violence of first person shooter
games, where each player has their own personalized simulation of war
violence. Today these games are used as a finely crafted
communications tool to train and recruit new soldiers, such as
America's Army. Looking to entertainment, one can see the mutation of
the spectacle from monolithic films viewed only in theaters, to
today's situation where they are seen on DVD, or Bittorrent downloaded
to laptops and smart phones. Artie Vierkant?s piece ?Avatar in 3D?
explores the rhetorics of file sharing communities and the ability of
artists to use downloaded media as the raw material for their own
reinterpretations. Similarly, ?Daylight/Twilight?, included in the
online exhibition uses techniques from cultural analytics to
reconfigure these two Hollywood films. Liz Losh?s CAT class this
quarter provides students with a deep understanding of the specific
rhetorics of digital culture. Also, Charles Thorpe?s CAT 2 course
?Society of the Spectacle? this quarter is looking closely at the
changing nature of capitalist spectacle and it?s presence in the San
Diego environment.

Today we see a move away from the production of spectacle as Hollywood
stars give some ground to reality television stars and ultimately to
each person producing their own spectacles on YouTube, a?MySpectacle
for each of us. Elle Mehrmand?s project ?w3eks.? takes the underlying
drive of such sites to its logical conclusions, taking a photo of
herself every 15 minutes for 3 weeks and creating her own database of
lived experience. Gerald Doppelt?s class ?Technology, Medicine,
Ethics? engages with Facebook this quarter as a site of ethical
debate, and Mehrmand?s use of this format prefigures these debates.
The grid format the images are presented in again reference both the
large scale nature of such databases, impossible to grasp in a single
viewing as well as the ability of sites like Google and Flickr to
create grids of images which have become a daily viewing experience
for many.

Another common feature of the new networked daily life if Google Maps.
Mark Hineline?s CAT 2 course ?Climate, Technology and Culture? helps
students develop critical thinking skills that use maps as tools of
analysis to understand large scale human made effects on the
environment. The works in this show by Rayyane Tabet and Charles G.
Miller both engage with these issues, in Tabet?s case looking at a map
of Beirut used as a basis for the game commonly known as beer pong,
but also known as Beirut due to it?s creation during the bombing of
the marines barracks in Beirut. Tabet?s work opens up the reading of a
map to multiple readings including maps as war tools, the militarism
of the overhead perspective and the black humor of war.


Pieces Included in MySpectacle include:


Freakangels Time Curve

Jeremy Douglass with Lev Manovich

2009-2010

Digital print


Like print comics and manga, web comics may run for years with new
episodes added daily, weekly, or monthly. How does their visual style
change over the duration of publication? Are the temporal patterns
gradual or abrupt? How do these patterns relate to development of a
narrative?


To create this visualization of 342 consecutive pages of the web comic
Freakangels that were published over 15 months, we used one of the
simplest visual features that can be automatically measured with
software ? the average of all pixels? grayscale values in an image.
These average values were used to position the pages vertically. The
horizontal placement of the pages corresponds to the order of
publication (left to right).


Despite the weekly intervals that separate the episodes of
Freakangels, our visualization shows that its visual form is
remarkably consist. For the larger part of the publication period, the
changes in brightness (the same applies to hue and saturation) follow
a smooth curve. Visualization reveals this unexpected pattern and
allows us to see the exact shape of the curve.



Timeline

Lev Manovich and Jeremy Douglass

2009

Digital print triptych



Visualizing 4535 Time covers reveals a number of historical periods
and patterns.


The image makes visible the pre-color printing era on the far left, a
cluster of brief early experiments in color printing (with left-margin
coloration), and then the gradual shift from black and white to full
color covers, with both types coexisting for a number of years. Taking
a step back, we can see that brightness and saturation follow a
cyclical pattern of rising and falling, with dramatic peaks and
valleys only becoming apparent over periods of a decade or more.
Standing apart from the overall curve are extreme exceptions: glowing
bright images and pale designs that float above or below the cloud of
covers typical of an era. Taking another step back, we can compare our
present decade to the entire 86 year magazine history. The drop in
saturation since the end of the 1990s (end of right panel) echoes a
somewhat similar period of unsaturated covers during the mid-1960s
(bottom of center panel).



SWEPT AWAY #2

Jay Mark Johnson

Archival Print, Paper, Aluminum

25? (H) X 53? (W) Framed

Edition 3 of 9



In ?Swept Away? Johnson focuses on images created in Belgrade in
February 2008. The images were taken in freezing conditions with
overcast winter skies from roadsides, from scenic overlooks and within
a few local flea markets and junk markets, and depict sequences of
cars or trams as well as the lone figures of junk or scrap metal
collectors and the like. According to Johnson, the title of the show
was inspired by the socially critical film by Lina Wertm?ller, which
examines the gradual reversal of the hierarchical positions between a
rich northern Italian lady and a simple southern Italian deck hand
when they are stranded on an uninhabited island. But the title is much
more multifaceted: it also refers to the obliterated landscapes behind
the vehicles and figures, an image maybe of the destruction of nature
by the relentless encroachment of industry, as well as to the desolate
social isolation of the depicted figures, who move on the fringes of
society and are commonly excluded from the collective awareness.
Lastly it can also be read, particularly in view of the inclusion of
the element of time in Johnson?s images, as a compelling visual
reflection on the nature of time itself as a destructive maelstrom
that washes away all that is but transient.


w3eks.

Elle Mehrmand

2006

performance


A performance where Mehrmand documented herself with a camera every
fifteen minutes for a period of three weeks. This simple parameter
created an experiment which allowed her to analyze, question and
change patterns in her quotidian. Mehrmand externalized the intimacies
of private and public space, which inherently extended her art
practice into the realms of the everyday.


Hidden in Plain Sight: La Jolla / UTC Annex, An-Edge City

Charles G. Miller


The five images included in MySpectacle have been selected from a
database of approximately 1500 of the urban geography immediately
adjacent to the UCSD campus--produced during a series of walks therein
disguised in corporate drag. The selected images exemplify the most
significant industrial anchors in the territory:
biotech/pharmaceuticals, defense, high tech and communications
technologies. Taken from municipal right-of-ways, i.e. public space,
the images gaze across a public/private threshold in order to develop
a typology of seemingly innocuous, or cognitively invisible
architectural space. The presumed pragmatism of this landscape would
eventually seem strategically poised to render the question of public
space null, and furthermore to conceal complicity with, as well as
globally displace, structural violence.


HOW TO PLAY BEIRUT (NORTH)

Rayyane Tabet

2010

Inkjet Print on Vellum, 54" x 60"



HOW TO PLAY BEIRUT (SOUTH)

Rayyane Tabet

2010

Inkjet Print on Vellum, 54" x 60"



AVATAR IN 3D

Artie Vierkant

2010

HD video

2h34m


The entirety of James Cameron?s 2009 film Avatar mapped onto the
surface of a slowly rotating sphere. Created in response to the
popularity and availability of a pirated copy of Avatar on bittorrent.
Re-released on the video?s platform of origin- bit torrent file
sharing networks.


Daylight / Twilight

Artie Vierkant

2010

HD video diptych

1 hr. 58 min. / 2 hr. 02 min.


The films Daylight (1996) and Twilight (2008) rearranged frame by
frame based on each frame?s brightness value.? Daylight runs brightest
to darkest while Twilight runs darkest to brightest.


Artist bios:


Jeremy Douglass is a postdoctoral researcher in Software Studies at
the University of California San Diego, in affiliation with Calit2,
the Center for Research in Computing and the Arts, and Visual Arts,
with support from the NEH and NSF. His research focuses on approaches
to software and code using the methodologies of the humanities and
social sciences, as well as approaches to culture using the techniques
of software engineering and data mining. One current emphasis is on
the art and science of information visualization and its applications
to visual culture. Douglass is active in the Software Studies and
Critical Code Studies research communities, and is a founding member
of Playpower, a MacArthur/HASTAC funded digital media and learning
initiative to use ultra-affordable 8-bit game systems as a global
education platform. His Ph.D. dissertation "Command Lines: Aesthetics
and Technique in Interactive Fiction and New Media" (UCSB 2007) is
freely available online.

Artist Jay Mark Johnson produces photographic images that challenge
the norms of perception. Throughout his career, in work spanning the
disciplines of drawing and painting, filmmaking, performance,
architecture, and photography, he has made visible the intersection of
human nature and society. At the end of 1991, Johnson returned to Los
Angeles, where he is now a cinema director with broad experience in
visual effects production, having supervised, directed or otherwise
contributed to the computer generated imagery for nearly a dozen major
studio films and television series, including The Matrix, Titanic,
Moulin Rouge, Tank Girl, Outbreak, White Oleander, and music videos
for Michael Jackson, Madonna, the Red Hot Chili Peppers and others.
Having discovered the many ways that a limited understanding of human
nature can hinder the advancement of progressive causes, he devoted
two years to graduate study in Linguistic Anthropology and Biological
Anthropology at UCLA.? Additional years of study focused on reading in
the cognitive sciences. His current SPACETIME photographic series
began with rudimentary experiments in 2005.? Over the course of this
project he increasingly applies the full range of his experiences,
from visual arts and cinema to studies in the anthropological and
cognitive sciences.? Work from this period is in the permanent
collections of the Frederick R. Weisman Art Founndation and the Langen
Foundation, Hombroich, Germany and Peter Klein, Museum Kunstwerk,
Eberdingen, Germany. The artist was born in 1955 in St. Petersburg,
Florida, USA. Since 1996 Johnson has resided intermittently in Europe,
in Paris, Antwerp, Rome and rural Italy. He currently lives and works
in Venice, California.

Lev Manovich is the author of Software Takes Command (released under
CC license, 2008), Soft Cinema: Navigating the Database (The MIT
Press, 2005), and The Language of New Media (The MIT Press, 2001)
which is described as ?the most suggestive and broad ranging media
history since Marshall McLuhan.? Manovich is a Professor in Visual
Arts Department, University of California San Diego, a Director of the
Software Studies Initiative at California Institute for
Telecommunications and Information Technology (CALIT2), and a
Professor at European Graduate School (EGS). He is much in demand to
lecture around the world, having delivered 450 lectures, seminars and
workshops during the last 10 years.

Elle Mehrmand is a performance/new media artist and musician who uses
the body, electronics, video, sound and installation within her work.
She is the singer and trombone player of Assembly of Mazes, a music
collective who creates dark, electronic, middle eastern, rhythmic jazz
rock. Elle is currently an MFA candidate at UCSD, and received her BFA
in art photography with a minor in music at CSULB. She has received
grants from UCIRA, the Russell Foundation and Fine Arts Affiliates.
Elle is a researcher at CRCA at UCSD and is a member of the electronic
disturbance theatre 2.0/ b.a.n.g. lab. Her performances have been
shown in Los Angeles, Long Beach, San Diego, San Francisco, Durham,
Tijuana, Montreal, Dublin, Istanbul and Bogot?. Her work has been
discussed in Art21, the LA Times, Juxtapoz Magazine, Networked
Performance, Reno News and Review, the LA Weekly, the OC weekly, VICE,
and Furtherfield.org.

Charles G Miller is an artist and writer currently based in San Diego.
He received his BFA from Maryland Institute College of Art in 2004 and
his MFA from University of California, San Diego in 2010. His recent
project: Hidden In Plain Sight: La Jolla / UTC Annex, An-Edge City
includes a forthcoming film produced with a fellowship from the Center
for Global California Studies. A frequent collaborator, he is
currently a resident artist, researcher and program developer at the
Periscope Project: an arts and architecture cooperative and urban
think tank based in downtown San Diego.

Rayyane Tabet's work has been concerned with researching hidden
histories that are transformed and retold through objects and
installations. He received a Bachelor?s in Architecture (BArch) from
The Cooper Union and is currently pursuing a Masters in Fine Arts
(MFA) at the University of California, San Diego. His work has been
featured in NOISE, Sfeir-Semler Gallery (2010), Art Now In Lebanon,
Darat al Funun (2008) and has been included in the New Museum?s book
Younger than Jesus: The Artist Directory, published by Phaidon Press
(2009).

Artie Vierkant is one of many possible Google Search results. His work
concerns the degree to which digital media constitute fully tangible
objects, actors which are both pliable and physical, structures to be
broken into pieces and reconceived.

Curator:

Micha C?rdenas is an artist/theorist whose transreal work mixes
physical and networked spaces in order to explore emerging forms of
queer relationality, biopolitics and DIY horizontal knowledge
production. She is the Associate Director of Art and Technology for
UCSD?s Sixth College in the Culture, Art and Technology program. She
has been a lecturer in the Visual Arts department and Critical Gender
Studies program at UCSD. She is an artist/researcher with the UCSD
School of Medicine, CRCA and the b.a.n.g. lab at Calit2. Her recent
publications include ?I am Transreal?, in Gender Outlaws: The Next
Generation from Seal Press, Trans Desire/Affective Cyborgs, with
Barbara Fornssler, from Atropos Press and ?Becoming Dragon: A
Transversal Technology Study? in Code Drift from CTheory. She has
exhibited and performed in biennials, museums and galleries in cities
around the world including Los Angeles, San Diego, Tijuana, New York,
San Francisco, Montreal, Egypt, Ecuador, Spain, Switzerland, Ireland
and many other places. Her work has been written about in publications
including Art21, the Associated Press, the LA Times, CNN, BBC World,
Wired and Rolling Stone Italy.

#


--

micha c?rdenas
Associate Director of Art and Technology
Culture, Art and Technology Program, Sixth College, UCSD

Co-Author, Trans Desire / Affective Cyborgs, Atropos, http://is.gd/daO00
Artist/Researcher, UCSD School of Medicine
Artist/Theorist, bang.lab, http://bang.calit2.net

blog: http://transreal.org

gpg: http://is.gd/ebWx9



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

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111.
名稱gwrxEmail:
 留言時間:2011-01-19 18:00:42
留言內容
What is your current primary activity? *

What are you best known for? *

What other achievements (not only academic) would you like to share? *

Beyond your work and studies, what are you passionate about? (e.g. hobbies, causes, activities, issues -- please do not talk about your work in this section) *

Share an example of something you have been a part of (including created, led, or joined) that you consider unique, even if no one else does. Why do you think it is mould breaking? (Limit 2250 characters) *

What questions should we have asked, but didn't? Please write them down and answer them! (in other words, tell us something about yourself that we don't know yet). (Limit 2250 characters) *

Can you share a memorable anecdote from your life that will give us a further sense of what makes you tick?

How did you hear about the TED Fellows program?

Have you participated in TED before? If so, to what extent? (e.g. you watch TEDTalks, you've attended / hosted / spoken at a TEDx event, you're a TEDTranslator, etc)


110.
名稱gwrxEmail:
 留言時間:2010-12-30 18:14:22
留言內容
http://www.saatchionline.com/showdown/match/showdown/2/artist/160262/art/1095949


109.
名稱gwrxEmail:
 留言時間:2010-12-17 05:40:26
留言內容
http://www.educationfutures.com/2010/08/07/2358/
http://www.crunchbase.com/person/amber-case
http://technoccult.net/archives/2010/02/11/cyborg-anthropologist-amber-case-the-technoccult-interview/
http://www.davis-floyd.com/Articles/CyborgAnthropology.pdf
http://oreillynet.com/pub/e/1679
http://www.electronicbookreview.com/thread/criticalecologies/cybernetic
http://w2.eff.org/Net_culture/Cyborg_anthropology/
http://www.cyberartsweb.org/cpace/cyborg/anthro.html
http://www.youtube.com/watch?v=Nk31t5O5-G0


108.
名稱gwrxEmail:
 留言時間:2010-12-16 20:22:05
留言內容
QO^꦳WHJa
QsҬOQ|@
̭iPϮ]
̪biXӮi
http://www.henry-moore.org/hmi/exhibitions/undone
UndoneOiXPNaQΤ`ͬ~ApѥBuΪ̬O~\
ǥѽs´P
гyXJ쵲c
J쪺P}JONЧ@
ܦN䪺i
ܦh@~MOνqܻ~
OгypjzJ~몺pP


http://www.henry-moore.org/hmi/exhibitions/angkor-wat
d]gݦL
oӮiܯSO
]ҮiXݦLOBJB{P
ҥHoǸgPɬOHΥ骺
ҥH]QOJ

oӮiiHݥXJ쪺Uإi
ӥBObۦWJaWҤiX
{FL̪}A
N¦UӤVoi
]]ͤF\hWNa


107.
名稱gwrxEmail:
 留言時間:2010-12-16 20:21:27
留言內容
Armstrong, P. (2009). Reticulations: Jean-Luc Nancy and the networks
of the political. Minneapolis, MN: University of Minnesota Press.

Nancy, J. L. (2000). Being singular plural. (R.D. Richardson & A.D.
O?Bryne, Trans.). Stanford, CA: Stanford University Press.

Bazzichelli, T. (2008). Networking: The net as artwork. (M. Calamia &
G. Wright, Trans.). Digital Aesthetics Research Centre. Retrieved from http://darc.imv.au.dk/?p=62

Kimbell, L. (2006). If networked art is the answer what is the
question? In T. Corby (Ed.). Network art: Practices and positions,
(pp. 154-172). New York: Routledge.

Saper, C. (2001). Networked art. Minneapolis, MN: University of
Minnesota Press.

Frieling, R., Pellico, M. & Zimbardo, T. (2008). In Frieling, R.
(2008). The art of participation: 1950 to now, exhibition catalogue,
San Francisco Museum of Modern Art. New York: Thames & Hudson, Inc.

Castells, M. (1996). The rise of the network society. Cambridge, MA:
Blackwell Publishers.

Castells, M. (2001). The Internet galaxy: Reflections on the Internet,
business, and society. Oxford: Oxford University Press.

Varnelis, K. (2008). Networked publics. MIT Press. Excerpts. Retrieved
from http://networkedpublics.org/book/conclusion_rise_network_culture

*also feel free to check my blog for others: http://heidimay.wordpress.com


106.
名稱gwrxEmail:
 留言時間:2010-12-14 14:34:10
留言內容

Dear Nettime,

we are currently wrapping up the year of the European Cultural Capital Ruhr.2010 and are happy to announce that a total of 46.335 visitors have seen the six large-scale international exhibitions, four conferences and eleven workshops organized by Hartware MedienKunstVerein in Dortmund in 2010. For more information see http://www.hmkv.de/presse/pressemitteilungen/2010_HMKV_in_retrospect.pdf

Lucky you if you have seen the exhibition Arctic Perspective at the PHOENIX Halle Dortmund. In its December issue the US art magazine ARTFORUM counts HMKV's exhibition Arctic Perspective among the "Best exhibitions 2010" internationally.

In additition, we are happy to announce the publication of the second volume of the 4-volume series Arctic Perspective published by Hatje Cantz - Arctic Perspective Cahier No. 2 - Arctic Geopolitics & Automony (ed. by Michael Bravo & Nicola Triscott). With contributions by Michael Bravo, Nicola Triscott, Katarina Soukup, David Turnbull, and Lassi Heininen (Hatje Cantz, Ostfildern 2010, ISBN: 978-3-7757-2681-8). Comprehensive information can be found at http://www.hmkv.de/_en/publikationen/details.php?publikation=60

On Monday, Dec 13, 2010, Arctic Perspective Cahier No. 2 - Arctic Geopolitics & Automony will be launched in London (The Arts Catalyst, 50-54 Clerkenwell Road, London EC1M 5PS, 6:30-9pm, http://www.artscatalyst.org/).

Best wishes,
Inke Arns


105.
名稱gwrxEmail:
 留言時間:2010-12-13 04:56:47
留言內容
Participant Objectivation†
PIERRE BOURDIEU
Article first published online: 22 MAY 2003
DOI: 10.1111/1467-9655.00150


By participant objectivation, I mean the objectivation of the subject of objectivation, of the analysing subject V in short, of the researcher herself. (282)



I have always regretted that those responsible for the most extraordinaryadvances of cognitive anthropology V I think of Durkheim and Mauss(1903) analysing primitive forms of classification or of Levi-Strauss (1966)dismantling the workings of the savage mind V never applied (with the partialexception of Durkheims [1977] The evolution of educational thought, and scatteredprogrammatic remarks by Maurice Halbwachs) to their own universesome of the scientific insights that they provided about societies remote inspace and time.(285)


And I could show similarly how myanalysis of the Bearn house as estate and household, and all the strategieswhereby it asserts and defends itself over and against rival houses, enabledme to understand, in what I think is an innovative way, what was then calledthe kings house and how, before the gradual invention of the specific logiccalled raison dEtat, the logic of the rational bureaucratic state, royal housescould, to conserve or increase their estate, resort to reproduction strategiesquite equivalent, both in principle and implementation, to those practised byBearn houses and their household heads (Bourdieu 1997). (290)



Me: Body is the elementary unit to perceive this world and houses are the world we live longer than others.






Symbolic classification: retrospective remarks on an unrecognized invention (pages 707V725)
Gregory Forth
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01649.x


In contrast to classification, references to symbols and symbolism are, perhapssurprisingly, absent from Durkheim and Mausss essay. Only once do they use symbolic.This occurs in the phrase symbolic creatures, by which they refer to mythicalanimals associated with various parts of space in Chinese cosmology (1963 [1903]: 68).According to their interpretation, the Chinese system was one in which, in the courseof social evolution, classification and social structure had become separated from oneanother, and where their connection was far less direct than in Australian and NorthAmerican systems. Thus, inasmuch as Needham largely reserved symbolic classification(and particularly dual symbolic classification) for those societies where the bondbetween society and classification was, according to the interpretation he proposed,especially evident, this single use of symbolic by the authors of primitive classificationmay appear ironic.





However, as the shared attributioncan be traced to a common association of birds, wooden items, and trophy horns with a kind of malevolent spirit that is closely connected with witches (Forth2004: 65, 70), we are not dealing with analogical relations taking the form a:b::c:d::e:f,but with a shared conceptual connection comparable to that which Evans-Pritchard(1956: 128-43) argued underlies the symbolic identification of twins and birds amongthe Nuer.(721)






Witches' wealth: witchcraft, confession, and Christianity in Auhelawa, Papua New Guinea (pages 726V742)
Ryan Schram
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01650.x


My central claim is that the association of witchcraft and wealth arises from changes in what can be presupposed about agency and responsibility in the interpretation of evidence, specifically the ethical foundations of peoples relationships. The Christian reframing of witchcraft changes how phenomena like illness, confession, misfortune, andWestern wealth are evaluated as evidence for witchcraft.When Auhelawa refuse the frame of the meeting, and turn instead to protective magic of holy water and prayer, they implicitly accept new conditions for the construal of visible signs as evidence of invisible forces. In the Christian historical metanarrative, total renunciation of witchcraft, the possibility of its total elimination, becomes presupposed. Hence signs of difference between Auhelawa and dimdim societies are read as reliable indicators of the existence of witchcraft, as well as its absence from what Auhelawa think of as modernity. Meetings, as both epistemic as well as quasi-therapeutic practices, do not allow one to orientate oneself towards the total elimination of witchcraft.Meetings are grounded in the ethics of kinship and are concerned primarily with restoring relationships among kin, not exorcizing evil. In a sense, meetings accept that witchcraft is an inevitable part of life and in that way clash with Christianity.







Compelling replication: Genesis 1:26, John 3:16, and biblical politics in Fiji (pages 743V760)
Matt Tomlinson
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01651.x


the printed text has been reshaped into a poetically paraphrased form which has become a new standard, and use of the verse is meant to compel actions that draw the Fijian vanua (land, people, chiefdoms, and tradition) into closer alignment with divine plans.(743)




A process of formal study of writings, removing texts from their context thus rendering them coherent, effective and memorable. (http://en.wiktionary.org/wiki/entextualisation)




In their influential discussion of entextualization, Bauman and Briggs define it as the process of rendering discourse extractable, of making a stretch of linguistic production into a unit V a text V that can be lifted out of its interactional setting (1990: 73; see also Bauman 2004; Briggs & Bauman 1992; Duranti & Goodwin 1992; Kuipers 1990; Silverstein & Urban 1996a).(744)





Me:
Anthropology explores the different people in the world then we can see the different cultures beyond we can imagine.

Art explores different possibilities then we can see the different expressions and concepts.







Based on his analysis of Fijian ritual,Miyazaki describes faith as the capacity to place ones agency in abeyance (2000: 32).4 In his later writing, he expresses dissatisfaction with the temporal orientation of his previous work, and focuses on hope as prospective momentum and a method of radical temporal reorientation of knowledge, especially self-knowledge (2004: 4, 5, 26).Again examining Fijian ritual, he argues that actors take a forward-looking view whereas analysts take a retrospective one; there is necessarily a temporal incongruity between knowledge and its object (2004: 23-4). According to Miyazaki, these opposed perspectives cannot be reconciled through misguided attempts at synchronicity; rather, scholars must be motivated by this gap V this difference in temporal perspectives V and reproduce it as a new kind of momentum: [H]ope as a method does not rest on an impulse to pursue analytical synchronicity but on an effort to inherit and replicate that impulse as a spark of hope on another terrain (2004: 30, emphases in original).(748)








Migrating-remitting-building-dwelling: house-making as proxy presence in postsocialist Albania (pages 761V777)
Dimitris Dalakoglou
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01652.x


Albanians has its own ethnographic particularities (e.g. the majority of Albanian migrants are living mainly in neighbouring Greece and are hence relatively near to the places of their origin), the phenomenon of houses built by migrants in the country of their origin is very widespread. It is reported ethnographically in various places, from Egypt (Schielke 2009) and Turkey (Berg 2007; Caglar 2002) to Greece (Herzfeld 1991: 41), Jamaica (Horst 2004; Miller 2008), and Albania (Dalakoglou 2009a), to mention but a few.(762)





Nevertheless, not only migrants houses, but the house more generally, as we perceive it today, is a relatively recent subject for British social anthropology.As Humphrey (1988) suggested, in the late 1980s the discipline was not paying particular attention to built domestic materialities and house architecture. Carsten and Hugh-Jones elaborated the point about anthropological neglect further in proposing that [n]otions of process, cycle and development are commonplace in the analysis of households and domestic groups but, in contrast to the people involved, the buildings are often portrayed as relatively fixed and permanent (1995: 37). Arguably, since then many things have changed and today we can talk about a social anthropology of the house in its own right. A number of house ethnographies, signified by the new readings of the Levi- Straussian house-based societies of the 1950s and 1960s (Levi-Strauss 1987; e.g. Carsten & Hugh-Jones 1995) and an approach to Bourdieus (1990 [1972]) celebrated case of the Kabyle house, have focused very explicitly on domestic architectural forms.(762)




Making a house is not the same as building a house. This distinction, in the first instance, must be perceived through the prism of migration: the International Organization for Migration (Chindea, Majkowska-Tomkin & Pastor 2007: 15; de Zwager, Gedeshi, Germenji & Nikas 2005: 16) has estimated that as many as 49 per cent of male Albanian migrants in Greece are active in building and construction. In this context, the notion of building a house emerges as a professional activity: people build houses for others. The notion of making a house, in contrast, implies a different process. (763)



Nevertheless, I do not simply suggest that Albanian migrants houses are material metaphors of a dynamic, migratory lifestyle or only the material traces of peoples physical absence from the place of their origin; my focus is on the production and reconfiguration of social relationships through house-making material-spatial processes and vice versa.(763)






Dwelling The story of Mr Arber, Edi, Miranda, and their house implied that migrants can accomplish a certain type of dwelling in the country of their origin even without being physically there. In fact their houses and the house-making process comprise a proxy presence for migrant owners in Albania. This proxy presence is expressed within the house-making process in several ways, some of which I will explore further in this section.
Evil eye Probably the most characteristic example of house-making as proxy presence invokes an aspect of largely intangible cultural heritage: belief in the evil eye.10 Albanian counter-evil-eye practices are primarily linked with protection from envy and the gaze of other people. The more tangible aspect of this practice is manifested in anti-evil-eye dolls (dordolec), which are usually one of the highest priorities in a house construction project (see Peterson-Bidoshi 2006) (Fig. 1). (766)




Immobile properties
Making houses in Albania often invokes the historical continuity of family tenure or claims of immobile property. Of course migrants are not residing in Albania in order to become involved with the complex issue of postsocialist ownership, but their houses are very much implicated in these disputes. Many of the buildings from the socialist period were built on land that, before the SecondWorldWar, had been private property. The postsocialist privatization of houses took two opposing directions, depending on which party was in power: the former Communist party or its adversaries.(768)




From the first paragraph of this article it has been clear thatmy informants spendmuch time focused on their houses and their house-making activities in Albania. Arguably my case studies suggest that house-making in Albania transforms the life of migrants into what, as we have seen, Bendix and Lofgren have called a life of constant doing and fixing, planning, synchronizing and worrying (2007: 8). Moreover, this process of house-making gets Albanian migrants involved with various situations in their homecountry which can potentially cause them trouble. So why did house-making in particular become the major manifestation of the materiality of migration in contemporary Albania?(772)



People put remarkable mental, bodily, and emotional resources and large amounts of money, labour, and attention into these house projects. Nevertheless, the practical and explicit function of shelter is only a small and temporary part of these house projects. FollowingHeidegger (1971), one could argue that building these houses should be seen as a material fragment of the many ways that migrants dwell within their migratory cosmos. Echoing the notion of the migrant world (Basu & Coleman 2008), I suggest that Albanian migrants build in a transitional and transnational migratory cosmos where they already dwell; the making of these houses V and the manners and conditions which dominate such making V comprise a way of making sense of this transnational and transitional world.(772)


104.
名稱gwrxEmail:
 留言時間:2010-12-13 01:57:09
留言內容
Participant Objectivation†
PIERRE BOURDIEU
Article first published online: 22 MAY 2003
DOI: 10.1111/1467-9655.00150


By participant objectivation, I mean the objectivation of the subject of objectivation, of the analysing subject V in short, of the researcher herself. (282)



I have always regretted that those responsible for the most extraordinaryadvances of cognitive anthropology V I think of Durkheim and Mauss(1903) analysing primitive forms of classification or of Levi-Strauss (1966)dismantling the workings of the savage mind V never applied (with the partialexception of Durkheims [1977] The evolution of educational thought, and scatteredprogrammatic remarks by Maurice Halbwachs) to their own universesome of the scientific insights that they provided about societies remote inspace and time.(285)


And I could show similarly how myanalysis of the Bearn house as estate and household, and all the strategieswhereby it asserts and defends itself over and against rival houses, enabledme to understand, in what I think is an innovative way, what was then calledthe kings house and how, before the gradual invention of the specific logiccalled raison dEtat, the logic of the rational bureaucratic state, royal housescould, to conserve or increase their estate, resort to reproduction strategiesquite equivalent, both in principle and implementation, to those practised byBearn houses and their household heads (Bourdieu 1997). (290)



Me: Body is the elementary unit to perceive this world and houses are the world we live longer than others.






Symbolic classification: retrospective remarks on an unrecognized invention (pages 707V725)
Gregory Forth
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01649.x


In contrast to classification, references to symbols and symbolism are, perhapssurprisingly, absent from Durkheim and Mausss essay. Only once do they use symbolic.This occurs in the phrase symbolic creatures, by which they refer to mythicalanimals associated with various parts of space in Chinese cosmology (1963 [1903]: 68).According to their interpretation, the Chinese system was one in which, in the courseof social evolution, classification and social structure had become separated from oneanother, and where their connection was far less direct than in Australian and NorthAmerican systems. Thus, inasmuch as Needham largely reserved symbolic classification(and particularly dual symbolic classification) for those societies where the bondbetween society and classification was, according to the interpretation he proposed,especially evident, this single use of symbolic by the authors of primitive classificationmay appear ironic.





However, as the shared attributioncan be traced to a common association of birds, wooden items, and trophy horns with a kind of malevolent spirit that is closely connected with witches (Forth2004: 65, 70), we are not dealing with analogical relations taking the form a:b::c:d::e:f,but with a shared conceptual connection comparable to that which Evans-Pritchard(1956: 128-43) argued underlies the symbolic identification of twins and birds amongthe Nuer.(721)






Witches' wealth: witchcraft, confession, and Christianity in Auhelawa, Papua New Guinea (pages 726V742)
Ryan Schram
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01650.x


My central claim is that the association of witchcraft and wealth arises from changes in what can be presupposed about agency and responsibility in the interpretation of evidence, specifically the ethical foundations of peoples relationships. The Christian reframing of witchcraft changes how phenomena like illness, confession, misfortune, andWestern wealth are evaluated as evidence for witchcraft.When Auhelawa refuse the frame of the meeting, and turn instead to protective magic of holy water and prayer, they implicitly accept new conditions for the construal of visible signs as evidence of invisible forces. In the Christian historical metanarrative, total renunciation of witchcraft, the possibility of its total elimination, becomes presupposed. Hence signs of difference between Auhelawa and dimdim societies are read as reliable indicators of the existence of witchcraft, as well as its absence from what Auhelawa think of as modernity. Meetings, as both epistemic as well as quasi-therapeutic practices, do not allow one to orientate oneself towards the total elimination of witchcraft.Meetings are grounded in the ethics of kinship and are concerned primarily with restoring relationships among kin, not exorcizing evil. In a sense, meetings accept that witchcraft is an inevitable part of life and in that way clash with Christianity.







Compelling replication: Genesis 1:26, John 3:16, and biblical politics in Fiji (pages 743V760)
Matt Tomlinson
Article first published online: 3 NOV 2010 | DOI: 10.1111/j.1467-9655.2010.01651.x


the printed text has been reshaped into a poetically paraphrased form which has become a new standard, and use of the verse is meant to compel actions that draw the Fijian vanua (land, people, chiefdoms, and tradition) into closer alignment with divine plans.(743)




A process of formal study of writings, removing texts from their context thus rendering them coherent, effective and memorable. (http://en.wiktionary.org/wiki/entextualisation)




In their influential discussion of entextualization, Bauman and Briggs define it as the process of rendering discourse extractable, of making a stretch of linguistic production into a unit V a text V that can be lifted out of its interactional setting (1990: 73; see also Bauman 2004; Briggs & Bauman 1992; Duranti & Goodwin 1992; Kuipers 1990; Silverstein & Urban 1996a).(744)





Me:
Anthropology explores the different people in the world then we can see the different cultures beyond we can imagine.

Art explores different possibilities then we can see the different expressions and concepts.







Based on his analysis of Fijian ritual,Miyazaki describes faith as the capacity to place ones agency in abeyance (2000: 32).4 In his later writing, he expresses dissatisfaction with the temporal orientation of his previous work, and focuses on hope as prospective momentum and a method of radical temporal reorientation of knowledge, especially self-knowledge (2004: 4, 5, 26).Again examining Fijian ritual, he argues that actors take a forward-looking view whereas analysts take a retrospective one; there is necessarily a temporal incongruity between knowledge and its object (2004: 23-4). According to Miyazaki, these opposed perspectives cannot be reconciled through misguided attempts at synchronicity; rather, scholars must be motivated by this gap V this difference in temporal perspectives V and reproduce it as a new kind of momentum: [H]ope as a method does not rest on an impulse to pursue analytical synchronicity but on an effort to inherit and replicate that impulse as a spark of hope on another terrain (2004: 30, emphases in original).(748)





103.
名稱gwrxEmail:
 留言時間:2010-12-11 20:19:19
留言內容
A mobile site of contradiction and disunity, a node where various discourses temporarily intersect in particular ways. (Kondo 1990: 47)

Kondo, Dorinne

1990. Crafting Selves: Power, Gender and Discourses of Identity in a Japanese Workplace. Chicago: University of Chicago Press.


102.
名稱gwrxEmail:
 留言時間:2010-12-10 07:47:56
留言內容
Message: 2
Date: Thu, 09 Dec 2010 18:34:44 +0100
From: Markus Huber
Subject: transmediale.11 conference BODY:RESPONSE
To: nettime-l@kein.org
Message-ID: <4D011334.70001@transmediale.de>
Content-Type: text/plain; charset=UTF-8; format=flowed


hello,

here are some preview informations about the transmediale.11 conference.
sorry for any cross posting


transmediale.11 RESPONSE:ABILITY
1 to 6 Feb 2011 at the Haus der Kulturen der Welt (HKW) in Berlin

Thanks to the quality of new mobile communications technologies,
real-time media and our hyper-presence in social networks, we are
directly connected to people, events and locations in the world. We are
here, now, and also online. How our coexistence, forms of work and our
power to act politically are changed by this networked presence, and
what new strategies need to be developed in response, are themes of
RESPONSE:ABILITY.




Under the title BODY:RESPONSE ? Biomedial Politics in the Age of Digital
Liveness, the transmediale.11 Conference investigates the biopolitical
and psycho-political power configurations in the age of the Web which
result from increasing biologisation of media and the communication-
technological hybridisation of real and virtual spaces.

With four moderated keynote conversations and a total of six focus
discussions, three complementary paths are followed exploring individual
and collective responsibilities towards such a ?biopower?.

With Franco 'BIFO' Berardi, Tim Etchells, Carolyn Guertin, Maurizio
Lazzarato, Tapio M?kel?, Verena Kuni, Garnet Hertz, Roberto Esposito,
Judith Revel, Eric Kluitenberg, Mushon Zer-Aviv, Marie-Luise Angerer,
Adrian Heathfield, Franca Formenti, Mark Hansen, Derrick de Kerckhove a.o.

For more informations
http://www.transmediale.de/content/conference-preview-bodyresponse



thanks,

markus
(programme manager, transmediale)



101.
名稱gwrxEmail:
 留言時間:2010-12-10 07:37:05
留言內容
http://www.tate.org.uk/britain/turnerprize/turnerprize2010/artists/philipsz.shtm
C~oD大 An|HñoDO_ȱoooӼCLܳwoNaoz"The judges said her work, Lowlands, "provokes both intellectual and instinctive responses and reflects a series of decisions about the relationship between sound and sight", providing "powerful sculptural experiences." ܦhܬOLkA]OݩҭӬOı


100.
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 留言時間:2010-12-09 20:08:22
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WRO 2011 Media Art Biennale: Call for works.

14th Media Art Biennale WRO 2011 Alternative Now - Wroc?aw, Poland

The WRO Media Art Biennale is the leading international forum for new
media art in Poland and Central Europe. Since its inception in 1989, WRO
has been presenting art forms created using new media for artistic
expression and communication, exploring current creative territories and
building a critical perspective toward emerging issues in art and society.

Over the years, the WRO Biennales have raised a variety of questions
about creative approaches to new technologies and the expanding
technosphere of social media ? about the creative crossover realms that
arise where art and science, economics and social activism intersect.

The theme of the 14th WRO Biennale, which starts on May 10th 2011, is
ALTERNATIVE NOW, highlighting the roles of individual artistic stances
and strategies that keep a deliberate distance from the
institutionalized mechanisms and standardized expectations of the art world.

To submit works to the 2011 WRO Media Art Biennale Alternative Now see:
www.wro2011.wrocenter.pl

Info
Deadline for submissions: January 5th, 2011
Opening and main events: May 10-15, 2011
Exhibitions untill September 2011

Contact
Biennale Office
e-mail: biennale@wrocenter.pl
phone: 0048 71 343 32 40

Address
WRO Art Center
ul. Widok 7
50-052 Wroc?aw, Poland
www.wro2011.wrocenter.pl

Organizer: WRO Center for Media Art Foundation/ WRO Art Center


99.
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 留言時間:2010-12-09 16:29:36
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98.
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 留言時間:2010-12-09 16:29:00
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http://www.tamtamart.com/exhibitions.php

PREV / NEXT
UPCOMING EXHIBITION
TANGIBLE INTANGIBLE (GROUP EXHIBITION)
DECEMBER 10V18, 2010
OPENING: FRIDAY, DECEMBER 10, 8-12PM
CURATED BY CHUN-CHI WANG

St. & St.(DE)
Yin-Ju Chen (TW/NL) & James T.Hong (US/NL)
Valerie Leray (FR) & Chun-Chi Wang (TW/DE)
Chaong-Wen Ting (TW/FR) & Chien-Ni Hung (TW/UK)


tamtamART is pleased to present "TANGIBLE INTANGIBLE", a group exhibition curated by Chun-Chi Wang. The exhibition will open on December 10 and will be on view until December 18. The opening reception scheduled for Friday, December 10, 8pm will include a live concert by Sohrab (Iran) beginning at 9.00 pm.

"TANGIBLE INTANGIBLE" brings together film and digital video by eight contemporary artists of "As you shout into the forest, so it echoes back" by St. & St. , "End Transmission" by Yin-Ju Chen & James T. Hong, "WILDLAND" by Valerie Leray & Chun-chi Wang, and "Five Regulations" by Chaong-Wen Ting & Chien-Ni Hung.

End Transmission (2010 - DVD, b&w, stereo, running time: 15:40 minutes), A decoded, alien environmental message, structured as a hypnotic experimental film, forcefully and poetically warns us of their return and the planets re-colonization.
James T. Hong has been producing thought-provoking, unconventional, and occasionally controversial films and videos for over a decade. He splits his time between the USA, Europe, and Asia.
Yin-Ju Chen is a Taiwanese multidisciplinary artist. Her main medium is video, but her works also include photo performances, installations, and drawings. She is currently a resident of the Rijksakademie van beeldende kunsten in Amsterdam, the Netherlands.

As you shout into the forest, so it echoes back (2010 - a one channel video installation, running time 2:17 minutes), In their work St. & St. explore hierarchic and bureaucratic systems, standardization as well as stereotypical thinking that are all based on communication or the lack of it.
St. & St. is the name of the artist team Stephanie Gerner and Stephan Halter and was founded in 2009. Both are born in Germany, living and working in Berlin. And their work showed 2009/2010 in several screening events in Berlin, London, Dumbo ArtsFestival in New York, and Industrial 59 during the First Ural and Industrial Biennial in Ekaterinburg/Russia. Stephanie Gerner and Stephan Halter work also as solo artists for many years. Their works were shown nationally and internationally in different projects and festivals.

WILDLAND (2010 - a two-channel video installation, running time: 4 minutes), Wildland is a poetic contemporary representation of the place of the body's woman in our society, the posture of the woman in this kind of landscape. It refers to the painting of the birth of Venus from Botticelli and a trivial posture of women in the contemporary image. Composer "balancing_missing 2007" by Pei-Wen Liu.
Valerie Leray lives and works in Orleans (France). Her project "Nomads " was awarded the label of the European Year for Intercultural Dialog and received the prize of the Centre France DRAC. Since 1999, she is the Artistic Director of the Art Space of La Mire (ex Lumen) in Orleans, which is aimed at promoting Visual Arts and teacher in the artistic workshop in school.
Chun-Chi Wang is a Taiwanese artist based in Berlin. She uses interactive video installations, performance, photography and all the current tools of the digital image to study the new relationship between humans and technology. Her works have been shown widely on the net and in international exhibitions throughout Europe, USA and Asia.

"Five Regulations" (2010 V DVD, color, running time: 5 minutes)
Two artists who live their lives separately in Paris and in London
decide to exchange three video clips and, agreeing to five rules, make an independent video each based on the six clips together. The same imagery, through individual interpretations, develop into different narratives. Both stories are ultimately left open to further imagination and understanding by the spectators.
Chaong-Wen Ting lives and works in Taiwan and Paris. After graduating in Plastic Arts from Tainan National University of the Arts (MFA), Ting was a display designer for Issey Miyake in Taiwan and took part in several exhibitions. He is currently in residence at the Cite Internationale des Arts Paris.
Chien-Ni Hung was born in Taiwan. She studied fine art at Slade School of Fine Art, UCL. Her works are shown across Europe and Asia but predominantly in the UK, where she is currently based. She investigates reality through fiction, combining materials with staged and (or) improvised actors. She is interested in a wide range of topics and mediums, however, video remains one of the most used forms in her work.

PREV / NEXT
UPCOMING WINDOW INSTALLATION
YI - CHEN HUANG
A NAME OF THE SCENERY
DECEMBER 24, 2010 V JANUARY 1, 2011 OPENING:FRIDAY, DECEMBER 24, 8-12PM

tamtamART is pleased to present the window installation "A Name Of The Scenery" by Yi-Chen Huang.

A Name Of The Scenery - In this space, it is quite light and weightless scenery.

Yi-Chen Huang born 1986 in Taiwan, studied Fine Art at National Taiwan University of Art, 2009 begin the study of Visual Kommunucation Design in Berlin Art Academy Weissensee.

TAMTAMART -- WEICHSELSTR 8- FRIEDRICHSHAIN- 10247 BERLIN- GERMANY -- TEL: +49 30 76211676- INFO@TAMTAMART.COM
c2010 IDOLON STUDIO, LLC. ALL RIGHTS RESERVED -- TERMS & CONDITIONS


97.
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 留言時間:2010-12-09 05:20:10
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http://udn.com/NEWS/MAINLAND/MAIN1/6023417.shtml
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96.
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 留言時間:2010-12-08 19:17:48
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95.
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 留言時間:2010-12-08 19:12:17
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Document, Memory, Image
A Day Symposium on Chris Marker
Convened by Griselda Pollock and Max Silverman
In conjunction with the AHRC-Funded Research Project
CONCENTRATIONARY MEMORIES: THE POLITICS OF REPRESENTATION
At the University of Leeds





THURSDAY 16 DECEMBER 2010 9.15-18.00
Business School Yorkshire Bank Lecture Theatre
Screenings : Wednesday 15 December 9.30-18.00 Clothworkers North Building LT (Cinema) (2.31)


EVENT IS FREE
PLEASE REGISTER by email conmem@leeds.ac.uk subject: MARKER EVENT

Speakers
Sarah Cooper (Kings College, London)
Patrick ffrench (Kings College, London)
Janet Harbord (Queen Mary, London)
Jon Kear (University of Kent)
Carol Mavor (University of Manchester)
Eyal Sivan (Paris and University of East London)
Marcel Swiboda (University of Leeds)

Programme Thursday 16 December

9.00 REGISTRATIOIN
9.15-10.00 Introduction Griselda Pollock and Max Silverman

10.00-10.45 Sarah Cooper Films Also Die

COFFEE

11.15-12.00 Jon Kear In Search of Time Lost: Markers Dialogue with Proust

12.00-12.45 Patrick Ffrench Rememebring and Reliving the Past in the Eearly Films
of Chris Marker

LUNCH

2.00-2.45 Carol Mavor Chris Markers Immemory is a ShellK.Marked by What it
Shelters
2.45-3.30 Marcel Swiboda Technologically Thrown into Memory: The
Mnemotechnics of Chris Marker

TEA

4.00-4.45 Talk VI
5.00-6.00 Concluding Session: RESPONSE



EVENT IS FREE
PLEASE REGISTER by email conmem@leeds.ac.uk MARKER EVENT



Wednesday 15 December Screenings:

Les Statues Meurent Aussi
Nuit et Brouillard
La Jetee
Sans Soleil
The Last Bolshevik
Francesco Ventrella
clerical assistant

CONCENTRATIONARY MEMORIES
CentreCATH
School of Fine Art, History of Art and Cultural Studies

Old Mining Building
University of Leeds
LEEDS
LS2 9JT, UK
E-mail: conmem@leeds.ac.uk
T: 07964920291


94.
名稱gwrxEmail:
 留言時間:2010-12-08 18:41:45
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http://fireant.itaiwan.net/gettext.php


93.
名稱gwrxEmail:
 留言時間:2010-12-08 16:27:06
留言內容
fireant.itaiwan.net/arttext.php
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92.
名稱gwrxEmail:
 留言時間:2010-12-06 07:16:50
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ICABloomberg New Contemporaies 2010
http://www.ica.org.uk/microsite/bnc2010/

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91.
名稱gwrxEmail:
 留言時間:2010-12-05 19:42:17
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http://fls.sysu.edu.cn/fls/Poesy/poesy.aspx?id=75505326430&type=0
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90.
名稱gwrxEmail:
 留言時間:2010-12-03 07:07:21
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Different types of artworks and artists.

1. art is for aesthetics



2. art leading research: thinking how to develop technology to create art



3. research helps art: thinking how to apply existing technology to art.



2 and 3 are different on the developers but the result is similar.



4. art for claim:claim what is art; Marcel Duchamp and Andy Warhol redefined the art.




5. art for study: For example, Impressionism studied light with their paintings.

6. Art for politics and social movement.



7. art=research: Art is the research. There are two conversion. The first is to build the connection between art and the subject and the second is the relation between artwork and the subject. After the conversion, we need a conclusion to contain the two conversion. The conclusion should be an artwork. In other words, the final artworks is composed of individual artworks; but the final work is not merely the sum of the individual artworks. The final artwork has its unique traits. Every "individual work" is the final work but they are not equivalent. I created different cities' landscape images and every image is urban landscape image but they do not equal to the final artwork. The final artwork should be conceptual and intangible.



I used the street routes and house to link Wi-Fi access points to houses. House and Routes should be the main keys in the final artworks.





Stanza's "Emergent City" (http://www.stanza.co.uk/emergentcity/?page_id=6) think "can we consider data (CCTV, traffic, weather, people movement) as a medium for artistic practice?" and applied visual or acoustic ways of representing the data. My project seems similar to his but we have a clear boundary.

(1)He focused the representation of cities but I aimed to explore the relationship behind and in the objects.

(2)He concerns with the data but I emphasize the concept.

(3)He applied the advance technology to create art; I created art to explore the the effect of technology on our society.






89.
名稱gwrxEmail:
 留言時間:2010-12-02 08:40:55
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art->aesthetics
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88.
名稱gwrxEmail:
 留言時間:2010-11-26 06:36:23
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The Department of Architecture, Urban Design and Regional Planning at the KULeuven, Belgium offers 2 PhD positions
http://phd.kuleuven.be/set/voorstellen_departement?departement=50000543#detail

Key words: urban computing, data visualization, urban display, human-computer interaction, urban planning, interaction design

---------

New Paradigms for the Public Visualization of Urban Data
Promoter: Andrew Vande Moere

Description: The aim of this project is to investigate new visualization and interface paradigms (e.g. "urban display") that augment the civic literacy of everyday citizens. At the same time, it is the goal to provide urban designers with richer datasets for modeling and analysis, through the mediation of information concerning, and also literally situated within, the urban environment. It will evaluate how the increased awareness and participation of both planners as inhabitants can act as a potential intervention method in addressing the living quality of urban cities. New forms of spatial population density, poverty, crime, pollution and high levels of social fragmentation are arguably some of the most acute threats that face a sustainable city development today. Therefore, more knowledge is required on how the interaction with citizens can become more compelling, and how the access to relevant urban information can be ?democratized? by empowering people to participate in
the exploration of the sustainable development of their own neighborhood.

The project is interdisciplinary in nature, and will be accomplished in close collaboration with researchers from the areas of Hypermedia and Databases (Prof. Erik Duval), Urban Planning (Prof. Jan Schreurs), and the Centre for User Experience Research (Prof. Dirk De Grooff).

We seek 2 PhD students. One student will focus on the technological implications and innovations of the visualization and display of situated data within a public context. He/she will have experience in human-computer interaction, physical computing or data visualization, and be responsible for the design, development and evaluation of the technological aspects of this project. The second student will target this proposal from a more social perspective, and will investigate the potential of data visualization as a medium in augmenting the relationships between the citizen, the urban planner, and the built environment. He/she should at least have a high degree of interest in computing and/or visualization, and have experience in social sciences (e.g. user experience research) and/or urbanism.


87.
名稱gwrxEmail:
 留言時間:2010-11-25 15:47:21
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From: "Hirsch, Tad"
Subject: RFP: technology and social particiation essays
(funding opportunity)
To: "Hirsch, Tad"
Message-ID:
<380B2771CDD78E46856E6B788D9F1997C4FFCBF3@orsmsx503.amr.corp.intel.com>

Content-Type: text/plain; charset="windows-1252"; Format="flowed";
DelSp="yes"

Intel?s Experience Insights Lab (XIL) seeks to commission several
essays on the theme of ?technology and social participation.?

Our goal in this activity is to gain an understanding of the
intellectual landscape across several academic disciplines including
(but not limited to) sociology, anthropology, science and technology
studies, social movement studies, communications, media studies, and
design studies. We are essentially looking for literature-reviews: we
want to know about big ideas and major debates, central texts and case
studies, and significant thinkers and practitioners who are shaping
these discourses. We are also interested in hearing the author?s
particular point of view, and will welcome provocative submissions
that challenge our assumptions and suggest
alternative areas of investigation.

Our definition of ?social participation? is intentionally vague; at
this stage our goal is to be inclusive and exploratory. However, here
are a
few guiding questions that should give some indication of what we are
thinking:

1. Does the advent of ubiquitous information and communications
technologies (ICTs) enable new forms of social organization? If so,
how do these organizations function? How are resources acquired and
mobilized? How are notions of collective identity manifest? What is
the relationship with history, with longevity, and with memory? Does
scale matter - what can a massive organization do that a 4 person
collective cannot (and vice versa)?

2. How do ICTs enable (new) forms of collective experience or action?
Does the ability to create and share hybrid media artifacts provide
fodder for new kinds of shared projects? How do social movements
coalesce around and make use of ?data? (loosely interpreted)?

3. How might established institutions (e.g. governments, corporations,
NGOs) use ICTs to engage constituents? Conversely, how do constituents
use ICTs to hold these institutions accountable? What are the
opportunities, and what are the risks for both institutions and
constituents? How does power function in these arrangements?

The essays are intended for internal use by XIL ? a collection of
social scientists, designers, and engineers who think critically about
the future of technology. You?ll notice a preoccupation with novelty
in the above --- we?re particularly interested in new and emergent
phenomenon. We?re less interested in, say, correlations between
internet use and membership in civic organizations, breathless
accounts of various ?Twitter revolutions,? or best known practices for
e-government initiatives. While we seek a historical and theoretical
grounding, our orientation is both material and forward-looking -- at
the end of the day, XIL?s charter is to inform the design of new
technologies and experiences. Submissions will evaluated on whether or
not they are likely to help us on our way.

The essays are ideally suited for faculty and/or mid-to-late stage PhD
candidates ? people who have passed their quals and begun work on
their dissertations, or who are actively publishing in this area.
Although XIL will commission the essays, we don?t need to own them --
authors are welcome to publish and/or repurpose the text in whatever
way they see fit. Similarly, essays may make use of the author?s prior
work, although we would expect essays to be tailored to meet our
requirements.

We plan to commission four essays at $2500 each. Interested authors
should submit a brief (1 paragraph) abstract indicating their general
approach and the literature(s) that they will cover. Abstracts are due
to Tad Hirsch (tad.hirsch@intel.com) by Dec 10. Essays are expected to
be completed by March 31, 2011.


86.
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 留言時間:2010-11-23 07:45:10
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When we walk in the city, we don't only see the street view but also hear the sound from cars, pedestrians, broadcast in the underground, and the river beating the bankside. Because we usually daily routines, we may hear the same or similar sound every day. The sounds compose our personal theme songs. We share some common sounds and the they become our collective memory; at the same time, every song is distinctive and represents our life. Wi-Fi networks are popular in our cities and they are the silent sounds in our environments. I record the Wi-Fi access points I passed and transformed their identifier codes to notes. Because the black and white keys of piano are similar to the zero/one in digital world, I chose piano as the instrument to play the notes. My Wi-Fi songs are both contemporary and classical music to make sounds for the silent but salient urban infrastructures.


85.
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 留言時間:2010-11-22 15:46:46
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84.
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 留言時間:2010-11-14 06:44:41
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1. Why do you make art?

Before answering this question, we need to answer another question first, what is art? Actually, I would not like to answer this question; however, I want to define it. Art is the weapon to break the wall of traditional and existing concepts and thought. Art can be new born anytime as it can be the old traditions. Many artists applied their art to explore the unprecedented world no matter how crazy world they created. Medieval European artists described the unbelievable far east and Chinese artists imagined the minorities living in the wonderland. Cubists transform our familiar figures and street views to strange compositions. John Cage told us the music maybe impossible to be heard.

My idea is not easily understood or easily misunderstood. I wanted to make the invisible Wi-Fi networks visible as the street views. This is simple idea but it is a complicated work. If anyone says this project is easy and short duration, I think I maybe successful to create artwork beyond thy can imagine. If anyone thinks this is complicated, I must say thanks to them because they spent time to understand what I did.



What am I doing?

I am doing something special but most think it is ordinary. Why i make art because art makes me have the power to challenge the common sense in my way.


83.
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 留言時間:2010-11-06 03:45:43
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Cybercity Wakefield Exhibition
Beam Gallery, Back Lane, Wakefield, WF1 2TG
12 November to 12 December 09:30-16:30
(exhibition connected to Essen Weds V Fri)

Exhibition Celebration event as part of the Wakefield Artwalk
24 November 5-9pm

The Cybercity Wakefield exhibition relates to the Third Eye programme that has linked Wakefield with Essen, the current European Capital of Culture. The work of students from Wakefield and Hemsworth colleges, and the output from workshops led by DLA Architects during the summer will be on show both here and in Essen, with the two sites linked by the internet.

The Third Eye is in an interactive media art project exhibiting future visions for subjectively selected buildings, spaces and places in the Metropolis Ruhr, Wakefield District and The Hague and considers our urban futures.

More information at:
www.beam.uk.net/news

http://www.the-third-eye.org/


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 留言時間:2010-10-22 05:12:11
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contingency analysis

Hide links within definitions
Definition
Simulation analysis that employs different qualitative assumptions (associated with probable events or phenomenon) to paint different scenarios, and tries to come up with the most optimal responses under the circumstances. It asks questions such as "If we cut our prices by five percent, then how our competitors will respond?" or "What will happen to our cash flow if a fire destroys our communications network?" and seeks answers through in-depth analysis and broad based consultation. Also called if-then analysis. See also sensitivity analysis


Read more: http://www.businessdictionary.com/definition/contingency-analysis.html#ixzz131twCkee


http://www.businessdictionary.com/definition/contingency-analysis.html


Instructional and Guided Learning Analysis Method - Learning Contingency Analysis

Learning contingency analysis differs from task analysis primarily in focusing on tasks in a learning environment rather than job performance (Jonassen, et al., 1999, p. 99). By focusing on identifying the behavioral components of tasks, the designer can discover the interdependencies among the tasks (Jonassen, et al., p. 99). Contingency analysis involves first sequencing the instructional content, followed by determining the most effective conditions for the instruction. For example, teaching algebra to a six-year-old during recess would be an extreme example of poor contingency analysis. First the child must have an understanding of basic arithmetic and a learning environment free of distractions.

The sequencing of instruction should reflect one behavior having dependence on another (Jonassen, et al., p. 100). To sort learning contingencies, Jonnassen cites Gropper's (1974) four behavioral components tasks can have:

Superordinate/subordinate V a hierarchical relationship to show behavior X is a part of behavior Y.
Coordinate relationship V behaviors at the same level in a hierarchical relationship, not necessarily performed at the same time or in the same order.
Shared elements V behaviors that share some amount of the same concepts.
No relationship V behaviors with no relationship to each other.
Appendix A references eight steps for conducting a learning contingency analysis, which includes Gropper's behavior components as part of steps three and four. The hierarchical learning analysis is similar to Dick, Carey, and Carey's (1999) chapter on subordinate skills analysis. Dick, et al, describes a method of drawing relationships between learning components in a pictorial form, versus a bulleted, tabular form in contingency analysis. The fifth step of contingency analysis skips a few chapters in the Dick and Carey model, but is analogous to developing instructional strategy.

In all, the learning contingency analysis is best for environments where learning is important, rather than performance. It is a time consuming analysis meant to draw a roadmap for the most effective sequence of instruction. The result instruction framework is rigid and may not be appropriate for learning tasks which can not be directly observed. A large instructional unit could make a confusing set of sequential dependencies between tasks in step 3 as compared to the pictorial method recommended by Dick, et al., so a highly skilled analyst is to perform contingency analyses.

http://deekayen.net/analysis-techniques-portfolio


81.
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 留言時間:2010-10-15 18:16:33
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http://www.artshow.com/juriedshows/
http://www.isendyouthis.com/opportunities.aspx
http://re-title.typepad.com/opportunities/
http://blog.artweb.com/2010/04/exhibition-opportunities-for-artists-london-exhibitions/
http://www.florida-arts.org/jobs/individual.cfm

wifi house is basic unit and political unit


80.
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 留言時間:2010-10-15 17:42:36
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http://www.isendyouthis.com/opportunities.aspx
artist opportunity


79.
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 留言時間:2010-10-15 15:44:46
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MiFi
From Wikipedia, the free encyclopediaJump to: navigation, search

A Novatel MiFi™ 2372 "Intelligent Mobile Wi-Fi Hotspot"MiFi is a line of compact wireless routers produced by Novatel Wireless that act as mobile Wi-Fi hotspots. By backconnecting to a cellular data network and frontconnecting to local Wi-Fi devices (up to 10m/30 ft distance), a compact wireless router creates a local area of shared high-speed Internet connectivity.

The first MiFi device was introduced in the U.S. in May 2009 by Novatel Wireless,[1] and Novatel owns a registered trademark on the "MiFi" brand name in the U.S.[2] The Novatel MiFi is also marketed as such in the Netherlands, Spain, Portugal, Germany, Poland, Romania, Hungary, Slovenia, Qatar, Kuwait, New Zealand, Singapore, Thailand, Japan, South Africa, Puerto Rico, Canada, and Mexico.[3][4][5][6] However, in the United Kingdom, mobile operator 3UK owns the "MiFi" trademark and markets a similar device from Huawei under the name.[3][7]



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 留言時間:2010-09-16 04:13:43
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http://local.powerapple.com/categories/43/posts/355718


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« Back to Search Results
The prosthetic impulse :
from a posthuman present to a biocultural future /
edited by Marquard Smith and Joanne Morra.
Save / Share this:
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InforM25
WorldCat

Other Authors: Smith, Marquard. , Morra, Joanne.
Format: Book
Language: English
Published: Cambridge, Mass. : MIT Press, 2006.
Subjects: Human body > Social aspects.
Body, Human > Technological innovations.
Prosthesis > Technological innovations.
Medical innovations.
Holdings
Description
Comments
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Main Collection - Normal Loan --- Classmark: GN298 P96 (view map)
Copy 1 Available


76.
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 留言時間:2010-07-28 22:33:04
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1) a description of the work - 200 words or less
2) no more than 5 images or 5 minutes of video/audio (via URL, or hosted
audio/video/image service)
3) a brief biography /description of practice - 200 words or less
4) links showing other work (e.g.: website/blog) as appropriate


75.
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 留言時間:2010-07-06 20:38:19
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In this context, the new platform presents:
V artists projects commenting on the new forms of networked economy,
V initiatives and open platforms by independent artists based on free and open software, exchange and collaboration,
V statements and texts by researchers, critics, theorists discussing art, networks and economy.http://www.emst.gr/commonwealth/


74.
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 留言時間:2010-07-06 20:36:46
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Although the notion of common wealth has been used to describe common goods of the material world such as the earth, the water, the air, in the network era the notion has changed and mainly refers to information, knowledge, code, communication and social relations3. http://www.emst.gr/commonwealth/


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Anthropology News Journalism CFP: Submit Your 300-Word Article Proposal by Dec 18
Anthropology has long had a complex relationship with news media. In many ways, increasing collaboration between anthropologists and print, broadcast or online journalists offers great potential for making our research more accessible and theoretical perspectives more mainstream, in addition to boosting public understanding of and engagement with anthropological research findings. However, journalistic anthropology and anthropological journalism also pose several key challenges for practitioners in both fields. Among these challenges are the often-cited, but rarely critically engaged, difficulties in balancing the goals, priorities, timelines and communications styles of journalism and anthropology. Less frequently examined, though also important, are the distinct methodological, ethical, theoretical and expository traditions of both fields, which necessarily encounter one another in collaborative work.

With these concerns in mind, we invite submissions for an April 2010 Anthropology News issue on anthropology and journalism. We welcome proposals for In Focus commentaries, Teaching Strategies pieces, Field Notes articles, photo essays, news stories and interviews that address the relationship between anthropology and journalism in a variety of ways. For example, why are some anthropological fields (such as archaeology) more frequently included in news media than others? Is it an issue of public interest, awareness or accessibility? How might one relate the investigative methods of anthropologists and journalists? What strategies have anthropologists successfully adopted in pursuing work in print, radio, television and digital news media? Will the increasing popularity of applied anthropology impact our relationship with journalism? Proposals on additional topics are welcome from anthropologists, journalists, publishers, producers and others engaged in these fields.

Guidelines
To participate, email a 300-word abstract and 50-100-word author biosketch to Anthropology News editor Dinah Winnick at dwinnick@aaanet.org. Proposals for photo essays should also include five high resolution photographs (submitted as tiffs or jpgs), each with a caption and credit. Selected authors will be asked to submit commentaries of 1000-1400 words or shorter pieces for other article types in early February.

Proposal submission deadline: December 18, 2009
Early submissions are encouraged.

Dinah Winnick
Associate Managing Editor, Anthropology News
American Anthropological Association
dwinnick@aaanet.org

Visit the new AAA blog: http://blog.aaanet.org


70.
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 留言時間:2009-11-09 05:40:37
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Webpage artworks V Wi-Fi colourful life

From the ethnography, the data present the different cities have their framework to construct the house metaphor. The framework and mapping principles are important consideration to build artworks in this project.

This art project aims to build artworks as the progress of theory. Unlike other artists created a series of artworks to explain their idea, this project creates artworks as a theory to interpret the relationship of Wi-Fi and cultural/social issues. Fieldwork is the first step to practice and examine my hypothesis before the theoretical artworks appear. The hypothesis of this project is Wi-Fi experience help users to shape cyborg identity.

Wi-Fi networks are popular in worlds modern cities, including London, New York and Hong Kong, and they are presented by different ways. In London, many houses have their own Wi-Fi access points and telecom company BT has installed many commercial Wi-Fi hotspots in most public places. Besides static hotspots, Wi-Fi hotspots also appear on particular trains and coaches and parts of US airplanes. On the one hand, most newspapers and advertisements focus on Wi-Fis easy-access and wireless attributes and commercial business. On the other hand, artists, sociologists and geographers consider Wi-Fi as social movement, digital citizenship and spectacle in our society. They offer us a whole social view to explain and interpret how Wi-Fi technology opens and shapes our new Internet life in wireless way. Their concerns tend to explore the public life but Wi-Fi also play an important role in our private life and ourselves, and house and human body are the key to understand the effect of Wi-Fi and the connection between private and public sphere.

Wi-Fi machines are widely adopted in many home houses, no matter the machines from Internet service providers or bought by the users. Wi-Fi machines are like taps and over/heater which receive water/gas from pipes then emitting them. Wi-Fi machines are different from water, gas and electricity, because Wi-Fi machines as traditional telephone/cable/ADSL moderns connect two different worlds, real world and cyberspace. Internet connection project users to cyberspace and become another identity in the cyberspace. Cyberspace is metaphor and symbol of our real life and network devices, moderns and Wi-Fi machines, are the important medium to create and embody metaphors and symbols. In the other words, network devices are special property in every house to produce and reproduce metaphors and symbols. In contrast to cable/telephone moderns, Wi-Fi machines expand Internet connection from a socket like a tap to wireless signal like heaters air which covers house members everywhere in the house. We can directly use gas, water, electricity, and television signal from particular devices, such as TV sets, ovens and taps, but members need their Wi-Fi-quipped devices, computers or mobile devices, to access Internet although wireless signal exists in the house. While computers connect to Internet by network cables to telephone lines, computers are extensions of modems or telephones and member access them like watching TV programmes on TV sets or washing your hand by turning taps. Under the circumstance, people apply their own body parts to sense and touch the world. If house members adopt Wi-Fi to access Internet, their computers are not fixed in particular position. In the other words, computers escape from modems and telephones and are not their extensions any more. At the same time, computers or mobile devices have become the extensions of human body and they expand human beings sense and ability to create and explore the other world, cyberspace.

Wi-Fi machines create networks which appear their name on users computers. Names are important identifier and identity for their members and non-members. Wi-Fi networks are named by manufacturer or their owners, and the names could be applied to distinguish them from others. Under Wi-Fi network names, members know they can access Internet by these machines. The members know each other because Wi-Fi machines only can cover the short and limited ranges like house areas. On the other hand, Wi-Fi networks are another representation and metaphor of house. Because the connection of metaphor, Wi-Fi network names could be considered as intangible property of houses and they are like another kind of house names.

House names with other houses tangible and intangible properties are applied by Claude Levi-Strauss to study kinship system in different societies, including American natives, European nobles and middle age Japanese societies. He led us a new road to analyse house for our kinship system beyond blood relationship and physical living space. House studies pointed out that house is the elementary unit where economical, political and religious activities happen. The interrelated activities shape house members as a special and identifiable group. Blood or biological connection is not the only reason to create kinship, people who are belonged to the same house names or live in under the same roof are also the important factor because many social and cultural activities are restricted to house members. With Wi-Fi networks are representations and metaphors of house, house studies evoke us to consider Wi-Fi machines in houses more cultural/social than technological effects. In our daily life, technology doesnt influence us in one way, the users also shape and confirm members relationship by technology.

house studies are helpful and the key to understand the identity in Wi-Fi networks.



There are few studies to explore membership and kinship-like relationship in Wi-Fi, but we need



There are few studies to

Wi-Fi network names are similar with house names
Wi-Fi machines are one property of houses and

With their signal coverage, Wi-Fi machines also transform home houses to Wi-Fi access points.

From wire to wireless connections,


Because those devices are too ordinary and obvious to remind they are similar with Wi-Fi machines which are property and value of houses.

Ubiquitous Wi-Fi hotspots dont only provide citizens convenient way to access Internet and Wi-Fi access but they also break the boundary between public and private. Wi-Fi users can access resource in Internet in cafés or train stations as they are at home. Wi-Fi access points and their locations/places are property and the access to Internet is value.






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 留言時間:2009-11-04 15:21:14
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http://news.bbc.co.uk/1/hi/world/europe/8340936.stm

Anthropologist Levi-Strauss dies


Levi-Strauss influenced generations of anthropologists
Renowned French anthropologist Claude Levi-Strauss has died, aged 100.
One of the most influential French intellectuals of the 20th Century, he founded the structuralist school of anthropology in the 1950s.
Levi-Strauss's books include Tristes Tropiques - a 1955 biographical book regarded as a classic - as well as The Savage Mind and The Raw and the Cooked.
In a tribute, French President Nicolas Sarkozy called Levi-Strauss "one of the greatest ethnologists of all time".
Levi-Strauss applied the structural approach pioneered by linguistics to anthropology, arguing that family relations and belief systems are best analysed as complex sets of interrelated parts.
The Savage Mind
Levi-Strauss undertook his first fieldwork among Brazilian tribes in the 1930s.

Not a year goes by without my receiving an order for jeans
Claude Levi-Strauss

Obituary: Claude Levi-Strauss
During and after the war he taught in the US, where he befriended and was influenced by anthropologist Franz Boas.
Returning to France to complete his doctorate in the late 1940s, Levi-Strauss published a book version of his thesis, The Elementary Structures of Kinship, which drew praise in academic circles.
The publication of Tristes Tropiques in 1955 secured his reputation as a major intellectual.
In 1959 Levi-Strauss was named to a chair in social anthropology at the prestigious College de France in Paris.
The Savage Mind was published in 1962 to worldwide acclaim.
Levi-Strauss's death was announced on Tuesday by his publisher, Plon.


68.
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Video Culture: A Critical Investigation (Paperback)
by John G. Hanhardt (Editor)
Key Phrases: mass cinema, video art, exhibition value, New York, Nam June Paik, Bertolt Brecht (more...)
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Terra Infirma: Geography's Visual Culture (Paperback)
by Irit Rogoff
(Author) "'WHERE DO I BELONG?' seems to be the question that plagues so many of the discussions I participate in..." (more)
Key Phrases: New York, Ana Mendieta, Third World (more...)
Noted: read around it and see what you



Main Author Rogoff, Irit.

Title Terra infirma : geographys visual culture / Irit Rogoff.

Imprint London : Routledge, 2000.

Descr. xii, 195 p., [8] p. of plates : ill. ; 26 cm.
Bibliogr. Includes bibliographical references and index.
Subject Geography in art.

Art, Modern 20th century.

ISBN 0415096154 (hbk)
0415096162 (pbk)


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Open Systems: Rethinking Art C.1970 (Paperback)
by Donna De Salvo (Editor)
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The Production of Space by Henri Lefebvre (Paperback - 15 Aug 1991)
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Curating Immateriality: The Work of the Curator in the Age of Network Systems (DATA Browser) by Joasia Krysa (Paperback - 20 Oct 2006)




67.
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b¥i


66.
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 留言時間:2009-08-31 01:30:35
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}lqNץhݫݧڪ@~


65.
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 留言時間:2009-08-23 03:21:02
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http://www.bmeia.gv.at/en/embassy/london/practical-advice/schengen-visa-residence-permits/how-to-apply-for-a-visa.html


64.
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 留言時間:2009-08-23 01:22:21
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Wi-Fi networks are popular in many metropolitans and some rural area also apply Wi-Fi to make internet access easily.
http://staff.dasdeck.de/valentin/midi/documentation.htm


63.
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 留言時間:2009-07-12 07:02:38
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Chicago's decision to drop muni WiFi symptomatic of a troubled sector
The Windy City says no to a municipal WiFi network, thanks to the worsening economics of citywide networks. The early optimism about the viability of such networks is being replaced by grim assessments, but there's still hope.

By Eric Bangeman | Last updated August 29, 2007

http://arstechnica.com/old/content/2007/08/chicagos-decision-to-drop-muni-wifi-symptomatic-of-a-troubled-sector.ars


How to Sign Up for Municipal WiFi in Chicago

Contributor
By eHow Contributing Writer
Article Rating: (0 Ratings)
Signing up for municipal WiFi in Chicago should be easy soon. Plans for a municipal WiFi service throughout the city of Chicago were announced in 2006, with expected completion of this 228-square mile mesh network in 2008. EarthLink and AT&T are working on an $18.5 million Internet access system that adds to the preexisting WiFi hotspots, offering low priced WiFi for schools, parks and low-income housing throughout Chicago.

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Difficulty: Moderately EasyInstructions
Step 1Find out if you can sign up for municipal WiFi in your Chicago neighborhood via your local Internet provider. Check out your provider's website or just call and ask one of the representatives how to sign up for municipal WiFi in your Chicago area.

Step 2Check out the EarthLink or AT&T websites (see Resources below). These two companies are creating the municipal WiFi network in Chicago and they can direct you to information on when municipal WiFi will be ready to go in your area. These companies are both setting up networks in several major cities and are committed to bringing affordable Internet service to your local area.

Step 3Call or write your city department and ask if municipal Wi-Fi is yet installed in your area. Ask for the provider details and the coverage area. You can contact your local city planning department and find out what the future plans are for establishing municipal WiFi coverage in your neighborhood.

Step 4Log onto Auscillate's website (see Resources below). This website has a list of all the local businesses and points of interest with free WiFi in Chicago. Not only are free networks already available at some of your favorite local hangouts, but these networks are also being used as the base for the entire system in the Chicago area. Local business owners could be prime sources of information about the citywide network.

Step 5If you live on the outskirts of Chicago, check out information from Proxim Wireless Corporation (see Resources below). They have taken over some of the municipal networks in the suburbs of Chicago, including the village of Bellwood and Lisle.

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Tips & Warnings
If you can't yet sign up for municipal wireless in your Chicago area, keep yourself updated on advancements of the city's municipal wireless plan. WiFi may be available in your area soon.The city's WiFi project has recently faced some problems with their plans recently, so municipal WiFi may not be ready in your area right away. The city of Chicago has had some disagreements with EarthLink and AT&T over the costs of the network.

http://www.ehow.com/how_2188572_sign-up-municipal-wifi-chicago.html


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 留言時間:2009-06-05 11:41:39
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Dn@ Helmreich, Stefan, 1966-
ѦW/@ Silicon second nature : culturing artificial life in a digital world / Stefan Helmreich
X Berkeley : University of California Press, c1998


Beta :

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 留言時間:2009-05-24 14:49:27
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The dialectics of history, then, are structural throughout. Powered by disconformities between conventional values and intentinal values, between intersubective meanings and subjective interests, between symbolic sense and symbolic reference, the historical process unfolds as a continuous and reciprocal movement between the practice of the structure and the structure of the practice.


60.
名稱gwrxEmail:
 留言時間:2009-05-24 14:44:24
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An Anthropologist Underwater: Immersive Soundscapes, Submarine Cyborgs, and Transductive Ethnography Stefan Helmreich American Ethnologist, Vol. 34, No. 4 (Nov., 2007), pp. 621-641


59.
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 留言時間:2009-05-13 09:12:01
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@a}GEs^20өMӷ~jH9 (aKBXfAsﭱAӥ]᭱)

9/F, Chi Wo Commercial Building, 20 Saigon Street, Kowloon

qܡG2771-8260 ǯuG2771-6078 qlGsealst@biznetvigator.com

~ɶGP@ܤΤ WȤQɦܤUȤCɡAPUȤ@ɦܤ



58.
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 留言時間:2009-05-12 11:39:04
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http://anthropology.usf.edu/cma/index.htm

computer-mediated anthropology


57.
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 留言時間:2009-05-07 12:32:13
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It is in such a way, coloring experience with the light they cast it in, rather than through whatever material effects they may have, that the arts play their role, as arts, in social life.

clifford geertz, "Deep play:notes on the Balinese Cockfight", in The interpretation of cultures, p451




56.
名稱gwrxEmail:
 留言時間:2009-05-07 12:28:18
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... it provides a metasocial commentary upon the whole matter of assorting human beings into fixed hierarchical ranks and then organizing the major part of of collective existence around that assortment. Its function, if you want to call it that, is interpretive: it is a Balinese reading of Balinese experience, a story they tell themselves about themselves.


clifford geertz, "Deep play:notes on the Balinese Cockfight", in The interpretation of cultures, p448


55.
名稱meridiaEmail:ghiiiss@gmail.com
 留言時間:2009-04-27 17:00:37
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54.
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 留言時間:2009-04-20 21:31:34
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http://www.cca.gov.tw/artnews.do?method=findById&id=1222852531193


53.
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 留言時間:2008-02-04 03:07:51
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http://irational.org/cgi-bin/border/clients/deny.pl


52.
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 留言時間:2008-02-03 19:20:35
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http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=19046&searchid=9532&tabview=text


51.
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 留言時間:2008-02-03 19:19:17
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Jenny Holzer born 1950
Full Catalogue
[no title] 1979-82
Jenny Holzer from Inflammatory Essays, [no title] 1979-82
© Jenny Holzer

P77383 [from] (i-xxix) Inflammatory Essays 1979V82 [P77382-P77412; complete]

29 offset lithographs 17 17 (432 432) on paper of various colours, printed at Millner Bros., New York and published by the artist in an unlimited edition
One inscribed Jenny Holzer on the back
Purchased from Lisson Gallery (Grant-in-Aid) 1983
Lit: Carter Ratcliffe, Jenny Holzer, Print Collector's Newsletter, XIII, NovemberVDecember, 1982, pp.149V52; Allan Schwartzman, Bugs in the System, Print Collector's Newsletter, XV, MarchVApril, 1984, pp.10V11; Jeanne Siegel, Jenny Holzer's Language Games, Arts Magazine, LX, December, pp.64V8

The following entry, which has been approved by the artist, is based on answers provided by the artist in a letter of 30 May 1986 to questions posed by the compiler.

A number of the Inflammatory Essays were first published in book form by the artist as Black Book Posters in 1979. These took the form of paragraphs printed on green paper. In the Inflammatory Essays street posters, Holzer offset the texts on as many different colours as the printer could supply.

In the 1970s Holzer abandoned her practice as an abstract painter in order to make more explicit statements and to establish more direct contact with a larger audience than would visit galleries. Her art began to appear in the form of texts on posters which were exposed on the streets like fly-posters. In Jeanne Siegel's article and interview with the artist Holzer stated: From the beginning, my work has been designed to be stumbled across in the course of a person's daily life. I think it has the most impact when someone is just walking along, not thinking about anything in particular, and then finds these unusual statements either on a poster or in a sign.

The texts are provocative and their subjects range from the scientific to the political and interpersonal. According to Siegel almost any subject seemed suitable for exposition, with the exception of art which was deliberately avoided. Holzer explained to Siegel as follows:

What I tried to do, starting with the Truisms and then with the other series, was to hit on as many topics as possible. The truism format was good for this since you can concisely make observations on almost any topic. Increasingly I tried to pick hot topics. With the next series Inflammatory Essays, I wrote about things that were unmentionable or that were the burning question of the day.


In contrast to the Inflammatory Essays which consist of paragraphs of text, Truisms were statements confined to a length of one line which were either displayed together on a poster or broadcast as a continuous light display.

The tone of the Inflammatory Essays is aggressive and challenging. The texts are the invention of the artist, although they do not necessarily reflect the artist's own views. From one Essay to another they display a spectrum of views, from far-left to far-right. I wanted to talk about things that are very important to people but in a non-didactic way (the series as a whole with its conflicting views is not didactic). I tried to show how dangerous and absurd it is to be a fanatic, but how important it is to get things done (letter to the compiler). They often have the air of slogans found in graffiti form on walls in the city.

In preparation she read Mao, Lenin, Emma Goldman, various religious and right wing fanatics, miscellaneous American anarchists and some folk crackpot literature. Her intention was to write things that were very hot - in tone and subject matter - to (hopefully) instill a sense of urgency in the reader. I wanted the reader to jump, at least, and maybe consider doing something useful. To this end the posters were first wheat-pasted in the streets of Manhattan. They were placed wherever posters normally appear but the choice of text was not always arbitrary. Sometimes I'd choose certain texts for certain neighbourhoods. It was fun to put particularly frightening ones uptown. Each week Holzer pasted up a different poster. In order to make clear that a new poster was on display she had them printed on paper of different colours and to let the viewers know that the posters were part of a series, I made each poster exactly 100 words long and 20 lines (letter to the compiler).

When the posters are displayed in a gallery the artist likes them to be pasted directly on the wall, from floor to ceiling with their edges overlapping slightly so that no wall shows through. It's good to completely cover a wall 10' 25' in vertical or diagonal stripes of posters (letter to the compiler).

Published in:
The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions, London 1986


50.
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 留言時間:2008-01-31 18:09:12
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http://catalogue.lse.ac.uk/cgi-bin/Pwebrecon.cgi?v1=1&ti=1,1&Search%5FArg=Materializing%20New%20Media&Search%5FCode=FT%2A&SL=None&CNT=20&PID=l@ODs@NHm@%3EJ]P?H]L_HlH_H&SEQ=20080131013459&SID=1


49.
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 留言時間:2008-01-31 09:51:40
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http://catalogue.lse.ac.uk/cgi-bin/Pwebrecon.cgi?v1=1&ti=1,1&Search%5FArg=Materializing%20New%20Media&Search%5FCode=FT%2A&SL=None&CNT=20&PID=l@ODs@NHm@%3EJ]P?H]L_HlH_H&SEQ=20080131013459&SID=1


48.
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 留言時間:2008-01-29 18:35:04
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Politics in art is back. In contrast with the cynical manipulations that
characterised the world of contemporary art in the mid-1990s, the turn
of the new century sees growing attention paid to art that professes a
more intelligent, critical and engaged relationship between art and its
broader social and cultural context. -p357


47.
名稱gwrxEmail:
 留言時間:2008-01-29 18:34:33
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1.This is a society where human relations are no longer "directied experienced", but start to become blurred in their "spectacular" representation.-p8


2.Over and above its mercantile nature and its semantic value, the work of art represents a social interstice, This interstice term was used by Karl Marx to describe trading communities that elude the capitalist economic context by being removed from the law of profit: barter, merchandisingm autarkic types of production, etc. The interstice is a space in human relations which fit more or less harmoniously and openly into the overall system, but suggests other trading possibilities than those in effect with this system. This is the precise nature of the contemporary art exhibition in the arena of representational commerce: it creates free areas, and time spans whose rhythm contrasts with those structuring everyday life, and it encourages an inter-human commerce that differs from the "communication zone" that are imposing upon us.-p16


3.The contemporary artwork's form is spreading out from its material form: it is a linking element, a principle of dynamic agglutination. An artwork is a dot on line.-p21


4.The work of art actually shows (or suggests) not only its manuacturing and production process, its position within the set of exchange, and the place, or function, it allocates to the beholder, but also the creative behavior of the artist (otherwise put, the sequence of postures and guestures which make up his/her work, and which each individual work passes on like a sample or marker). So every canvas produced by Jackson Pollock so closely links his flow of painting to an artist's behaviour, that the latter seems to be the image of the former, like its "necessary product", as Hubert Damisch has written.-p41

5.For all I know, an artist addresses his works to the contemporaries, unless he regards himself as under sentence of death, or terminally ill, or unless he espouses a fascist-fundamentalist version of History (time closed in on its sense, and origin). On the other hand, artworks which today seem to me worthy of ongoing interest are those which work like interstices, like space-time factors governed by an ecnomiy going beyond rule in force controlling the management of different kinds o public and audience.-p57


6.Our hypothesis is that the exhibition has become the basic unit from which it is possible conceive of relationships between art and ideology ushered in by technologies, to the detriment of the individual work.-p71-p72


7. The future of art, as an instrument of emancipation, and as a political tool aimed at the liberation of form of subjectivity, depends on the way artists deal with this issue. For art, no technology and technology is a subject. By putting technology in its produtive context, by analysing its relations with the superstructure and the layer of obligatory behaviour underpinning its use, it become onversely possible to produce model of relations with the world, heading in the direction of modernity. Failing which, art will become an element of high tech deco in an increasingly discerting society.-p78


As one of the driving spirits behind the Fluxux movement, Robert Filliou said that art offers an immediate "right of asylum" to all deviant practices which cannot find their place in their natural bed. -p102


The experience of the clinic accounts for a lot in this astonishment in front of this fragmentation of knowledge, this "corporatist subjectivity" that is in the end quite recent, a corporatist subjectivity that leads us, for example, into a reflex of "sectorization", to "aethesticize a cave art in which everything suggests that it had an essentially technological and culturak range".-p102



46.
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 留言時間:2008-01-28 17:56:19
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http://www.poodlediscourse.com/las/
One possible method of presentation of this material would be to perform it interactively with the passengers of the train by either appearing in person, utilizing an intermediary person, or creating a recording in which the stations/stops are announced along with relevant information regarding access, such as: This is Addison. The following networks are available at Addison: Dana 88%, FiestaHouse 65%, Linksys 44%... Additionally, the presentation might include creation of a new train map to be distributed online and posted in public, and which inserts wireless information about each stop or posts networks, locked and open, on platforms for the local residents, in full mimicry of the visual language of official CTA posters and maps. The second layer of presentation comes in the form of the wider public beyond the train lines and would include the internet and the gallery. This information would be conveyed on the internet in an echoing form whereby those who access it can find this information from the places listed, connecting the project with the practical goals of wireless networking. The gallery would be utilized as a way of representing the process, and performance, mostly through the documentation. The proposed gallery presence of the project contextualizes it in the art setting and allows for the documentation to be seen as a key purpose in the project and not just a secondary communication method.


45.
名稱gwrxEmail:
 留言時間:2008-01-27 20:47:40
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44.
名稱gwrxEmail:
 留言時間:2008-01-25 20:25:30
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UCC Research Seminar - advance notice


Wednesday 20 February at 13.00

Jung Hua Liu
(Fine Art, University of Leeds)

Colourful Wi-Fi Network - Visualizing Identity in Both Real Life and
Cyberspace


43.
名稱gwrxEmail:
 留言時間:2008-01-25 19:58:59
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Dear All

You are receiving this email as you have expressed an interest in the
work of Centre for Digital Citizenship.

You are invited to our first meeting on Thursday 7th February at 4.
00p.m. in the Conference Room .

We want to share with you our thoughts on the research agenda for the
CdC and hear your views on what research issues the Centre should be
addressing. The current research focus for the Centre is can be found on
the ICS website under http://ics.leeds.ac.uk/cdc/index.cfm.

This will be the first of a series of meetings to exchange views and
discuss how we can work together to further the aims and objectives of
the CdC.

Regards

Ann and Stephen


42.
名稱gwrxEmail:
 留言時間:2008-01-22 23:26:24
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http://www.modern.lang.leeds.ac.uk/talks/index.php?option=com_eventlist&Itemid=35&func=shcatev1&categid=2

All talks / events - All linguistics talks (across departments)

This page lists the talks in linguistics held across Schools / Departments at the University of Leeds. The list may be temporarily empty between teaching terms, but you can always access the archive of past talks via the menu on the left.

Date Title
30.01.2008
16.00 - 17.00
Verb phrase in Standard Nigerian English and Nigerian Pigin
13.02.2008
12.00
Dissociating segments and prosody in L2
20.02.2008
16.00 - 17.00
Thats just stupid, that: pronoun copying in Teesside
05.03.2008
12.00
Linguistic analysis of epileptic and non-epileptic seizures
16.04.2008
12.00
Whose Voices?
30.04.2008
12.00
Naive v. expert intuitions


41.
名稱gwrxEmail:
 留言時間:2008-01-22 23:25:50
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http://www.modern.lang.leeds.ac.uk/talks/index.php?option=com_eventlist&Itemid=35&func=shcatev1&categid=1
All talks / events - Department of Linguistics & Phonetics

This page lists the forthcoming talks in the Depatment of Linguistics and Phonetics. If nothing appears below, that's because the programme for the next session hasn't been entered yet. You can access the archive of past talks via the menu on the left.

Date Title
23.01.2008
12.00
Mr. Straw and the constituent's veil
13.02.2008
12.00
Dissociating segments and prosody in L2
05.03.2008
12.00
Linguistic analysis of epileptic and non-epileptic seizures
16.04.2008
12.00
Whose Voices?
30.04.2008
12.00
Naive v. expert intuitions


40.
名稱gwrxEmail:
 留言時間:2008-01-21 07:39:37
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http://www.wireless.att.com/cell-phone-service/get-started/index.jsp?q_returnUrl=/cell-phone-service/cell-phone-plans/data-connect-plans.jsp

http://www.palmislife.com/redirect.php?tid=83293&goto=lastpost#lastpost


39.
名稱gwrxEmail:
 留言時間:2008-01-21 02:52:34
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http://theallotmentprojects.blogspot.com/


38.
名稱gwrxEmail:
 留言時間:2008-01-17 22:39:38
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http://rixc.lv/06/en/theme.html


37.
名稱gwrxEmail:
 留言時間:2008-01-17 20:30:48
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http://www.digiarts.org.tw/ShowLinkTW.aspx?lang=zh-tw&CLC_NO=13


36.
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 留言時間:2008-01-17 06:19:28
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http://leavetoremain.com/roadmap.htm

Re-Imaged 'Home'

Home has been one of the most important spaces in the construction of dominant ideology. It is also one of the spaces that has been changed dramatically in the last few years. The boundary that was once clearly drawn between public and private has been transgressed and destabilised through physical mobility, new communication technologies, as well as the transformation of sexual cultures. The conditions under which the public and private reluctantly co-exist, bringing one into another and vice versa, have given a new dimension to the notion of 'home'. It is a space that demands further attention, in terms of how it might need to be re-imagined in different ways and redrawing the boundary once again in relation to the presence of the body of homosexuals. This is exactly what the series of works which I will discuss below attempt to explore.


35.
名稱gwrxEmail:
 留言時間:2008-01-17 06:06:57
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http://leavetoremain.com/roadmap.htm


34.
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 留言時間:2008-01-17 03:10:14
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http://www.metamute.org/en/Three-Talks-by-Loren-Goldner
Three Talks by Loren Goldner Editorial content | News & Analysis

view pdf
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Submitted by mute on Monday, 31 December, 2007 - 15:46

ByMute Events

THREE TALKS BY LOREN GOLDNER
London, Jan 19th, 21st and 22nd, 2008

New York-based Marxist Loren Goldner is giving a series of talks in London this month, hosted by Mute magazine [http://metamute.org]

Best known for his prescient and revelatory analysis of the global credit bubble of the last thirty years, Goldner has revived and synthesised the theoretical insights of Rosa Luxemburg, Karl Marx and CLR James suppressed by orthodox Marxism and the mainstream Left to offer a rigorous and revolutionary critique of contemporary life, politics, economy and culture.

This is a rare opportunity to hear one of todays most interesting left communist analysts discuss a broad spectrum of his research and writing.

There are 3 talks at 2 venues:

From Mass Strike to Casualization and Retreat: The Korean Working Class, 1987-2007

Saturday January 19th 2008, 6pm V Housmans Bookshop

This talk will focus on the recent history of class struggle in Korea, from mass strikes, wage increases and radically democratic unions in the late 1980s - mid 90s to casualisation and bureaucratisation today when as many struggles take place between regular and casualized workers as against capital itself. (More below)

Housmans Bookshop ,
5 Caledonian Road, 
Kings Cross, London
N1 9DX. Entry: Free
How to get there: http://www.housmans.com/contact/index.htm

Class Struggle and the Adamic Imagination in Herman Melville

Monday January 21st 2008, 7pm V Housmans Bookshop

1848-1850 witnessed the birth of communism, modern art, the end of classical political economy, and the formulation of the entropy law, or 2nd Law of Thermodynamics. This talk explores the mid-19th century crisis of the bourgeois ego, and the emergence of the working class onto the stage of world history, as echoed in Melvilles novels. Against the cliché of the US as lagging behind Europe on the long parliamentary march to socialism, a Melvillean, and un-orthodoxly Marxist account emphasizes instead the radically anti-statist character of the multiracial working class as portrayed in Moby Dick, and manifest in the struggles of the 70 years after 1850 in the US. (More below)

Housmans Bookshop ,
5 Caledonian Road, 
Kings Cross, London
N1 9DX. Entry: Free
How to get there: http://www.housmans.com/contact/index.htm

Fictitious Capital and Today's Global Crisis

Tuesday January 22nd 2008, 7pm V The Whitechapel Centre

The fallout from 2007s credit crunch becomes daily more visible as the global financial system goes from shock to recoil to shock. To understand the stakes of the current crisis and the possible impact V both from the perspective of capital and of the working class V one needs to understand the nature of the 30-year-plus fictitious capital bubble whose bursting we may now be witnessing. If this is indeed the end of that long and perverse combination of boom and depression in which capital has successfully cannibalised itself, what will the new 1973 V or new 1929 be like? How is the global balance of power likely to be affected? (More below)

The Whitechapel Centre,
85 Myrdle Street (off Commercial Road), Whitechapel, London E1 1HQ
UK. Entry: Free.
How to get there: http://linkme2.net/co

Getting to the talks:
Housmans bookshop. Tube: 5 mins walk from Kings Cross. Directions: http://www.housmans.com/contact/index.htm
The Whitechapel Centre. Tube: 10 mins walk from Whitechapel or Aldgate East tube stations. DLR: Shadwell. Bus: 15, 25, 254, 106.
Map: http://linkme2.net/co
More information
T: 44 (0)20 7377 6949. E: ben@metamute.org

About Loren Goldner:
Loren Goldner is a writer and activist who divides his time between New York and Seoul, South Korea. He has written on various economic, political and cultural matters over the past three decades. He is currently writing a book on the Korean working class. Most of his work is available on the Break Their Haughty Power web site at: http://home.earthlink.net/~lrgoldner

Mute Magazine:
Mute is a quarterly print magazine dedicated to culture and politics after the net. The Mute website is updated weekly with web-only content and its complete archive is made available free: http://metamute.org

Mute Vol2 #6 (July 2007), a special issue on credit, debt and crisis, featured Lorens article: Fictitious Capital For Beginners :
http://www.metamute.org/en/Fictitious-Capital-For-Beginners


MORE ABOUT THE TALKS

1. From Mass Strike to Casualization and Retreat: The Korean Working Class, 1987-2007

Similar to patterns that have been played out in Spain and Portugal (1974-76) as well as in Brazil (1978-83) since the mid-1970s, the Korean working class in the late 1980s destroyed the foundations of a decades-old military dictatorship with remarkable mass strikes in the years 1987-1990. The strikes resulted in the creation, briefly (1990-1994) of radical democratic unions and in high wage increases across the board. But, as in other cases, the working class was relegated to a battering ram for a democratic political agenda that quickly embraced globalization and the neo-liberal mantra of free markets. In fact, even before the strike wave but particularly thereafter, Korean capital was already investing abroad and pushing neo-liberal austerity at home. In 1997-98, the Asian financial crisis forced Korea under the tutelage of the IMF and greatly accelerated the casualization of the Korean working class which had been the main capitalist riposte to the breakthroughs of the late 1980s. Today, at least 60% of the work force is casualized in the most brutal way, subject to instantaneous layoffs and half or less the wages of the 10% of the work force classified as regular workers. The bureaucratic remnants of the radical democratic unions of the early 1990s are today reviled corporative organizations of that working-class elite, and as many struggles take place between regular and casualized workers as against capital itself.

2. Class Struggle and the Adamic Imagination in Herman Melville

In Europe, after 1848, bourgeois consciousness in revolt sought a new universal in the working class but soon found itself in the orbit of the state civil service; in America, bourgeois consciousness in revolt found a new universal in what Melville called "antemosaic" reality, Queequeg, embodied in the multiracial working class , the "Anacharsis Cloots deputation", in radical antithesis to the state.

Herman Melville (1818-1891) came to this perspective in the feverish production of six novels of the sea, culminating in Moby-Dick, in the 1846-1851 period. As the whaling ship Pequod was destroyed by Moby Dick, the Indian harpooner Tashtego nailed a red flag to the mast, also catching the wing of a sky-hawk, with its "imperial beak". Thus Melville connects the red man with the red flag, pulling down the imperial eagle, but more in what Marx called the "mutual destruction of the contending classes" than the triumph of proletarian revolution. In Moby Dick, Melville places the "antemosaic" cosmic men, Queequeg- Tashtego- Daggoo, at the head of the working class, and, in Billy Budd, such a figure re-emerges as the "Handsome Sailor", "a common sailor so intensely black that he must needs have been a native African of the unadulterate blood of Ham". Melville is Miltonian, and Blakean; his Adamic figures combat the world of radical evil, and do not, like the wide-eyed Transcendentalists Melville lacerates, inhabit a benevolent nature, a "prejudice of the more temperate climes" as he put it. But when Melville treats race and class, his framework is not merely modern capitalist society. Melville's cosmic men come out of a Biblical eschatology and revolt against the cosmic kings of the same eschatology, above all Charlemagne.

Melville was a grand bourgeois, with aristocratic overtones, whose life path abruptly turned downward at 13 with the bankruptcy, madness and death of his father in 1831. Poverty obliged Melville to go to work as a seaman, in his late teens. He thus experienced, more than any other writer of the "American Renaissance", the shattering of the old bourgeois personae in the new capitalist conditions.

Melville, then, is a writer of dispossession. But his dispossession is not merely personal or social or artistic: it is epochal. Melville, all his life, was a case ofexiled royalty". His work repeatedly revisits the death agony of his bankrupt, raving father. And from the exaggerated cosmic kings and their symbols (e.g. Charlemagne), as well as from their pitiful devolution in the tinsel of the modern world, Melville attempts to work his way through his crippled father imago to the "state secret". His dispossession moves from family to class to politics to the cosmic and back again.

The 1848-1850 conjuncture in the Atlantic world witnessed the birth of communism (Marx), modern art (Courbet, Flaubert), the end of classical political economy, and the formulation of the entropy law, or 2nd Law of Thermodynamics. Their simultaneity was not accidental, and Melville's work echoes each of them.

1848, in Europe, had been the year of the eruption of "the dangerous classes; in America, it marked the end of interclassist Jeffersonian-Jacksonian populism, over the slavery issue. The link between communism, modernism, neo-classical economics and the 2nd Law of Thermodynamics is the beginning of the "dissolution of the object" in the "dream worlds" of a new mass consumption.

This study attempts to situate Melvilles works in this convergence.

3. Fictitious Capital and Today's Global Crisis

The worldwide credit crunch we are seeing today is just the culmination of a process underway since the late 1950s, (the proverbial from a scratch to the danger of gangrene), whereby an ever-increasing mass of nomad dollars, corresponding to no real wealth in the world economy, are tossed around like a hot potato by central banks always counting on the bigger fool to be holding them when they finally deflate. The central banks of Asia (China, Japan, South Korea and Taiwan) currently hold over $2 trillion of these nomad dollars, and China alone is expected to have $2 trillion sometime in 2008. The Middle East oil
exporters, above all the Saudis and the Gulf states, hold a comparable amount.

We can call these dollars, which represent uncollectible debts arising first or all from five decades of chronic American balance-of-payments deficits, fictitious capital, a concept which, when unpacked, leads straight to the heart of fifty years of capitalist history and to the illumination of own our precarious present.

Far from being a remote economic concept, fictitious capital leads us straight to the central political questions of today, and above all those questions confronting the international left. To see this clearly, these fictitious nomad dollars must be connected to the dynamics of contemporary geopolitics and the closely related class struggle.


33.
名稱gwrxEmail:
 留言時間:2008-01-16 22:56:05
留言內容
manchester has a good museum like british museum


32.
名稱gwrxEmail:
 留言時間:2008-01-16 16:26:40
留言內容
http://www.willowstreasures.com/images/Candle_Holder_RngChmber.jpg
http://www.smsnoveltiques.com/images/sterling-kirk.jpg
http://www.seeviewo.org/store/images/Antique.jpg

http://www.earthstarshop.co.uk/images/brass%20taper%20candle%20holder.jpg


31.
名稱gwrxEmail:
 留言時間:2008-01-16 01:50:59
留言內容
1.communityӤHBѻP̪Nqb
2.ѻP̬O_iHqscreen and networkoenergy
3.energy, power and control
4.performance in the street, color hair, geography


30.
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 留言時間:2008-01-15 07:57:11
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_Դժ]]Alta Museum^

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29.
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 留言時間:2008-01-14 04:34:05
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Call for submissions: March, 2008, African Diaspora Archaeology
Newsletter --

The African Diaspora Archaeology Network and Newsletter works to
provide a focal point for archaeological and historical studies of
African diasporas, with news, current research, information and links
to other web resources related to the archaeology and history of
descendants of African peoples. Through this engagement with African
diasporas, the ADAN seeks to connect an intellectual community that
considers the historical processes of racialization, gender, power,
and culture operating within and upon African descendant communities.

Please contact me if you have essays, articles, analysis papers, book
reviews, project reports, announcements, or news updates that you'd
like to contribute to the African Diaspora Archaeology Newsletter,
available at:

http://www.diaspora.uiuc.edu/newsletter.html

This Newsletter is published quarterly, in March, June, September,
and December. Our readership has increased to over 5,000 per
Newsletter issue.

John McCarthy is coordinating book reviews to be written for the
Newsletter, and he has received review copies of a number of books
from presses that he can supply to individuals who agree to write a
review of such recent publications. If you, or someone you know,
would be interested in book review assignments for the ADAN, please
drop John a note, at strongjohn10856@gmail.com. A reviewer receives a
free copy of the book.

Many thanks!
Chris

******************************
Christopher C. Fennell
Assistant Professor
Department of Anthropology
109 Davenport Hall, MC-148, 607 S. Mathews Ave.
University of Illinois, Urbana, IL 61801
cfennell@uiuc.edu
phone: (217) 244-7309


28.
名稱gwrxEmail:
 留言時間:2008-01-13 20:43:11
留言內容

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27.
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 留言時間:2008-01-13 19:32:45
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http://blog.fon.com/hk/archive/business/apple-fonera.html
Apple Fonera?

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Add to del.icio.us E Digg This! E Email this

Posted by Angel Yeung on Business
# Permalink | Comments (0) | TrackBacks (0)



http://spanish.martinvarsavsky.net/fon/%C2%BFapple-fonera.html
¿Apple Fonera?


Muchos lectores de mi blog me recomendaron, al ver mi fascinación por la Mac, que fuera ver a Steve Jobs para presentarle Fon. En este viaje me decidí a hacerlo. Fue interesante lo que ocurrió, porque cuando Joanna Rees, la inteligentísima mujer que dirige Fon en los países de habla inglesa, le envió simplemente un correo electrónico contándole que yo venía a San Francisco y quería presentarle Fon, le dijo que si y la reunión fue concertada en 2 días. Luego me enteré que Apple nos tenía bien estudiados.

El encuentro tuvo lugar en el cuartel general de Apple que está en la curiosa dirección 1 Infinite Loop, Cupertino. Me encantó lo del Infinite Loop. Las oficinas de Apple son menos divertidas que las de Google, pero igual muy atractivas. Digamos que Google es todo colores y Apple monótono, como sus productos. Para mi llegar a Jobs fue algo muy, pero muy especial. En mi vida de emprendedor había conocido a todos los empresarios de tecnología más importantes menos a él y, como saben mis lectores, luego de que abandoné Microsoft por Mac hace un tiempo y vi lo sencillamente brillante que son los productos Apple cuando los usas cotidianamente, mi interés por conocer a Jobs aumentó notablemente. No solo vivo con la Mac, sino que ahora que tengo el iPhone liberado lo llevo a todos lados. El iPhone tiene entre otras cosas el mejor buscador de redes WiFi de su generación.

Steve Jobs se apareció a la reunión con jeans agujereados y un jogging con capucha, cosa que me reaseguró, porque mi pinta no era mucho más corporate que eso. La reunión no fue fácil, ya que Steve Jobs es una persona de una mente privilegiada que se va sin rodeos y te hace más preguntas que un inversor en tu empresa. Es increíble el nivel de detalle en el que se mete y quería saber todos los aspectos de cómo funcionaba Fon, los acuerdos con operadores como BT, los planes para Estados Unidos, Europa y Asia. Pero luego de 90 minutos en el que Joanna y yo fuimos sometidos a una metralla incesante de preguntas, Steve Jobs nos contó el enorme interés que tiene Apple porque haya WiFi en todas partes y aceptó la Fonera y la Fontenna de regalo. ¿Se hará Fonero? Veremos, veremos.

Publicado en FON | 4:42 pm | Comentarios Comentarios(61) | Trackbacks Trackbacks(13)


26.
名稱gwrxEmail:
 留言時間:2008-01-12 23:51:13
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1.ש즳`DRAyYR
2.bͪa|μxD\]h]@ӮaAoNObaȦ


25.
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 留言時間:2008-01-12 19:20:11
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http://www.metamute.org/files/medosch_waves.doc



A number of works deal with WiFi, which is the commercial name for a technology to build WLANs (wireless local area networks). Usman Haque, Bengt Sjölén and Adam Somlai-Fischer show what a Camera Obscura of our age might look like, a Camera Obscura which projects invisible parts of the spectrum in the band used by WiFi (WIFI CAMERA OBSCURA PROTOTYPE ). They are not only asking what a 21st century notion of the "picturesque" might mean, their work also relates to the question of privacy in Hertzian space and thereby corresponds to the critical notion of the industrial dogma as posed by Bureau d'Études. WIFIO by Adam Hyde, Aleksandar Erkalović and Lotte Meijer engages with WiFi from a very different angle. The group offers a simple to operate device which allows to hijack a WiFi connection to browse the web for free. A similar hacker spirit is applied by the work PORTA2030 by the group Take2030 who also use WiFi; but, instead of hijacking somebody else's connection, they create an autonomous mesh network, an ad-hoc network using dynamic routing protocols and wearable 'portapacks'. Like with WIFIO the porta devices are easy to use WiFi devices but the project goals are totally different. First used in the politically contested inner city area of Broadway Market, PORTA2030 tapped conceptually into the history of video activism, by updating it for the (wireless) networked age. VOLUME RENDERING OF INTERFERENCE PATTERNS by Aaron Kaplan and Doron Goldfarb also deals with WiFi and mesh networking. They are presenting a quite straight forward visualisation of wireless LAN mesh routing networks applying "a volumetric rendering" technique known from computer tomography. We have maybe a vague idea what electromagnetic interference patterns might look like. What Kaplan and Goldfarb do is to create a truthful rendering of what interfering waves would look like, if they were visible. THE POLITICAL SPECTRUM by Julian Priest is a work informed by his involvement with wireless community networks. Priest has been one of the co-founders of the Consume network in London and has remained an activist since, now working more internationally. With THE POLITICAL SPECTRUM he encourages people to think about spectrum differently than current regulatory practice suggest - as a piece of land or a pipe through which data is streamed. Originally devised as a visualisation piece he now focuses on the social processes surrounding spectrum regulation in a workshop held together with fellow community network activist John Wilson.

In a way, the only thing that some of these works have in common is the use of or relationship with WiFi. Using a different way of grouping those works, Porta2030, THE POLITICAL SPECTRUM and WIFIO could be subsumed under a political media activism agenda, whereas WIFI CAMERA OBSCURA and VOLUME RENDERING make waves visible. As I have said above, different works correspond to each other in different ways. The exhibition visitor is advised to explore the connotations of each work and put together a wholly different picture in her or his mind than produced in my narration here.

A number of works share a slightly more traditional visual arts and sculptural approach (which by no way means to say they are old fashioned). BEYOND6281 by Artificiel (Alexandre Burton, Jimmy Lakatos, Julien Roy) & Pascale Malaterre uses the light bulb as a sound source. High voltage and a sort of sculptural fine arts approach is also at work in the piece TENSION OBJECT by Judith Fegerl, a truly hair raising experience. Luke Jerram shows THE EDISON PROJECT, an engagement proposition engraved into a silver ring which can be played back using a specially constructed 'record player'. HELLO, WORLD! by Yunchul Kim (Cooperation with Tuna Arkun) uses an analogue technique to store information within 246 meters of copper tube.

While there are some younger and very young artists, it was an important aspect of the WAVES concept to juxtapose their work with the work of some true pioneers. Robert Adrian, who shows a work created in collaboration with Norbert Math (see above)nhas been working with art & telecommunicartion since the late 1970s. DOUBLING BACK by Anthony McCall uses "two identical travelling waves which migrate very slowly across each others paths at a 90-degree angle to one another." The film is not projected on a screen but uses artificially generated mist "which makes palpably visible a giant, three-dimensional, curvilinear object whose internal chambers very gradually expand, contract and mutate. The spectator is free to enter and explore this sculptural form." Anthony McCall, who will also give a special lecture, has become well known with "Line Describing a Cone" from 1973, which also created a sculptural form through the projection of light. INTERACTIVE BRAIN WAVE DRAWINGS by Nina Sobell is a documentation of three decades of pioneering use of work with computers and brain waves. Another pioneer, but from the Eastern hemisphere, is Bulat Galeyev. Based in Kazakhstan and working as a scientist in the Russian space industry, Galeyev has created art & technology works since the 1960s with the group SKB "Prometheus". Exhibiting SPACE DANDELION, a series of photos, as well as SMALL TRIPTYCH and SPACE SONATA, two light-music films, the presence of this artist's work underlines the message that there is not just one media art history, but that there are diverse histories and traditions. It would have been interesting to highlight those diverse histories more, as there are distinct traditions of WAVES art also in, for example Japan and Latin America, yet for budgetary reasons this had to be deferred to a later stage.


24.
名稱gwrxEmail:
 留言時間:2008-01-12 19:05:52
留言內容
http://theoriebild.ung.at/view/Main/FreieNetze


23.
名稱gwrxEmail:
 留言時間:2008-01-12 18:21:25
留言內容
You Are Here: Personal Geographies and Other Maps of the Imagination (Paperback)
by Katharine Harmon (Author)
No customer reviews yet. Be the first.
RRP: G13.99


22.
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 留言時間:2008-01-11 23:21:45
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http://www.edu.tw/EDU_WEB/EDU_MGT/BICER/EDU0000001/97test/97MOE_Scholarship.pdf


21.
名稱gwrxEmail:
 留言時間:2008-01-10 22:38:36
留言內容
anthropologists don't need to consider the feeling of informants about their study but interactive artworks need to consider the participants' reaction.


20.
名稱gwrxEmail:
 留言時間:2008-01-10 17:52:52
留言內容
7th January V 14th March Term 2. Semester 2 teaching begins 21st January.

14th April V 13th June Term 3. Semester 2 teaching ends 2nd May.

5th June (subject to confirmation) Upgrades for Year 1 (full time) Year 2 (part-time) (See page 17)


19.
名稱gwrxEmail:
 留言時間:2008-01-07 20:47:59
留言內容
I watched the hour-long BBC documentary yesterday evening - a bit
longer than the material required. The originality of the
reconstruction was that it involved a 30m long-ship with a crew of
60+, modelled on the largest ship found at Roskilde. The documentary
did not include the building of the ship, but rather with the voyage
from Roskilde via Norway, Orkney, the Hebrides, and Isle of Man to
Dublin. There was reference during the programme to an experimental
session measuring the performance of the ship under different rowing
and sailing conditions, in particular establishing that the ship could
move faster against a head-wind by rowing rather than by tacking under
sail.

The rationale for the voyage was that the timbers of the original ship
were shown to have been obtained in Ireland, somewhere near the Viking
colony at Dublin. So voyages between Dublin and Norway, Sweden and
Denmark and vice versa by such long-ships as well as trading vessels
are implied.

Can the programme be downloaded and watched on computer via the BBC's
i-Player software?

Trevor Watkins
Archaeology
University of Edinburgh

--
The University of Edinburgh is a charitable body, registered in
Scotland, with registration number SC005336.

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18.
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 留言時間:2008-01-07 20:47:14
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Subject: Plymouth Colony Archive Updates
Date: Fri, 21 Dec 2007 18:32:53 -0600 (CST)
From: Christopher Fennell

The Plymouth Colony Archive Project has moved to a new address:
http://www.histarch.uiuc.edu/plymouth/

The Plymouth Colony Archive presents a collection of fully searchable
texts, including: court records, colony laws, seventeenth century
journals and memoirs, probate inventories, wills, town plans, maps,
and
fort plans; research and seminar analyses of numerous topics;
biographical profiles of selected colonists; and architectural,
archaeological and material culture studies. Among other works,
published here for the first time are a "Glossary and Notes on
Plymouth
Colony," "Seventeenth Century Timber Framing," and "Vernacular House
Forms in Seventeenth Century Plymouth Colony: An Analysis of Evidence
from the Plymouth Colony Room-by-Room Probate Inventories 1633-1685,"
by
Patricia Scott Deetz and James Deetz. We also present studies
focusing
on broader regional and temporal scales, including Jim Deetz's
analysis
of changes over time in Anglo-American gravestone styles in New
England,
and discussion of the Parting Ways site and archaeological evidence
found there of architectural forms and mortuary practices consistent
with elements of African-American heritage. In addition, we present a
number of tributes concerning the works of Prof. Deetz (1930-2000) in
historical archaeology.

We welcome all comments and suggestions of how we can better present
the
materials we have made available and what additional materials you
would
like to see added.

Thanks,
Chris

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17.
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 留言時間:2008-01-06 02:30:05
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---------------------------- Original Message ----------------------------
Subject: anthropology of work review
From: "Chibnik, Michael S"
Date: Thu, January 3, 2008 12:43 pm
To: SEA-L@LISTSERV.ALBANY.EDU
--------------------------------------------------------------------------


I am the new editor of the Anthropology of Work Review. I have put below
part of a column that will appear in a forthcoming Anthropology Newsletter
in which I solicit contributions for the journal. I especially encourage
submissions from SEA members.

Mike
Chibnik

I am pleased to have the opportunity to be the new editor of the
Anthropology of Work Review (AWR), the journal of the Society for the
Anthropology of Work. The goal of the AWR is to publish articles, photo
essays, and book and video reviews about all aspects of work. I encourage
ethnographic, theoretical, applied, and methodological contributions
written in a straightforward, readable style. Articles and essays are
welcome from those working inside and outside of academia, from all
countries and from all subfields and areas of specialization within
anthropology and related disciplines. I am also interested in suggestions
for theme issues.
Articles and photo essays may be submitted at any time to the AWR, which
is published three times a year. The journal is peer reviewed and
available through AnthroSource. Issues ordinarily include thee to five
articles or essays and book and video reviews. Because of limited space,
manuscripts should not be longer than 25 pages double spaced (including
references). Contributors should format their manuscript according to the
style guide of the American Anthropological Association
http://www.aaanet.org/pubs/style_guide.htm. Please include, as a separate
attachment, a one-paragraph abstract and five keywords. Manuscripts should
be sent to me electronically at
michael-chibnik@iowa.edu or by regular
mail to Michael Chibnik, editor, Anthropology of Work Review, Department
of Anthropology, University of Iowa, Iowa City, IA 52242. Photographs
should be sent as tif files to a separate email address where I have more
space mchibnik@gmail.com.
Carrie Lane has generously agreed to continue as the AWR reviews editor.
Inquiries about book and visual reviews should be her electronically at
clane@fullerton.edu or by regular mail to
Carrie Lane, Department of American Studies, P.O. Box 6868, California
State University - Fullerton, Fullerton, CA 92834-6868. Individual book
reviews should not exceed four double-spaced pages; review essays should
not be longer than 10 pages.
Right now would be a good time to submit manuscripts to AWR. I can promise
quick review of submissions and prompt publication of accepted
manuscripts. Please contact me if you have any ideas or questions about
potential articles or essays.



Michael Chibnik
Professor
Department of Anthropology
University of Iowa
Iowa City, Iowa 52242
phone: 319-335-0530



I am the new editor of the Anthropology of Work Review. I have put below part of a column that will appear in a forthcoming Anthropology Newsletter in which I solicit contributions for the journal. I especially encourage submissions from SEA members.



Mike Chibnik



I am pleased to have the opportunity to be the new editor of the Anthropology of Work Review (AWR), the journal of the Society for the Anthropology of Work. The goal of the AWR is to publish articles, photo essays, and book and video reviews about all aspects of work. I encourage ethnographic, theoretical, applied, and methodological contributions written in a straightforward, readable style. Articles and essays are welcome from those working inside and outside of academia, from all countries and from all subfields and areas of specialization within anthropology and related disciplines. I am also interested in suggestions for theme issues.

Articles and photo essays may be submitted at any time to the AWR, which is published three times a year. The journal is peer reviewed and available through AnthroSource. Issues ordinarily include thee to five articles or essays and book and video reviews. Because of limited space, manuscripts should not be longer than 25 pages double spaced (including references). Contributors should format their manuscript according to the style guide of the American Anthropological Association http://www.aaanet.org/pubs/style_guide.htm. Please include, as a separate attachment, a one-paragraph abstract and five keywords. Manuscripts should be sent to me electronically at michael-chibnik@iowa.edu or by regular mail to Michael Chibnik, editor, Anthropology of Work Review, Department of Anthropology, University of Iowa, Iowa City, IA 52242. Photographs should be sent as tif files to a separate email address where I have more space mchibnik@gmail.com.

Carrie Lane has generously agreed to continue as the AWR reviews editor. Inquiries about book and visual reviews should be her electronically at clane@fullerton.edu or by regular mail to Carrie Lane, Department of American Studies, P.O. Box 6868, California State University - Fullerton, Fullerton, CA 92834-6868. Individual book reviews should not exceed four double-spaced pages; review essays should not be longer than 10 pages.

Right now would be a good time to submit manuscripts to AWR. I can promise quick review of submissions and prompt publication of accepted manuscripts. Please contact me if you have any ideas or questions about potential articles or essays.







Michael Chibnik

Professor

Department of Anthropology

Universityof Iowa

Iowa City, Iowa 52242

phone: 319-335-0530




16.
名稱gwrxEmail:
 留言時間:2008-01-05 18:36:22
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15.
名稱gwrxEmail:
 留言時間:2008-01-05 18:19:21
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What you use the encoding method to represent the color shape?

a. rectangle is the shape which can connected each other closely than other vertically and horizonally. And the two-dimension also can represent the transition of time and space as a coordinate.Vertical axis is the location changes in the same day (time) and the horizonal axis is the time change in the location (space).

Colors constitute the atmosphere and landscape(Norweigian wood).

In some cultures, time maybe not linear.


14.
名稱gwrxEmail:
 留言時間:2008-01-02 05:30:43
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F쥻WϥΪ̨ϥΪLuaxƥ~
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13.
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 留言時間:2008-01-01 10:11:12
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KiHWhPΧ令


12.
名稱gwrxEmail:
 留言時間:2008-01-01 10:03:55
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Happy new year in london


11.
名稱gwrxEmail:
 留言時間:2007-12-30 07:52:14
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http://timelordas2.leeds.ac.uk/reporting/Individual;module;name;GEOG5170M01%0D%0A?days=1-7&weeks=1-52&periods=1-30&height=100&width=100&template=SWSCUST+module+Individual


10.
名稱gwrxEmail:
 留言時間:2007-12-29 19:58:05
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http://www.cyman.net/interface.html
http://www.cyman.net/web.htm


9.
名稱gwrxEmail:
 留言時間:2007-12-29 18:02:29
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http://www.artfirst.co.uk/kevin_laycock/pe_laycock_05.html


Kevin Laycock
Tectonics
11-28 October 2005




The artist has been exploring the parallels between structural abstraction in painting and musical theory in relation to colour and form. This has led to a group of complex but individually radiant paintings which have already had wide acclaim in a current UK museum tour (including Ferens Art Gallery, Hull).

The idea that there can be a relationship between non-figurative non-narrative music and abstract art is hardly a new consideration, Laycock's initiative is the creation of intensely considered and rigorously executed colour-harmonic paintings, governed by systems much like those followed by composers.

With an authoritative and erudite system all of his own, Kevin Laycock makes a newly significant contribution to the canon of abstract art in this country.

Laycock has been included in several group shows here at Art First. Born 1962 he studied at Leeds and the Royal College of Art, London. He now teaches and works in Leeds, where the University has given considerable support to this project. Further support has been given by the Arts Council of England.

Copies of the illustrated catalogue, essays by Matthew Withey (Henry Moore Institute) and Kenneth G. Hay (University of Leeds), will be available.


8.
名稱gwrxEmail:
 留言時間:2007-12-29 17:50:19
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The artist has been exploring the parallels between structural abstraction in painting and musical theory in relation to colour and form. This has led to a group of complex but individually radiant paintings which have already had wide acclaim in a curren


7.
名稱gwrxEmail:
 留言時間:2007-12-29 08:28:25
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http://www.uwe.ac.uk/amd/lan2d/jtucker.htm
http://www.janisrafailidou.co.uk/Home/23263_The%20(Auto)%20Biography.html
http://www.feda.co.uk/index.shtml


6.
名稱gwrxEmail:
 留言時間:2007-12-29 05:45:56
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5.
名稱gwrxEmail:
 留言時間:2007-12-28 18:41:03
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http://www.lse.ac.uk/collections/taiwanProgramme/ejournalTaiwanInComparativePerspective.htm


4.
名稱gwrxEmail:
 留言時間:2007-12-28 17:07:40
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R~Aֿn{ƳoʯpۥdCIoۧڸѼJGڦnݭnyazAڨӤjcNnC]12/29oSns[Y}ۡA|դѱH`֥@ɨjt۷|CU@Ne_ʡAwp~6xC
http://news.msn.com.tw/news526112.asp


3.
名稱gwrxEmail:gwrx@mac.com
 留言時間:2007-12-28 06:48:20
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2.
名稱gwrxEmail:
 留言時間:2007-12-25 17:17:13
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Merry Xmas~~~~~~~~


1.
名稱gwrxEmail:gwrx@mac.com
 留言時間:2007-12-24 06:26:05
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