J20.ca

Ultimate Destroyer (2011)

helloyoucreatives:

Hipsters your time will come.

Social Media Week - 2062

Pink Floyd - The Wall Immersion Album Sampler

I thought of this as an innovative way to use YouTube: as a music sampler. Click a song title on the video to change the track it plays, without changing videos.

(EDIT: You must have annotations [comic bubble icon at bottom right corner of video] on to enjoy the feature.)

The “stopped clock illusion”

Why a clock’s second hand seems to tick longer the first second than the other seconds.

“Shut the Fuck Up” (1984) by General Idea

WARNING: contains vulgarity and scenes of poodles doing strange things.

“1984” (1984) by Apple

Aired 1984-01-22.

“Virtual Projection: Exploring Optical Projection” (2012)

Could you imagine the implications of allowing your mobile phone to project information onto surfaces?

You could project on a wall or table to multiple others the pictures and videos you’ve taken, combine multiple layers of information from multiple devices, use it as a way to upload data onto a desktop - and so on.

“When I was little, I wanted to be…” (2011) by Candy Chang

Interactive, participatory art as community building spaces.

From the initiator of “Before I die, I want to…”

PROTEST AGAINST SOPA

“Kowloon Walled City Part 1” (1989)

Kowloon Walled City was a densely populated, largely ungoverned settlement in Kowloon, Hong Kong. Originally a Chinese military fort, the Walled City became an enclave after the New Territories were leased to Britain in 1898.

Its population increased dramatically following the Japanese occupation of Hong Kong during World War II. In 1987, the Walled City contained 33,000 residents within its 6.5-acre (0.03 km2; 0.01 sq mi) borders. 

Contrary to what many outsiders believed, most residents of the Walled City behaved similarly to other Hong Kongers. They were generally hardworking people who showed concern for living conditions, education and other pressing issues.Residents also formed a tightly knit community, helping one another endure various hardships.

Within families, wives often did housekeeping, while grandmothers cared for their grandchildren and other children from surrounding households. The City’s rooftops were an important gathering place, especially for residents who lived on upper floors. Parents used them to relax, and children would play or do homework there after school.

The mutual decision to tear down the Walled City was announced on 14 January 1987.

The government spent some HK$2.7 billion (US$350 million) in compensation to the estimated 33,000 residents and businesses in a plan devised by a special committee of the Hong Kong Housing Authority. Some residents were not satisfied with the compensation, and were forcibly evicted between November 1991 and July 1992. After four months of planning, demolition of the Walled City began on 23 March 1993 and concluded in April 1994. Construction work on Kowloon Walled City Park started the following month.

via wikipedia

“Metropolis II” (2011) by Chris Burden

One of the last few concrete (as opposed to abstract) works of “art” that I enjoy, a kinetic sculpture, possibly because it involves complexity with an anticipation of catastrophe (“what if a model car suddenly veers off?”) that would make me keep looking and waiting. That anticipation fuels the mystery of the “art”, readily inherent in the abstract works that I admire.

Usually, “beautiful” works just turn me off because they evoke no sense of enigma. They just “look good” and I move onto the next.

A very prescient commentary about social media or social networking in 1992 by Jerry Seinfeld in Season 4, Episode 7.

Douglas Rushkoff (born 1961, coined the terms “viral” and “digital native”) dedicates this vidcast to Robert Anton Wilson (1932/01/18 - 2007/01/11), who popularized the term “fnord” and claimed no model as truth.

On the 5th anniversary of RAW’s passing, Rushkoff talks in general about “events” since then (i.e. Tea Party, Obama Birther conspiracies, libertarianism, elitism, Occupy Wall Street) in a non-conspiracy-theorist light, comparing them with movements of the 1960’s.

He also mentions how he misses authors such as Timothy Leary (1920-1996), Allan Ginsberg (1926-1997) and William Burroughs (1914-1997) but possibly only through their books, implying that there perhaps exists a distinction between the authors-in-person and their works.

The object of the game: not to disappear but to yield a sense of presence. Something about Jacques Derrida and writing creating an absence?