"I taught at Yale for five years when I was managing editor and what I tried to stress for students interested in journalism, rather than picking a specialty, like blogging or being a videographer, was to master the basics of really good storytelling, have curiosity and a sense of how a topic is different than a story, and actually go out and witness and report. If you hone those skills, you will be in demand, as those talents are prized. There is too much journalism right now that is just based on people scraping the Internet and riffing off something else."
Edward Snowden with a framed piece of a computer that was destroyed in the Guardian basement at the request of the British government. Photograph: Alan Rusbridger.
" You may have heard of "free" software before. One common belief is that it’s free of cost. The majority of free software is available without cost, but "free" really refers to freedom not price. Specifically, the freedom to run, study, modify and distribute the software.
If you have all of these freedoms, then the program is free software. If not then the program is proprietary. Proprietary software is a dark alley. Only a select few can legally know the ins and outs of the program. If you can’t run the program for any purpose that you want, if you can’t study and modify the program so that it does (or doesn’t do) whatever you want, then who is your computer really taking orders from? Certainly not you.
In addition, the license attached to proprietary software often says that you’re forbidden to share copies with anyone else. If you can’t legally share copies with your friends, what what does that say if you’re forced to choose between obeying the license of the software or being a good friend and making a copy? “"
October 4th, 1985 - The Free Software Foundation is founded by Richard Stallman in Massachusetts, an organization dedicated to promoting the creation of software without the restrictions of copyright and licensed under the terms of the GNU General Public License.
Many of the tenants of the FSF extend beyond Stallman’s vision and have contributed to a great deal of projects which many users and institutions take advantage of and contribute towards.internetarchive)
This is a WIP/first project for the online Coursera course, “Creative Programming for Digital Media & Mobile Apps,” which is run by several professors at Goldsmiths University of London. More info on the vimeo page (and by that I mean info about my code bugs and mishaps).
I’ve signed up for many online courses before, but this one has been my favorite so far, followed closely by the Future Learn “Creative Coding” Course through Monash University. If you’re interested in this sort of thing, those are two courses worth checking out.
Nice work. For followers: Future Learn is finishing up this week. Both of the courses mentioned here are full of interesting resources. Sign up to check them out.
"Last month, as Fujitsu began selling lettuce from the Aizu-Wakamatsu plant, Toshiba Corp. said it would begin growing vegetables inside a floppy disk factory near Tokyo that hasn’t been used for two decades. Later this year, Panasonic Corp. will start selling computer-program controlled greenhouses to grow spinach and other vegetables. And Sharp Corp. last year began laboratory tests to grow strawberries at an indoor site in Dubai using its lighting and air-purifying technologies."
Russian Pavilion, Venice Biennale, 2012.
Photo credit: Xárene Eskandar
Kinect 3D Scanned Portraitsby Mike
Mike Pelletier is an interactive artist & technical director, who has extensive experience working with artists, designers and directors in creative environments. He has participated and hosted a number of creative technology workshops and his work has been featured in festivals and exhibitions around the world.
A Philadelphia agency built a smartphone-wielding robot that acts on anonymous haters’ requests, eschewing Instagram’s draconian API terms in the process.
At 9:30pm ET, 4 July, this happened, and then all of NH started celebrating — with FIREWORKS no less. (I love this state.) #MaydayPAC
No one expected we could do this. Neither the $1M nor the $5M. Of course, when we crossed $1M, plenty said they knew we would — though most of them were quite sure we could never make the $5M. And now that we’ve crossed $5M, you can be sure there will be plenty who say they knew we’d do this too.
But the truth is, no one knew — because the fact is, this time, the time we live in, is different. The frustration with the mess we call Congress is palpable, and the desperate urge to do something about it is raw. There are campaigns happening everywhere to rally people to the idea that we must find a way to end this corruption — from the amazing 480 mile walk of 99Rise from LA to Sacramento to fight for corruption reform, to the incredible campaign in New York by Zephyr Teachout fighting for corruption reform, to the New Hampshire Rebellion, crossing 185 miles of New Hampshire in January to rally that state to ask every presidential candidate one simple question: What will you do to end the system of corruption in DC?
This may be this movements most incredible moment so far. The pundits say America doesn’t care about this issue. This is America caring. And this is America demanding something more. Ideally now. But if we have to wait till 2016, then ok: Because by 2016, we’re going to elect a Congress that will fundamentally change how campaigns are funded. You have guaranteed it.
After we get some sleep, you’ll hear more from us. But fear not: the campaign to raise money is over for this cycle. I won’t be asking you to DONATE NOW again and again. That bit is done. Instead, for the rest of this cycle, what you’ll hear from us is about how your campaign is working. We’ve got lots of ideas about how to make this work. We’ll be testing them and improving them and building lots that’s new. But you’ve raised the money. It’s time to get down to work. So stay tuned.
As I race to finish this before we cross $5M (we’re at $4.95M right now), I can’t help but think back to where this all started for me. Or maybe, to who. I’ve told the story about how my friend Aaron Swartz turned me to this work. I struggled to tell the story of how his death convinced me that the most important thing that we must do is to give this democracy exactly the thing that he lost — hope. Our march across New Hampshire tried to do that. And now this has done that too: if nothing else, this has given people hope that something is possible.
If Aaron had been here, he would have been skeptical. He would have said, “why do you think anyone will give you anything?” But then he would have embraced the amazing and undeserved humility that defined everything about him, and he would have opened his computer, and helped build the system.
And tonight, he would have smiled. At you. At us. At what we’ve done. And at what all this says about what is possible. Tonight we would have given him hope — just the thing that he, that all of us, needed.
Thank you for this.
- Lawrence Lessig"
Isn’t it striking that the most-typical and most-maligned genres of Instagram imagery happen to correspond to the primary genres of Western secular art? All that #foodporn is still-life; all those #selfies, self-portraits. All those vacation vistas are #landscape; art-historically speaking, #beachday pics evoke the hoariest cliché of middle-class leisure iconography… Technology has so democratized image-making that it has put the artistic power once mainly associated with aristocrats—to stylize your image and project yourself to an audience as desirable—into everyone’s hands.
Wonderful post. (via Alan Jacobs)
Filed under: instagram
A fantastic weekend read about the intersections between art history, art theory, culture, and social media.