randomwalks/dj

Thousands of complaints to the mayor have been unearthed in New York City going back to the 1700's.

Originally from NYT > Home Page by ANDY NEWMAN reBlogged on Jul 8, 2006, 12:00AM

Originally posted by ANDY NEWMAN from NYT > Home Page, on July 8, 2006 8:56 AM

Trailer for The Science of Sleep, directed by Michel Gondry. Michel Gondry? Michel Gondry. Michel Gondry. Michel Gondry.

Originally from kottke.org remaindered links by jkottke reBlogged on Jul 8, 2006, 12:42AM

Originally posted by jkottke from kottke.org remaindered links, on July 8, 2006 8:55 AM

Just because you can blog your email doesn't mean you should.  (And yes, I know the story's not over yet.  But c'mon, you honestly think it will end up offering a different moral?)

Originally from this is sippey.typepad.com by Michael Sippey reBlogged on Jul 8, 2006, 2:17AM

Originally posted by Michael Sippey from this is sippey.typepad.com, on July 8, 2006 8:49 AM

I've had a number of requests for people wanting to export a VoodooPad document as OPML. And this evening after seeing OPML mentioned a couple of times on the web and remembering that I told someone it could be done via a Lua script plugin, I decided to give it a quick shot.

And after browsing the spec... wow, there's not much to OPML, is there? (Here's the Wikipedia link too). Looks like it's great for short entries used in an outliner, which is no surprise since that is what it was designed for... So I'm left wondering what the benefit of exporting a VoodooPad document in this format is? Can anyone enlighten me on this? Is this just another export format to check off on.. but without much use to folks?

I'm wondering if maybe the people who have asked for this think of VP as a hierarchy of links?. Maybe they wanted the document to be exported in a hierarchy? But VoodooPad is a web, and maybe that's why I'm so confused.

I put the script up on the wiki if anyone wants to see it. Like I said, I gave it a "quick shot" and only spent 7 minutes on it tops, so the script is not exactly pretty. But it does show how to open up a save panel from Lua (and how to write out files).

Originally from Gus's blog, adventures in Flying Meat. reBlogged on Jul 8, 2006, 3:27AM

Originally from Gus's blog, adventures in Flying Meat., on July 8, 2006 8:49 AM

The Bacon of the Month Club is "the go-to gift for that person in your life who loves bacon, who has everything or who has very little." The annual fee is $140 for one portion every month or $215 for two. You get a monthly delivery of "artisan pork", a toy pig, a membership card, a nice pen, and "informative notes on all bacon selections."

Originally from A Full Belly by David Jacobs reBlogged on Jul 7, 2006, 9:50AM

Originally posted by David Jacobs from A Full Belly, on July 7, 2006 6:19 PM

The world was shocked when President Putin kissed a boy on the stomach because he resembled a kitten, but according to Putin's letters to Russian schoolchildren, we shouldn't be too surprised.

Vladimir Putin’s decision to stop a small boy as he walked through the Kremlin and kiss his stomach was prompted by a desire to “touch him like a kitten,” the Russian president said on Thursday… “People came up and I began talking to them, among them this little boy. He seemed to me very independent, sure of himself and at the same time defenseless so to speak, an innocent boy and a very nice little boy,” [said] Putin. “I tell you honestly, I just wanted to touch him like a kitten and that desire of mine ended in that act.” —Reuters, July 6, 2006 * * * Dear President Putin, I am five years old. My brother, Alexander, is writing for me. I would like to be an army captain. Please keep Russia safe from terrorists. I do not sleep well. Please send me a fighter jet.—Roman Dear Roman, Thank... Click here to continue reading this article.

Visit The Morning News.

Originally from The Morning News reBlogged on Jul 7, 2006, 10:45AM

Originally from The Morning News, on July 7, 2006 6:19 PM

The Eames Lounge Chair is the modern day mark of any hipster bachelor. Look, I don't care if it's an expensive chair, and I don't care about the way it's designed because I've seen the *original* model from the Eames collection in person. I'm not impressed by your DWR replica, and dudes, I'm serious here: It's still smacks of self-importance and a wasteful lifestyle.

Save yourself the cash and get these nice Eames chair costers instead. You'll still be able to look at it longingly and pretend you're some fancy power executive just throwing his money around on things because they're trendy and comfortable and people will admire you for them, but when you bring a girl home she won't say to herself, "Ohhhhhhhhhhh. He's got that chair. No wonder."

Originally from Awesome! by S H reBlogged

Originally posted by S H from Awesome! , on July 7, 2006 6:18 PM

Buried in this extensive listing of the most valuable players in the NBA by Bill Simmons, is a little muse about NBA stars playing soccer, which I will reproduce here in its entirety so you don't have to go searching for it:

By the way, I've been watching the World Cup for four weeks trying to decide which NBA players could have been dominant soccer players, eventually coming to three conclusions. First, Allen Iverson would have been the greatest soccer player ever -- better than Pele, better than Ronaldo, better than everyone. I think this is indisputable, actually. Second, it's a shame that someone like Chris Andersen couldn't have been pushed toward soccer, because he would have been absolutely unstoppable soaring above the middle of the pack on corner kicks. And third, can you imagine anyone being a better goalie than Shawn Marion? It would be like having a 6-foot-9 human octopus in the net. How could anyone score on him? He'd have every inch of the goal covered. Just as a sports experiment, couldn't we have someone teach Marion the rudimentary aspects of playing goal, then throw him in a couple of MLS games? Like you would turn the channel if this happened?

Link via David, with whom I was chatting last week about Mr. Iverson's excellent chances, soccer-wise.

Originally from kottke.org reBlogged on Jul 7, 2006, 4:13PM

Originally from kottke.org, on July 7, 2006 6:14 PM

Tomorrow, July 8th, the New York Transit Museum will be celebrating its 30th Birthday with discounted admission. It will be charging the original fare of $.50 for adults and $.25 for kids. The birthday festivities will include birthday cake, arts & crafts for kids, a trivia game, movies, and a "special guest vehicle."

Really though, the best part of any trip to the Transit Museum has to be checking out the old subway cars. Longtime residents can take a trip down memory lane wandering the cars they used to ride. If it doesn't come right back to you, try to imagine them covered in spray paint and they may seem a bit more familiar. Newcomers can marvel at the fact that this system has actually managed to keep running for 100 years.

Originally from Brooklyn Record by Brooklyn Record reBlogged on Jul 7, 2006, 10:06AM

Originally posted by Brooklyn Record from Brooklyn Record, on July 7, 2006 9:42 AM

I have been looking for good sunscreen for years. One or two. Now I can kick back and drink an OE under my sun lamp because I've found the best.

The Helioplex technology used in this product is supposedly what the Europeans have been using for years and any suncreenie (like foodie, humor me) knows that the Europeans have superior sunscreen. That coupled with the fact that it does not feel greasy when applied on the face is great. And it's spf 55 which is good for people (me) who have recently discovered sunspots and realize tanning is not as cool as it was in the 7th grade when people (I) covered the Thriller record album (folded out, remember?) with aluminum foil and sat in the optimal sun attack spot.

Neutrogena Ultra Sheer Dry-Touch Sunblock SPF 55.

Full disclosure: Neutrogena has been advertising their helioplex technology like crazy so I'm not sure to what degree their advertising has influenced my opinion on this product.

Originally from Andrea Harner by Andrea reBlogged on Jul 6, 2006, 10:30AM

Originally posted by Andrea from Andrea Harner, on July 7, 2006 9:42 AM

"Up until the 1980s, all buttons were physical, actual tangible things that you push, press, hit or slap. At the same time, all computer software was text-based, codes and commands that you had to master and type in. Then someone got chocolate in their peanut butter."

Originally from tecznotes links by Michal Migurski reBlogged on Jul 6, 2006, 11:23AM

Originally posted by Michal Migurski from tecznotes links, on July 7, 2006 9:42 AM

Architect and set designer David Rockwell was hired to design the “interior experience” (arrival, departure, retail space) of the new JetBlue terminal being built at JFK Airport (Gensler handled most of the architecture). Looking for a new angle on movement vs. environment, Rockwell took a strange turn: He hired choreographer Jerry Mitchell to help him. At the New JetBlue Terminal, Passengers May Pirouette to Gate 3 examines the collaboration and takes a look at the dance of people in public spaces. There’s also an accompanying audio slide show that looks at the process and its results.

The duo started out by looking at what they considered well choreographed spaces in New York, like the Grand Foyer at Radio City Music Hall, Grand Central Station (top photo), and Union Square (bottom).

After examining the dance at these places, the choreographer urged the terminal’s architects to eliminate crisscrossing and straight edges in favor of a merry-go-round approach since “people move easiest in circles.” He also urged them to recognize the “different emotional experiences” of arrival and departure and treat them accordingly. The resulting design for the terminal can be viewed in the slide show or this PDF.

Here’s more on how it all went down:

So he and the architects looked for ways to alter the shape and pace of passenger movement within the terminal, drawing less on transportation hubs (which are patronized of necessity) and more on urban spaces that people actually choose and enjoy. At Union Square, as Mr. Rockwell explained on a recent tour through some of those sites, the paths are wide enough for pedestrians to move along them in both directions at once, allowing for the pleasure of proximity without discouraging eye contact. (Squeeze people too close, as on a rush-hour subway train, and they won’t look at one another.) The paths are also gently curved, allowing some surprise about what’s around the next bend. And those curves seem to stretch time; as we circulated slowly, we were always aware of how we were deviating from the Manhattan grid, which nevertheless persisted as a faint impression, like a distant drumbeat…

Out of such thoughts, and Mr. Mitchell’s choreographic insights, came the Rockwell Group’s solution for the JetBlue terminal. Various obstructions (principally two large bleacherlike seating areas rising up like icebergs after the security checkpoints) would subtly lead outbound travelers toward the periphery of the space — the longer, more circular route — while inbound travelers would be directed straight between them, down a level and swiftly out. The periphery walls would be curved like the paths at Union Square to slow down the outbound experience and, not incidentally, enhance the likelihood of lingering over merchandise. And the bleacherlike seating areas, improving on the usual pods of wee chairs and tables at floor level, would encourage people to get above the action and watch the shapes of the promenade that they were recently part of.

Inspiration doesn’t always come from obvious people or places. Kudos to Rockwell for seeking solutions under unusual rocks and to Gensler/JetBlue for recognizing the value of this unorthodox approach.

Related: JetBlue’s Terminal Takes Wing [BusinessWeek]

Originally from Signal vs. Noise reBlogged on Jul 6, 2006, 11:36AM

Originally from Signal vs. Noise, on July 7, 2006 9:42 AM

Fort Greene residents took a break from last weekend's heat to submerge themselves in the nieghborhood's outdoor public pool at North Elliott and Flushing. The pool is open from 11 am to 7 pm everyday for the rest of the summer. Lap swimmers have free rein from 11 am to noon and, if demand warrants, additional hours may be added. Just don't try to bring in a camera. As we found out the hard way, photos are prohibited within pool bounds.

Originally from Brooklyn Record by Brooklyn Record reBlogged on Jul 6, 2006, 11:46AM

Originally posted by Brooklyn Record from Brooklyn Record, on July 7, 2006 9:42 AM

The number of gadgets we're carrying around on a daily basis - from BlackBerrys and mobile phones to iPods and PDAs - means men in the UK may be forced to embrace the metrosexual phenomenon of the 'manbag' , reports Silicon.com.

"And while four per cent of men surveyed for a piece of research from business communications company Damovo still go for the 'batman' utility belt approach of clipping their gadgets around their waist, it seems that stereotypical image of the gadget fan at large is being killed off by the manbag."

Picture left from manbag.com and below, a selection of man-bags off a catwalk.

Originally from textually.org by emily reBlogged on Jul 6, 2006, 12:09PM

Originally posted by emily from textually.org, on July 7, 2006 9:42 AM

"Times like these try men's souls. How trying it is to live in these times! These are trying times for men's souls. Soulwise, these are trying times."

Originally from tecznotes links by Michal Migurski reBlogged on Jul 6, 2006, 11:46AM

Originally posted by Michal Migurski from tecznotes links, on July 7, 2006 9:38 AM

This teak bath mat showcased by the folks at uncrate, reminds us how important it is to seek out and use reclaimed materials.

Originally from ReadyMade Blog by Timothy reBlogged on Jul 6, 2006, 12:13PM

Originally posted by Timothy from ReadyMade Blog, on July 7, 2006 9:38 AM

As Zach Papale watched France's victory over Portugal at Bar Tabac in Cobble Hill, he told the Daily News, "This is as French as you can get in Brooklyn." Bar Tabac is one of the neighborhood's many French eateries — which also include Marquet Patisserie, Provence en Boite, and Patois. On July 16, 7,000 French people are expected to flock to Smith Street for the Brooklyn's fifth annual Bastille Day party. Bar Tabac will the country's largest pétanque tournament as part of the celebration. This year's match is expected to include 80 teams — and many of the players are from Brooklyn.
Nabe is a Soupcon of Home for French [NY Daily News]
[Photo by Pentanque America]

Originally from Brooklyn Record by Brooklyn Record reBlogged on Jul 6, 2006, 1:35PM

Originally posted by Brooklyn Record from Brooklyn Record, on July 7, 2006 9:38 AM

We hate having water on our bathroom floor, but hate having a towel or not-so-sweet rug on the floor even worse. We were delighted then when we saw the Teak Bath Mat ($70). It's made...

Originally from Uncrate

reBlogged by Matthew Haughey on Jul 6, 2006, 3:05PM

Originally from mathowie reBlog feed reBlogged on Jul 6, 2006, 1:04PM

Originally from mathowie reBlog feed , on July 7, 2006 9:36 AM

Edward Tufte is deeply suspicious of presentation software. Hans Rosling makes it sing. And they're both right. In the wrong hands PowerPoint can bore you, mislead you or far, far worse. In the right ones it can inform and illuminate.

Mr Tufte (a TED veteran) makes his case and tells us much more in his new book Beautiful Evidence, the fourth in a series of exquisite titles all of which he has written, designed and self-published. His standards are incredibly high, making his books some of the most thoughtful and beautiful objects you will ever own.

Mr Rosling makes his case through Gapminder. They are both concerned with the effective representation of evidence, I wonder what they make of each other's work.

Originally posted by noemail@noemail.org (russell davies) from TED Blog, on July 7, 2006 9:33 AM

Photo: Mary Ellen Mark

Serra: I think the great thing about Warhol was his cynical, critical banality of conversing with the media. Warhol’s provocation is lost now and has been replaced by a superficial simulation of banality; that is banality for banality’s sake where everybody’s in on the meta-joke. Only the meta-joke of art about art can become tiresome real quick. Cynicism has been replaced with sentimentality. The problem with a lot of work today is its predictability. Its only allusion is to something we already know; it reframes, or re-references the known over and over again. It can’t possibly give us the same kind of inventive diversity and fulfillment and complex evolution of the formal language of art that invention can provide. I find it interesting that there’s no post-modernism that doesn’t deal with re-representation.

http://brooklynrail.org/2006-06/art/richard-serra-with-phong-bui

Originally from post.thing.net - A lean, mean, media machine. reBlogged on Jul 6, 2006, 5:51PM

Originally from post.thing.net - A lean, mean, media machine., on July 7, 2006 9:29 AM

Ralph McQuarrie (AKA “the man who designed Darth Vader”) has a new web site. Ironically, it’s a very poorly designed site - but the man inspired generations of industrial designers and breathed life into the modern myth - so we’ll let it go. [Link]

Originally from Drawn! The Illustration and Cartooning Blog by Matt reBlogged on Jul 6, 2006, 6:25PM

Originally posted by Matt from Drawn! The Illustration and Cartooning Blog, on July 7, 2006 9:29 AM

CALL FOR PAPERS

Art in the Age of Technological Seduction: Call For Papers; Fall 2006 issue of NMC media-N: Journal of the New Media Caucus; Guest Editors: Legier Biederman and Joshua Callaghan: DEADLINE JULY 30, 2006.

The fall 2006 issue of Media-N, Art in the Age of Technological Seduction, is a collaborative platform, a diverse questioning, re-considering and re-imaging of what, when and how new media arts practice is viewed by artists, practitioners, theorists, critics and historians working in the field today. We seek a broad range of contributions discussing the scope, values, and definitions of diverse new media arts practices and hope that this issue of Media-N will be a departure as much as much as an arrival. Four general questions have been posed by the members of the new media caucus as points of entry for an engaging, vibrant discussion.

The issue will be divided into two sections: The first section invites brief personal accounts and anecdotal responses addressing and/or expanding one of the four questions, and we encourage everyone to respond to this section, as weÂ’d like to include as many responses as possible. The second section invites papers that address these questions in a more lengthy and detailed form.

Four Questions:

1. Defining and Re-imagining

What are new media arts? Is it necessary that we define new media arts? How do we begin to discuss or teach new media arts? What sets new media arts apart from other disciplines or practices, or what connects them? What's (still) new about new media or what was, if anything ever was? What defines your work as new media art and why? How do you explain new media arts to your students and colleagues? What did or currently does attract you to new media arts practices?

2. Discourses on New Media Arts

What do the discourses do to the practice? How might one describe or define the discourse/s on new media arts? How does new media arts discourse relate to new media practices? In other words, what does the discourse/s do or attempt to do to new media arts? Are theory and practice being brought together in new media arts discourse, and if not, how might we begin to do so? What do you find interesting or problematic about new media arts discourses? Do you think there is a disjuncture between new media arts practice and the discourses on it? As a new media artist, do new media arts discourses affect your practice?

3. Authorship, Relationships & Relationality

Does your work maintain a traditional relationship between the artist/author/producer and the spectator/viewer? If not, how does it transgress these boundaries? Do you feel it necessary to challenge these boundaries? Do you consider relationality, the non-hierarchical intertwining of data, artwork, artists, and viewers etc., an important aspect of your work? In what context/s is your work shown and how does effect it. How do recombinatory practices commonly found in new media such as sampling, appropriation, and mash-ups, challenge traditional author/viewer conventions? While autonomy and relationality have long lineages in art history, how do they function within new media arts practices and discourses?

4. E-litism: Technospheres and the Everyday

How do notions of location, language, identity, and cultural understandings of communication inform or effect new media practices? Who is left out of, disproportionately under-represented, in the world of new media art practices? Is, as some have argued, the openness often associated with information technologies and new media practices, paradoxically, replacing the national politics of a past with the global connectivity of cosmopolitan tourism? How does your particular specificity (sexual, gender, ethnic, racial, class) affect your practice, your work or its reception?

Event reviews: The editorial board also invites proposals for reviews of exhibitions / events / festivals / conferences, etc.

For more information: http://www.newmediacaucus.org/media-n/call.htm.

[] Send manuscripts via email to: Legier Biederman (lbiederm[at]ucla.edu) by July 30, 2006
[] Paper format and media format are in the 'Submission Guidelines' link
[] Media-N author's agreement is available from the 'Copyright Statement' link
[] Questions: contact guest editors Legier Biederman (lbiederm[at]ucla.edu) and Joshua Callaghan(joshua[at]joshuacallaghan.com)

THANK YOU

Originally from networked_performance by jo reBlogged on Jul 6, 2006, 8:30PM

Originally posted by jo from networked_performance, on July 7, 2006 9:29 AM

I came home last night and found Julian Dibbell's Play Money: Or, How I Quit My Day Job and Made Millions Trading Virtual Loot waiting for me. And sat down and read it all in one sitting.

Entire parallel economies exist in these worlds, and they can be quite addictive. One of the reasons we started Ludicorp to build the Game Neverending, was my addiction to Neopets, where I was making a killing arbitraging JubJub hats (until the bottom dropped out of the whole JubJub market, as suddenly and inexplicably, JubJub hats were being fed into the marketplace at an astonishing rate). Dibbell spent most of his time in Ultima Online, a sword and sorcery MMOG, but sometimes, it seems, the real cloak and dagger activity isn't happening in the game, but behind the scenes, where quasi-criminals devise ingenious cheats to raise game money, which they then sell on eBay, possibly even running Chinese and Tijuana sweatshops on the side where workers are employed to level up and generate even more game money. A fascinating account. Even though I'd spent a lot of time in these worlds, Dibbell raised a lot of interesting questions, and conjectured a world where work is becoming increasingly indistinguishable from play. And I loved this:

The Kpelle people of Liberia, to name one, scarcely make the distinction at all, allowing for a difference between arduous "forest work" and lighter "town work" but generally avoiding all work that can't be done playfully, amid song and dance and jest. It's not that they're slackers. On the contrary: Diligent rice farmers, they organize their lives around the constant activity of cultivation. But when government advisors pressured them to switch from dry rice farming to more productive paddy-based methods, they resisted--not because they had no interest in making more money, but because they had no interest in working joylessly. The techniques of paddy-rice farming might be more efficient, the anthropologist David Lancy has explained, but they would reduce the Kpelle's daily activity to "just plain work", bereft of "the vital leavening of gossip, singing and dance" that makes Kpelle work worth doing.

Originally from Caterina.net by noemail@noemail.org (caterina) reBlogged on Jul 6, 2006, 11:56PM

Originally posted by noemail@noemail.org (caterina) from Caterina.net, on July 7, 2006 9:27 AM

I had to come up with a three minute rant for the Alliance for Community Media workshop on "Evaluating the PEG (Public Access) Model of Community Media." This is the rant I decided not to use:

For years we talked about the coming media revolution. This revolution was going to put the power of mass media in the hands of The People. The People were the individuals and small (non-business) organizations who were ignored, marginalized, and disinfranchised. They were going to use television to allow people to take over the airwaves and make their voices heard. They were going to produce, organize, and take action. Most importantly, this revolution was going to happen because of us.

Well the revolution happened and we weren't there to broker it.

The revolution came in the form of blogs and iMacs and cameraphones and MySpaces and YouTubes and it had the full backing of Silicon Valley, Wall Street, Rupert Murdoch, and the Fortune 500.

The revolution wasn't broadcast quality so we thought the revolution wasn't worth our time. The revolution was agnostic and equally exploitable by all so we said the revolution had no ideology. The revolution reduced all of our paperwork to one click agreements so we said it was too irresponsible. The revolution didn't route through us so we thought the revolution wasn't the real revolution.

The revolution was unorganized and we didn't know how to deal with it.

But now's the time to start dealing with it.

Because although more folks are talking, they still need models for organization and effective action.
Because although anyone can blog, the power laws still apply.
Because although everyones actions are becoming more explicit, no one's holding our institutions more accountable.

Most of all, because the revolution is here and it looks just like any other day.

Originally from braintag reBlogged on Jul 7, 2006, 4:14AM

Originally from braintag, on July 7, 2006 9:25 AM

Seen on Ko Samui in Thailand. Bought my ferry ticket to Ko Tao there.

Mario Travel

Mario Kart

Originally from hello, nintendo by John Emerson reBlogged on Jul 6, 2006, 10:35AM

Originally posted by John Emerson from hello, nintendo, on July 7, 2006 8:51 AM

Great rant from Michael Ruhlman about the ethics of eating. "Beyond the fact that our current hand-wringing foreshadows an America that increasingly regulates how we live our lives, which is scary enough, the more insidious danger to me is that we think clams and ducks and lobsters are people too."
Update: Anthony Bourdain responds to Ruhlman's rant.

Originally from kottke.org remaindered links by jkottke reBlogged on Jul 6, 2006, 3:59PM

Originally posted by jkottke from kottke.org remaindered links, on July 6, 2006 9:28 PM

Advice for cleaning the CCD image sensor on Nikon digital SLR cameras. Doesn't look that scary....does anyone have any experience doing this? My D70 needs a little TLC in this area. (Comment on this)

Originally from kottke.org remaindered links by jkottke reBlogged on Jul 6, 2006, 1:31PM

Originally posted by jkottke from kottke.org remaindered links, on July 6, 2006 9:28 PM

Amanda Congdon announces her departure from Rocketboom.

Yesterday, Amanda Congdon announced on her personal video blog that she is leaving Rocketboom. I am so sorry it has come to this. Amanda and Rocketboom producer Andrew Baron had spent the last two weeks struggling to repair their strained relationship. The rift had been growing for some time, and when it came to a head last month, I feared there was no way of repairing it. The two of them tried to solve their differences with the assistance of friends, family and colleagues mediating the conversation. Emails flew back and forth on the Rocketboom field correspondents list. They even decided to put Rocketboom on a summer hiatus to try to work things out, at the urging of many of us on the list. In the end, though, nothing could be done to mend the breach.

Amanda and Andrew are two of the most creative, hardest working people I've had the pleasure of knowing on the Internet. They turned their low-budget video blog into a force to be reckoned with. And now the future is uncertain. Amanda's moving to LA, while Andrew will push forward with Rocketboom. I know both of them will be successful with whatever endeavor they choose to embrace; I am just saddened they won't be doing it together anymore. -andy

Originally from unmediated by yatta reBlogged on Jul 6, 2006, 2:57PM

Originally posted by yatta from unmediated, on July 6, 2006 9:23 PM

Through its programme of presentation, debate and play WLT explores how technologies enable and enhance creative engagement.

Originally from del.icio.us/inbox/djacobs by yatta reBlogged on Jul 5, 2006, 10:53PM

Originally posted by yatta from del.icio.us/inbox/djacobs, on July 6, 2006 9:47 AM

My absolute favorite summer treat has to be a fresh ripe mango - but boy have I made a fool of myself trying to cut them up. This instructional video demonstrates how to cut off big clean slices from a mango around it's flat, oval pit. The video's a bit Blair Witch, so if you're prone to vertigo, consider yourself warned.

Once the mango's cut, to cube it, you can score it in a box pattern and push the cubes of the skin by inverting your slices. That part isn't shown in the video, but this photo tutorial link covers it well. — Gina Trapani

How to cut a mango [Wild Oats Natural Market]

Originally from Lifehacker reBlogged on Jul 5, 2006, 7:00PM

Originally from Lifehacker, on July 5, 2006 11:10 PM

I started the Red Sweater Links blog as a place where I could feel comfortable spitting out short pointers to interesting things without worrying that I was overloading the main blog.

This solution has been a partial success, but there are some definite down-sides. I often find it difficult to choose whether something is a link or an article. And often a link turns into something I want to talk more about. I am feeling a draw to just merge the two back into a single blog.

This is your chance to share advice or opinions before I “throw the switch.” If you’re a subscriber to both the links and the main blog, would you find it easier to just have one source to monitor?

Another thing I could do is attempt to aggregate several “links” into a single post to minimize “entry pollution” while still having a unified feed.

Can you tell I’m confused about this situation?

Originally from Red Sweater Blog by Daniel Jalkut reBlogged on Jul 5, 2006, 7:04PM

Originally posted by Daniel Jalkut from Red Sweater Blog, on July 5, 2006 11:10 PM

Regina has a new article up: Real Sex, Virtual Worlds.

Online sex has always been about real connection in a virtual environment, despite unflattering stereotypes about who has cybersex and why.

But it seems to me that bringing sex out of chat rooms and into animated platforms is also lifting some of the shame and secrecy that has historically shrouded cybersex.

Originally from Sex & Games by BrendaBrathwaite reBlogged on Jul 5, 2006, 7:46PM

Originally posted by BrendaBrathwaite from Sex & Games, on July 5, 2006 11:10 PM

Human nature is not a machine to be built after a model, and set to do exactly the work prescribed for it, but a tree, which requires to grow and develop itself on all sides, according to the tendency of the inward forces which make it a living thing.

-- John Stuart Mill, On Liberty

Originally from Caterina.net by noemail@noemail.org (caterina) reBlogged on Jul 5, 2006, 7:57PM

Originally posted by noemail@noemail.org (caterina) from Caterina.net, on July 5, 2006 11:10 PM

Maxell is bringing back the "blown away" guy -- the classic image of the guy in the chair. All the details in this Times story, including details about the original photo shoot.

"Layers of hairspray held the model's hair in wind-blown position and some strands were tied to the ceiling" with fine fishing line, the article reported. The fishing line was also used on the lamp shade and cord in the photograph, to make it seem as if they, too, were being buffeted by the force of the music.

Ahh, Madison Avenue.  Next up -- the Gorilla in the cage with the Samsonite luggage.  Or has that one already been resurrected?

Originally from this is sippey.typepad.com by Michael Sippey reBlogged on Jul 5, 2006, 9:07PM

Originally posted by Michael Sippey from this is sippey.typepad.com, on July 5, 2006 11:08 PM

I am disheartened by Andrew Baron's decision to spread misinformation. He knows I cannot move to LA without a job...but insists on spinning things this way to shore up his assertion that I am "walking away" from Rocketboom. I did not walk away. I did not accept Andrew's idea of "partnership". I'll explain more a little further down.

It's not true. I'm presently living with my parents in Connecticut until I can get back on my feet.

Below you will find a letter written by Andrew on Sunday, June 25, two days after he pulled the plug on Rocketboom. My responses, which were sent to Andrew on the same day, are in red.

Andrew responded the next day by saying he would not respond to this letter. This then was followed by days of back and forth negotiations, ending yesterday, on Independence Day, with Andrew telling Chuck Olsen, our mediator, that he was taking control of the show and my option was to be the "face" of rocketboom with no involvement beyond that (I might in the future be allow to "produce shows", but not for the time being). Very old media. Considering I have personally written, produced, and hosted Rocketboom and was already a producer on Jet Set, this was totally unacceptable. I don't know any "partnership" that functions like that.

I had hoped to keep things civil, and thought my video message to the Rocketboom viewers was very neutral. I felt the need to communicate with the RB audience, without getting into the nitty-gritty of "he said, she said". Dirty laundry is not attractive. That said, ALL the facts, at this point, based on Andrew's actions, need to be presented.


...


Dear Amanda, this is my last attempt to reach out and let you know I really wish you would stay.

Andrew, you fired me.

After everything that has built up over the last several months (and longer apparently) and with everything I have learned about your disinterest in my various levels of critical input, I can understand why you would need to leave and I as I have always said, I will never hold you back.

I'm sorry you feel that way. I've repeatedly expressed my respect for your many gifts. Especially:

1. You are an exceptional executive producer. Your instincts for what will work or not, and your general vision for the creation of content and distribution for videoblogs is, I believe, unparalleled.

2. You are an exceptional speaker. Whether at conferences, in business meetings or during consulting, you excel at describing the power of Rocketboom and the medium.

3. You are an ingenious curator. Your extraction of outstanding content from all resources is, again, unparalleled.

4. You are a superb navigator of the blogosphere. Additionally, I have always entrusted you with the final decisions of the physical design of Rocketboom.

In fact, it saddens me that you have not had the time and/or willingness to significantly participate creatively in Rocketboom for some months now. We've sent you things during the production process, and what we've received back is criticism after the show has already been produced or after it is too late to make changes. Statements like "I'll continue to check my blackberry but please dont wait on me if it starts to slow you down" and "I will have my phone so I can still chime in but dont feel ever wait on me for any answers if I cant respond in time" really don't cut it.

As you know, when I gave you the 49% of Rocketboom I told you that I hoped it would work out and that the reason why I gave you that percentage was so that you would become involved enough to stay with the company.

I have always been and still am intensely involved in Rocketboom.

Since I told you so many times that I would never want to hold you back from moving on to L.A. to pursue your own thing - since you always said this was really your passion well before I met you -we agreed that you would not take the 49% if you were to move away to L.A. on your own.

That is completely incorrect. There was no agreement about forfeiture of the 49%. We together have had a detailed plan for some time in preparation for the move to LA. And please note I was moving to LA on Rocketboom business, not only to "do my own thing". You did say you would never hold me back, and you also made it clear that doing Rocketboom would not be mutually exclusive of pursuing other passions. Our plan was as follows:

5/05 Amanda told Andrew she was serious about moving to LA by 10/05. Andrew agreed and said that was completely reasonable, since current technology allows Rocketboom to be produced from anywhere.

10/05 Amanda and Mario stored their possessions, gave up their apartment and took a sublet in preparation for the move. Andrew was fully aware.

10/05-4/06 Amanda and Mario continued to sublet. The move was repeatedly delayed, long beyond the original "completely reasonable" time frame. Finally, with Andrew's consent, Rocketboom moved forward to actual transition.

4/06 A plan was implemented for Andrew and Mario to co-direct shoots, gradually transitioning Mario to be interim director. A new professional director was to be hired in LA. What actually happened was that Andrew attended shoots infrequently and by 5/06 had stopped attending altogether.

5/21/06 At this time, the term of Amanda and Mario's sublet was up. Andrew had not attended shoots for nearly a month, and there would be no Rocketboom paycheck for June. Nevertheless, production continued by Amanda and Mario at Amanda's parents' home in Connecticut.

6/16/06 Andrew, Mario and Amanda agreed upon a departure date for LA within the next couple of weeks. Within the next few days, June 30th was chosen. Andrew's assistant had a list of possible editors in LA (which was never delivered to Amanda despite numerous requests). Zadi and Steve were excited to have Amanda nearby to better co-produce Rocketboom's project, The Jet Set Show.

6/23/06 Mario received a call from Andrew in essence saying that Mario and Amanda must either move back to New York or Rocketboom was over.

Since you have claimed that you are moving next week, and because you have never suggested a plan for how this move can integrate into Rocketboom, and because you have already said your goodbye, I get the message and will now move on myself the best I can.

Andrew, see our long term and extensive plan described above.

And, as it turns out, I cannot move to LA because our plan was for me to be engaged in, and compensated for, work on Rocketboom there. Since you will no longer allow that, I have no source of income and therefore cannot move.

With regards to tomorrow's show and the future of Rocketboom, I am not sure what I will do, but you will be honored and respected and encouraged. My plan is to simply say that you are moving on to L.A. to take on the world, that this was always your dream and that you are a obviously a brilliant personality who will no doubt take it by storm.

Please do not speak for me. We've had a long standing agreement in good faith about me continuing Rocketboom from LA, which you have now reneged upon.

Should anyone react and consider the move to be a shame, I will always defend you for following your own dreams and aspirations and staying true to your own interests with acting and now producing.

Again, please do not speak for me. My dreams and aspirations included Rocketboom.

You have wanted to move to L.A. since before I met you, so I am sorry that we could not manage getting there sooner together with Rocketboom still working.

As we've both acknowledged, Rocketboom could not only work but grow stronger by having a presence on both coasts.

With all my love and support for you as a friend, I will never stop caring about you and will always look forward to seeing you bloom.

Andrew, I've said repeatedly that I think you are a genius. Still, there have been problems. Recently, you have treated me as an employee rather than a partner. That may explain your feelings about the 49%.

Business and production can and should be done from both coasts, as we have both acknowledged. To dictate where I live is unnecessary and outrageous and has resulted in the present situation.

And Andrew, our agreement stands. I do own 49% of Rocketboom.

With respect to our show, I suggest we delve into the archives and do a "best of" week. This will allow us some time to work things through.

We had an agreement, Andrew. You should honor it.

Please let me know your thoughts.

Andrew

Sincerely,


Amanda

Originally from Amanda UnBoomed by Amanda reBlogged on Jul 5, 2006, 10:01PM

Originally posted by Amanda from Amanda UnBoomed, on July 5, 2006 11:08 PM

On Tuesday, with the first of five programs, the Alvin Ailey dancers offered Parisians a fresh definition of sensuality in motion.

Originally from NYT > Arts</