Ink used for digital printing is one of the most precious substances in the world. A single gallon of ink costs over four thousand dollars and this is one reason why digitally printed books are so expensive. However, the price of a book is not calculated according to the amount of ink used in its production. For example, a Lulu book of blank pages costs an artist as much to produce as a book filled with text or large photographs. Furthermore, as the number of pages increases, the price of each page decreases. A book containing the maximum number of pages printed entirely in black ink therefore results in the lowest cost and maximum value for the artist. Combining these two features, buyers of The Black Book can do so with the guarantee that they are getting the best possible value for their money.
Virtual Guantanamo (by Draxtor Despres)
Fast Company’s Co-Create Magazine called Nonny de la Peña one of the 13 People Who Made the World More Creative. She is the pioneer of Immersive Journalism, a groundbreaking brand of nonfiction that offers fully immersive experiences of the news using virtual reality gaming platforms. Combining her communication and technology skills with her lengthy career as a reporter, de la Peña believes newsgames can deepen the understanding of complex stories. Her most recent project Hunger in Los Angeles creates the feeling of ‘being there’ as a real crisis unfolds on a food-bank line at the First Unitarian Church. Hunger was called ‘one of the most talked-about’ pieces at the 2012 Sundance Film Festival. Her other projects include the MacArthur funded Gone Gitmo, a virtual Guantanamo Bay Prison; Cap & Trade, an interactive exploration of the carbon markets built with Frontline World and CIR; Ipsress which investigates detainees held in stress positions; and Three Generations, a newsgame on the California eugenics movement that premiered at 2011 Games For Change. She also co-founded the Knight News Challenge winner Stroome.com, an online collaborative video editing platform that hosted users from 126 different countries. A graduate of Harvard University, she is a award-winning documentary filmmaker with twenty years of journalism experience including as a correspondent for Newsweek Magazine and as a writer whose work has appeared in the New York Times, Los Angeles Times Magazine, Premiere Magazine, and others. Her films have screened on national television and at theatres in more than fifty cities around the globe, garnering praise from critics like A.O. Scott who called her work ‘a brave and necessary act of truth-telling.”
ebay salvaged cop car search
This is so great!!
Submitted by Ari Spool
So in You Could’ve Said, which is written entirely in an instrumentalised form of language, i.e. Google’s AdWords tool, I’m relaying the impossibility of having an authentic feeling, or even a first-hand experience, despite the seemingly subjective, emotional content and tone. Google search stuff is often seen reflective of a kind of cute “collective self” (hey, we all want to kill our boyfriends sometimes!) but perhaps it’s producing as much as reflecting us. It’s not just that everything’s already been said, and can be commodified but that the devices we share so much intimate time with are actively involved in shaping what we consider to be our “selves,” our identities.
And yet, despite being entirely mediated, my delivery is “sincere” and heartfelt; I’m really interested in the idea of sincere, but not authentic. I think it’s the same reason spambots can have such unexpected pathos; they seem to “express” things in a sincere way, which suggests some kind of “soul” at work there, or some kind of agency, and yet they totally lack interiority, or authenticity. In this and other work of mine (especially Life in AdWords) dissonance is produced by my apparent misrecognition of the algorithmically produced language as my own- mistaking the machine lingo as a true expression of my own subjectivity. Which is not to say that there is some separate, unmediated self that we could access if only we would disconnect our damn gadgets for a second, but the opposite—that autobiography, which my work clearly references, can no longer be seen as a narrative produced by some sort of autonomous subject, inseparable from the technology it interacts with.
Inking glass window panes and running them through the press.
Nick killing it
“It’s like pages that connect to other pages endlessly. I know [on Facebook] you can find someone if they list their high school or something, and click on it, but it doesn’t make much sense. I’ve seen apps on the Ellen DeGeneres show. It’s a button that leads you somewhere, like an internet page, but in a quicker way.” He has seen printouts from Facebook, since his friend outside set up a page on his behalf so high school buddies can send him messages. Sometimes he gets them in the mail.
“It’s like pages that connect to other pages endlessly. I know [on Facebook] you can find someone if they list their high school or something, and click on it, but it doesn’t make much sense. I’ve seen apps on the Ellen DeGeneres show. It’s a button that leads you somewhere, like an internet page, but in a quicker way.”
He has seen printouts from Facebook, since his friend outside set up a page on his behalf so high school buddies can send him messages. Sometimes he gets them in the mail.
Networked Optimization is a series of three crowdsourced versions of popular self-help books. Each book contains the full text, which is however invisible because it is set in white on a white background. The only text that remains readable consists of the so-called “popular highlights” – the passages that were underlined by many Kindle users – together with the amount of highlighters. Each time a passage is underlined, it is automatically stored in Amazon’s data centers.
Among the books with the most popular highlights, there is a striking number of self-help books. This points to a multi-layered, algorithmic optimization: from readers and authors to Amazon itself. Harvesting its customers micro-labour, the act of reading becomes a data-mining process.
The promise of the Internet was that it would liberate people and bolster democracy, but it has become a tool for suppression and control. In fact, it is one of the most powerful instruments of control ever invented. The most essential challenge we face today is related to the real effect of the Internet. Will it impart power to people and liberate them, or will it impart more strength to the centers of power and help them oversee, control and suppress the population? That is the struggle of our generation, and it has yet to be decided.
Studio view, prepping for the 2013 NY Art Book Fair.