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This idea began as a bit of a joke of course, over whiskey in Nicosia late at night we said “Hey, we should run a book store with this stuff.” And like most things that are worth doing, the jokes are worth following through because they’re fun.
David Reinfurt on the beginnings of Dexter Sinister from his 17 March 2009 talk as part of the Walker’s Insights Design Lecture Series. Quote is a paraphrase, see 33:45 for full comment.
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Chipotle beans are a staple that we have at least once a week. This is a “base” recipe for how I prefer to make them, modifying from there.
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Chana Horwitz seems to have frequently used Keuffel & Esser Co. 8 × 8 to the inch graph paper. There were a few pieces in the Raven Row exhibition on 10 × 15 inch sheets with an orange grid. It looks like K&E was acquired in ‘87, wonder if she stockpiled a bunch of it. Also, food for thought: how do you mount+frame mylar in such a pristine way without any show-through?
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Coming soon to the Thames Estuary and a browser near you.
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the ecstasy of sanctimony.
Such a great and concise phrase. Hadley Freeman referred to it recently in her Guardian column when describing the court of Twitter’s harsh and questionable justice.
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I’ve wanted to do this for ages with Distributaries. I tried to find a minimum distance solution that wasn’t OTT back when I started collecting location coordinates, but I probably wasn’t using the right vocabulary in my searches… ended up ordering them manually (!). Would like to get this in place, I think the manual ordering is part of the reason I’ve been tardy in adding more coordinates.
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An “integrated platform for creating high-fidelity web archives while browsing, sharing, and disseminating archived content.”
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After VVORK: How (and why) we archived a contemporary art blog
Just came across this 9 February 2015 Rhizome editorial. I’ve browsed VVORK a bit before, but I suppose I hadn’t really thought about it’s status or longevity as an archive.
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I’m looking forward to the long weekend, going to spend a bit of time at the Channa Horwitz exhibition at Raven Row. It’s on until Sunday 1 May 2016.
Channa Horwitz, Logic for Variation and Inversion on a Rhythm, 1976. Image via VVORK, who in turn seem to have found it via Berlin gallery Aanant & Zoo.
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Databases are generally associated less with open-endedness than with the muted horrors of bureaucracy, in which the fear and pain and misery of human experience is reduced to data and evidence.