February 26, 2010

What if Congress Actually Had to Congregate . . .

. . . with each other?

Today got an email soliciting me to sign a petition calling for an end to the filibuster. It may be that that's what must be done; but history, including the "Healthcare Summit" convened by Pres. Obama yesterday, suggests that something both more and less drastic might suffice.

What if we simply forced Congressmembers to actually be present, not just in the building but in the same room, whenever they're in session? So that yes, if they wanted to filibuster, they'd have to actually be there and do it; and yes, while any discussion or other business were going on, they'd have to actually be there and conduct it, or possibly even listen to it?

If nothing else, they'd have less time for lobbyists and preaching to their respective choirs.

The Daily Show With Jon Stewart
www.thedailyshow.com

February 25, 2010

Temporary Services, Art and Language, Etc.

I've been working on organizing some programs/events in Dallas relating to Temporary Services' Art Work issue. I'm excited about developments and hope to be able to let you know more soon.

Meanwhile, been trying to educate myself a bit about the aesthetic and other contexts for Temporary Services' project, and am amazed at how many trails I've been following for a long time, some through non-"art" contexts, seem to be coming together.

I won't inflict it all on you here, but I can't resist sharing, I've been looking for info online re- what the "Art and Language" movement (or whatever you call it) – at first not finding much; e.g. Wikipedia's entry contains little more than a string of names – and just found this great resource published by that splendid repository of aesthetic booty, Germany's ZKM. It's a text the Art and Language group produced called Blurting in A&L. Was ist das? Quoting ZKM's intro,

Blurting in A & L is a printed booklet whose content is a dictionary with blurts or »annotations«. The annotations were written by american members of Art & Language Ian Burn, Michael Corris, Preston Heller, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith between january and july 1973. Michael Corris and Mel Ramsden chose terms as headlines for the annotations. The first letters of the headlines were used for an alphabetical ordering. In this order the annotations were numbered.
Anyway, what appears to be the complete, online version, is here, in a great, interactive format (the original was apparently similar in format to the image at right {which you can enlarge by clicking on it}, except I added the stripes in honor of Michael Corris's recent contro to Modern Ruin).

As John Hodgeman says, you're welcome.

"Jasmine, Dawn, and Aaliyah"

are three vogue performers:



I understand the artist Rashaad Newsome edited their performances together to choreograph a new dance, which he then had them perform without music while he filmed.

His work is in the current Whitney Biennial curated by Francesco Bonami, which includes just 55 artists, over half of which are women (hallelujah).

February 23, 2010

Curating the Net

Great article at Wired re- how Google works:

Google’s engineers have discovered that some of the most important signals [re- potential improvements to Google's search algorhithm] can come from . . . [t]he data people generate when they search – what results they click on, what words they replace in the query when they’re unsatisfied, how their queries match with their physical locations . . . . The most direct example of this process is what Google calls personalized search — an opt-in feature that uses someone’s [personal] search history and location as signals to determine what kind of results they’ll find useful. . . .

Take, for instance, the way Google’s engine learns which words are synonyms. “We discovered a nifty thing very early on,” Singhal says. “People change words in their queries. So someone would say, ‘pictures of dogs,’ and then they’d say, ‘pictures of puppies.’ So that told us that maybe ‘dogs’ and ‘puppies’ were interchangeable. We also learned that when you boil water, it’s hot water. We were relearning semantics from humans, and that was a great advance.”

But there were obstacles. Google’s synonym system understood that a dog was similar to a puppy and that boiling water was hot. But it also concluded that a hot dog was the same as a boiling puppy. The problem was fixed in late 2002 by a breakthrough based on philosopher Ludwig Wittgenstein’s theories about how words are defined by context. As Google crawled and archived billions of documents and Web pages, it analyzed what words were close to each other. “Hot dog” would be found in searches that also contained “bread” and “mustard” and “baseball games” — not poached pooches. That helped the algorithm understand what “hot dog” — and millions of other terms — meant. “Today, if you type ‘Gandhi bio,’ we know that bio means biography,” Singhal says. “And if you type ‘bio warfare,’ it means biological.

One reason I'm thrilled with the internet is that through it, we're all helping Google and others create scientific models of human linguistic intelligence, among other things. I trust Google will eventually share the results of their and our efforts in this and other areas of knowledge, although I assume we'll have to pay for them.

But I'm posting mainly to try to make sure we all understand that the role played by search engines and other online intermediaries in selecting and ranking search results is absolutely critical in shaping not just our online lives, the importance of which will only continue to grow, but also our knowledge and beliefs about history, current events, etc., and thus our non-virtual realities.

(And never doubt that non-virtual realities – control over water, guns, infrastructure, energy – will continue to matter. Even the 'net needs servers and power.)

Per the OED, "curate" derives from the Latin word for "care." The primary meaning is "a member of the clergy engaged as assistant to a parish priest." The secondary definition, which I more or less mean to use here, is to "select, organize, and look after the items in (a collection or exhibition)."

That's more or less what search engines do: select and organize (rank) info on the net. (Although they don't care for it, unless you count selecting it as "care." Sometimes info survives on the net precisely so long it is overlooked, as when the info proves embarrassing to the authority that put it there. More often, the expense of keeping info on the net means that if it's ignored, it eventually disappears.)

Not only are companies like Google curating our realities, but they're not telling us what their curatorial guidelines are. They keep close secret many of the factors that determine search results. They need to do this because they're commercially-driven entities competing with others.

Doubtless all or most of the criteria incorporated into their algorithms result in better service to their users. But this secrecy also means we can never be sure we're not missing out on info that commercial intermediaries consider unimportant or even disadvantageous to them for us to find.

Less ominously, it also simply deprives us of the opportunity to critically examine and debate not only how our world is being shaped, but also whether we might want to shape it differently. That is, even if all criteria used to determine search results and the like reflect solely the users' desires, when we become aware of our criteria and desires, sometimes we decide it's worth making a conscious effort change them.

But it's virtually impossible to do that without knowing what they are.

February 22, 2010

Report on "Modern Ruin"

I loved the concept and the works shown, which were especially impressive considering the artists had less than two weeks to conceive and create their contributions.

The show was organized by Christina Rees and Thomas Feulmer, and the artists included Frances Bagley, Tim Best, Michael Corris, Thomas Feulmer, Annette Lawrence, M, Margaret Meehan, Tom Orr, Richard Patterson, Cameron Schoepp, Noah Simblist, Christoph Trendel, Terri Thornton, Kevin Todora, and Jeff Zilm.

The piece shown here is Double Trouble by Noah Simblist (2010, paint on wall). Per the artist, the statistics are the amount of foreign aid the U.S. gives to Israel and the number of Palestinian houses that were destroyed anyway. (The ambiguity in relation to bank bailouts and home foreclosures in the U.S. was intentional.)

More photos and details here, and I'll add more info there if I get it.

UPDATE: NPR's Marketplace will air an interview re- the show TONIGHT ca. 6:30 PM (I presume that's CST.) In Dallas, that'll be on 90.1 FM.

Conflux (NYC)

NYC's psychogeographic answer to Burning Man. From the 2009 festival:



More at Conflux.

The Psychogeography of Art Museums

Per Wikipedia, psychogeography was defined by Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals" (referncing Debord's Introduction to a Critique of Urban Geography, 1955).

More about the project shown in the video above at eMotion.

February 21, 2010

Isn't it Ironic.

Per HuffPo, Tripp Palin Johnston has socialized health care through Indian Health Services and the Alaska Native Medical Center.

UPDATE: Per the Globe and Mail, during a recent appearance, Palin quipped, “We used to hustle over the border for health care we received in Canada. And I think now, isn't that ironic?”