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Written by Eduardo Navas

purchase carisoprodol, as the book’s cover proposes, is a “guide to computational aesthetics.”  As such it lives up to its promise, which one must accept with the understanding that the authors selected projects that are, in their view, representative of larger movements.

Form + Code, co-authored by Casey Reas, Chandler McWilliams, and Lust, released in the Fall of 2010, gives equal attention to textual as well as visual language.  This could not be accomplished without the careful treatment of image and text as complementary forms of communication.  For this reason it makes sense that Lust, a design studio based in The Hague, is given equal credit as co-author.

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“The problem with the humanities,” Lev Manovich told me over a quick meal at a strip-mall sushi joint in La Jolla last January, “is that people tend to worry too much about what can’t be done, about mistakes, problems, as opposed to just going and doing something.”

It was almost 8:00 p.m. Manovich, a professor of visual arts at UC–San Diego, had already spent the better part of the day in faculty meetings, led a class of undergrads through a nearly three-hour session of Time- and Process-Based Digital Media II, attended an informational event hosted by Google, and caught up on the progress of several of his graduate and postdoctoral researchers. In a few minutes, he’d be on his way home to put the finishing touches on a work of video art that needed to be installed at a friend’s gallery in downtown San Diego the next day. Inertia, I thought—of the intellectual variety or any other—is simply not a part of this guy’s constitution. “Of course, visualizations can’t represent everything,” he continued. “Of course, there are limits, but let’s not spend all of our time talking about it—let’s go ahead and do it, let’s figure out what we can do, right?”

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Article: Jeremy Douglass, William Huber, Lev Manovich. “Understanding scanlation: how to read one million fan-translated manga pages.” Forthcoming in where to buy soma, Spring 2011. [soma buy].

“The humanities with some heavy iron…compared to other scholarly attempts to analyze Japanese comics — well, *gasp, choke, Good Lord!* Lookah that thing! It’s like some terrifying splash panel from vintage EC comics.” buy soma now, a blog post about our Manga visualization (see below), November 14, 2010, wired.com.
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Note: This text reflects on Egypt’s revolution to reconsider the role of social media, such as Twitter and Facebook in real life changes.

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A peaceful revolution against a regime that had been in power for 29 years sounds impossible until one evaluates the events that led to the fleeing of former President Hosni Mubarak out of Egypt on Friday, February 11. The Egyptian people was able to organize with the use of social media; it was Facebook that rose to the occasion. Needless to say that what happened in Egypt is undoubtedly of historical importance.

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This text was written as a testing ground for my growing interest in the concepts of volume and module, as explored in best place to buy soma.  Consequently, this text uses the term modular complexity, but does not define it.  I consider this text as part of my process to develop a precise definition of modular complexity in social and cultural terms.  The interests that inform this text are also relevant to my current research on buy soma without a prescription.  Future writings will make clear the interrelation of all these ongoing projects.  It is also available on buy soma soft tabs online cheap.

Abstract: “Remix: The Ethics of Modular Complexity in Sustainability” evaluates sustainability in networked culture.  It considers how the flow of information in terms of immaterial production and its relation to knowledge play a role in a fourth economic layer supported by the growing ubiquity of globalization.  It revisits and expands, yet again, on my interest in Jacques Attali’s concepts of noise and music to propose a critical position fully embedded in pervasive connectivity.

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Imagine, if you will, a Borg cube from Star Trek humming along through space, part of a fleet of such cubes, each with millions of drones participating in a spatially non-localized brain of billions.

Now imagine that this collective Borg brain has a headache. The camera zooms inside one of the cubes and we see the source of the problem: a dreadlocked alien has awakened, and he’s raging through the ship, ripping up the neural wiring that connects the Borg drones to one another. Suddenly disconnected from the collective, the drones are waking up and finding themselves for the first time.

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How much disturbance can a system withstand? With roots in ecology and complexity science, resilience theory can turn crises into catalysts for innovation.

In the 1930s the American art collector Albert Barnes commissioned Henri Matisse to produce a major painting for his private gallery in Merion, outside Philadelphia. Matisse was ecstatic: He rented an old cinema in Nice, where he lived at that time, and spent the entire next year completing the work, a dance triptych. He was pleased with the result. But when the piece arrived in Merion, Barnes wrote to Matisse explaining an unfortunate oversight: His collaborators had taken the wrong measurements, so the painting did not fit on the gallery wall. The difference in size was marginal, and Matisse could easily have tweaked the triptych to fit the wall, a technical fix. But instead he rented the cinema for another 12 months to complete a new painting with the right dimensions. Moreover, since he felt that mindless duplication was not real art, Matisse considerably changed the concept, effectively creating a whole new design. And in this process of reworking the piece, as he experimented with forms that would capture the dancers’ rhythmic motion, he invented the famous “cut outs” technique (gouaches découpés), what he later labeled “painting with scissors.” Whether consciously or unconsciously, Matisse turned a mistake into an opportunity for innovation. The new triptych not only pleased Barnes, but also served as the stylistic starting point for what would later become Matisse’s most admired works.

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