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INSTALAÇÕES | INSTALLATIONS
Ali Miharbi - Movie Mirrors - Estados Unidos | United States
Anne Save de Beaurecueil + Franklin Lee / Equipe SUBdV (Victor Sardenberg, André Romitelli, Lucas de Sardi & Fabrício G. de Oliveira) - High Low - Brasil | Brazil
Annica Cuppetelli & Cristobal Mendoza - Nervous Structure - Estados Unidos | United States
Ben Jack - Elucidating Feedback - Nova Zelândia | New Zealand
Eric Siu - in collaboration with the member of Ishikawa Komuro Laboratory, University of Tokyo, Yoshihiro Watanabe, Ohno Hiroaki & Takeoka Hideki - Body Hack 1.0 - Japão | Japan
Hye Yeon Nam - Please Smile - Estados Unidos | United States
Joon Y. Moon - Augmented Shadow - Coréia do Sul | South Korea
Julian Palacz - algorithmic search for Love - Áustria | Austria
Juliana Mori - timeLandscape - wool rhythms - Brasil | Brazil
Karina Smigla-Bobinski - ADA - analoge interactive kinetic sculpture - Polônia e Alemanha | Poland and Germany
Kimchi & Chips - Link - Reino Unido | United Kingdom
Kimchi & Chips - Journey: Seoul - Reino Unido | United Kingdom
Lars Lundehave Hansen - Spiderbytes - Alemanha | Germany
Lawrence Malstaf - Nemo Observatorium 02002 - Bélgica | Belgium
Matt Roberts - Waves - Estados Unidos | United States
Ryoichi Kurokawa - rheo: 5 horizons - Bélgica | Belgium
Yujiro Kabutoya & Kazushi Mukaiyama - IJIROS - Japão | Japan
HIPERSÔNICA | HYPERSONICA PERFORMANCE
Alfredo Ciannameo - Ionesis - sonic plasma - Holanda | Netherlands
André Rangel, Anne-Kathrin Siegel & Fernando Alçada - SynDyn - Portugal | Portugal
Eduardo Nespoli, Projeto Aquarpa (Thiago Salas Gomes, Lucas Almeida, Flavio Jacon de Vasconcelos & Leandro Pereira Souza) - Mnemorfoses - Brasil | Brazil
Eduardo Patrício - Zin - Brasil | Brazil
Euphorie - França | France
Giuliano Obici - Concerto para Lanhouse - Brasil | Brazil
Nicolas Maigret - Pure Data read as pure data - França | France
HIPERSÔNICA | HYPERSONICA SCREENING
Alison Clifford & Graeme Truslove - Substratum - Reino Unido | United Kingdom
Fernando Velázquez - auto-retrato - Brasil | Brazil
Fernando Velázquez - the mindscapes suite - Brasil | Brazil
Jaap: Harriet Payer & Jorge Esquivelzeta - Cyberspace Photsynthesis - México | Mexico
Jaap: Harriet Payer & Jorge Esquivelzeta - Dog's Eye View - México | Mexico
Paul O Donoghue aka Ocusonic - Phasing Waves - Irlanda | Ireland
Warsaw Electronic Festival 2010: Przemyslaw Moskal - Digital Sculptures for Analog Sounds - Estados Unidos | United States
HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS
Alvaro X - Dead in DUMP - Brasil | Brazil
Bernhard Loibner - Unidentified Musical Subject - Áustria | Austria
Claudio Parodi - The things that are missing - Itália | Italy
CLEBER GAZANA | SIMPLE.NORMAL - F. WILL I DREAM? - Brasil | Brazil
DANIEL GAZANA - NOSOCÔMIO - Brasil | Brazil
Joaquin Cofreces - Hamoni Lapude Anan ( "we used to make canoes" in yaghan language) - Argentina | Argentina
The Tiny Orchestra - Time Wounds All Heels - Canadá | Canada
Juan Pablo Amato - Duo Encaprichado en alisar rugosidades mentales - Argentina | Argentina
Mauro Ceolin - Spore's Ytubesoundscape and his wildlife - Itália | Italy
Panayiotis KOKORAS - Magic - Grécia | Greece
FaoBeat - Beat'nTime / Lift'nBeat - Brasil | Brazil
Philip Mantione - Fabrics - Estados Unidos | United States
Music For Installations - Braindamage - Bélgica | Belgium
RINALDO SANTOS - MUSICONTOS - Brasil | Brazil
Sergio Cajado - Constatações Urbanas - Passado, Presente e Futuro - Brasil | Brazil
Sergio Granada Moreno - Digital Rainbow (2009) - Colombia | Colombia
Sol Rezza - Preguntas - Questions - México | Mexico
MÍDIA ARTE | MEDIA ART
A. Bill Miller - gridSol-precomps - Estados Unidos | United States
A. Bill Miller - gridSol-altar1 - Estados Unidos | United States
Aaron Oldenburg - After - Estados Unidos | United States
Agam (A.) Andreas - La Resocialista Internacional - Holanda | Netherlands
alan bigelow - This Is Not A Poem - Estados Unidos | United States
Alcione Godoy, Camillo Louvise, Bruno Azzolini, Rafael Araujo, Rodolfo Rossi, Marina Maia & Vinicius Nakamura - Hipercepção - Brasil | Brazil
Alex Hetherington - Linda Fratianne - Reino Unido | United Kingdom
Anders Weberg - P2P ART - The aesthetics of ephemerality - Suécia | Sweden
Anders Weberg - JE SUIS PÈRE ET MON PÈRE EST PÈRE I'm a Father and my Father is a Father - Suécia | Sweden
Anders Weberg - Expose Yourself - Suécia | Sweden
Anstey/Pape: Josephine Anstey & Dave Pape - Mrs. Squandertime - Estados Unidos | United States
Balam Soto - Self Portrait Videos - Estados Unidos | United States
Bárbara de Azevedo - VIDEO ESTADO SIMULACRO CINEMATOGRÁFICO - Brasil | Brazil
Ben Baker-Smith - Infinite Glitch - Estados Unidos | United States
Brit Bunkley - Pardox of Plenty - Nova Zelândia | New Zealand
Brit Bunkley - Up River Blues - Nova Zelândia | New Zealand
Brit Bunkley - Springfield Paradox - Nova Zelândia | New Zealand
Bruno Xavier, Fabiane Zambon, Felipe van Deursen, Frederico Di Giacomo & Kleyson Barbosa (Equipe principal) | Ana Freitas, Ana Prado, André Sirangelo, Alisson Lima, André Maciel, Alexandre Versignassi, Dalton Soares, Daniel Apolinario, Douglas Kawazu, Emiliano Urbim, Érica Georgino, Leandro Spett, Gil Beyruth, Gustavo Frota, Marina Motomura, Maurício Horta, Rafael Kenski, Renata Aguiar & Simone Yamamoto (Parceiros e colaboradores) - Newsgames da Superinteressante - Brasil | Brazil
charly.gr - peronismo (spam) - Argentina | Argentina
charly.gr - Joan - Argentina | Argentina
Chen, I-Chun - Measuring Distance Between the Self and Others - Taiwan | Taiwan
chiara passa - the virtual prigione - Itália | Italy
Christopher Otto - PXLPNT - Estados Unidos | United States
Cleber Gazana / Daniel Gazana - UNTITLED - Brasil | Brazil
Daniel Duda - Araucaria angustifolia - Brasil | Brazil
David Muth - 1 C A a 01x - Reino Unido | United Kingdom
David Sullivan - Fugitive Emissions - Estados Unidos | United States
Doron Golan - Waking Quad - Israel | Israel
Douglas de Paula - Interfaces Predatórias / Plundering Interfaces - Brasil | Brazil
Elétrico: Ludmila Pimentel, Carolina Frinhani & Bruna Spoladore - Experimento de Corpo - Brasil | Brazil
Grupo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Downtown 2.0 - Brasil | Brazil
Jarbas Agnelli - Birds on the Wires - Brasil | Brazil
Jason Nelson - Sydney's Sibera - Austrália | Australia
Jessica Barness - Common Sounds: Positive Elements, Negative Spaces - Estados Unidos | United States
Joana Moll & Heliodoro Santos - THE TEXAS BORDER - Espanha | Spain
jody zellen - Lines of Life - Estados Unidos | United States
Jorn Ebner - (L'ultimo turista) - Alemanha | Germany
jtwine - ONSPEED - Estados Unidos | United States
Kenji Kojima - RGB Music News - Estados Unidos | United States
kinema ikon: calin man - kinema ikon - Romênia | Romania
Leyla Rodriguez & Cristian Straub - Isle Of Lox "The face" - Alemanha | Germany
Luca Holland - rain.html - Reino Unido | United Kingdom
Luis Henrique Rodrigues - Internet Series - Brasil | Brazil
Luiz Gustavo Ferreira Zanotello - N.A.V.E - Brasil | Brazil
MALYSSE - THE BIOPERVERSITY PROJECT #1 - Brasil | Brazil
Matt Frieburghaus - Song - Estados Unidos | United States
mchrbn - Afghan War Diary - Suíça | Switzerland
Members: Aymeric Mansoux, Dave Griffiths and Marloes de Valk - Naked on Pluto - Holanda | Netherlands
Michael Takeo Magruder - Data Flower (Prototype I) - Reino Unido | United Kingdom
Nagasaki Archive Committee: Hidenori Watanave, Tomoyuki Torisu, Ryo Osera & others - Nagasaki Archive - Japão | Japan
Nanette Wylde - MettaVerse - Estados Unidos | United States
Nicholas Economos - Apophenia - Estados Unidos | United States
Nicholas Knouf - Journal of Journal Performance Studies (JJPS) - Estados Unidos | United States
Nurit Bar-Shai - FUJI spaces and other places - Estados Unidos | United States
Osvaldo cibils- everything breathes - Itália | Italy
Owen Eric Wood - Return - Canadá | Canada
Paolo Cirio - Drowning NYC - Reino Unido | United Kingdom
Quayola - Strata Series - Bélgica | Belgium
rachelmauricio - [[o]] - Brasil | Brazil
rachelmauricio - 3Y - Brasil | Brazil
rachelmauricio - ldj8jbl - Brasil | Brazil
Rayelle Niemann & Erik Dettwiler - www.citysharing.ch - Suíça | Switzerland
Remco Roes - Everything in between - Bélgica | Belgium
rage - Impermanência Formal - Brasil | Brazil
Representa Corisco: Vj Eletroman - Representa Corisco - Espanha | Spain
Richard J O'Callaghan - 'thechildrenswar' - Reino Unido | United Kingdom
Rodrigo Mello - Faces - Brasil | Brazil
Rosa Menkman - Collapse of PAL - Holanda | Netherlands
Santiago Ortiz - Impure - Espanha | Spain
seryozha kOtsun - Synesthesiograph - Rússia | Russia
Stuart Pound - Green Water Dragon - Reino Unido | United Kingdom
Stuart Pound - Time Code - Reino Unido | United Kingdom
TAMURA YUICHIRO - NIGHTLESS - Japão | Japan
TOMMY PALLOTTA: Submarine Channel - Collapsus: The Energy Risk Conspiracy - Holanda | Netherlands
Vladimir Todorovic - The Snail on the Slope - Singapura | Singapore
Vladimir Todorovic - Silica-esc - Singapura | Singapore
MAQUINEMA | MACHINIMA
André Lopes aka spyvspy aeon - Clockwork - Brasil e Portugal | Brazil and Portugal
André Lopes aka spyvspy aeon & slimgirlfat - MooN - Brasil e Portugal | Brazil and Portugal
Bernard Capitaine aka Iono Allen - Fears - França | France
Bernard Capitaine aka Iono Allen - Fusion - França | France
BobE Schism - Love Is Sometimes Colder Than Ice - Reino Unido | United Kingdom
C.-D. Schulz aka Rohan Fermi - 9 - Alemanha | Germany
C.-D. Schulz aka Rohan Fermi - Order in chaos - Alemanha | Germany
Chat Noir Studios: Sherwin Liu & Kate Lee - Death in Venice - Estados Unidos | United States
Chat Noir Studios: Sherwin Liu & Kate Lee - Incubus - Estados Unidos | United States
David Griffiths aka nebogeo - Missile Command - Finlândia | Finland
Evan Meaney - The Well of Representation - Estados Unidos | United States
Gottfried Haider - Hidden in plain sight - Áustria | Austria
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Clockwise: Part 1 - Estados Unidos | United States
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Stop, Rewind - Estados Unidos | United States
Henry Gwiazda - history - Estados Unidos | United States
Henry Gwiazda - infectious - Estados Unidos | United States
Iain Friar aka IceAxe - Trichophagia - Reino Unido | United Kingdom
Jun Falkenstein, Ben Covi, Brad Mitchell & Pete Terrill - The Lake - Estados Unidos | United States
Kerria Seabrooke & Paul Jannicola - Tiny Nation - Estados Unidos | United States
LES RICHES DOUANIERS: Gilles RICHARD & Fabrice ZOLL - The Lonely Migrant - França | France
Nonsense Studio: Drozhzhin, TimaGoofy, ultraviolet, ElGrandeBigB, Radiated & Takuhatsu - Johnny Cash - God's gonna cut you down - Finlândia | Finland
Pierre Gaudillere, Thomas Van Lissum, Oliver Delbos, Audrey Le Roy & Jonnathan Mutton - Unheimliche - França | France
Piotr Kopik - Psychosomatic rebuilders animation #002 - Polônia | Polland
Piotr Kopik - Psychosomatic rebuilders emoticons machinima - Polônia | Polland
Pooky Amsterdam, Draxtor Despres & Samuel's Dream - I'm Too Busy To Date Your Avatar! - Estados Unidos | United States
Saskia Boddeke aka Rose Borchovski - Lost in counting - Holanda | Netherlands
Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 5: Greek Myth, The Battle of the Gods - Holanda | Netherlands
Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 6: Israel Myth, The punishment - Holanda | Netherlands
Tom Jantol - Dear Fairy - Croácia | Croatia
Tom Jantol - Duel (Part) - Croácia | Croatia
Tom Jantol - The Remake - Croácia | Croatia
Tony Bannan aka ammopreviz - Selfish Gene - Austrália | Australia
Trace Sanderson aka Lainy Voom - Ctrl-Alt-Del - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom - Dagon - HP Lovecraft - Reino Unido | United Kingdom
Tutsy Navarathna - My familiar dream - Índia | India
DOCUMENTA
Garry Shepherd – Global Shuffle - Austrália | Australia
Jim Haverkamp e Brett Ingram – Armor of God – Estados Unidos | United States
Khaled D. Ramadan – Psychic-Dentity - Dinamarca | Denmark
Lucius C. Kuert – Project 798, New Art In New China – China | China
Teilo Vallacott e J.A. Molinari – Altered_Egos – Reino Unido | United Kingdom
Vincenzo Lombardo – The VEP Project – Itália | Italy
Watch Mojo - A História do Daft Punk – Canadá | Canada
FILE ANIMA+
8-Bits Team: Valere Amirault, Jean Delaunay, Sarah Laufer & Benjamin Mattern - 8-Bits - França | France
Alan Becker - Animator Vs Animation - Estados Unidos | United States
Alessandro Novelli - The Alphabet - Itália | Italy
Alexander Gellner - 1 Minute Puberty - Alemanha | Germany
Andrew Huang - The Gloaming - Estados Unidos | United States
Ben Thomas & Leo Bridle - Train of Thought - Inglaterra | England
Birdo Studio: Luciana Eguti & Paulo Muppet - Bonequinha do Papai - Brasil | Brazil
Birdo Studio: Luciana Eguti & Paulo Muppet - Caixa - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Allan Sieber - Animadores - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Jimmy Leroy - Pequeno Cidadão - Brasil | Brazil
Brendan Angelides & Cyriak Harris - Eskmo - Estados Unidos | United States
Christopher Alender - Eye of The Storm - Estados Unidos | United States
Coala Filmes: Cesar Cabral - Dossiê Rê Bordosa - Brasil | Brazil
Dante Zaballa & Matias Vigliano - The Head - Argentina | Argentina
David O’Reilly - Please Say Something - Irlanda e Alemanha | Ireland and Germany
David O’Reilly - The External World - Irlanda e Alemanha | Ireland and Germany
David Wilson - Japanese Popstars “Let Go” - Inglaterra | England
Dominik Käser, Martin-Sebastian Senn, Mario Deuss, Niloy J. Mitra & Mark Pauly - Silhouettes of Jazz - Estados Unidos | United States
Esteban Diácono - Ólafur Arnalds - Ljósið - Argentina | Argentina
Fábio Yamagi & Denis Kamioka ‘Cisma’ - Photocopy Romance - Brasil | Brazil
Fernando Sanches - Xixi no Banho - Brasil | Brazil
Gabrielle Lissot, Pierre Lippens, Laurent Jaffier & Nicolas Deprez - Tous Des Monstres (All Monsters) - França | France
Guilherme Marcondes - Tyger - Brasil | Brazil
Guillermo Madoz - Head Honcho - Argentina | Argentina
Hi-Sim - Jump - Inglaterra | England
Home de Caramel - Alone Together - Espanha | Spain
Jasmin Lai - Brave - Estados Unidos e Tailândia | United States and Thailand
Jason Wishnow - Oedipus - Inglaterra | England
Jean-Paul Frenay - Artificial Paradise, Inc - Bélgica e França | Belgium and France
Joanna Lurie - Tree’s Migration - França | France
Joaquin Baldwin - Sebastian's Voodoo - Estados Unidos | United States
Joaquin Baldwin - The Windmill Farmer - Estados Unidos | United States
Ken Turner - TIM - Canadá | Canada
Lee Tao - Seedling - Canadá / Canada
Lemeh42 - Wool & Water - Itália / Italy
Leszek Plichta - Dreammaker - Polônia e Alemanha | Polland and Germany
Malcolm Sutherland - Bout - Canadá | Canada
Malcolm Sutherland - Umbra - Canadá | Canada
Marc Silver - There Are No Others - Inglaterra | England
Marlies van der wel - Protest Flatness - Holanda | Netherlands
Martin Piana - LUMI - Argentina | Argentina
Martin Woutisseth - Stanley Kubrick, a filmography - França | France
Matatoro Team: Mauro Carraro, Raphaël Calamote & Jérémy Pasquet - Matatoro - França | France
Matthias Hoegg - August - Inglaterra | England
Matthias Hoegg - Thrusday - Inglaterra | England
Max Hattler - SPIN - Inglaterra | England
Meindbender Animation Studio - The Pirate - Suécia | Sweden
Michael Paul Young - The Interpretation - Estados Unidos | United States
Michal Socha - Chick - Polônia | Polland
Michal Socha - Koncert - Polônia | Polland
Mr McFly - Baseball - França | France
MUSCLEBEAVER: Tobias Knipf & Andreas Kronbeck - How your money works - Alemanha | Germany
Napatsawan Chirayukool - What makes your day? - Tailândia e Inglaterra | Thailand and England
Pahnl - Nowhere near here - Inglaterra | England
Peppermelon TV - Advanced Beauty - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - First - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - Target - Friends with you - Inglaterra e Estados Unidos | England and Unites States
Robert Seidel - Vellum - Alemanha | Germany
Rogier van der Zwaag Nobody Beats The Drum - Grindin - Holanda | Netherlands
Ross Phillips - 5 Second Projects ( Ballons) - Inglaterra | England
Ross Phillips - 5 Second Projects ( Reverse) - Inglaterra | England
Sasha Belyaev - The Rite of Youth - Letônia | Latvia
Scott Pagano - Pororoca - Estados Unidos | United States
Scott Pagano - Trust In The 'M' Machine - Estados Unidos | United States
Serene Teh - Parkour - Cingapura | Singapore
Stephen Irwin - Black Dog's Progress - Inglaterra | England
Stephen Irwin - Horse Glue - Inglaterra | England
Sylvain Marc - Cocotte Minute - França | France
Sylvain Marc - Fertilizer Soup - França | France
Tanya Aydostian - L'autre - França | France
Taylor Price - Hunt - Canadá e Estados Unidos | Canada and United States
Treat Studios - E4 - Inglaterra | England
Veronika Obertová - Viliam - Eslováquia | Slovakia
Wesley Rodrigues - Pinga com Saquê - Brasil | Brazil
Zach Cohen - The Chair Not Taken - Itália | Italy
Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia
Animatório - Neomorphus - Brasil | Brazil
Bertrand Bey & Pierre Ducos - La Détente - França | France
Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil
Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil
Fábio Yamaji - O Divino, de repente - Brasil | Brazil
Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France
GAMES
Adam Saltsman & Danny Baranowsky - Canabalt - Estados Unidos | United States
Alex May & Rudolf Kremers - Eufloria - Reino Unido
| United Kingdom
Alexander Bruce - Hazard: The Journey of Life - Austrália | Australia
Binary Tweed - Clover: a Curious Tale - Reino Unido | United Kingdom
Cats in the Sky - Cargo Delivery - Brasil | Brazil
Christoffer Hedborg - Toys - Suécia | Sweden
Colibri Games - The Tiny Bang Story - Rússia | Russia
Edmund McMillen & Tommy Refenes - Super Meat Boy - Estados Unidos | United States
ENJMIN - Paper Plane - França | France
Evan Blaster - Infinite Blank - Estados Unidos | United States
Frictional Games - Amnesia: The Dark Decent - Suécia | Sweden
Gaijin Games - BIT TRIP BEAT - Estados Unidos | United States
Kiaran Ritchie, Jasmine Ritchie & Francisco Furtado - Beep Game - Canadá | Canada
Mark Essen - "Nidhogg" - Estados Unidos | United States
Mediatronic - Monsters Probably Stole My Princess - Reino Unido | United Kingdom
Nicklas Nygren - Saira - Suécia | Sweden
Paolo Pedercini / Molleindustria - "Every Day The Same Dream" - Estados Unidos e Itália | United States and Italy
Richard E Flanagan / Phosfiend Systems - FRACT - Canadá | Canada
Spaces of Play - Spirits - Alemanha | Germany
State of Play Games - Lume - Reino Unido | United Kingdom
Tales of Tales - The Path - Bélgica | Belgium
FILE TABLET
Aircord: Toshiyuki Hashimoto, Masato Tsutsui & Koichiro Mori – REFLECTION – Japão | Japan
Alex Komarov & Sergey Rachok – ACCORDION – Estados Unidos e Rússia | United States and Russia
Cruz-Diez Foundation - CRUZ-DIEZ "INTERACTIVE CHROMATIC RANDOM EXPERIENCE" – Venezuela | Venezuela
Fingerlab: Antoine Lepoutre & Aurélien Potier – MULTIPONG – França | France
Jason Waters – SPIROGROW – Estados Unidos | United States
Jay Silver & Eric Rosenbaum - SINGING FINGERS – Estados Unidos | United States
Nate Murray & TJ Fuller - IPAD GAME FOR CATS - Estados Unidos | United States
Pavel Doichev - ART IN MOTION – Estados Unidos | United States
Pavel Doichev - LINE ART – Estados Unidos | United StatesPavel Doichev – TESLA – Estados Unidos | United States
Rob Fielding – MUGICIAN – Estados Unidos | United States
RunSwimFly - Richard Harrison – GLOOP - Austrália | Australia
Scott Snibbe – ANTOGRAPH (ou MYRMEGRAPH) – Estados Unidos | United States
Scott Snibbe – BUBBLE HARP – Estados Unidos | United States
Scott Snibbe – GRAVILUX – Estados Unidos | United States
Scott Snibbe – OSCILLOSCOOP – Estados Unidos | United States
Scott Snibbe – TRIPOLAR – Estados Unidos | United States
Smule - MAGIC FIDDLE – Estados Unidos | United States
Spaces of Play: Mattias Ljungstrom, Marek Plichta, Andreas Zecher & Martin Strak – SPIRITS – Alemanha | Germany
Ted Davis - TEXT2IMAGE – Estados Unidos | United States
Typotheque / Resolume - DANCE WRITER – Estados Unidos | United States
WORKSHOP
Workshop Fiesp - AA School: Franklin Lee, Robert Stuart Smith (Kokkugia), Anne Save de Beaurecueil (SUBdV), Sandro Tubertini (Environmental Engineering Agency, BDSP), Thiago Mundim, Ernesto Bueno, Arthur Mamou-Mani, Arya Safavi, Yoojin Kim & Victor Sardenberg
Parametric Architecture - Reino Unido | United Kingdom
95,943 items / 585,248 views
From India best wishes to all my Jewish friends on cyberspace , each one of you on Jewish New Year ... Rosh Hashanah ..
May you all attain Peace and the bounty of the Lord ..
I felt this picture embodies the sanctity the humility of the human soul on his journey towards Peace..
While today is he second day of Navratra for the Hindus, the last day of the Mount Mary Fair for the Christians of Mumbai and for the Muslims here and all over it is the last fast, tomorrow we will celebrate Idd after sighting the Moon over cloudy skies.
Perhaps some regions are already celebrating Idd I wish them a very Happy Eid Mubarak.
My Jewish friends are a Trinity, Dr Glenn Losack MD , Dr Robi Ludwig last but not the least the lady that turns wine into water Alice Feiring..I have known all three of them since last two years .They have added happiness and love to my life , this post is dedicated to all three of them.
I have two special Jewish friends in Mumbai , Mr Samuel Judah who I dress up with my hand stitched suits and the fiery lawyer Mr Talegaonkar ..I wish them Happy Rosh Hashanah too.
Rosh Hashanah..
en.wikipedia.org/wiki/Rosh_Hashanah
Rosh Hashanah (Hebrew: ראש השנה, literally "first of the year", or "head of the year," Ashkenazic: [ˈɾoʃ haʃːɔˈnɔh], Israeli: [ˈʁoʃ haʃaˈna], Yiddish: [ˈrɔʃəˈʃɔnə]) is a Jewish holiday commonly referred to as the "Jewish New Year." It is observed on the first day of Tishrei, the seventh month of the Hebrew calendar,[1] as ordained in the Torah, in Leviticus 23:24. Rosh Hashanah is the first of the High Holidays or Yamim Noraim ("Days of Awe"), or Asseret Yemei Teshuva (Ten Days of Repentance) which are days specifically set aside to focus on repentance that conclude with the holiday of Yom Kippur.
Rosh Hashanah is the start of the civil year in the Hebrew calendar (one of four "new year" observances that define various legal "years" for different purposes as explained in the Mishnah and Talmud). It is the new year for people, animals, and legal contracts. The Mishnah also sets this day aside as the new year for calculating calendar years and sabbatical (shmita) and jubilee (yovel) years. Jews believe Rosh Hashanah represents either analogically or literally the creation of the World, or Universe. However, according to one view in the Talmud, that of R. Eleazar, Rosh Hashannah commemorates the creation of man, which entails that five days earlier, the 25 of Elul, was the first day of creation of the Universe.[2]
The Mishnah, the core text of Judaism's oral Torah, contains the first known reference to Rosh Hashanah as the "day of judgment." In the Talmud tractate on Rosh Hashanah it states that three books of account are opened on Rosh Hashanah, wherein the fate of the wicked, the righteous, and those of an intermediate class are recorded. The names of the righteous are immediately inscribed in the book of life, and they are sealed "to live." The middle class are allowed a respite of ten days, until Yom Kippur, to repent and become righteous; the wicked are "blotted out of the book of the living."[3]
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In Jewish liturgy Rosh Hashanah is described as "the day of judgment" (Yom ha-Din) and "the day of remembrance" (Yom ha-Zikkaron). Some midrashic descriptions depict God as sitting upon a throne, while books containing the deeds of all humanity are opened for review, and each person passing in front of Him for evaluation of his or her deeds.
The Talmud provides the guidelines for the day's prayers and the rationale for the three central ideas behind the day:
"The Holy One said, 'on Rosh Hashanah recite before Me [verses of] Sovereignty, Rememberance, and Shofar blasts (malchuyot, zichronot, shofrot): Sovereignty so that you should make Me your King; Remembrance so that your remembrance should rise up before Me. And through what? Through the Shofar.' (Rosh Hashanah 16a, 34b)"[4] This is reflected in the prayers composed by the classical rabbinic sages for Rosh Hashanah found in all machzorim where the theme of the prayers is the strongest theme is the "coronation" of God as King of the universe in preparation for the acceptance of judgments that will follow on that day, symbolized as "written" into a Divine book of judgments, that then hang in the balance for ten days waiting for all to repent, then they will be "sealed" on Yom Kippur. The assumption is that everyone was sealed for life and therefore the next festival is Sukkot (Tabernacles) that is referred to as "the time of our joy" (z'man simchateinu.)
[edit] Observance of the day
Rosh Hashanah is observed as a day of rest (Leviticus 23:24) like other Jewish holidays. When not on Shabbat, Rosh Hashanah is characterized by the blowing of the shofar,[5] a trumpet made from a ram's horn and not from the horn of any other kind of animal, intended to symbolically awaken the listeners from their "slumbers" and alert them to the coming judgment.[6]
[edit] Services and greetings
There are a number of additions to the regular Jewish service, most notably an extended repetition of the Amidah prayer for both Shacharit and the longest Mussaf of any holiday. The traditional Hebrew greeting on Rosh Hashanah is שנה טובה shana tova [ʃaˈna toˈva] for "[a] good year", or shana tova umetukah for "[a] good and sweet year." Because Jews and the world are being judged by God for the coming year, a longer greeting translates as "may you be written and sealed for a good year" (ketiva ve-chatima tovah). It is customary that during the afternoon of the first day the practice of tashlikh is observed, in which prayers are recited near natural flowing water, and one's sins are symbolically cast into the water. Many also have the custom to throw bread or pebbles into the water, to symbolize the "casting off" of sins.
[edit] Names and origins
The term "Rosh Hashanah" does not appear in the Torah. Leviticus 23:24 refers to the festival of the first day of the seventh month as "Zicaron Terua" ("a memorial with the blowing of horns"). Numbers 29:1 calls the festival Yom Terua, ("Day [of] blowing [the horn]") and symbolizes a number of subjects, such as the Binding of Isaac and the animal sacrifices that were to be performed.[7][8] (In Ezekiel 40:1 there is a general reference to the time of Yom Kippur as the "beginning of the year."[7] but it is not referring specifically to the holiday of Rosh HaShanah.)
[edit] Number of days
The Hebrew Bible defines Rosh Hashanah as a one-day observance, and since days in the Hebrew calendar begin at sundown, the beginning of Rosh Hashanah is at sundown at the end of 29 Elul. The rules of the Hebrew calendar are designed such that the first day of Rosh Hashanah will never occur on the first, fourth, or sixth days of the Jewish week[9] (ie Sunday, Wednesday or Friday)
Since the time of the destruction of the Second Temple in Jerusalem in 70 CE and the time of Rabban Yohanan ben Zakkai, normative Jewish law appears to be that Rosh Hashanah is to be celebrated for two days, due to the difficulty of determining the date of the new moon.[7] Nonetheless, there is some evidence that Rosh Hashanah was celebrated on a single day in Israel as late as the thirteenth century CE.[10] Orthodox and Conservative Judaism now generally observe Rosh Hashanah for the first two days of Tishrei, even in Israel where all other Jewish holidays dated from the new moon last only one day. The two days of Rosh Hashanah are said to constitute "Yoma Arichtah" (Aramaic: "one long day"). The observance of a second day is a later addition and does not follow from the literal reading of Leviticus. In Reconstructionist Judaism and Reform Judaism, some communities only observe the first day of Rosh Hashanah, while others observe two days. Karaite Jews, who do not recognize Jewish oral law and rely solely on Biblical authority, observe only one day on the first of Tishrei, since the second day is not mentioned in the Torah. This holiday is considered to be one of the more important Jewish holidays.
[edit] Shofar
Main article: Shofar
Laws on the form and use of the shofar and laws related to the religious services during the festival of Rosh Hashanah are described in Rabbinic literature such as the Mishnah that formed the basis of the tractate "Rosh HaShana" in both the Babylonian Talmud and the Jerusalem Talmud. This also contains the most important rules concerning the calendar year.[11]
[edit] Dates and timing
Jewish Year Starts (at sundown)
5769 September 29, 2008
5770 September 18, 2009
5771 September 8, 2010
Rosh Hashanah occurs 163 days after the first day of Passover (Pesach). In terms of the Gregorian calendar, the earliest date on which Rosh Hashanah can fall is September 5, as happened in 1899 and will happen again in 2013. The latest Rosh Hashanah can occur relative to the Gregorian dates is on October 5, as happened in 1967 and will happen again in 2043. After 2089, the differences between the Hebrew calendar and the Gregorian calendar will result in Rosh Hashanah falling no earlier than September 6.
Rosh Hashanah will occur on the following days of the Gregorian calendar:
* Jewish Year 5769: sunset September 29, 2008 - nightfall October 1, 2008
* Jewish Year 5770: sunset September 18, 2009 - nightfall September 20, 2009
* Jewish Year 5771: sunset September 8, 2010 - nightfall September 10, 2010
* Jewish Year 5772: sunset September 28, 2011 - nightfall September 30, 2011
* Jewish Year 5773: sunset September 16, 2012 - nightfall September 18, 2012
[edit] Historical origins
In the earliest times the Hebrew year began in autumn with the opening of the economic year. There followed in regular succession the seasons of seed-sowing, growth and ripening of the corn (here meaning any grain) under the influence of the former and the latter rains, harvest and ingathering of the fruits. In harmony with this was the order of the great agricultural festivals, according to the oldest legislation, namely, the feast of unleavened bread at the beginning of the barley harvest, in the month of Aviv; the feast of harvest, seven weeks later; and the feast of ingathering at the going out or turn of the year. "Aviv" literally means "Spring". (See Exodus 23:14-17; Deuteronomy 16:1-16).
It is likely that the new year was celebrated from ancient times in some special way. The earliest reference to such a custom is, probably, in the account of the vision of Ezekiel (Ezek 40:1). This took place at the beginning of the year, on the tenth day of the month (Tishri). On the same day the beginning of the year of jubilee was to be proclaimed by the blowing of trumpets (Lev 25:9). According to the Septuagint rendering of Ezek 44:20, special sacrifices were to be offered on the first day of the seventh month as well as on the first day of the first month. This first day of the seventh month was appointed by the Law to be "a day of blowing of trumpets". There was to be a holy convocation; no servile work was to be done; and special sacrifices were to be offered (Lev 23:23-25; Num 29:1-6). This day was not expressly called New-Year's Day, but it was evidently so regarded by the Jews at a very early period.
Rosh Hashanah is a day of rest (Leviticus 23:24): with some variations, the activities prohibited on Shabbat are not prohibited on all major Jewish holidays unless that day also falls on Shabbat, excluding Yom Kippur which the Torah refers to as a "Shabbaton" and is always observed with the strictures of Shabbat.
Rosh Hashanah is characterized by the blowing of the shofar,[5] a trumpet made from a ram's horn.
[edit] Preceding month
The Yamim Noraim are preceded by the month of Elul, during which Jews are supposed to begin a self-examination and repentance, a process that culminates in the ten days of the Yamim Noraim known as beginning with Rosh Hashanah and ending with the holiday of Yom Kippur.
The shofar is blown in traditional communities every morning for the entire month of Elul, the month preceding Rosh Hashanah. The sound of the shofar is intended to awaken the listeners from their "slumbers" and alert them to the coming judgment.[6]
Orthodox and some Conservative Jewish communities do not blow the shofar on Shabbat.[12]
In the period leading up to the Yamim Noraim (Hebrew, "days of awe") penitential prayers, called selichot, are recited.
[edit] Erev Rosh Hashanah
The day before Rosh Hashanah is known as Erev Rosh Hashanah in Hebrew ("Rosh Hashanah eve"). It falls on the 29th day of the Hebrew month of Elul, the day before the 1st of Tishrei. Some communities have the customs to perform Hatarat nedarim - a nullification of vows - after the morning prayer services during the morning of Erev Rosh Hashanah. The mood becomes festive but serious in anticipation of the new year and the synagogue services. Many Orthodox men have the custom to immerse in a mikveh in honor of the coming day.
[edit] Day of Rosh Hashanah
On Rosh Hashanah itself, religious poems, called piyyuttim, are added to the regular services. Special prayer books for Rosh Hashanah and Yom Kippur, called the mahzor (plural mahzorim), have developed over the years. Many poems refer to Psalms 81:4: "Blow the shofar on the [first day of the] month, when the [moon] is covered for our holiday".
Rosh Hashanah has a number of additions to the regular service, most notably an extended repetition of the Amidah prayer for both Shacharit and Mussaf. The Shofar is blown during Mussaf at several intervals. (In many synagogues, even little children come and hear the Shofar being blown.) Biblical verses are recited at each point. According to the Mishnah, 10 verses (each) are said regarding kingship, remembrance, and the shofar itself, each accompanied by the blowing of the shofar. A variety of piyyutim, medieval penitential prayers, are recited regarding themes of repentance. The Alenu prayer is recited during the repetition of the Mussaf Amidah.
There are three different sounds that the Shofar makes:
* Tekiah (one long sound)
* Shevarim (3 broken sounds)
* Teruah (many short, staccato sounds, at least 9)
In addition to the three sounds there are two variations:
* Tekiah Gedolah (a very long sound, used at the end of the Ashkenazi rite prayer services)
* Teruah Gedolah (a very long series of short staccato sounds used at the end of the Sefardi rite prayer services)
[edit] Tashlikh
Main article: Tashlikh
Painting of Hasidic Jews performing tashlikh on Rosh Hashanah the: Feast of Trumpets (Polish: Święto trąbek), Aleksander Gierymski, 1884.[13]
During the afternoon of the first day occurs the practice of tashlikh, in which prayers are recited near natural flowing water, and one's sins are symbolically cast into the water. Many also have the custom to throw bread or pebbles into the water, to symbolize the "casting off" of sins. In some communities, if the first day of Rosh Hashanah occurs on Shabbat, tashlikh is postponed until the second day. The traditional service for tashlikh is recited individually and includes the prayer "Who is like unto you, O God...And You will cast all their sins into the depths of the sea", and Biblical passages including Isaiah 11:9 ("They will not injure nor destroy in all My holy mountain, for the earth shall be as full of the knowledge of the Lord as the waters cover the sea") and Psalms 118:5-9, 121 and 130, as well as personal prayers.
[edit] Rosh Hashana meals and symbolic foods
Rosh Hashanah table set with symbolic foods.
Rosh Hashanah meals usually include apples and honey, to symbolize a sweet new year. Various other foods with a symbolic meaning may be served, depending on local minhag ("custom"), such as cooked tongue or other meat from the head of an animal or fish (to symbolize the "head" of the year).
Foods consumed with the Yehi Ratzons vary depending on the community. Some of the symbolic foods eaten are dates, black-eyed beans, leek, spinach and gourd, all of which are mentioned in the Talmud. Pomegranates are used in many traditions. The use of apples and honey is a late medieval Ashkenazi addition, though it is now almost universally accepted. Typically, round challah bread is served, to symbolize the cycle of the year. Gefilte fish and Lekach are commonly served by Ashkenazic Jews on this holiday. On the second night, new fruits are served to warrant inclusion of the shehecheyanu blessing, the saying of which would otherwise be doubtful (as the second day is part of the "long day" mentioned above).
[edit] Sephardic Rosh Hashanah Seder
Other symbolic foods are eaten in a special Rosha Hashana Seder, particularly in the Sephardic and Mizrahi communities. Symbolic foods are eaten in a ceremony called the Yehi Rasones or Yehi Ratzones[14][15][16].
Yehi Rason / Ratzon means "May it be Your will", and is the name of the ceremony because the names of the symbolic foods eating have names that are puns in Hebrew or Aramaic. Each pun serves as a desire or prayer that God will fulfill that desire represented by the pun.
[edit] In rabbinic literature
The Mishnah, the core text of Judaism's oral Torah, contains the first known reference to the "day of judgment". It says: "Four times in the year the world is judged: On Passover a decree is passed on the produce of the soil; on Shavuot, on the fruits of the trees; on Rosh Hashanah all men pass before Him ("God"); and on the Feast of Tabernacles a decree is passed on the rain of the year.
Philo, in his treatise on the festivals, calls Rosh Hashanah the festival of the sacred moon and feast of the trumpets, and explains the blowing of the trumpets as being a memorial of the giving of the Torah and a reminder of God's benefits to mankind in general ("De Septennario," § 22).
Rabbi Yaakov Kamenetsky explains that in earlier generations it was considered preferable not to reveal that it was a "day of judgment" so as not to mix any other feeling into "the day of the coronation of G-d". In later generations as people lost touch with the significance of the day it was necessary to reveal that it was also "the day of judgment" so that people would approach the holiday with proper awe and respect. (B'Mechitzot Rabbenu)
According to rabbinic tradition, the creation of the world was completed on 1 Tishrei.
The observance of the 1 Tishrei as Rosh Hashanah is based principally on the mention of "zikkaron" ("memorial [day]"; Lev 23:24) and the reference of Ezra to the day as one "holy to the Lord" (Neh 8:9) seem to point. The passage in Psalms 81:5 referring to the solemn feast which is held on New Moon Day, when the shofar is sounded, as a day of "mishpat" (judgment) of "the God of Jacob" is taken to indicate the character of Rosh Hashanah .
In Jewish thought, Rosh Hashanah is the most important judgment day, on which all the inhabitants of the world pass for judgment before the Creator, as sheep pass for examination before the shepherd. The Talmud states, in tractate on Rosh Hashanah that three books of account are opened on Rosh Hashanah, wherein the fate of the wicked, the righteous, and those of an intermediate class are recorded. The names of the righteous are immediately inscribed in the book of life, and they are sealed "to live." The middle class are allowed a respite of ten days till Yom Kippur, to repent and become righteous; the wicked are "blotted out of the book of the living." (Psalms 69:29)
The zodiac sign of the balance for Tishrei is claimed to indicate the scales of judgment, balancing the meritorious against the wicked acts of the person judged. The taking of an annual inventory of accounts on Rosh Hashanah is adduced by Rabbi Nahman ben Isaac from the passage in Deut 11:12, which says that the care of God is directed from "the beginning of the year even unto the end of the year". 1 Tishrei was considered as the beginning of Creation.
It is said in the Talmud that on Rosh Hashanah the means of sustenance of every person are apportioned for the ensuing year; so also are his destined losses.
The Zohar, a medieval work of Kabbalah, lays stress on the universal observance of two days, and states that the two passages in Job 1:6 and Job 2:1, "when the sons of God came to present themselves before the Lord," refer to the first and second days of Rosh Hashanah, observed by the Heavenly Court before the Almighty.[17]
[edit] Traditional Rosh Hashanah greetings
* On the first night of Rosh Hashanah after the evening prayer, it is the Ashkenaz and Hasidic custom to wish Leshana Tova Tikoseiv Veseichoseim (Le'Alter LeChaim Tovim U'Leshalom) which is Hebrew for "May you immediately be inscribed and sealed for a Good Year and for a Good and Peaceful Life"
* Shana Tova (pronounced [ʃaˈna toˈva]) is the traditional greeting on Rosh Hashanah which in Hebrew means "A Good Year."
* Shana Tova Umetukah is Hebrew for "A Good and Sweet Year."
* Ketiva ve-chatima tovah which translates as "May You Be Written and Sealed for a Good Year."
[edit] Fast of Gedalia follows Rosh Hashanah
Main article: Fast of Gedalia
The Fast of Gedalia (or Gedaliah) Hebrew: צוֹם גְּדָלִיָּה Tzom Gedaliah) is a Jewish fast day from dawn until dusk to lament the assassination of the righteous governor of Judea of that name, which ended Jewish rule and completed the destruction of the First Temple.
The fast is observed immediately after the second day of the High Holy Day of Rosh Hashana, commencing on the third of Tishrei according to the Hebrew calendar. The Gregorian date for The Fast of Gedalia varies from year to year based on when it corresponds with the third of Tishrei.
When Rosh Hashanah falls on Thursday and Friday, the fast is postponed until Sunday (which would be the fourth of Tishrei), since no public fast may be observed on Shabbat (Saturday) with the exception of Yom Kippur.
In 2006, this fast day was observed on September 25.
In 2007, this fast day was observed on September 16 (fourth of Tishrei).
In 2008, this fast day was observed on October 2.
In 2009, this fast day is observed on September 21.
The fast is observed from daybreak until the stars appear at night. As a minor fast day, other laws of mourning are not required.
Model: Saphir Noir & Samuel Nox
Cyberpunk Shooting
Location: Regensburg
Bearbeitung: Jürgen Krall Photography
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Bild Nr.: 120_5046
New pics of a relatively old figure model. It's a recast kit, even though of very good quality.
It is a version of "Ghost in the shell"'s Motoko Kusanagi in a cyberspace battle suit, sculpted/designed by the character's appearance in Masamune Shirow's manga "The Ghost in the Shell 2 - Manmachine interface".
The figure's color is actually not black - this would have been too dull (even though in the manga, the suit IS black). So I painted it with a black base, and added many "lighter" areas with a Mercedes Benz car color called "Black Blue" (Schwarzblau). In normal light the differences are hard to tell, but with some direct sunlight the blue-ish hue becomes recognizable. This trick not only adds more depth and contrast to the figure's outlines, it makes her also look more interesting and makes a good complement to the small color highlights. Additional reflex was created through a semi-matte finish.
The figure comes with a clear/translucent "mask" - I wanted to have the option to put this gadget on and off, so I had do devise a kind of "glasses holders" that fit between the figure's head and hair pieces. Tricky, but worked.
Another difficult task was to tint this mask in dark grey, but keeping it glossy and translucent. The solution finally came with a good coat of a Tamiya paint called "Smoke", which was perfect.
More translucent paint was applied to the yellow contrast panels of the suit - instead of a simple, opaque coat of paint I experimented with a yellow base, with an orange candy coat added on top, creating a subtle depth.
Face and hair were painted with enamels, by brush. No shading was done, due to the figure's relatively large scale.
My earliest soliloquy of brainfucked talk...at Buzznet..no other place ever on cyberspace ever fucked my mind as Buzznet did..I have come out of rehab ..retracing the old path to get myself cured completely ..
God made man.. he kept him original.
God made mans cock he kept it original.
He gave one eye on his cock to weep and produce and weep and reproduce..but he kept it original.
Man is first cockeyed original.
He gave man an ass in case the one eyed cock let him down.. he kept it original.. in the praise of the lord man is called the original asshole.God had no ass so he got away.
God made a woman.. but god was on my beach day dreaming .. saw a sand dune .. looked almost like a woman.. so god made the first fake .
Yes he made a woman... woman has been faking it ever since...fake orgasms.. a womans fake war cry.. and the first woman never much like Adam the original man.. he was sweaty , he dug his nose,he scratched his ball and flakes of pubic hair that fell on the floor.. Adam belched and farted after a fuck loved to turn his back and snore.
And God made a fake menstrual cycle woman was cursed forever..tears of blood if they stopped more tears for the rest of her life...women must have stuffed an entire field of cotton to stretch from India to California.. poor women use recycled paper..an as it is the news is needs no blood clotting,, so much of blood all around.
And God made Original man as a cuckold.. in stepped the original serpent he flashes his cock that was like a traffic signal yellow light , green light and red light.. women have never cared a fuck for traffic signals ever since.. they fuck anything.. dont go red even when the guy humping her turns yellow and grief.
So the serpent fucked Eve and he smelt of profanity the acqueous vapours of curddled Calvin Klein.. no fuckinhumansweat.. woman she fucked the serpent too, she faked itso badly and the fucker lost his internet time.. was shown the door..from fucked paradise he was sent into cyberspace and is fucking anything and everything on two legs.. animals begged god and asked for four legs.. the serpent fucks dimwittedbirds on two legs to.
And this is the Genesis of Mans flaccid fall ..
And the original mans cock is in his head and it needs no length and strength,.gets errect and can fuck.. no stop overs.. but you connect with your fingered mouse is one way of getting back at guys who flash their long dicks at gaping old men at steaming gymns.
And God gave the fake woman some saving grace..her gave her an uper storey too ..
Titanic tits,, Pleated and Tucked in Posteriors,Nebulously nefarious.. nipples, golden showered thatch.. with a doormat..that says Dogs and Indians not allowed.. the vaginal helipad that can upload all your sorrows and woes too., help you delete your misery with the click
And its a fact I am dangerous demented my life from the day I thought I could write sparsely garrulously ,as literary vegetation needs a green thumb..too.. needs some source of inspiration.. my inspiratiom is God Mother Delete..I write to delete on a womans heart.. a woman deletes it on a mans ass , your western values stink .. only you get hurt if something from someones fucked imagination brings you to life .. you guys are all like geen velvet .. cry your balls out dont send me mail .. baby I am 4 months on the net .. we are all kleenex tissues wipe your holy than thou asses .. your golden dreams of a snot ..but I dont seek revenge with my pen soaked in putrid pus.. relationshis on the net are alll about congratulatory self mastubations seeing the goatherd of a grin on the toilet mirror..begone.. love needs to be flushed once and for all disgusting love on the net .. toilet humor of a fucked love , love is cheap psychiatry where th couch has more bed bugs crawling up your house in a seedy internet environment..
I dont love you I dream and my dreams are not meant to be prophecies wrecking married homes.. ..
I have an imagination.. I put it to the test.. I do that on one leg and do it better than dogs in your areas will do.. I piddle on your sanctimoniousness..tell that to the marines.. my thoughts are like body bags you guy have sold my soul to as a body part..all of you.. Buzznet fuckin lionhearted ,, all... fuck I was happy fucking myself with my silver stick and Tony Pierciing upto the hilt at Bloggerspot tilll I dreamt of a homecoming.. .
And at least at Bloggerspot you are not leopard spotted and shot with poisoned arrows.. I dont want to spawn .. my immaturirty on a flea infested sperm tainted mattress of this journal.
I will shift back to the ICCU. at Bloggerspot.. thank you maam.. I wont cry my heart out to galvanise my sucked up soul..
So a woman in the head is a fuckin racist and stick to the faked uncoming woman on the bed...atleast the stains on the bed spread are for real...that they made by someonelse last summer should not worry original man.. after all we Men are all cousins.8.45 m mumbai.. rented home a rented man.
The only character real is Me.. the rest are as imaginary as your daydreams that camoflague your embryonic state of mind.. your doddering adulthood.. of a peafucked brain.....
I am the serpent seed.. the most intelligent and bravehearted comment of a life time..
thank you Einstein.. Wally Worldr
buzzwords: god, god mother delete, man. woman, photographeno1
Posted: 01/25/2006 7:27 PM
Views: 16
[Edit]
[Add Buzz]
Separate Buzzwords With Commas
COMMENTS (3)
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wallyworldr: 01/25/2006 7:56 PMserpent seed
[delete]
photographerno1: 01/25/2006 10:08 PM
yes i am the serpent seed..it is not fucked like your color caste or creed..pride and vanity my 2 whores
i fuck for inhuman greed..words are drops of sperm with mongoloid children dim wits i breed internetted to spawn indeed..dont ever fall on the net pay heed..
[delete]
Oh I am feeling so good and flushed with excitement.....
Hello world I am back in cyberspace!
Have set up the new beast and installed important data and softwares. Lots to do still, but what a dream machine this is.
I found this photo in cyberspace. As far as I know it isn't copyrighted.
If you would like to watch this beautiful photo with special effects: Click Here
If you would like to see a variety of all our special effects in one place : Click Here
U.S. Cyber Command recently conducted on Fort Meade its first exercise in collaboration with cyber subject-matter experts from across the National Security Agency, National Guard, Department of Homeland Security and FBI.
Secretary of State Antony J. Blinken attends a holiday party for the Bureau of Cyberspace and Digital Policy at the U.S. Department of State in Washington, D.C. on December 12, 2022. [State Department photo by Ron Przysucha/ Public Domain]
From an article in The Hollywood Reporter
This is from a hardhat tour I took of the Experience Music Project in Seattle as it was nearing completion April, 2000.
Note the Guitar World Special Issue Sept. 1985, edited by yours truly, Noë the G.
I wrote about it in this article, which was syndicated by the BPI Newswire but has somehow disappeared from cyberspace. Now it's back.
Experience This / A first look at Paul Allen's ambitious rock'n' roll temple
The Hollywood Reporter
June 13, 2000
By Noë Gold
All photos by Noë Gold
The high walls of the Sky Church are rumbling, literally shaking with a presence that is not of this Earth.
On the physical plane, the cavernous exhibition hall sits in Seattle, a few yards from the terminus of the monorail that links the city's downtown to its monolithic Space Needle.
On the spiritual plane, Jimi Hendrix, the avatar of guitar-driven rock 'n' roll who first asked "Are You Experienced?" is very much in the house -- a gleaming, new house that media mogul Paul G. Allen has built to honor popular American music.
The Sky Church is the spiritual centerpiece of the soon-to-open Experience Music Project, a massive museum designed by famed architect Frank O. Gehry to enclose 140,000 square feet of free-flowing, music-related exhibits on a 35,000 square-foot plot of land carved out of the city's once-grand Seattle Center.
The references to the Seattle-born Hendrix are intentional. The museum's mission, its founders say, is to have people experience the music. Come June 23, the first paying guests will find out what's going on inside the twisted, sky blue and magenta-hued piece of architecture that has been under construction since 1997.
The Sky Church concept is taken from one of Hendrix's dreams, in which he described a place where all diverse people could come together to appreciate music. The space fulfills Hendrix's prophecy by doubling as a grand exhibition hall by day and a performance space at night.
The EMP itself can be described as a museum with aspects of a theme park, through which people will take a "ride" amid the cultural artifacts that celebrate the blues-based, soul-inflected, rockabilly roots of American music.
More than 800,000 are expected to visit the nonprofit facility each year, with top ticket prices set at $19.95.
The museum opens with a party that will include musical performances by James Brown, Metallica, Red Hot Chili Peppers, Eminem and Snoop Dogg, Alanis Morissette, Eurythmics and Bo Diddley. MTV and VH1 will televise much of the hoopla.
Jody Patton, the EMP's co-founder and executive director and Allen's sister, dates the museum's genesis to 1992, when she and her brother attended a Sotheby's auction of rock 'n' roll memorabilia.
"Paul was intrigued by the artifacts," she says, "and we did the bidding. When the pieces arrived, we gingerly unpacked these things and we were in awe of how the spirit of the person who used them becomes imbued in the personal article. Paul said, 'If I think this stuff is really neat, then other people will be moved as well.'"
In Allen's longhair days, he played a Fender guitar. The obsession continues, except today Allen owns the Stratocaster that Hendrix played at Woodstock in 1969. And a whole lot of other stuff -- 80,000 artifacts, in fact, now reside here. More than 1,200 of them will be on display at at any given time.
The EMP's Hendrix Gallery enshrines the contract signed by the musician for Woodstock, revered objects of Hendrix's outrageous clothing and Allen's version of pieces of the cross: fragments of a guitar Hendrix smashed and burned at 1967's Monterey International Pop Festival.
The Guitar Gallery gives museum-style prominence to artifacts of rock like an early electric lap steel guitar, a Gibson Flying V prototype and axes played by the likes of the Byrds' Roger McGuinn and bluesman Tampa Red. There is a trumpet from Quincy Jones' early days in Seattle and song lyrics by another Seattlite, the late grunge rocker Kurt Cobain. Bob Dylan's harmonica and Janis Joplin's pants are there, too.
A recent hard-hat tour reveals EMP is no mere memorabilia collection. Flat-screen monitors and interactive displays are everywhere. A snaking corridor leads to the "Crossroads" exhibit, the main exhibition area, where disparate musicians like Hendrix, hip-hop and Bing Crosby meet via multimedia.
Patrons can also wander into hands-on personal studios, where they can try their hands at keyboards, drums and guitars.
The facility is truly wired, with organizers especially proud of the flooring itself, a raised platform made of modular concrete slabs that can be removed and bolted down to give technicians access to miles of high-definition optical cable and ISDN lines.
Via a modular data processing unit called a MEG, visitors can zoom in on various exhibits and receive data about what they are seeing. They can then download bookmarks that may be accessed later.
In researching his designs for the building, Gehry visited a music store and looked at guitars, bringing some home and deconstructing them. "It's not supposed to be a smashed-up guitar," says EMP's design and construction project manager, Paul Zumwalt, who created the Portland Trail Blazers' Rose Garden basketball arena, another Paul Allen edifice. "It's about the spirit of the music, with its flow and movement."
Originally, the monorail was supposed to stop short of the building. But when Gehry saw that the monorail bisected the site, he began to play.
Allen and his sister wanted an architectural design that "could literally express the way we respond to the music." And the music she was describing is anything but conventional. Allen used the word "swoopy."
Swoopy is what they got. There is not a right angle in the place. Neighbors who watched the building come together were mystified by what looked like a jumble of curved metallic sections reaching up into the sky.
"What appealed to me about Frank," Patton says of the architect," was his commitment to exploring the process. ... His designs go to a new place aesthetically -- the curves. It is a living, moving, organic thing."
Kind of like Electric Ladyland.
From an article in The Hollywood Reporter
Links referenced within this article
Find this article at:
doctornoemedia.blogspot.com/2013/02/experience-music-proj...
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This was shot at the audio launch of Mumbai 118 , Aditya and I are Facebook friends we had met years back through Mr Umesh Mehra of Eagle Films..and than connected on cyberspace.
Aditya invited me for the audio launch of his film I was skeptical as I walk barefeet , so I told Aditya he said just come with your smile I took my camera instead.
Aditya Raj Kapoor is a very humble down to earth human being he visited my house to see my grand daughter 3 year old Marziya Shakir worlds youngest street photographer who shoots on the Nikon D 80.
Aditya Raj Kapoor lost his father the doyen rocking star of the film Industry Mr Shammi Kapoor Saab..on 14 Aug 2011 , he was being treated at Breach Candy for a chest infection but die due to renal failure.
He was cremated at Banganga Walkeshwar on 15 Aug 2011..
About Shammi Kapoor
From Wikipedia, the free encyclopedia
Shammi Kapoor (born Shamsher Raj Kapoor; 21 October 1931[3] – 14 August 2011) was an Indian film actor and director. He was a prominent lead actor in Hindi cinema from the late 1950s until the early 1970s.
Shammi Kapoor was hailed as one of the finest actors that Hindi cinema had ever produced. Extremely versatile as an actor, he was one of the leading stars of Hindi cinema during the late 1950s, the 1960s and early 70's. He debuted in Bollywood in 1953 with the film Jeevan Jyoti, and went on to deliver hits like Tumsa Nahin Dekha, Dil Deke Dekho, Junglee, Dil Tera Diwana, Professor, China Town, Rajkumar, Kashmir Ki Kali, Janwar, Teesri Manzil, An Evening in Paris, Bramhachari, Andaz and Vidhaata. He received the Filmfare Best Actor Award in 1968 for his performance in Brahmachari and Filmfare Award for Best Supporting Actor for Vidhaata in 1982.
He was given the name Shamsher Raj Kapoor at his birth in Mumbai to film and theatre actor Prithviraj Kapoor and Ramsarni Mehra. Shammi was the second of the three sons born to Prithviraj (the other two being Raj Kapoor and Shashi Kapoor), both successful Bollywood actors. Though born in Mumbai, he spent a major portion of his childhood in Kolkata, where his father was involved with New Theatres Studios, acting in films. It was in Kolkata that he did his Montessory and Kindergarten. After coming back to Mumbai, he first went to St. Joseph's Convent (Wadala) and then, to Don Bosco School. He finished his matric schooling from New Era School at Hughes Road.
Shammi Kapoor had a short stint at Ruia College, in Matunga, Mumbai, after which he joined his father’s theatrical company "Prithvi Theatres". He entered the cinema world in 1948, as a junior artiste, at a salary of Rs. 50 per month, stayed with Prithvi Theatres for the next four years and collected his last paycheck, Rs. 300, in 1952. He made his debut in Bollywood in the year 1953, when the film Jeevan Jyoti was released. It was directed by Mahesh Kaul and Chand Usmani was Kapoor’s first heroine.
Kapoor started out with serious roles but with Filmistan's Nasir Hussain directed Tumsa Nahin Dekha (1957) opposite Ameeta and Dil Deke Dekho (1959) with Asha Parekh, he attained the image of a light-hearted, stylish playboy. Tall, athletic, lively, fair complexioned, green-eyed and with handsome features, Shammi was a heartthrob, and his good looks and physique complemented his image. Both the films were debut films of the respective actresses Ameeta and Asha Parekh and both went on to be big hits and are regarded as classics.
With Junglee (1961) his new image was cemented and his subsequent films were all in this genre. He particularly chose Mohammed Rafi as his playback voice. In his early career in fifties, he had often played second fiddle to established heroines like Madhubala in films such as Rail Ka Dibba (1953) and Naqab, "Laila Majnu" with Nutan, "Thokar" with Shyama and "Hum Sab Chor Hain" with Nalini Jaiwant none of them clicked at box office. But producers after 1960 apart from the actresses from southern India, loved pairing Shammi with new heroines, three of them became huge stars in their own right in Hindi films: Asha Parekh, Saira Banu, and Sharmila Tagore.[4] Of all his heroines, he said that Sharmila Tagore, Rajshree, and Asha Parekh were easy to work with.[5] Sharmila Tagore and Saira Banu made their Bollywood debuts with Shammi Kapoor in ‘Kashmir Ki Kali’ and ‘Junglee’ respectively[6] He and Asha Parekh were paired together in four films, the most successful being besides debut film of Asha Parekh, the murder mystery Teesri Manzil (1966) and romantic film Jawan Mohabbat.
In the early fifties he accepted serious roles in women oriented films like Shama Parwana (1954), comedy flick Mem Sahib (1956) and thrillers like Chor Bazar (1954), which were all successful at box office and in tragic love story Mirza Sahiban (1957) (a box office flop), but did not gain recognition and fame among the masses. Other than the above hits, he had fifteen films as flops to his credit till 1957. The other hits in late fifties included Mujrim(1958), Char Dil Char Rahen, Raat Ke Raahi (1959).His performances in K A Abbas' Char Dil Char Raahein (1959) and Kidar Sharma's Rangeen Raatein (1956) were also noteworthy but remained underfeted.[7] It was only after triple success of Tumsa Nahi Dekha (1957), Ujala and Dil Dil Deke Deko (both 1959), that he became popular with the audience and became a star. In the first half of the 1960s, Kapoor was seen in successful films like College Girl, Basant, Singapore, Boy Friend, Professor, Dil Tera Diwana, Vallah Kya Baat Hai, Pyar Kiya To Darna Kya, China Town, Kashmir Ki Kali, Bluff Master, Janwar and Rajkumar. Although nominated before, in 1968, he received the first Filmfare Best Actor award of his career for the film Bramhachari.He made a unique place for himself in the industry as he was the only dancing hero in Hindi Films from the late fifties till early seventies.Saira Banu said in an interview "At the time when Dilip sahab, Raj Kapoor and Dev Anand ruled the industry, it was Shammi Kapoor who created a niche for himself with his unique dance moves. He used to say he didn't know how to dance but he would just listen to the music and feel it. He was the only 'dancing hero' at that time."[8]He used to compose dancing steps by himself in the songs picturised on him and never needed a choreographer.This earned him the name of Elvis Presley of India.[9]
His pairing opposite Southern heroines were always a success at the box office. He delivered hits opposite B. Saroja Devi like Pyaar Kiya To Darna Kya and Preet Na Jane Reet, with Padmini gave Singapore (1960 film), opposite Vyjayanthimala had hits like College Girl and Prince (1969 film). In the sixties his successful run continued untill new romantic incon Rajesh Khanna entered the scene in 1969.[10] However Shammi did have commercial successes in late sixties, like Budtameez and Sachaai with Sadhana, Latt Saheb with Nutan and Tumse Achha Kaun Hai with Babita.
In the 1970s, Kapoor’s weight problem proved an obstacle in his path of success and ended his career as a romantic hero as his films started failing. His last hit film, in which he played the lead role, was Andaz (1971). With time, he moved to character roles and acted in films like Zameer, Hero, Vidhaata, Hukumat, Batwara, Tahalka, Chamatkar, Namak and Prem Granth. In 1974, he
donned the hat of a director and made Manoranjan in 1974 and Bundal Baaz (1976). However, both the films failed to create magic at the box office though were critically acclaimed and have a cult fan following over the years. His last appearance as a character actor was in the delayed 2006 film, Sandwich and in early 2011, he decided to act with his grand-nephew Ranbir Kapoor, the grandson of his brother Raj Kapoor.
Shammi turned into a successful supporting actor in the 70's, playing Saira Banu's father in Zameer (1974), when he had been her leading man a decade earlier in Junglee (1961) and Bluff Master (1964) and playing Amitabh Bachchan's foster father in Parvarish. He also directed Manoranjan (1974), a movie inspired from Irma La Douce and in which he played a supporting role himself and Bundal Baaz (1976) starring Rajesh Khanna, but neither were successful commercially though got critical acclaims and were hailed as classics and to be ahead of its time. In the 1980s and 1990s, he continued to play supporting roles in many films and won a Filmfare Best Supporting Actor Award for his performance in Vidhaata (1982).He got the opportunity to do some films in other languages such as Bengali and Tamil in the nineties. He did a social melodrama serial called "Chattan" aired in Zee TV for more than a year in 90's. He eventually cut down on film appearances by the late 1990s and early 2000s and made his appearances in the 1999 Salman Khan and Urmila Matondkar starring Jaanam Samjha Karo, 2002 release Waah! Tera Kya Kehna and delayed 2006 release Sandwich. He made his last appearance in Imtiaz Ali's directorial venture Rockstar co-starring his grand-nephew Ranbir Kapoor, the grandson of his brother Raj Kapoor.
Film director Shakti Samanta directed Shammi Kapoor in six hit films like Singapore, Pagla Kahin Ka, China Town, Kashmir Ki Kali, An Evening In Paris and Jaane Anjane and quoted in an interview “I found Shammi to be a thoroughly good man. Even in his heydays, he was humble."[11]
Shammi Kapoor, in 1953, dated Nadia Gamal, a belly dancer from Cairo.[12] Shammi quoted in an interview that "We met in Ceylon and we were in love. Somehow things did not work out and she went back to Cairo."[13] Shammi Kapoor met Geeta Bali in 1955, during the shooting of the film 'Rangeen Raaten', where he was the leading actor and she played a cameo. Geeta Bali was well established heroine, popular star at this point of time and Shammi had not tasted any success. They fell in love during the outdoor stints of the movie at Ranikhet, an ancient Army based hill-station in the Kumaon region, but since she was a year older to him and had acted with his elder brother in "Bawren Nain" and his father in "Anand Math", they were sceptical. Four months after they first met, they married at Banganga Temples, near Napean Sea Road of Mumbai with Hari Walia as the sole witness. They informed their parents only after their marriage. Geeta Bali also did cameo in Shammi starrer Mujrim(1958). They were paired together in Miss Coca Cola, a box office dud and Coffee House. After thier mairrage Geeta Bali acted in 14 films and retired from film industry.Geeta Nali's last film as the lead heroine in a film was Jab Se Tumhe Dekha Hai opposite Pradeep Kumar, in which Shammi Kapoor and Shashi Kapoor made special appearances.
Shammi and Geeta lived a life of bliss in the coming years. They had a son, Aditya Raj Kapoor, on 1 July 1956, at Shirodkar's Hospital, Mumbai, a year after they were married. Five years later, in 1961, they had a daughter, Kanchan.
Tragedy struck in 1965, during the filming of Teesri Manzil. Geeta died of small pox, leaving Shammi with two small children.
In 1969, he married Neela Devi Gohil from the former royal family of Bhavnagar in Gujarat. He was gaining weight rather significantly now and this ended his career as a romantic hero in the early 1970s. Andaz (1971) was one of his last hits.
Shammi Kapoor was the founder and chairman of Internet Users Community of India (IUCI). He had also played a major role in setting up internet organisations like the Ethical Hackers Association. Kapoor also maintained a website dedicated to the 'Kapoor family’. [14]
In 2006, he told interviewers that he underwent dialysis three times a week. Irrepressible even then, this punishing regimen has failed to depress him. Rather, he said that he was thankful to God for giving him so much.
He died of renal failure around 5:15am on 14 August 2011 at Mumbai's Breach Candy hospital, where he was undergoing treatment for chest infection.[3].
A computer graphic binary depiction of the Ministry of Defence badge.
Britain will build a dedicated capability to counter-attack in cyberspace and, if necessary, to strike in cyberspace.
As part of MOD’s full-spectrum military capability, the Defence Secretary, Philip Hammond, has announced that the department is set to recruit hundreds of computer experts as cyber reservists to help defend the UK’s national security, working at the cutting-edge of the nation’s cyber defences.
-------------------------------------------------------
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Photographer: Chris Roberts
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The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Hiltons newest and most exclusive hotel. The Orbiter!
Courtesy of Celestia www.shatters.net/celestia/
Seoul Conference on Cyberspace 2013
SNS Supporters ‘Cybuddy’ Launching Ceremony
Ministry of Foreign Affairs’ Headquarter, Seoul
2013.08.28.
Ministry of Culture, Sports and Tourism
Korean Culture and Information Service
Korea.net(www.korea.net)
JEON HAN
------------------------------------
2013년 세계사이버스페이스총회
SNS 서포터즈 ‘사이버디(Cybuddy)’ 발대식
외교부, 서울
문화체육관광부
해외문화홍보원
코리아넷
전한
there are many Clubs and Bars in Secondlife, with own radio stations, livestreamings, Blues, Jazz, Country, Rock ´n Roll, 80´s Partys, Techno & Goa, and for sure Punk Clubs, with real and serious DJ´s
Simple proof of how good this book was that in spite of the hype I was totally amazed by the ideas and visions in the book - all the sci-fi I had read or seen till now or even, well, my life in the early 20s (early 2020s I mean ;)) had not prepared me for it. A book written in 1984 and reading it in 2021 and I still loved the experience and emotion. I envy all those who had read this book when it was released all those years back. It would be so cool to go back in time to 1984 when it was first published, and experience it as person who had never seen the Internet or any technology today and have to really imagine what the things described in this book could look and feel and hurt like!
This edition has an introduction by Gibson that was really interesting to read as he is writing it in 2004, when we had so much more tech and where people have MADE his cyberspace a reality :).
It was quite funny that I did really mis-imagine the first famous line of the book
The sky above the port was the color of television, tuned to a dead channel.
I really imagined it as a rainbow colored striped sky :D not as a gray static. But Gibson says in his introduction that he hopes the readers will cut him some slack for it. My experience was so strange -- I really did imagine it as rainbow striped and with that I was hit with the old childhood memory - dead TV station - no signal, the unnatural bright colorful striped, the weird pitch sound and the feeling of sadness. I suppose emotion was to be felt by a human for other humans, their actions, their exchanges. How completely odd, I felt sad because it was just a dead signal and I wanted the TV to keep me company. Anyway, though I imagined color not, grey, it did evoke the same emotion in me - the disappointment, the melancholy, and the emptiness - the color only made it worse. A gray matches the mood. Rainbow colors don't match the mood and feel even more disconcerting as a result - a true cyberpunk feeling in my opinion - a mishmash of tech n emotion and the feeling of being lost in something very unnatural - a neon sadness!
Great afterword by Jack Womack too (title of this post is from it) - a nice salute to William Gibson. Nice bits about understanding our past before we move to imagining/living the future...
[ I wish I could write some notes or tags or some analysis for the bits below. I stopped in my tracks (well figuratively) when reading some parts - I have some vague idea or connection to something I had read or seen before (whether Gibson intended that reference or not) , and I just didn't have time to write it down in detail...
Like what was that part about the origami crane (just reminded me of Blade Runner, is that a co-incidence in this book?) and the woman saying she always gets it wrong because the neck is always twisted backward ? why?
Or the part of USA being a bunch of capitalist megacorps ( something I hear from late stage capitalism guys in discussions today). Cash being outright illegal, I'm sure we are headed in that direction. The Moderns being like Anonymous? The Matrix callbacks are too many to note. Zion n the music n the literal concept of the word the matrix. Ugh I just want a Neuromancer movie so badly - the movie plan always seems to have been shelved for various reasons :\.
Some parts made me tear up - Dixie asking Case to erase him after their job is done as he knows he is not "really" alive and feels like "nothing". Kinda linking it the old questions of reality and sentience from Peter Watts books.
And the part about the every AI having a shot-gun aimed at its head - well the point in this book was that the trigger would be pulled by the Turing entity that is keeping a careful watch that the AI don't get too smart or what sentient I suppose. But reading of that recent ridiculous news of the Google engineer who declared his AI sentient (just because the AI said so, what even) and the serious questions of meaning of life and sentience and all that - this gun-to-the-head metaphor made me think of Sisyphus for some odd reason. An AI being made to discuss and debate the absurd and it's own reason for living -- now that would prove it has something human. Not the what and the how, but the why of living.
To end, before this post gets too long, I really appreciated the end of the book where there is no big change. Bad guys killed, good guys win, nothing changes, things are things.]
[Edit: Its cool when some scifi reminds you of other scifi - was forced to watch Person of Interest recently, and the last minute of the last episode of season 1 really made me grin like a fool - the AI calls a payphone right next to the hero and he answers. Black out to the episode end. No one can convince me that wasn't a nod to the payphone scene in this book! :)). Ugh]
Some bits I liked from this book:
--
Another vast omission is my failure to have quietly collapsed the Soviet Union and swept the rubble offstage when nobody was looking.
Though there was a strategic reason for my not having done that. I had already done it to the United States, which cannot be proven to exist in the world of Neuromancer. It’s deliberately never mentioned as such, and one vaguely gathers that it’s somehow gone sideways in a puff of what we today would call globalization, to be replaced by some less dangerous combine of large corporations and city-states.
It was difficult to transact legitimate business with cash in the Sprawl; in Japan, it was already illegal.
He wondered briefly what it would be like, working all your life for one zaibatsu. Company housing, company hymn, company funeral.
The Moderns, he’d decided, were a contemporary version of the Big Scientists of his own late teens. There was a kind of ghostly teenage DNA at work in the Sprawl, something that carried the coded precepts of various short-lived sub cults and replicated them at odd intervals. The Panther Moderns were a soft head variant on the Scientists. If the technology had been available the Big Scientists would all have had sockets stuffed with microsofts. It was the style that mattered and the style was the same. The Moderns were mercenaries, practical jokers, nihilistic technofetishists.
“Jockeys all the same,” she said. “No imagination.”
On his way back to the lobby, his cigarettes forgotten, he had to walk the length of the ranked phones. Each rang in turn, but only once, as he passed.
“How you doing, Dixie?”
“I’m dead, Case. Got enough time in on this Hosaka to figure that one.”
“How’s it feel?”
“It doesn’t.”
“Bother you?”
“What bothers me is, nothin’ does.”
“How’s that?”
“Had me this buddy in the Russian camp, Siberia, his thumb was frostbit. Medics came by and they cut it off. Month later he’s tossin’ all night. Elroy. l said, what’s eatin’ you? Goddam thumb’s itchin’, he says. So l told him, scratch it. McCoy, he says, it’s the other goddam thumb.” When the construct laughed, it came through as something else, not laughter, but a stab of cold down Case’s spine. “Do me a favor, boy.”
“What’s that, Dix?”
“This scam of yours, when it’s over, you erase this goddam thing.”
...what you think of as Wintermute is only a part of another, a, shall we say, potential entity. I, let us say, am merely one aspect of that entity’s brain. It’s rather like dealing, from your point of view, with a man whose lobes have been severed. Let’s say you’re dealing with a small part of the man’s left brain. Difficult to say if you’re dealing with the man at all, in a case like that.”
“Unreal,” he said, looking up again.
“Nah,” she responded, assuming he meant the furs, “grow it on a collagen base, but it’s mink DNA. What’s it matter?”
“Motive,” the construct said. “Real motive problem, with an Al. Not human, see?”
“Well, yeah, obviously.”
“Nope. I mean, it’s not human. And you can’t get a handle on it. Me, I’m not human either, but I respond like one. See?”
“Wait a sec,” Case said. “Are you sentient, or not?”
“Well, it feels like I am, kid, but I’m really just a bunch of ROM. It’s one of them, ah, philosophical questions, I guess...” The ugly laughter sensation rattled down Case’s spine. “But I ain’t likely to write you no poem, if you follow me. Your AI, it just might. But it ain’t no way human.”
“See, those things, they can work real hard, buy themselves time to write cookbooks or whatever, but the minute, I mean the nanosecond, that one starts figuring out ways to make itself smarter, Turing’ll wipe it. Nobody trusts those fuckers, you know that. Every Al ever built has an electro-magnetic shotgun wired to its forehead.”
She laughed. “It won’t last.” “But it will,” he said, climbing into the sand-colored temperfoam, “that’s what’s so unnatural about it.”
But now he’d found this warm thing, this chip of murder. Meat, some part of him said. It’s the meat talking, ignore it.
She opened the purse and withdrew a paperbacked bubble with a blue derm inside. Something white tumbled to the floor; Case stooped and picked it up. An origami crane. “Hideo gave it to me,” she said. “He tried to show me how, but I can’t ever get it right. The necks come out backwards.”
“How do you cry, Molly? I see your eyes are walled away. I’m curious.” His eyes were red-rimmed, his forehead gleaming with sweat. He was very pale. Sick, Case decided. Or drugs. “I don’t cry, much.”
“But how would you cry, if someone made you cry?” “I spit,” she said. “The ducts are routed back into my mouth.”
“Then you’ve already learned an important lesson, for one so young.” He rested the hand with the pistol on his knee and took a bottle from the table beside him, without bothering to choose from the half-dozen different liquors. He drank. Brandy. A trickle of the stuff ran from the corner of his mouth. “That is the way to handle tears.”
Power, in Case’s world, meant corporate power. The zaibatsus, the multinationals that shaped the course of human history, had transcended old barriers. Viewed as organisms, they had attained a kind of immortality. You couldn’t kill a zaibatsu by assassinating a dozen key executives; there were others waiting to step up the ladder, assume the vacated position, access the vast banks of corporate memory.
She was quite a visionary. She imagined us in a symbiotic relationship with the Al’s, our corporate decisions made for us. Our conscious decisions, I should say. Tessier-Ashpool would be immortal, a hive, each of us units of a larger entity.
“You’re cracking. The ice is breaking up.”
“No,” he said, suddenly sad, his fragile shoulders sagging. He rubbed his foot against the sand. “It is more simple than that. But the choice is yours.”
He knew the rate of her pulse, the length of her stride in measurements that would have satisfied the most exacting standards of geophysics. “But you do not know her thoughts,” the boy said, beside him now in the shark thing’s heart. “I do not know her thoughts. You were wrong, Case. To live here is to live. There is no difference.”
She’d seen through the sham immortality of cryogenics; unlike Ashpool and their other children — aside from 3Jane — she’d refused to stretch her time into a series of warm blinks strung along a chain of winter.
Wintermute was hive mind, decision maker, effecting change in the world outside. Neuromancer was personality. Neuromancer was immortality. Marie-France must have built something into Wintermute, the compulsion that had driven the thing to free itself, to unite with Neuromancer. Wintermute. Cold and silence, a cybernetic spider slowly spinning webs while Ashpool slept. Spinning his death, the fall of his version of Tessier-Ashpool. A ghost, whispering to a child who was 3Jane, twisting her out of the rigid alignments her rank required.
“So what’s the score? How are things different? You running the world now? You God?”
“Things aren’t different. Things are things.”
--
Count Zero
I finished Count Zero and though I didn't like it as much a Neuromancer, it was a good read! Lot of twists, and the one part where the plane crashes and instead of the much mentioned and anticipated old man Christopher Mitchell, Turner finds a young woman was a nice twist. I was sitting in a salon while reading this section, and my very loud "what!" earned a lot of disapproving looks :D.
Some nice bits from the book:
--
"Forgive me," she found herself saying, to her horror, "but I understood you to say that you live in a - a vat?"
"Yes, Marly. And from that rather terminal perspective, I should advise you to strive to live hourly in your own flesh. Not in the past, if you understand me. I speak as one who can no longer tolerate that simple state, the cells of my body having opted for the quixotic pursuit of individual careers. I imagine that a more fortunate man, or a poorer one, would have been allowed to die at last, or be coded at the core of some bit of hardware. But I seem constrained, by a byzantine net of circumstance that requires, I understand, something like a tenth of my annual income. Making me, I suppose, the world’s most expensive invalid. I was touched, Marly, at your affairs of the heart. I envy you the ordered flesh from which they unfold."
And, for an instant, she stared directly into those soft blue eyes and knew, with an instinctive mammalian certainty, that the exceedingly rich were no longer even remotely human.
"It’s a history of the high-orbit industrial clans. A man at the University of Nice did it. Your Virek’s even in it, come to think; he’s cited as a counterexample, or rather as a type of parallel evolution. This fellow at Nice is interested in the paradox of individual wealth in a corporate age. in why it should still exist at all. Great wealth, I mean. He sees the high-orbit clans, people like the Tessier-Ashpools, as a very late variant on traditional patterns of aristocracy, late because the corporate mode doesn’t really allow for an aristocracy."
"he’d just say that the Lord moved in strange ways…" He shrugged "He said God likes to talk to Himself…"
--
Over the past few months, a new plague has come up to haunt the Indian cyberspace and this time the perpetrators are using the government itself as a platform to show the pathetic situation. It has been seen that many websites which are in fact websites of the Indian government are plagued with child pornography content. This is indeed surprising and shocking that cyber criminals have acquired such audacity that they are actually posting pornographic content on the government websites themselves. The matter was raised after some netizens observed such content on the websites of the Indian government. Read More in hackingstuffs.com/2012/12/22/child-porn-on-indian-governm...
Seoul Conference on Cyberspace 2013
SNS Supporters ‘Cybuddy’ Launching Ceremony
Korea Foreign Minister Yun Byung-se delivers an address to members of ‘Cybuddies’ at the Foreign Ministry in Seoul, August 28.
Ministry of Culture, Sports and Tourism
Korean Culture and Information Service
Korea.net(www.korea.net)
JEON HAN
------------------------------------
2013년 세계사이버스페이스총회
SNS 서포터즈 ‘사이버디(Cybuddy)’ 발대식
윤병세 외교부 장관이 축사를 하고 있다.
외교부, 서울
문화체육관광부
해외문화홍보원
코리아넷
전한
As part of last year's Strategic Defence and Security Review (SDSR) the Prime Minister announced that our ability to detect and defend against cyber attacks would be crucial to our national security, so important that it was elevated to a 'Tier 1' threat alongside issues such as terrorism and international military crises.
Since then, work to embed the culture of operating in cyberspace across the defence community has been taking place in earnest with the Defence Cyber Security Programme being set up to drive the necessary changes.
Now, under the leadership of Major General Jonathan Shaw, Assistant Chief of the Defence Staff (Global Issues), work on the programme is moving ahead quickly and the Cyber Security Policy Team was stood up on 1 April 2011 to develop a unified and integrated response to the threat of cyber attack.Photographer: Harland Quarrington
Image 45153612.jpg from www.defenceimages.mod.uk
For latest news visit: www.mod.uk
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Seoul Conference on Cyberspace 2013
SNS Supporters ‘Cybuddy’ Launching Ceremony
Ministry of Culture, Sports and Tourism
Korean Culture and Information Service
Korea.net(www.korea.net)
JEON HAN
------------------------------------
2013년 세계사이버스페이스총회
SNS 서포터즈 ‘사이버디(Cybuddy)’ 발대식
외교부, 서울
문화체육관광부
해외문화홍보원
코리아넷
전한
Image courtesy his Facebook profile
I would like to introduce you to Benn Bell from Louisville Kentucky ,,I still dont know how we met but , we met cosmically at Buzznet in early 2005 and Buzznet was my earliest baby steps into cyberspace ..and whatever I am today as a indefatigable blogger , prodigiously prolific is because of Buzznet , and friends like Benn Bell, Yorrick Friar Tuck Ayu Sri Mahayani Tom Andrews and a host of people including Xris Taylor..Sierra Whiskey and some who faded away into the twilight zone ..I was posting pictures that were incredibly different , cultural, rituals , bloodletting and the transgender so many added me ,, my world of imagery was hardcore real..with no place for imaginary romantic illusion , my Buzznet timeline was my raw sense of grammar , my poor lexicon of words , but all my friends helped me groomed me to I evolved as a street poet of slam,
I met Bernie Aguirre we started of on a bad note but today almost 10 years down the line this crazy food loving life loving American is also my best friend from Buzznet .
But than this post is not just about Buzznet and my other friends it is about Benn Bell..He stood by me , he supported me , fought my battles against racists who were stuck to my urban brown ass like bees to honey,, I was naive I was stupid foolish those days ,,I was falling in and out of love with American women on Buzznet , Well my Buzznet site got hacked and porn was inserted into my Shia images by some Salafi hacker , there was hell to pay ..With the help of Tom Andrews I deleted 11000 blogs ,, as my my Buzznet site was not accessible to me ,,
Than I came back again to Buzznet as a Shia Thug a new identity Benn and others welcomed me but by than Buzznet was caught in Chemical Romance more music more fun I found I was too old for all this I shut my account and found the shores of Flickr in 2007 .
Benn and all my friends were building homes on Flickr but that magic of Buzznet bonhomie was missing , Flickr was straitlaced photography, you show me yours I show you mine ,, I started blogging via my pictures either in words or in muted remorse ,, and Benn and I met more friends Anthony Posey joined us Fred Miller and so many others .. we shared happiness , we fought online battles against tyranny , oppression , what happened in America touched me too , if there was a bomb blast in Mumbai it was Benn worried about me and my family , Benn was overjoyed when I became a grandfather for the first time.. so sometimes you dont need to be staying in the same area to be the best of friends , you dont have to share the same religion .. or same culture ,,
Benn means a lot to me and I wanted to share my friendship with Benn with all of you ..I hope he visits India one day with Anthony Posey and Bernie ..
This was a poem I wrote on Benns Birthday ..he was kind enough to allow me to use his picture without a water mark.. In Mumbai friends shoot your picture and when you ask them for a copy , they stamp it with their most ostentatious ugly water mark...
Thank You Benn
Benn Bell My Best Friend
image courtesy his facebook profile
Benn Bell
is my Buzznet friend
so many storms
in a tea cup
of life our
friendship
could not end
Benn Bell
is my Flickr friend
so many ups and downs
black and white
in a single color
of humanity
we blend
our friendship
could not end
BennBell
is my Facebook friend
on my pictures
my poems
precious time
he spends
om mani padme hoon
tao zen zenitude
a mouse
instead of a pen
a click on the soul
of friendship
a message of peace
on his birthday
i send
over the years
this man from Philly
has been my best friend
the most noble humble
human being
in praise of his love
for me my family
these few lines
i have
penned
on a keyboard
of amity
a tweet i resend
i know heart of heart
come what may
this cybernetic
friendship
will continue
till its very end
a dead Indian
the best Indian
even after
i am buried
i shall
make it a point
to visit
him every
week end
blithe spirit
from
gods end
More than 700 Airmen assigned to the 323rd Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, Nov. 9-10, 2022. Col. James Hewitt, 688th Cyberspace Wing Commander, reviewed the ceremony. (U.S. Air Force photo by Christa D'Andrea)
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Seoul Conference on Cyberspace 2013
SNS Supporters ‘Cybuddy’ Launching Ceremony
Ministry of Culture, Sports and Tourism
Korean Culture and Information Service
Korea.net(www.korea.net)
JEON HAN
------------------------------------
2013년 세계사이버스페이스총회
SNS 서포터즈 ‘사이버디(Cybuddy)’ 발대식
외교부, 서울
문화체육관광부
해외문화홍보원
코리아넷
전한
Secretary of State Antony J. Blinken and Deputy Secretary of State Wendy Sherman pose for a photo with Jennifer Bachus, Senior Bureau Official and Principal Deputy Assistant Secretary for the Cyberspace and Digital Policy Bureau, and other members of the new Cyberspace and Digital Policy Bureau at the U.S. Department of State in Washington, D.C., on April 4, 2022. [State Department photo by Ron Przysucha/ Public Domain]
NOTE: I'm providing updates below. When possible, subscription free URLs will be added so that anyone may read the full text of articles.
• Please note especially the update of June 2013, which reveals the ever expanding capacity, reach & secret house of mirrors that is now spying on everyone on earth whose communications, business transactions & travels are in any way visible in cyberspace •
For some time, we've known " the Pentagon" is spying on American citizens. "The Pentagon," of course, is George W. Bush, Donald Rumsfeld, Condoleeza Rice, Dick Cheney [& relentlessly & disgracefully since his election, Obama] - ad infinitum, ad nauseum - and is indeed finally the whole American government. Don't tell me 'It can't happen here.' I lived through the era in which J. Edgar Hoover, Joseph McCarthy & the House Un-American Activities Committee (HUAC) ruined the life of any citizen they damn well pleased. It not only can happen here. It has happened. What is perhaps most insidious, however, is that computerization & a steady loss of personal privacy have made the creation of 'enemies lists' infinitely easier & more complete. When the FBI's founder & great criminal Hoover died, he had paper files in his offices on about a half million Americans who either did not like him or were being blackmailed by him. His lifelong companion & the assistant director of the agency, Clyde Tolson, secretly disposed of the files, which were never seen again. Today things are very different. The files can & surely do involve almost all of us, & they exist not on space consuming & cumbersome paper but on little hard disks that are copied for every other governmental department, secret government agency or group that wants them in order to satisfy its perverted purposes & notions about Americanism, Christianity, political activism, terrorism or whatever (sometimes 'whatever' is exactly the right word). It is a serious business, because we are now led by fascists who seek to create a thousand year regime by doing things that in my lifetime & clear memory other men did which led us to put them in the dock at Nuremberg. And do not say, "Oh fascism is too strong a word." Fascism is the political strategy in which the distinction between government & big business is eliminated by a political leader & party in order to get big business to provide absolute & enduring support. That is exactly what Bush & company did & the Obama administration continues to do: Today, our government serves big business with tax relief & deregulation that is catastrophic for our society as a whole, big business supports the regime with wealth, media control & payola, & to hell with the rest of us & anything related to the national interest.
So yes. What is revealed in the article below is bad. Terrible. Monstrously criminal. And as ominous as a pack of hyenas in each of our living, bed & bath rooms. It has nothing to do with anyone's sexual orientation. Rather, it has everything to do with control by means of intimidation, smearing & fear. It is a prolegomenon to the practice of Hell for us all.
pageoneq.com/news/2006/sldn_041106.html
Pentagon admits to surveillance of gay groups, releases documents
by PageOneQ
The Servicemembers Legal Defense Network has released documents obtained under the Freedom of Information Act from the Department of Defense, which confirm the military's surveillance of organizations working to repeal the Military's Don't Ask, Don't Tell Policy, PageOneQ has learned.
"The very idea that the federal government believes freedom of speech is a threat to national security is unconscionable," Steve Ralls, Servicemembers Legal Defense Network’s Director of Communications told PageOneQ today. “The Pentagon has acknowledged that collection of the information was perhaps inappropriate,” Mr. Ralls said as he cited an earlier report by United Press International on the Pentagon’s admission.
Mr. Ralls also explained that Servicemembers Legal Defense Network fully expects the federal government to “discontinue surveillance because there was no legitimate reason to begin it in the first place."
The Department of Defense, according to the 16 pages of documents it released, monitored protests against the DADT policy at college campuses in New York City, Berkeley, and Santa Cruz. A counterintelligence agent reported on the protests against Military recruitment on campuses had "a strong potential for confrontation at this protest..." Discounting a theory that the protest was taking place in a separate location from Military recruiting, the agent wrote "tactics have included using mass text paging to inform others of the location of the recruiters."
The Department of Defense has indicated that it's search for documents relating to surveillance of groups opposed to Don't Ask, Don't tell continues.
The documents are available here.
The SLDN Press release is below
WASHINGTON, DC – The Department of Defense (DoD) has released documentation confirming government surveillance of groups opposed to the military’s “Don’t Ask, Don’t Tell” law banning openly lesbian, gay and bisexual service members. The government’s TALON reports were released in response to a Freedom of Information Act (FOIA) request filed by Servicemembers Legal Defense
Network (SLDN) in January. The release of the documents follows media reports indicating government surveillance of civilian groups at several universities across the country. The Department of Defense acknowledged that it had ‘inappropriately’ collected information on protestors in a letter to the Senate Armed Services Committee, according to a February report by United Press International.
“The Department of Defense has now confirmed the existence of a surveillance program monitoring LGBT groups,” said C. Dixon Osburn, executive director of SLDN. “Pentagon leaders have also acknowledged inappropriately collecting some of the information in the TALON database. That information should be destroyed and no similar surveillance should be authorized in the future. Free expression is not a threat to our national security.”
Although the recently released TALON reports may not be a complete list of groups monitored, it does confirm domestic surveillance of protests at New York University, the University of California at Berkeley, and the University of California at Santa Cruz. DoD has indicated that it continues to search for other documents related to SLDN’s FOIA request.
In February, SLDN filed a lawsuit as part of its efforts to obtain information related to the government’s domestic spy program. The TALON documents, complete information on the lawsuit and the domestic surveillance program are available online at www.Servicemembers Legal Defense Network.org.
Originally published on Tuesday April 11, 2006.
From an article in The Hollywood Reporter
This is from a hardhat tour I took of the Experience Music Project in Seattle as it was nearing completion April, 2000.
Note the Guitar World Special Issue Sept. 1985, edited by yours truly, Noë the G.
I wrote about it in this article, which was syndicated by the BPI Newswire but has somehow disappeared from cyberspace. Now it's back.
Experience This / A first look at Paul Allen's ambitious rock'n' roll temple
The Hollywood Reporter
June 13, 2000
By Noë Gold
All photos by Noë Gold
The high walls of the Sky Church are rumbling, literally shaking with a presence that is not of this Earth.
On the physical plane, the cavernous exhibition hall sits in Seattle, a few yards from the terminus of the monorail that links the city's downtown to its monolithic Space Needle.
On the spiritual plane, Jimi Hendrix, the avatar of guitar-driven rock 'n' roll who first asked "Are You Experienced?" is very much in the house -- a gleaming, new house that media mogul Paul G. Allen has built to honor popular American music.
The Sky Church is the spiritual centerpiece of the soon-to-open Experience Music Project, a massive museum designed by famed architect Frank O. Gehry to enclose 140,000 square feet of free-flowing, music-related exhibits on a 35,000 square-foot plot of land carved out of the city's once-grand Seattle Center.
The references to the Seattle-born Hendrix are intentional. The museum's mission, its founders say, is to have people experience the music. Come June 23, the first paying guests will find out what's going on inside the twisted, sky blue and magenta-hued piece of architecture that has been under construction since 1997.
The Sky Church concept is taken from one of Hendrix's dreams, in which he described a place where all diverse people could come together to appreciate music. The space fulfills Hendrix's prophecy by doubling as a grand exhibition hall by day and a performance space at night.
The EMP itself can be described as a museum with aspects of a theme park, through which people will take a "ride" amid the cultural artifacts that celebrate the blues-based, soul-inflected, rockabilly roots of American music.
More than 800,000 are expected to visit the nonprofit facility each year, with top ticket prices set at $19.95.
The museum opens with a party that will include musical performances by James Brown, Metallica, Red Hot Chili Peppers, Eminem and Snoop Dogg, Alanis Morissette, Eurythmics and Bo Diddley. MTV and VH1 will televise much of the hoopla.
Jody Patton, the EMP's co-founder and executive director and Allen's sister, dates the museum's genesis to 1992, when she and her brother attended a Sotheby's auction of rock 'n' roll memorabilia.
"Paul was intrigued by the artifacts," she says, "and we did the bidding. When the pieces arrived, we gingerly unpacked these things and we were in awe of how the spirit of the person who used them becomes imbued in the personal article. Paul said, 'If I think this stuff is really neat, then other people will be moved as well.'"
In Allen's longhair days, he played a Fender guitar. The obsession continues, except today Allen owns the Stratocaster that Hendrix played at Woodstock in 1969. And a whole lot of other stuff -- 80,000 artifacts, in fact, now reside here. More than 1,200 of them will be on display at at any given time.
The EMP's Hendrix Gallery enshrines the contract signed by the musician for Woodstock, revered objects of Hendrix's outrageous clothing and Allen's version of pieces of the cross: fragments of a guitar Hendrix smashed and burned at 1967's Monterey International Pop Festival.
The Guitar Gallery gives museum-style prominence to artifacts of rock like an early electric lap steel guitar, a Gibson Flying V prototype and axes played by the likes of the Byrds' Roger McGuinn and bluesman Tampa Red. There is a trumpet from Quincy Jones' early days in Seattle and song lyrics by another Seattlite, the late grunge rocker Kurt Cobain. Bob Dylan's harmonica and Janis Joplin's pants are there, too.
A recent hard-hat tour reveals EMP is no mere memorabilia collection. Flat-screen monitors and interactive displays are everywhere. A snaking corridor leads to the "Crossroads" exhibit, the main exhibition area, where disparate musicians like Hendrix, hip-hop and Bing Crosby meet via multimedia.
Patrons can also wander into hands-on personal studios, where they can try their hands at keyboards, drums and guitars.
The facility is truly wired, with organizers especially proud of the flooring itself, a raised platform made of modular concrete slabs that can be removed and bolted down to give technicians access to miles of high-definition optical cable and ISDN lines.
Via a modular data processing unit called a MEG, visitors can zoom in on various exhibits and receive data about what they are seeing. They can then download bookmarks that may be accessed later.
In researching his designs for the building, Gehry visited a music store and looked at guitars, bringing some home and deconstructing them. "It's not supposed to be a smashed-up guitar," says EMP's design and construction project manager, Paul Zumwalt, who created the Portland Trail Blazers' Rose Garden basketball arena, another Paul Allen edifice. "It's about the spirit of the music, with its flow and movement."
Originally, the monorail was supposed to stop short of the building. But when Gehry saw that the monorail bisected the site, he began to play.
Allen and his sister wanted an architectural design that "could literally express the way we respond to the music." And the music she was describing is anything but conventional. Allen used the word "swoopy."
Swoopy is what they got. There is not a right angle in the place. Neighbors who watched the building come together were mystified by what looked like a jumble of curved metallic sections reaching up into the sky.
"What appealed to me about Frank," Patton says of the architect," was his commitment to exploring the process. ... His designs go to a new place aesthetically -- the curves. It is a living, moving, organic thing."
Kind of like Electric Ladyland.
From an article in The Hollywood Reporter
Links referenced within this article
Find this article at:
doctornoemedia.blogspot.com/2013/02/experience-music-proj...
Now dig this ...
#Cyberspace and Perceptually Distorted Themed PSA by Michael Nuccitelli, Psy.D. #iPredator NYC - Educational #Cyberpsychology #Cyberbullying & #Cyberstalking Website: www.ipredator.co/
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?