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Friday, December 09, 2011
Monday, December 05, 2011
Monday, October 03, 2011
Friday, August 19, 2011
Tuesday, August 02, 2011
Saturday, July 09, 2011
Friday, July 08, 2011
Wednesday, July 06, 2011
the death of the conversation
The ever great Stuart Baily has reinventedhimself no more dexter sinister and now theserving library. Here's an extract from one ofthe essays by Bruce Sterling:THE LIFE AND DEATH OF MEDIA
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This is Jacqueline Goddardspeaking in January 1995. Jacqueline was born in 1911, and she was one of the 20th century’s great icons of bohemian femininity. Man Ray photographed her in Paris in 1930, and if we can manage it without being sued by the Juliet Man Ray Trust, we’re gonna put brother Man Ray’sknock-you-down-and-stomp-you-gorgeous image of Jacqueline up on our vaporware Website someday. She may be the patron saint of this effort.Jacqueline testifies:After a day of work, the artists wanted to get away from their studios, and get away from what they were creating. They all met in the cafes to argue about this and that, to discuss their work, politics and philosophy ... We went to the bar of La Coupole. Bob, the barman, was a terribly nice chap ... As there was no telephone in those days everybody used him to leave messages. At the Dome we also had a little place behind the door for messages. The telephone was the death of Montparnasse.
Friday, July 01, 2011
Wednesday, June 22, 2011
Tuesday, June 21, 2011
Monday, June 13, 2011
Sunday, June 12, 2011
Monday, June 06, 2011
Wednesday, June 01, 2011
how to write a recipe
In commercial NYC pizzeria we did 24 hours , but emergencies a minimum of 8 hours. In home I try for about the same. make it knead it , rest 10-20 mins fast knead, cut oil, fridge min 8 hours, keeps about 4 or so days.
take out of fridge, do not warm the dough, make a disc with a rim and lump in center working outwards, kinda like a priest/bishops hat. On a slab if you can. Oven on 550 degrees, stones if you got'em. use firebricks cheaper then a baking stone and thicker then a terracotta tile system, but they are good as well. At 550 degrees a Neoploitan comes out in 8 mins or less., that is the way it was done in the pizzerria and the way I eventually made it at home. Also "sauce" is not cooked, it is ground termater with herbs, cold on pie. Mozzerella is grated in morning put on a tray and fridged, which dries it out a bit.
ciao-sparkie
take out of fridge, do not warm the dough, make a disc with a rim and lump in center working outwards, kinda like a priest/bishops hat. On a slab if you can. Oven on 550 degrees, stones if you got'em. use firebricks cheaper then a baking stone and thicker then a terracotta tile system, but they are good as well. At 550 degrees a Neoploitan comes out in 8 mins or less., that is the way it was done in the pizzerria and the way I eventually made it at home. Also "sauce" is not cooked, it is ground termater with herbs, cold on pie. Mozzerella is grated in morning put on a tray and fridged, which dries it out a bit.
ciao-sparkie
Thursday, May 26, 2011
in b flat
No matter how many things you see something always passes you by this one one of them. No App needed just a web connection.
Thursday, May 19, 2011
Why the creative industry is sexist and racist
Heres a small section of a report
'Art for a Few: Exclusion and Misrecognition in Art and Design Higher Education Admissions'
Researchers: Professor Penny Jane Burke & Jackie McManus
The observation data also exposes the ways that
racialised subjectivities inform admissions tutors’ judgments in the
selection process. Nina, a Black working class young woman from
a poor inner city area, applying for a Fashion Design BA, was asked
at the beginning of her interview about the influences on her work:
Interviewer: What influences your work?
Nina: I’m influenced by hip-hop.
Interviewer: Hip-hop or the history of hip-hop?
Nina: The history of hip-hop
In response to Nina’s answer, the body language of the interviewers
visibly changed. They leaned back in their chairs and appeared to go
through the motions of interviewing Nina. They asked her what she
would like to design and she answered that she was interested in
designing sports tops. After a few more questions, seemingly asked to
confirm their view of Nina as an inappropriate candidate, they curtailed
the interview, giving Nina less time than other applicants. After Nina
left the interview room, the interviewers immediately decided to reject
her. They discussed how they would record this on the form they were
required to complete about all applicants:
Interviewer one: Why should we say we’re rejecting her?
Interviewer two: Well she’s all hip-hop and sport tops
Interviewer one: We’ll say that her portfolio was weak.
Yet, when the interviewers reviewed her portfolio before the interview
took place, they had not deemed it weak. Following her interview,
the two interviewers recorded on their form that Nina’s portfolio
was below average, noting also that the clothes she wore to the
interview were not fashionable and that she lacked confidence.
Nina was dressed very smartly in dark jeans and a cotton top. All of
the other (white) female candidates were dressed in similar smart
casual clothing of tunic, leggings and pumps. The interviewers also
noted their dissatisfaction with Nina’s intentions to live at home
whilst studying, suggesting this was a sign of immaturity. They also
noticed that there was a page missing from the test paper that Nina
had been given, but agreed that this didn’t matter because they had
already decided to reject her. The white middle-class male candidate
interviewed immediately after Nina, was from an affluent spa town,
expensively dressed and cited famous contemporary artists and
designers amongst his influences. In the interview discussion, he
confirmed that he would ‘definitely be leaving home because it is all
part of the experience.’ The young man was offered a place in spite of
having considerably poorer qualifications than Nina, including having
failed GCSE Art. We suggest that although this applicant was less
qualified than Nina, and like her had a portfolio initially assessed as
average, the interviewers recognised and valued his cultural capital
allowing it to be converted into symbolic cultural capital, and traded
upon (Skeggs, 2004) for a place in higher education.
Nina was not recognized as a legitimate subject of art and design
studies because she cited a form of fashion/influence seen as
invalid in the higher education context. Furthermore, her intentions
not to leave home were read as signifying her inappropriate subject
position. The male, middle-class, white-English candidate on the
other hand knew how to cite the discourses that would enable him to
be recognized as a legitimate student subject. Although no explicitly
racist statements were made by the admissions tutors, we want to
argue that their judgments were shaped by implicit, institutionalized,
disciplinary and racialised perspectives of what counts as legitimate
forms of experience and knowledge. Classed, gendered and racialised
formations of subjectivity, which are embodied as well as performative,
profoundly shape selection-processes. Such judgments are made
in the context of struggles the tutors themselves are involved
with in relation to their own institutional, embodied, performative
subjectivities. This is tied in with the derogatory discourses of ‘dumbing
down’ and ‘lowering standards’ and the desire to be recognized
as ‘world class’. This is implicitly underpinned by debates about
knowledge and skills and work-based, vocational provision as marked
out as less legitimate than courses and institutions seen as academic
and high status.
'Art for a Few: Exclusion and Misrecognition in Art and Design Higher Education Admissions'
Researchers: Professor Penny Jane Burke & Jackie McManus
The observation data also exposes the ways that
racialised subjectivities inform admissions tutors’ judgments in the
selection process. Nina, a Black working class young woman from
a poor inner city area, applying for a Fashion Design BA, was asked
at the beginning of her interview about the influences on her work:
Interviewer: What influences your work?
Nina: I’m influenced by hip-hop.
Interviewer: Hip-hop or the history of hip-hop?
Nina: The history of hip-hop
In response to Nina’s answer, the body language of the interviewers
visibly changed. They leaned back in their chairs and appeared to go
through the motions of interviewing Nina. They asked her what she
would like to design and she answered that she was interested in
designing sports tops. After a few more questions, seemingly asked to
confirm their view of Nina as an inappropriate candidate, they curtailed
the interview, giving Nina less time than other applicants. After Nina
left the interview room, the interviewers immediately decided to reject
her. They discussed how they would record this on the form they were
required to complete about all applicants:
Interviewer one: Why should we say we’re rejecting her?
Interviewer two: Well she’s all hip-hop and sport tops
Interviewer one: We’ll say that her portfolio was weak.
Yet, when the interviewers reviewed her portfolio before the interview
took place, they had not deemed it weak. Following her interview,
the two interviewers recorded on their form that Nina’s portfolio
was below average, noting also that the clothes she wore to the
interview were not fashionable and that she lacked confidence.
Nina was dressed very smartly in dark jeans and a cotton top. All of
the other (white) female candidates were dressed in similar smart
casual clothing of tunic, leggings and pumps. The interviewers also
noted their dissatisfaction with Nina’s intentions to live at home
whilst studying, suggesting this was a sign of immaturity. They also
noticed that there was a page missing from the test paper that Nina
had been given, but agreed that this didn’t matter because they had
already decided to reject her. The white middle-class male candidate
interviewed immediately after Nina, was from an affluent spa town,
expensively dressed and cited famous contemporary artists and
designers amongst his influences. In the interview discussion, he
confirmed that he would ‘definitely be leaving home because it is all
part of the experience.’ The young man was offered a place in spite of
having considerably poorer qualifications than Nina, including having
failed GCSE Art. We suggest that although this applicant was less
qualified than Nina, and like her had a portfolio initially assessed as
average, the interviewers recognised and valued his cultural capital
allowing it to be converted into symbolic cultural capital, and traded
upon (Skeggs, 2004) for a place in higher education.
Nina was not recognized as a legitimate subject of art and design
studies because she cited a form of fashion/influence seen as
invalid in the higher education context. Furthermore, her intentions
not to leave home were read as signifying her inappropriate subject
position. The male, middle-class, white-English candidate on the
other hand knew how to cite the discourses that would enable him to
be recognized as a legitimate student subject. Although no explicitly
racist statements were made by the admissions tutors, we want to
argue that their judgments were shaped by implicit, institutionalized,
disciplinary and racialised perspectives of what counts as legitimate
forms of experience and knowledge. Classed, gendered and racialised
formations of subjectivity, which are embodied as well as performative,
profoundly shape selection-processes. Such judgments are made
in the context of struggles the tutors themselves are involved
with in relation to their own institutional, embodied, performative
subjectivities. This is tied in with the derogatory discourses of ‘dumbing
down’ and ‘lowering standards’ and the desire to be recognized
as ‘world class’. This is implicitly underpinned by debates about
knowledge and skills and work-based, vocational provision as marked
out as less legitimate than courses and institutions seen as academic
and high status.
Thursday, April 21, 2011
Posy Simmonds in her studio
This is from 2008 but always good to see how someone like Simmonds crafts her work.
Thursday, April 07, 2011
Wednesday, April 06, 2011
webby hour of tricks
Power Hour: Mark Webb - More BMX Videos
Only Mark Webb could keep up this amount and intensity of riding, un believable.Tuesday, April 05, 2011
Friday, April 01, 2011
albion issue 1
Where BMX and graphic design collide. A refreshing change to the normal brochure ware of bmx mags.
Hopefully they wont fill it with moronic interviews like ride.
Click 4down to find your nearest bike shop for a free copy
4DOWN DIST
4DOWN DIST
Saturday, March 19, 2011
Wednesday, March 16, 2011
Tuesday, March 15, 2011
Monday, March 14, 2011
Saturday, March 12, 2011
Saturday, March 05, 2011
BTC Original Lights
BTC Original lights are made of glass dipped in ceramic. You get a wonderful glow through them.Wednesday, February 16, 2011
Sunday, February 13, 2011
Monday, February 07, 2011
Saturday, February 05, 2011
Friday, February 04, 2011
Sunday, January 30, 2011
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