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Wednesday, July 06, 2011

the death of the conversation

The ever great Stuart Baily has reinvented
himself no more dexter sinister and now the
serving library. Here's an extract from one of
the essays by Bruce Sterling:
This is Jacqueline Goddard
speaking 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’s
knock-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.

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.


Thursday, May 19, 2011

Berg video note

Week 310 from BERG on Vimeo.

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.

Thursday, April 07, 2011

KOC 93

Amazing to think that all these riders where down in Pompey in 93.

Mirra breaks record

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.

Saturday, March 05, 2011

BTC Original Lights

BTC Original lights are made of glass dipped in ceramic. You get a wonderful glow through them.

All made in the UK.

Friday, February 04, 2011

VW Passat Ad

From: volkswagen | February 02, 2011 | 8,824,684 views

2 days to reach nearly 9 million views, I think you can call that the viral effect.