http://folksonomy.co/?rss=577 Folksonomy.co is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Sun, 12 May 2013 13:30:31 +1000 Sun, 12 May 2013 13:30:31 +1000 Constellations 2.0 http://folksonomy.co/?member=1 60 http://folksonomy.co/Folksonomy.gif http://folksonomy.co/ http://folksonomy.co/?permalink=3302 Not a chance The promoters of big data would like us to believe that behind the lines of code and vast databases lie objective and universal insights into patterns of human behavior be it consumer spending criminal or terrorist acts healthy habits or employee productivity But many big-data evangelists avoid taking a hard look at the weaknesses Numbers can t speak for themselves and data sets no matter their scale are still objects of human design The tools of big-data science such as the Apache Hadoop software framework do not immunize us from skews gaps and faulty assumptions Those factors are particularly significant when big data tries to reflect the social world we live in yet we can often be fooled into thinking that the results are somehow more objective than human opinions Biases and blind spots exist in big data as much as they do in individual perceptions and experiences Yet there is a problematic belief that bigger data is always better data and that correlation is as good as causation Kate Crawford 12 May 2013 Foreign Policy http://folksonomy.co/?permalink=3302 Sun, 12 May 2013 13:30:31 +1000 http://folksonomy.co/?permalink=3264 The strengths of qualitative research methods lie in their usefulness for understanding the meaning and context of the phenomena studied and the particular events and processes that make up these phenomena over time in real-life natural settings 5 When evaluating computer information systems these contextual issues include social cultural organizational and political concerns surrounding an information technology the processes of information systems development installation and use or lack of use and how all these are conceptualized and perceived by the participants in the setting where the study is being conducted 6 Bonnie Kaplan and Joseph A Maxwell p 31 2005 Kaplan B and J Maxwell 2005 Qualitative Research Methods for Evaluating Computer Information Systems Evaluating the Organizational Impact of Healthcare Information Systems J Anderson and C Aydin New York Springer 30-55 http://folksonomy.co/?permalink=3264 Sun, 31 Mar 2013 16:10:25 +1000 http://folksonomy.co/?permalink=3253 silenc is a tangible visualization of an interpretation of silent letters within Danish English and French One of the hardest parts about language learning is pronunciation the less phonetic the alphabet the harder it is to correctly say the words A common peculiarity amongst many Western languages is the silent letter A silent letter is a letter that appears in a particular word but does not correspond to any sound in the word s pronunciation A selection of works by Hans Christian Andersen is used as a common denominator for these translations All silent letters are set in red text When viewed with a red light filter these letters disappear leaving only the pronounced text silenc is based on the concept of the find-and-replace command This function is applied to a body of text using a database of rules The silenc database is constructed from hundreds of rules and exceptions composed from known guidelines for un pronunciation Processing code marks up the silent letters and GREP commands format the text silenc is visualized in different ways In one form of a book silent letters are marked up in red yet remain in their original position In another iteration silent letters are separated from the pronounced text and exhibited on their own pages in the back of the book the prevalence of silent letters is clearly evident Momo Miyazaki Manas Karambelkar and Kenneth Aleksander Robertsen http://folksonomy.co/?permalink=3253 Sun, 24 Mar 2013 19:27:49 +1000 http://folksonomy.co/?permalink=3241 Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the 20th century In fact the key hypothesis of our Radical Pedagogy 1 research project is that these experiments can be understood as radical architectural practices in their own right Radical in the literal meaning from the Latin radice as something belonging or relating to the root to its foundations Radical pedagogies shake foundations disturbing assumptions rather than reinforcing and disseminating them This challenge to normative thinking was a major force in the postwar field of architecture and has surprisingly been neglected in recent years Architectural pedagogy has become stale Schools spin old wheels as if something is happening but so little is going on Students wait for a sense of activist engagement with a rapidly evolving world but graduate before it happens The fact that they wait for instruction is already the problem Teachers likewise worry too much about their place in the institutional hierarchies Curricular structures have hardly changed in recent decades despite the major transformations that have taken place with the growth of globalisation new technologies and information culture As schools appear to increasingly favour professionalisation they seem to drown in self-imposed bureaucratic oversight suffocating any possibility for the emergence of experimental practices and failures There are a few attempts to wake things up here and there but it s all so timid in the end There is no real innovation In response to the timidity of schools today the Radical Pedagogy project returns to the educational experiments of the 1960s and 70s to remind us what can happen when pedagogy takes on risks It s a provocation and a call to arms Beatriz Colomina with Esther Choi Ignacio Gonzalez Galan and Anna-Maria Meister 28 September 2012 The Architectural Review 1 Radical Pedagogy is an ongoing multi-year collaborative research project by a team of PhD candidates in the School of Architecture at Princeton University led by Beatriz Colomina and involving seminars interviews and guest lectures by protagonists and scholars The project explores a remarkable set of pedagogical experiments of the 1960s and 70s that revolutionised thinking in the discipline Each student is working on one of these experiments and collectively mapping the interconnections and effects of these experiments towards a major publication and exhibition Fig 1 Tournaments in the Course Culture of the Body at the Valpara iacute so School 1975 Courtesy of Archivo Hist oacute rico Jose Vial Escuela Arquitectura y Dise ntilde o Pontificia Universidad Cat oacute lica de Valpara iacute so http://folksonomy.co/?permalink=3241 Wed, 20 Mar 2013 11:25:38 +1000 http://folksonomy.co/?permalink=3196 Dying metaphors A newly invented metaphor assists thought by evoking a visual image while on the other hand a metaphor which is technically dead e g iron resolution has in effect reverted to being an ordinary word and can generally be used without loss of vividness But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves Examples are Ring the changes on take up the cudgel for toe the line ride roughshod over stand shoulder to shoulder with play into the hands of no axe to grind grist to the mill fishing in troubled waters on the order of the day Achilles heel swan song hotbed Many of these are used without knowledge of their meaning what is a rift for instance and incompatible metaphors are frequently mixed a sure sign that the writer is not interested in what he is saying Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact For example toe the line is sometimes written as tow the line Another example is the hammer and the anvil now always used with the implication that the anvil gets the worst of it In real life it is always the anvil that breaks the hammer never the other way about a writer who stopped to think what he was saying would avoid perverting the original phrase George Orwell George Orwell 1950 Shooting an Elephant and Other Essays Secker amp Warburg Publishers UK http://folksonomy.co/?permalink=3196 Mon, 11 Feb 2013 16:06:52 +1000 http://folksonomy.co/?permalink=3121 Melvyn Bragg and his guests discuss the meaning and value of culture in the twenty-first century In a programme recorded in front of an audience at Newcastle s Literary and Philosophical Society Melvyn and the panel consider whether Matthew Arnold s assessment of culture as the great help out of our present difficulties still has any relevance almost 150 years after it was written Melvyn Bragg 2013 The Value of Culture Two Cultures Radio broadcast Episode 5 of 5 Duration 42 minutes First broadcast Friday 04 January 2013 Presenter Melvyn Bragg Producer Thomas Morris for the BBC Radio 4 UK Photo credit J Russell Strobel Lab Yale University 2009 http://folksonomy.co/?permalink=3121 Fri, 04 Jan 2013 12:10:43 +1000 http://folksonomy.co/?permalink=3118 Melvyn Bragg considers how technology and increasing access to education made possible the rise of a true mass culture in the twentieth century He examines how the rise of cinema and photography opened the cultural realms to millions and how our understanding of what culture is and what it s for was transformed by the work of scholars such as Richard Hoggart and Raymond Williams Melvyn Bragg 2013 The Value of Culture Two Cultures Radio broadcast Episode 4 of 5 Duration 42 minutes First broadcast Thursday 03 January 2013 Presenter Melvyn Bragg Producer Thomas Morris for the BBC Radio 4 UK http://folksonomy.co/?permalink=3118 Thu, 03 Jan 2013 18:41:34 +1000 http://folksonomy.co/?permalink=3095 Propaganda 2012 is a 95-minute video that presents itself as a North Korean educational video intending to inform the citizens of the Democratic People s Republic of Korea about the dangers of Western propaganda The video s uploader known as Sabine reiterates a statement she gave to the Federal Police regarding the movie s origins She explains how the film was given to her by people claiming to be North Korean defectors whilst she was visiting Seoul Although the origins of Propaganda 2012 are contentious its power lies in the fact that much of its content attempts to avoid invented history Considering the media buzzwords associated with the alleged country of origin Propaganda 2012 turns a mirror onto the Western world and seeks to criticise its entire history and culture e from the genocide and imperialism of its past to the interventionism and consumerism of the modern era The movie s overall attitude seems to express an intention to educate shock and caution its audience into realising that people in the West are governed by a super-rich ruling class The one per cent who do not offer them true democracy but instead seek to invade and assimilate as many countries as possible whilst distracting their population with a smokescreen of consumerism celebrity and reality television This message is spread across the video s 17 chapters which each attempt to focus on specific examples of Western indoctrination and oppression The film is regularly punctuated by commentary from an anonymous North Korean professor and quotes from Western thinkers such as Noam Chomsky and Richard Dawkins Propaganda 2012 is certainly a film where the audience takes from it what they bring to it and a variety of emotions can be induced upon viewing Laughter cynicism outrage contemplation and reflection would all be adequate responses to the video s tough and often graphic portrayal of the complex world in which we are living Yet perhaps the most important thing to remember when watching the film is that the video is available to view uncensored on a largely unregulated world wide web and merely represents an extreme end of the vast spectrum of free expression Therefore during this festive end to an austere year enjoy Propaganda 2012 as an interesting and beguiling alternative voice that cries loudly against the dangers of religious consumerism and reminds us to remain humble and reflect on those less fortunate than ourselves Kieran Turner-Dave 17 December 2012 Independent Arts Blogs http://folksonomy.co/?permalink=3095 Wed, 19 Dec 2012 11:38:00 +1000 http://folksonomy.co/?permalink=3079 Brands are everywhere in the air on the high street in the kitchen on television and maybe on your feet But what kinds of things are they The brand a medium of exchange between company and consumer has become one of the key cultural forces of our time and one of the most important vehicles of globalisation In a new approach that uses media theory to study the economy Celia Lury offers a detailed and innovative analysis of the brand Celia Lury 2004 Celia Lury 2004 Brands The Logos of Global Economy International Library of Sociology Routledge http://folksonomy.co/?permalink=3079 Mon, 10 Dec 2012 17:31:49 +1000 http://folksonomy.co/?permalink=2968 THE BIG PICTURE is the theme of the August 30 to September 3 2012 Ars Electronica Festival Occupying the focal point is the effort to identify all-encompassing images that capture the world that s coming to be Big Pictures that do justice to the progressive globalization and interrelatedness of our world ones that capture its contradictions and flaws as well as ways in which people are coming together By showcasing inspiring best-practice examples from art and science this year s festival is a call for a new open-minded way of considering the development of a viable vision of our future - how such a Big Picture ought to be composed and how it might become reality Ars Electronica Festival 2012 Fig 1 work of Seiko Mikami Desire of Codes http://folksonomy.co/?permalink=2968 Mon, 22 Oct 2012 16:10:51 +1000 http://folksonomy.co/?permalink=2956 Les Statues meurent aussi co-directed with Alain Resnais This 30 minute short film has a chequered history of censorship that at one time elevated it to a somewhat mythical status 2 and which prevented it from being brought into the wider public eye until some 16 years after it was completed After its first screening at the Cannes Film Festival in 1953 and in spite of winning the Prix Jean Vigo in 1954 Les Statues meurent aussi was banned in France by the Centre National de la Cin eacute matographie between 1953 and 1963 owing to its controversial anti-colonialist stance 3 While a truncated version was made available in 1963 the unabridged film only became available in 1968 Les Statues meurent aussi was commissioned by the literary review and publishing house Pr eacute sence Africaine which was set up in 1947 in Paris as a quarterly literary review for emerging and important African writers Founded by the Senegalese thinker Alioune Diop it housed the writings of some of the most important francophone thinkers in the latter half of the 20th century such as Aim eacute C eacute saire Ousmane Sembene L eacute opold S eacute dar Senghor in addition to French metropolitan writers such as Jean-Paul Sartre and Albert Camus The journal also translated groundbreaking works by Chinua Achebe and Wole Soyinka into French for the first time Having emerged so soon after the new French Constitution of 1946 had declared a French Union Pr eacute sence Africaineos publications signalled a new post-colonial status for French and francophone thought embracing what was then a key notion that of n eacute gritude 4 It is this notion that the second half of Les Statues meurent aussi engages with most deeply and perhaps most controversially especially as it strives to connect the death of the statue with the rise in the commercialisation of African art for the pleasure of the colonial classes Indeed it is against the backdrop of a France that had so recently lost its colonial power but which still retained many of the quasi-Manichean distinctions between white Western culture and black African culture that and in spite of their claims to the contrary Resnais and Markeros film projected its passionately anti-colonial anti-racist even anti-capitalist audio-visual collage It is little wonder then that such a film should have been censored until the late 1960s by which time it might have lost some of its topicality but none of its political vigour Jenny Chamarette 14 September 2009 Senses of Cinema 1 Sarah Cooper Chris Marker Manchester University Press Manchester and New York 2008 As Cooper points out Les Statues meurent aussi is available as an extra on the French DVD release of Resnaiso Hiroshima mon amour Arte France and Argos Films 2004 2 See Roy Armeso entry on Les Statues meurent aussi in his The Cinema of Alain Resnais A Zwemmer A S Barnes London and New York 1968 p 34 3 This is heavily documented in scholarship on Marker and Resnais In particular see Cooper p 12 Emma Wilson Alain Resnais Manchester University Press Manchester and New York 2006 pp 22-4 Nora M Alter Chris Marker University of Illinois Press Urbana Chicago 2006 pp 58-9 4 For further details see V Y Mudimbe ed The Surreptitious Speech EPr eacute sence AfricaineE and the Politics of Otherness 1947-87 Chicago University Press Chicago 1992 pp 3-4 http://folksonomy.co/?permalink=2956 Sat, 20 Oct 2012 22:57:07 +1000 http://folksonomy.co/?permalink=2938 This diagram was meant as a challenge to the prevailing art world hegemony It was created to prove the argument that graffiti and street art were already at the center of the art world whether they were officially recognized or not Utilizing the same graphic vocabulary as Alfred H Barr Jr the first director of MoMA for the cover of the catalog for Cubist and Abstract Art exhibition in 1937 to create an impression of authority equivalent to his diagram The Feral Diagram picks up chronologically where Barr left off thereby subverting and redirecting the officially recognized historical trajectory Six years after the first draft of this diagram the acknowledgement of graffiti and street art as important movements within the fine art community if not the most important movements at the beginning of the new millenium has come to light with major museum retrospectives a never ending stream of books on the subject websites products etc Daniel Feral 2011 Flickr Fig 1 revised Feral Diagram 2 0 version http://folksonomy.co/?permalink=2938 Mon, 08 Oct 2012 19:20:24 +1000 http://folksonomy.co/?permalink=2848 Most little girls grow up playing with Barbie dolls Some even want to look like them One 21-year-old has become one or so she says Valeria Lukyanova has become an internet sensation in her home country of Russia claiming on her blog to be the most famed woman on the Russian-language internet Her doll-like features long blonde hair and perfecto body make her look like a real life Barbie Laura Cox PUBLISHED 18 14 22 April 2012 UPDATED 01 40 25 April 2012 Dailymail co uk http://folksonomy.co/?permalink=2848 Sat, 28 Jul 2012 15:54:44 +1000 http://folksonomy.co/?permalink=2837 The writerly text is a perpetual present upon which no consequent language which would inevitably make it past can be superimposed the writerly text is ourselves writing before the infinite play of the world the world as function is traversed intersected stopped plasticized by some singular system Ideology Genus Criticism which reduces the plurality of entrances the opening of networks the infinity of languages Roland Barthes p 5 1 Roland Barthes 1970 S Z translated by Richard Miller Blackwell Publishing 2 A British one penny coin from 1903 which has been defaced by Suffragettes Crown copyright http://folksonomy.co/?permalink=2837 Sat, 21 Jul 2012 22:01:30 +1000 http://folksonomy.co/?permalink=2783 whilst the application of design is multiplying exponentially it is also loosing its validity as an authentic cultural icon It has become synonymous with cloning the face of global culture itself more often representing the uniformity of mass globalisation rather than reflecting the facets of cultural difference and diversity The cultural attributes of difference and diversity have been fundamentally weakened and like face that has undergone cosmetic surgery the result is a facsimile vaguely familiar but disturbingly without a true sense of identity It is everyone s and no one s and belongs in no single place more than another Design has become omnipresent within Culture as it has been adopted as a convenient badge to add value and market commodity and to signify identity Following Designer era of 1980 s the added value of design was replaced by design as cultural value embodied in leading Brands of the 1990 s in the 21st Century the task of capturing Culture has become more and more difficult in terms of expressing culture through the medium of design Design increasingly struggles for a clear sense of definition and one is left asking what can Culture really mean today if it is no longer tied to consumer lifestyle We remain in a post-contemporary state where we require a redefinition of meaning value and identity The uncertainty of a designed fusion Culture has replaced the certainty of traditional cultural monoculture Which in turn has been diluted by an obsession with cultural materialismo What remains of the original cultural sources are being plundered in order to restock our lack of creative DNA The net result is an erosion of the remaining authentic sources but also the creation of a cultural time lago which has been generated by a convergence of trans-cultural fusions hybridisation and of recurrent cultural cross referencing David Carlson on 21 Mar 21 2011 David Report Fig 1 paper sculptures made by Jennifer Collier http jennifercollier co uk http://folksonomy.co/?permalink=2783 Wed, 27 Jun 2012 19:59:07 +1000