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    <description>recent bookmarks from shannon_mattern</description>
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	<rdf:li rdf:resource="http://socialarchive.iath.virginia.edu/"/>
	<rdf:li rdf:resource="http://chronicle.com/article/Artists-Debate-Whether-the/131833/?sid=pm"/>
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	<rdf:li rdf:resource="http://rhizome.org/editorial/2012/may/14/conversation-andrew-norman-wilson/"/>
	<rdf:li rdf:resource="http://www.cite-city.com/"/>
	<rdf:li rdf:resource="http://www.hybridpedagogy.com/Journal/files/Four_Virtues_of_Citation.html"/>
	<rdf:li rdf:resource="http://www.archdaily.com/233676/reactor-films-brooks-scarpa-architects/"/>
	<rdf:li rdf:resource="http://cementimental.bandcamp.com/album/molecular-rampage"/>
	<rdf:li rdf:resource="http://www.nytimes.com/2012/05/06/realestate/streetscapes-the-pioneering-tribune-building-of-1875.html"/>
	<rdf:li rdf:resource="http://motherboard.vice.com/2012/5/8/tumblr-invaded-the-new-york-times-underground-morgue--2"/>
	<rdf:li rdf:resource="http://jussiparikka.net/2012/05/08/what-is-media-archaeology-out-now/"/>
	<rdf:li rdf:resource="http://www.theatlanticcities.com/arts-and-lifestyle/2012/04/cities-are-surprisingly-menacing-when-you-remove-all-people/1654/#"/>
	<rdf:li rdf:resource="http://popupcity.net/2012/05/silent-world-what-makes-a-city-a-city/"/>
	<rdf:li rdf:resource="http://chronicle.com/article/Teaching-PhDs-How-to-Reach/131776/"/>
	<rdf:li rdf:resource="http://nplusonemag.com/54"/>
	<rdf:li rdf:resource="http://chronicle.com/article/The-Case-for-Breaking-Up-With/131760/"/>
	<rdf:li rdf:resource="http://jacobinmag.com/spring-2012/against-chairs/"/>
	<rdf:li rdf:resource="http://blogs.loc.gov/digitalpreservation/"/>
	<rdf:li rdf:resource="http://opinionator.blogs.nytimes.com/2012/05/06/the-practical-and-the-theoretical/"/>
	<rdf:li rdf:resource="http://arcade.stanford.edu/journals/rofl/blog/theory-dead"/>
	<rdf:li rdf:resource="http://chronicle.com/article/Life-After-the-Death-of-Theory/44910"/>
	<rdf:li rdf:resource="http://twigterrariums.com/"/>
	<rdf:li rdf:resource="http://www.youtube.com/watch?v=PQ4o1N4ksyQ"/>
	<rdf:li rdf:resource="http://vimeo.com/41579923"/>
	<rdf:li rdf:resource="http://www.domusweb.it/en/book-review/app-proof-architects"/>
	<rdf:li rdf:resource="http://nyuarchiveworkshop.wordpress.com/2012/05/04/networked-new-york-qa-kristen-doyle-highland/"/>
	<rdf:li rdf:resource="http://nymag.com/daily/intel/2012/05/11-things-different-about-old-new-york.html"/>
	<rdf:li rdf:resource="http://m.ammoth.us/blog/2012/05/glitch-jam/"/>
	<rdf:li rdf:resource="http://anthem-group.net/2012/05/02/the-object-strikes-back/"/>
	<rdf:li rdf:resource="http://motherboard.vice.com/2012/5/2/hey-big-companies-data-are-actual-things-that-take-up-space"/>
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	<rdf:li rdf:resource="http://www.acegallery.net/artistmenu.php?Artist=8#"/>
	<rdf:li rdf:resource="http://brooklynrail.org/2011/05/artseen/david-altmejd-1"/>
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	<rdf:li rdf:resource="http://www.theatlantic.com/technology/archive/2012/05/remember-the-telephone/256616/"/>
	<rdf:li rdf:resource="http://chronicle.com/article/A-Digital-Boot-Camp-for-Grad/131665/"/>
	<rdf:li rdf:resource="http://proteanrelay.blogspot.com/2012/03/make-your-next-group-project-great.html"/>
	<rdf:li rdf:resource="http://www.nybooks.com.libproxy.newschool.edu/articles/archives/2012/may/10/master-bigness-rem-koolhaas/?pagination=false"/>
	<rdf:li rdf:resource="http://takingnotenow.blogspot.com/2012/04/categories-and-wastebaskets.html"/>
	<rdf:li rdf:resource="http://www.cca.qc.ca/en/collection/1701-this-sense-of-apprehension"/>
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  </channel><item rdf:about="http://www.theatlanticcities.com/technology/2012/05/how-smart-phones-are-turning-our-public-places-private-ones/2017/">
    <title>How Smart Phones Are Turning Our Public Places Into Private Ones - Technology - The Atlantic Cities</title>
    <dc:date>2012-05-16T13:38:21+00:00</dc:date>
    <link>http://www.theatlanticcities.com/technology/2012/05/how-smart-phones-are-turning-our-public-places-private-ones/2017/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[...the ubiquitous smart phone may even degrade the way we recognize, memorize and move through cities. We will lose many of these benefits when we’re one day all walking around thumbing our Twitter feeds... So why do smart phones change our behavior so much more radically than their simpler cell-phone predecessors did? Smart phones, Hatuka says, combine numerous spheres: your social network, your email, your news source, your live personal conversations. When you’re interacting with each of those spheres while walking through a public park, which social code do you follow? Do you follow the code of the public park (wherein we politely make eye contact with one another), or do you follow the social code of Facebook (wherein you better hurry up and acknowledge all the friends who just “liked” your latest status update)?

As Hatuka and Toch have found, for smart-phone users, the social norms of the physical world are often trumped. They’re becoming  less important. All of this means we may need a concerted campaign to keep the “public” in the public sphere, to actively encourage people to observe and interact with each other. We may even need to redesign our public places to do this.]]></description>
<dc:subject>cell_phones public_space navigation walking</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
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<item rdf:about="https://blogs.law.harvard.edu/mediaberkman/2012/04/25/rb-200-the-library-of-the-future/">
    <title>MediaBerkman » Blog Archive » RB 200: The Library Of The Future</title>
    <dc:date>2012-05-16T06:10:59+00:00</dc:date>
    <link>https://blogs.law.harvard.edu/mediaberkman/2012/04/25/rb-200-the-library-of-the-future/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Inspired by the work of Harvard Graduate School of Design students in Biblioteca 2: Library Test Kitchen – who spent the semester inventing and building library innovations ranging from nap carrels to curated collections displayed on book trucks to digital welcome mats – we turned the microphone around and had library expert Matthew Battles ask David, ”When the smartest person in the room is the room, how do we design the room?”]]></description>
<dc:subject>libraries</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:ac9d13d738db/</dc:identifier>
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<item rdf:about="http://www.nybooks.com/articles/archives/2012/jun/07/defense-new-york-public-library/">
    <title>In Defense of the New York Public Library by Robert Darnton | The New York Review of Books</title>
    <dc:date>2012-05-16T06:08:46+00:00</dc:date>
    <link>http://www.nybooks.com/articles/archives/2012/jun/07/defense-new-york-public-library/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Will the mixture of readers who take home books and researchers who work inside the library, of premodern and postmodern architecture, of old and new functions, desecrate a building that embodies the finest strain in New York’s civic spirit?... By directing the flow of users through a separate entrance to a separate collection on the ground floor, it avoids disturbing the readers doing research on the second and third floors. But the space could be used differently. Another plan could devote less room to the general public and more for storing books. This objection lies at the heart of the critics’ case, and it deserves to be taken seriously. Could a simpler plan retain the current stacks under the Rose Main Reading Room and still leave space for the Mid-Manhattan Library? Almost certainly not... Trucking as an answer to twenty-first-century problems of delivering books to readers? The time, expense, gas consumption, and environmental pollution make the current policy look short-sighted. We should find a way to take advantage of digital communication, despite the opposition of publishers and the obstacles of copyright laws. ]]></description>
<dc:subject>libraries nypl books</dc:subject>
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<item rdf:about="http://www.slate.com/articles/life/design/2012/05/telephone_design_a_brief_history_photos_.html">
    <title>Telephone design: A brief history. [PHOTOS] - Slate Magazine</title>
    <dc:date>2012-05-16T06:05:56+00:00</dc:date>
    <link>http://www.slate.com/articles/life/design/2012/05/telephone_design_a_brief_history_photos_.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The telephone, once it began to penetrate the household (at first just the wealthiest homes), moved from front hallway to living room to kitchen to bedroom and then, finally, into the pocket. It is quite likely that the closest clock to you is now your phone.

During that trajectory, the phone went from a crafted piece of furniture to mass-produced icon of standardized industrial design to anonymous commodity object—with only a few memorable detours into “design” along the way]]></description>
<dc:subject>materiality telephone industrial_design</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
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<item rdf:about="http://www.youtube.com/watch?v=ABm7DuBwJd8">
    <title>Reggie Watts: A send-off in style - YouTube</title>
    <dc:date>2012-05-15T05:50:33+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=ABm7DuBwJd8</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A parody of TED talks 11:20 --> 16:30-ish]]></description>
<dc:subject>lectures parody innovation</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
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<item rdf:about="http://www.domusweb.it/en/interview/pedro-gadanho-curating-is-the-new-criticism/">
    <title>Pedro Gadanho: curating is the new criticism - interview - Domus</title>
    <dc:date>2012-05-15T04:56:29+00:00</dc:date>
    <link>http://www.domusweb.it/en/interview/pedro-gadanho-curating-is-the-new-criticism/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Kazys Varnelis: One of your most remarked-upon statements is "curating is the new criticism." How do you set about this in curating?
Pedro Gadanho: There are several critical issues in that phrase.
One is the demise of criticism itself. Now that we spend our time reading over the Internet, criticism faces a visual culture and has trouble getting its messages across.
Curating uses the same tools as the Internet and television to communicate. An exhibition is an audiovisual operation. We can mobilize materials to which the general public can react to more effectively than criticism can.
Criticism is a matter of getting the critical function of architecture, of how architects reflect on the world, to a wider public while also bringing critical ideas to bear on the discipline. As an activity, curating can be layered to include both, communicating about a practice like that of architecture at a surface level at the same time as it provides deeper levels of critical content through the texts it originates, either in the space of the exhibition or in the catalog. I am influenced by Umberto Eco's notion of the "open work" in which he suggests that in one work you can address different audiences with differing cultural baggage, allowing them to respond to what is there in their own ways. In MoMA most of the audience is not architectural but you still have to respond to the discipline. So here there are two levels, one with regards to the discipline and one directed at the function of architecture within society. ]]></description>
<dc:subject>curation criticism media_architecture</dc:subject>
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<item rdf:about="http://nplusonemag.com/lions-in-winter-part-2">
    <title>n+1: Lions in Winter, Part Two</title>
    <dc:date>2012-05-14T23:39:38+00:00</dc:date>
    <link>http://nplusonemag.com/lions-in-winter-part-2</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The main building currently houses around 5 million books. About 3 million reside in an extensive series of stacks that occupy the center of the building. They are made up of structural steel, some of it created by the Carnegie steelworks—as originally built, these stacks held about sixty-three miles of shelves. An additional 1.2 million books are held in “compact shelving” beneath Bryant Park, with the stacks on rollers; the rest are scattered through various parts of the building.... The entire world library system holds about 6 million editions that were published before 1923, the rough cut-off date for copyright in the US, and Google has already digitized more than 2 million of them. Once all of these books are digitized, the history of the 19th century, or at least how it’s researched, will begin to look rather different. (Books published prior to the 19th century are generally too fragile for Google to scan, and many have already been scanned by companies like Gale and ProQuest and made available in subscription databases such as “Early English Books Online.”)...

according to a former staff member who has seen the initial plans, Foster’s design may well call for the demolition of not just the stacks but of much of the marble facade that currently stands on the Bryant Park side of the building, and whose windows and marble pillars are exactly aligned with the rows of steel stacks inside. If the stacks go, the facade is likely to go as well. In the facade’s place, we will likely see some kind of ambitious new glass entrance; Foster’s designs are distinguished by their commitment to bringing natural light into interior spaces, and Foster will no doubt try to brighten up a building that is, in spots, a little gloomy....

Beyond that, it appears that the library inside the new glass entrance will be a compromise between huge open spaces like the main reading room and smaller meeting rooms where groups can congregate and talk and work—the activities the library’s administrators, following the latest trends among education visionaries, believe will be the main way people will learn in our post-book, post-sustained-silent-reading world. It will not be a giant internet cafe, exactly, as the Nation’s Scott Sherman and others have suggested. But much of the renovation will look more like what university administrators like to call a “learning commons” than what we tend to think of today as a library. In response to the question “What will replace the stacks?” the library’s website says, “Books!” That’s just not true, and it’s certainly not true in the long term. Micah May stated to me plainly: “We can’t build the new renovation around circulating books.” The new library will retain the circulating collection for a little while, but it will be designed for the digital future. As for the research-level books, most of them are leaving. Of the 5 million books currently housed at the main building, only 2 million will remain....

There was, for a time at least, a stronger alternative vision of what the research library could become. In 2007, the administration hired Josh Greenberg, a thirtysomething digital guru with a PhD in Science and Technology Studies, to help guide the transition to digital. Greenberg had been one of the principle creators of Zotero, a leading tool in the “digital humanities” movement which allows dissertation writers and others to easily embed and keep track of references to scholarly articles in their texts. At the New York Public Library, he was supposed to set up a research and development center to figure out what a public research library could do online that academic libraries and circulating libraries couldn’t. This center was to be called NYPL Labs, modeled on Google Labs, and it was supposed to create experimental beta projects that took on important research questions and involved the wider public in their solution—“crowdsourcing” at a high level. ...Private companies can undertake such a project, but not for the public good; private universities can do it, because they have the money and the map collections, but they would not likely involve the public; an open-source collective of map enthusiasts could do it, but they might have trouble getting the old maps. The New York Public Library, by contrast, is uniquely well-positioned for exactly this kind of project: the library has the resources necessary to create new knowledge, in the form of millions of old books, maps, images, and so forth, and it also “has more surface area than any other institution of its kind,” as Josh Greenberg put it to me, “touching communities from the broadly public to the highly specific academic.”... As Greenberg’s successor, Ben Vershbow, told a reporter at the Atlantic, NYPL Labs is “more an idea than a real unit.” The group’s other projects include a site that animates old stereograms, small collections of librettos and theatrical lighting plans, and a tie-in for an exhibition. Learning about these developments, I was troubled that the library seemed not to be doing enough in a field they claim to want to embrace; I was troubled too by the degree to which the communications department had become involved in these projects, and by their insistence that the library’s online exhibition on Voltaire’s Candide, mostly designed to be used by school-age children, represented a genuine contribution to scholarship.

... This new breed of trustee is more data-driven and results-oriented....  According to staffers, Offensend has been instrumental in the shift toward a “business and metrics” sort of thinking. He told the Princeton alumni website in 2009, “If an organization is receptive, the application of business world experiences can have a huge positive impact.” But what kind of business and what kind of metrics? It was under Offensend that Booz Allen was brought in; it was under Offensend, and in the wake of the Schwarzman gift, that the ambitious plan to fundamentally reconfigure the library took shape....

But the New York Public Library has since its founding been democratic in a more than simply numeric sense.... Given the possibilities for learning online, it can be hard to see why the public would support a marble mausoleum to what can seem like a dying ideal, the independent scholar, or why philanthropists would donate to an institution that serves impoverished researchers, rather than the illiterate. The typical user at the research library is “well educated but poor,” as Heike Kordish put it to me. That’s not a demographic that anyone, politician or philanthropist, is desperate to serve. But that’s what the library was set up to do, and that is what it has done for the past hundred years—and while I certainly don’t begrudge the administration’s decision to devote resources to the users of its branch libraries, it is simply absurd to suggest that providing the best possible resources to anyone who walks through the door is somehow undemocratic because not every member of the public happens to make use of them. The people who do go to the library make the trek to Midtown precisely because they can’t get access to its resources elsewhere. Many of the heaviest users are students at City University and City College...

visitors to the library’s website are invited to “join the conversation” by submitting comments. The comments, however, do not appear on the website and there is no space for public discussion. The “conversation” goes one way. Similarly, when the administration, in response to growing criticism of the plan, convened a panel of scholars and writers to serve as an advisory board of sorts in the spring of 2012, it almost immediately vitiated whatever legitimacy the board could have by disinviting the respected essayist Caleb Crain, who had written about the advisory board, quite circumspectly, on his blog. This, unfortunately, is the way it was always meant to go. In a slideshow that presented the renovation plans to staff in 2008, there was a single box for how the administration would involve the public: “Communicate and market the strategy to key internal and external stakeholders.” Communicate and market—this is what “managed democracy” looks like.

Whenever I asked the administration about the direction they had chosen, I was told the plan was fundamentally democratic because it gave the people what they want—and what the people want could be determined through the endless surveys and focus groups conducted by the library’s consultants and its own internal strategy department.

When librarians expressed concerns about the renovation, they got the same response. This constituted a huge shift in the library’s decision-making process. Where before members of the library’s staff were involved in an open process at almost all levels, with an internal committee of librarians parallel to a faculty senate at a university, now a few librarians are interviewed by consultants, and senior management makes virtually all large-scale decisions on its own...

Of all the justifications for the renovation, none is more disingenuous and misleading than the claim that the library is simply trying to make the main building more “democratic.” This is a facility that has stood for over a century and provided unparalleled service to a public that no other institution gives a damn about. It is the most democratic research library in the world, far more welcoming to the average user than the Bibliothèque Nationale, the British Museum, or the Library of Congress, let alone the libraries at Harvard and Yale....

Oligarchs acting in the people’s name (with the people’s money) is not democratic; selling off New York’s cultural patrimony to out-of-town heiresses, closing down treasured divisions and branches, pushing out expert staff, and shipping books to a warehouse in the suburbs, all without consulting the public, is not democratic. If the reconstruction goes through, scholarly research will be more, not less, concentrated in the handful of inordinately wealthy and exclusive colleges and universities. The renovation is elitism garbed in populist rhetoric, ultimately condescending to the very people the library’s board thinks they’re serving.]]></description>
<dc:subject>libraries nypl books scanning public_space public_process</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
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<item rdf:about="http://soundcloud.com/transmediale/in-compatible-systems-keynote">
    <title>▶ in/compatible systems keynote by Graham Harman: Everything Is Not Connected by transmediale</title>
    <dc:date>2012-05-14T22:54:23+00:00</dc:date>
    <link>http://soundcloud.com/transmediale/in-compatible-systems-keynote</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Keynote by Graham Harman (us) 
Moderated by Christopher Salter (ca/de)

The idea that everything is interconnected has become a staple of intellectual life. As a related phenomenon, “contextualisation” is now the method of first resort throughout the humanities. This lecture opposes the general trend of emphasising systems and wholes over autonomous individuals. Among the greatest drawbacks of holistic ontology is its inability to explain disruptions and surprises in any system it studies. At best, one posits some sort of “materiality” lying outside all formatted systems that serves as their underground source of change, a theory that fails for a variety of reasons. The only alternative is to adopt an object-oriented model of fully formatted entities lying beyond the grasp of the human mind and even of each other. After providing some theoretical background for this claim, I will consider several recent political phenomena that are better understood by an object-oriented approach than a holistic one.

]]></description>
<dc:subject>object_oriented_philosophy mcluhan</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:1c7ec2f922d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:object_oriented_philosophy"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:mcluhan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/Building-a-Digital-Map-of/131846/">
    <title>Building a Digital Map of Scholarly Archival Materials - Technology - The Chronicle of Higher Education</title>
    <dc:date>2012-05-14T21:53:11+00:00</dc:date>
    <link>http://chronicle.com/article/Building-a-Digital-Map-of/131846/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Now imagine a central clearinghouse for those records, an online hub researchers could consult to find archival materials.... "So if I'm interested in a particular person," Mr. Pitti says, "I can find where all the records are that would be required to understand them." For instance, a search for Robert Oppenheimer turns up a link to a collection of the physicist's papers housed at the Library of Congress, plus links to other collections in which he is referenced, a biographical timeline, and a list of occupations and subjects related to his life and work.

A researcher can explore a person's social and cultural environment with SNAC's radial-graph feature. It creates a web, which can be manipulated, of a subject's connections as revealed in archival records. The radial graph of Oppenheimer's network, for instance, includes George Kennan, Linus Pauling, Bertrand Russell, and Albert Schweitzer, among many other names represented as nodes on the graph.]]></description>
<dc:subject>archives networks</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:8898099d0096/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:networks"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://socialarchive.iath.virginia.edu/">
    <title>Social Networks and Archival Context Project</title>
    <dc:date>2012-05-14T21:46:59+00:00</dc:date>
    <link>http://socialarchive.iath.virginia.edu/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The SNAC project is addressing a longstanding research challenge: discovering, locating, and using distributed historical records. Scholars use these records as primary evidence for the lives and work of historical persons and the events in which they participated. These records are held in archives and manuscript libraries, large and small, around the world, and scholars may need to search scores of different archives, following clues, hunches, and leads to find the records relevant to their topic (and it is likely that at least some records will remain undiscovered). SNAC aims to not only make the records more easily discovered and accessed but also, and at the same time, build an unprecedented resource that provides access to the socio-historical contexts (which includes people, families, and corporate bodies) in which the records were created.

The project uses a recently released Society of American Archivists communication standard for encoding information about persons, corporate bodies, and families, Encoded Archival Context-Corporate Bodies, Persons, and Families (EAC-CPF). EAC-CPF standardizes descriptions of people and groups who are documented in archival records.

]]></description>
<dc:subject>archives networks digital_humanities</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:0ec7b7dae4f5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:networks"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:digital_humanities"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/Artists-Debate-Whether-the/131833/?sid=pm">
    <title>Artists Debate Whether the Discipline Needs a Doctorate - Faculty - The Chronicle of Higher Education</title>
    <dc:date>2012-05-14T19:39:28+00:00</dc:date>
    <link>http://chronicle.com/article/Artists-Debate-Whether-the/131833/?sid=pm</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The opportunity that Mr. Powers had in Germany to merge artistic practice with doctoral-level scholarship is something that increasing numbers of artists in academe want to see duplicated in the United States, where the master of fine arts has long reigned as the discipline's terminal degree.

Many leaders of schools of art and design and of arts programs at universities describe the spread of visual-arts doctorates—whether practice-based, scholarly, or some combination—as being "inevitable" in the United States. The doctorate, they say, will very likely displace the M.F.A. They cite as evidence a growing body of scholarship on the subject, developments abroad, and recent sessions exploring the visual-arts doctorate at scholarly associations and at colleges.

Meanwhile, critics of arts doctorates raise economic, philosophical, and ethical concerns about the degree. Many of the concerns are similar to those raised in other academic fields: Is it acceptable to enroll students in graduate programs with uncertain futures and employment prospects? What is the real value of a doctorate? What is the nature of advanced study in a practical discipline? And how wise is it for American universities to duplicate the programs of foreign universities, which operate under different economic models?...

About 40 doctoral programs in studio art are available abroad, most of them in Britain, Europe, and New Zealand, says George E. Smith, president of the Institute for Doctoral Studies in the Visual Arts. In 2007 the institute, in , in Portland, Me., admitted its first cohort of visual artists seeking Ph.D.'s in philosophy and art theory, and they are finishing their dissertations. A handful of programs in the United States offer studio-based, practical doctorates, more scholarly focused Ph.D.'s, or some combination....

The intensity of the debate and the level of scholarly attention to the arts doctorate have continued to rise: 2011 marked the first year that it became impossible for one person to read all the scholarship on visual-arts doctorates, says Mr. Elkins, of Chicago.

In recent months, the College Art Association, the chief disciplinary society dedicated to the scholarship and teaching of the visual arts and art history, hosted a two-part workshop, "Ph.D. for Artists: Sense or Nonsense?" The School of Visual Arts, in New York City, sponsored a panel discussion last year that was titled, "The Reluctant Doctorate: Ph.D. Programs for Artists?"

Making the M.F.A. Useless?...

Leaving the production of knowledge and the interpretation of works to historians of the discipline, as has traditionally been the case in the visual arts, is no longer satisfactory, says Joel E. Towers, executive dean of Parsons the New School for Design. A committee there is exploring starting doctoral programs in the visual arts and design.

"It would be kind of a crime if we were to get caught in a traditional mode of production of a Ph.D. and say, 'The only way it'll work is if you give me 500 pages,'" he says.... Elevating the profile of the visual arts in academe may have other benefits, says Lisa H. Grocott, dean of academic initiatives at Parsons. Artistic and design processes and thinking may exert some influence over more empirical disciplines, such as the natural sciences.

Research does not always need to be methodical and purposeful, Ms. Grocott says. Artists and, particularly, designers use a different method, in which truth and empirical knowledge are not the ultimate goal; instead, the aim of design is to find the solution that offers the most appropriate remedy to a problem. "It'll change the way we might think about research and the way research presents itself," she says.

]]></description>
<dc:subject>PhD pedagogy research design_research epistemology</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:40d17a7aca6c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:PhD"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:pedagogy"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:research"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:design_research"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:epistemology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.qualitative-research.net/index.php/fqs/article/view/1299/3163">
    <title>Ontological and Epistemological Foundations of Qualitative Research | Vasilachis de Gialdino | Forum Qualitative Sozialforschung / Forum: Qualitative Social Research</title>
    <dc:date>2012-05-14T19:27:11+00:00</dc:date>
    <link>http://www.qualitative-research.net/index.php/fqs/article/view/1299/3163</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The purpose of this paper is to describe the most relevant features of qualitative research in order to show how, from the Epistemology of the Known Subject perspective I propose, it is necessary to review first the ontological and then the epistemological grounds of this type of inquiry. I begin by following the path that leads from the Epistemology of the Knowing Subject to the Epistemology of the Known Subject, proposed as a new and non exclusive way of knowing. I pass on to describe the primary and secondary characteristics of qualitative research, expressing the need for an ontological rupture. Finally, cognitive interaction and cooperative knowledge construction are considered as two fundamental features in the process of qualitative research grounded on the Epistemology of the Known Subject.]]></description>
<dc:subject>epistemology methodology</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:5e492463e885/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:methodology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nplusonemag.com/lions-in-winter">
    <title>n+1: Lions in Winter, Part One</title>
    <dc:date>2012-05-14T18:58:21+00:00</dc:date>
    <link>http://nplusonemag.com/lions-in-winter</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In March 2008, the New York Public Library announced a $100 million gift from private equity billionaire Stephen Schwarzman and a sweeping plan to radically remake its landmark main building on 42nd Street. Six months later, Lehman Brothers collapsed; the plan, to no one’s surprise, was put on hold. Now, the administration has announced that the renovation, its budget increased from $250 to $350 million, is back on track. The proposed designs developed by British architect Norman Foster have not yet been made public, but the basic scheme remains the same: to tear out the steel stacks that occupy almost half of the main building—and that literally hold up the famed Rose Reading Room on the top floor—and replace them with a new circulating library. This library will offer plenty of books, DVDs, and other materials, which any patron will be allowed to take out of the building, unlike the current research collection. The plan will be financed through the sale of two of the library’s nearby branches—the Mid-Manhattan Library across the street and the Science, Industry, and Business Library (SIBL) at Madison and 34th—and through a $150 million grant from the City of New York. The new super-library will also be designed for a time when the idea of physically circulating books becomes a thing of the past and practically all library “materials” will be available exclusively through digital devices.

...By its nature, a research library is a conservative institution. It is constrained from reevaluating its commitments and embarking in new directions by the sheer amount of capital it has sunk into its collections. Even if fewer people used the Slavic collection over time, the fact that the library had one of the world’s greatest Slavic collections meant that it had little choice but to go on buying Slavic materials. The library couldn’t, for example, respond to shifting immigration patterns by reducing its budget for Slavic books and shifting to Hispanic books, because it would then be left with a Slavic collection that didn’t cover present scholarship and an Hispanic collection that didn’t cover past scholarship. A great research collection could be created only by starting early, as the New York Public Library did by buying pretty much everything in its specialties from the late 19th century onward, and then by continuing to buy in those same fields, basically forever.... The advent of digital scholarship has begun to change this equation. Within a few decades it is likely that any reasonably well-endowed institution, the Abu Dhabi Public Library, say, will be able to subscribe to databases that will include more books than are held in the New York Public Library’s entire research collection. Large archives of unpublished material will still distinguish individual institutions—the more than 10 billion items held by the United States National Archives aren’t going to be digitized any time soon—but with most published books, it won’t matter whether a library became interested in the subject a hundred years ago or yesterday.... Most research libraries will still be constrained in how they shift their budgets, because the audience for most research libraries is determined by the institution they primarily exist to serve—their universities. Whether students are checking out French books or not, the library will buy French books, or their digital equivalents, for as long as the university has a French department. At the New York Public Library, by contrast, the decline in requests for research books has allowed the administration to question the very purpose of the research library, because there are no academic departments to tell the library what to do. The administration sees this as a virtue. 

History of the NYPL collection -- history of fundraising -- rise of digital books and databases -- NYPL's use of consultants -- licensing -- budgets ]]></description>
<dc:subject>libraries digitization collection_development</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:ac8df0177c7a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:digitization"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:collection_development"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://rhizome.org/editorial/2012/may/14/conversation-andrew-norman-wilson/">
    <title>Rhizome | Art from Outside the Googleplex: An Interview with Andrew Norman Wilson</title>
    <dc:date>2012-05-14T18:52:40+00:00</dc:date>
    <link>http://rhizome.org/editorial/2012/may/14/conversation-andrew-norman-wilson/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Through webinars, installations, power points, performances, audio meditations and videos, Andrew Norman Wilson's interventions into the brands and infrastructures of Silicon Valley and other worldwide tech corporations question the roles of labor, power and capital; instigations, integral to understanding the movement of information economies in the global marketplace as well as the power relations that emerge from within them.  

ScanOps, titled after the internal department for Google's onsite book scanning contractors, is Wilson's latest series of works that reveal the software distortions and hands of ScanOps employees found in the photographic scanning site....

LD: Workers Leaving the Googleplex, responded to two versions of the film Workers Leaving the Factory: one by Harun Farocki and the other, the original by the Lumière brothers. The premise of your own video of course was to make a work that captured the shift in labor from the industrial proletariat into the informational proletariat...

The photographs that I chose are Google Books images in which software distortions, the imaging site, and the hands of ScanOps employees are visible. They’re both indexical, and medium-specific. Their processes, digital manipulations, and material supports are folded within them. Because of the speed and volume with which Google is executing the Books project, they can't possibly identify and correct all of the disturbances in what is supposed to be a seamless interface....

Someone has to turn a page and press a button. The workers compose part of the photographic apparatus, which, conceived in a broad sense includes not only the machinery, but the social systems within which photography operates. The anonymous workers, electrons, Sergey and Larry, the pink finger condoms, infrared cameras, the auto-correction software, the ink on my rag paper prints, me, the capital required to fund the project - we're all in it. It's not a dematerialized image world....


Everyone who uses the free Google perks - gmail, cloud-storage, Google Books, Blogger, YouTube - becomes a knowledge worker for the company. We’re performing freestyle data entry. Where knowledge is perceived as a public good, Google gathers its income from the exchange of information and knowledge, creating additional value in this process. Google, as we know it and use it, is a factory.
]]></description>
<dc:subject>labor digital_labor google media_workplace scanning error crowdsourcing</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:4831dc28c5ca/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:labor"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:digital_labor"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:google"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_workplace"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:scanning"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:error"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:crowdsourcing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.cite-city.com/">
    <title>CITE CITY :: Center for Innovation, Testing and Evaluation :: New Mexico, USA</title>
    <dc:date>2012-05-14T07:17:18+00:00</dc:date>
    <link>http://www.cite-city.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Center for Innovation, Testing and Evaluation (CITE) will be the first of its kind, in scale and scope, fully integrated test, evaluation and certification facility dedicated to enabling and facilitating the commercialization of new and emerging technologies....

CITE will represent a 20th century American city with a population of approximately 35,000 people and be built on roughly 15 square acres. CITE’s test city will be unpopulated. This unique feature will allow for a true laboratory without the complication and safety issues associated with residents.

CITE will be a catalyst for the acceleration of research into applied, market-ready products by providing “end to end” testing and evaluation of emerging technologies and innovations from the world’s public laboratories, universities and the private sector.

CITE will be modeled after a mid-sized modern American city, integrating real-world urban and suburban environments along with all the typical working infrastructure elements that make up today’s cities. This will provide customers the unique opportunity to test and evaluate technologies in conditions that most closely simulate real-world applications. ]]></description>
<dc:subject>urban_planning models urban_media infrastructure telecommunications transportation</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:c43870823fbe/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:urban_planning"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:models"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:urban_media"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:telecommunications"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:transportation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.hybridpedagogy.com/Journal/files/Four_Virtues_of_Citation.html">
    <title>The Four Noble Virtues of Digital Media Citation | Scholarship | HYBRID PEDAGOGY</title>
    <dc:date>2012-05-14T07:15:49+00:00</dc:date>
    <link>http://www.hybridpedagogy.com/Journal/files/Four_Virtues_of_Citation.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In digital space, everything we do is networked. Real thinking doesn’t (and can’t) happen in a vacuum. Our teaching practices and scholarship don’t just burst forth miraculously from our skulls. The digital academic community is driven by citation, generosity, connection, and collaboration. The work we do as hybrid and critical pedagogues, digital humanists, and alternative academic publishers depends on our sharing ideas as part of a much larger project or conversation.
1. Attribute: "We attribute not just for rhetorical effect, but for intertextual familiarity. Sources no longer deliver merely arguments or data; they create an interactive critical network."
2. Defer: "In digital discourse, however, an article has less claim to such authority because it is in such immediate contiguity with parallel scholarship -- the Burkian conversation metaphor brought to fruition. Rather than everyone talking over one another, the best digital texts talk in turn, express appreciation and connection, and are honest about their indebtedness to related works."
3. Curate: "...the best curatorial practice is more overtly intertextual, bringing those links and web objects (and the people behind them) into meaningful conversation, making explicit and implicit connections between them."
4. Engage: "The hyperlink (both as a literal device in digital texts and as a metaphor) draws a direct line between things at a conceptual distance, pushing them (no matter how disparate) into direct (metonymic) contact. The hyperlink is a call-to-action in at least two ways. It asks the reader to venture off the page and into a sourced work. It also invites the author of the sourced work into the conversation, through the trackback that tells them when and where they’ve been cited."
]]></description>
<dc:subject>citation attribution UMS digital_humanities networks</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:e492fe55df7c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:citation"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:attribution"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:UMS"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:digital_humanities"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:networks"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.archdaily.com/233676/reactor-films-brooks-scarpa-architects/">
    <title>Reactor Films / Brooks + Scarpa Architects | ArchDaily</title>
    <dc:date>2012-05-13T09:29:50+00:00</dc:date>
    <link>http://www.archdaily.com/233676/reactor-films-brooks-scarpa-architects/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[rogram: To remodel an existing 7,000 sq.ft. 1930’s Art deco Masonry Building Art Gallery into office and work space for production of TV commercials and music videos... In essence, it exhibits a spatial biography, its surfaces and voids charged with fragments of memory etched into it over time. The surrounding interior space was conceived as a fluid surface wrapper rotating asymetrically around the centroid of the container. This surface wrapper alternately pushes close to and peels away from the walls and structure of the existing building. This push and pull or concealing and revealing formal strategy suggests a dynamic relationship between the new and old while indicating a design attitude that respects the integrity of the old while maintaining a commitment to the generation of an inventive and thoughtful new.]]></description>
<dc:subject>media_architecture film video studio production</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:298e230b785e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_architecture"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:film"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:video"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:studio"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:production"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://cementimental.bandcamp.com/album/molecular-rampage">
    <title>Molecular Rampage | Cementimental</title>
    <dc:date>2012-05-10T06:43:51+00:00</dc:date>
    <link>http://cementimental.bandcamp.com/album/molecular-rampage</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA["Cementimental is the name under which I currently make all my experimental noises, using 'circuit bent' electronic sound-toys and basically whatever and whoever I can get my hands on. The project becomes more or less of a 'band' when I team up with various other noisy types to produce and perform deranged music and noise of many genres."]]></description>
<dc:subject>media_archaeology sonic_archaeology glitch materiality sound noise</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:fe0229281305/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_archaeology"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:sonic_archaeology"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:glitch"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:materiality"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:sound"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:noise"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nytimes.com/2012/05/06/realestate/streetscapes-the-pioneering-tribune-building-of-1875.html">
    <title>Streetscapes - The Pioneering Tribune Building of 1875 - NYTimes.com</title>
    <dc:date>2012-05-09T03:04:28+00:00</dc:date>
    <link>http://www.nytimes.com/2012/05/06/realestate/streetscapes-the-pioneering-tribune-building-of-1875.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Carol Willis, the museum’s founder, says newspapers concentrated on Park Row in the mid-19th century to be close to City Hall, the courts and the main post office, which was important for mailing papers countrywide.

Some papers remodeled buildings and others built them, but none were particularly distinctive until the elevator made tall structures feasible. By the time he died in 1872, The Tribune’s founder, the abolitionist and reformer Horace Greeley, had made it into a national powerhouse, and had conceived of a way to advertise like no other paper, with a skyscraping billboard. On completion in 1875, the 260-foot-high Tribune Building was taller than anything else in New York, except for the spire of Trinity Church on Wall Street. ]]></description>
<dc:subject>media_architecture newspapers new_york</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:32d77920aa36/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_architecture"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:newspapers"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:new_york"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://motherboard.vice.com/2012/5/8/tumblr-invaded-the-new-york-times-underground-morgue--2">
    <title>Tumblr Invaded the New York Times' Underground Morgue | Motherboard</title>
    <dc:date>2012-05-08T23:39:41+00:00</dc:date>
    <link>http://motherboard.vice.com/2012/5/8/tumblr-invaded-the-new-york-times-underground-morgue--2</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Not far from the paper’s shiny headquarters, the Times still keeps its morgue, the clippings archive that in the olden days was Google before Google, and where now newspaper clippings and photos – actual, physical things – go to die. Or to get resurrected on the Times photo blog, or on the morgue’s Tumblr site, http://livelymorgue.tumblr.com. ]]></description>
<dc:subject>newspapers archive</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:77cd32914269/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:newspapers"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:archive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://jussiparikka.net/2012/05/08/what-is-media-archaeology-out-now/">
    <title>What is Media Archaeology? — out now « Machinology</title>
    <dc:date>2012-05-08T23:33:17+00:00</dc:date>
    <link>http://jussiparikka.net/2012/05/08/what-is-media-archaeology-out-now/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[...it expands into an experimental set of questioning about time, obsolescence, and alternative histories as well. In one way, it is about analyzing the conditions of existence of media cultural objects, processes and phenomena. It picks up on some strands of “German media theory”, but connects that to other debates in cultural theory too.I like what Bernhard Siegert has said about the early ethos of media archaeology being that of Nietzschean gay science — experimental, exploratory, radical. Perhaps in this vein, media archaeology is one answer to the need to think transdiscplinary questions of art, science, philosophy and technology... how media archaeology can contribute to media historical inquiry as well as to thinking about archives and cultural memory. ]]></description>
<dc:subject>media_archaeology media_history</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:4f77082b2d1c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_archaeology"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.theatlanticcities.com/arts-and-lifestyle/2012/04/cities-are-surprisingly-menacing-when-you-remove-all-people/1654/#">
    <title>Cities Are Surprisingly Menacing When You Remove All the People - Arts &amp; Lifestyle - The Atlantic Cities</title>
    <dc:date>2012-05-08T23:26:25+00:00</dc:date>
    <link>http://www.theatlanticcities.com/arts-and-lifestyle/2012/04/cities-are-surprisingly-menacing-when-you-remove-all-people/1654/#</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA["Silent World" suggests life would not be so peaceful in a completely silent city. It's unnatural and threatening; as fun as it'd be to climb all the sculptures at MoMa, the uneasy feeling of being the last person on earth could build and build until one goes mad.

Lucie & Simon create these vacuumed-up cityscapes by using a neutral density filter that allows for extra-long exposures, which removes moving objects like people and cars. The fact that the filter is "normally used by NASA for analyzing stars," according to art professor Klaus Honnef, ramps up the alien vibes of "Silent World." Here's Honnef explaining his attraction to the series:

    The silence of the world, like a quotation, is suddenly endowed with an oppressive eloquence. Small intrusions are the true sparks here, because their disconcerting presence disrupts the majestic calm of the streets and squares. ]]></description>
<dc:subject>photography urban_media public_space silence technologized_vision</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:73dfd6abcd91/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:urban_media"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:public_space"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:silence"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:technologized_vision"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://popupcity.net/2012/05/silent-world-what-makes-a-city-a-city/">
    <title>Silent World: What Makes A City A City — The Pop-Up City</title>
    <dc:date>2012-05-08T23:21:25+00:00</dc:date>
    <link>http://popupcity.net/2012/05/silent-world-what-makes-a-city-a-city/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Lucie & Simon, a French/German duo of photographers, recently put together a series of humbling photographs of huge urban spaces completely devoid of activity. The photographs (also with an accompanying video that ably mixes in Philip Glass and Daft Punk) show some of the busiest places in the world (Tiananmen Square, Times Square, Place Montparnasse) almost entirely empty, save for the built forms that contain the spaces.]]></description>
<dc:subject>photography urban_media public_space</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:4a01104932a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:urban_media"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:public_space"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/Teaching-PhDs-How-to-Reach/131776/">
    <title>Teaching Ph.D.'s How to Reach Out - Advice - The Chronicle of Higher Education</title>
    <dc:date>2012-05-08T05:53:25+00:00</dc:date>
    <link>http://chronicle.com/article/Teaching-PhDs-How-to-Reach/131776/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Marc Aronson, a lecturer in the School of Communication and Information at Rutgers University at New Brunswick and a historian who writes books for young adults, recently suggested that all Ph.D. candidates be required to take a course he calls "Communications." The goal, Aronson explained on his blog, would be to teach Ph.D.'s—both would-be academics and those who will pursue other work—how to talk about what they do to a variety of public audiences... A Ph.D. communications course might bring together students from across a university. Together, they would explore disciplinary and interdisciplinary literacy in their different fields. The instructor might bring in such speakers as a documentary producer, a museum curator, or a book publisher. Those professionals would talk about the needs of their diverse audiences, and how a specialist might respond to them....

Learning how to successfully reach multiple audiences isn't only a skill. It's also a way of looking at the world that enables you to see alternatives to specialization. It's a habit of thinking that provides a necessary counterweight to the default tendency of losing yourself in a narrow field of knowledge.]]></description>
<dc:subject>PhD public_scholarship professional_practice</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:6936477c59b9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:PhD"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:public_scholarship"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:professional_practice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nplusonemag.com/54">
    <title>n+1: 5.4: Pitchfork, 1995–present</title>
    <dc:date>2012-05-07T23:42:46+00:00</dc:date>
    <link>http://nplusonemag.com/54</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the last thirty years, no artistic form has made cultural capital so central to its identity, and no musical genre has better understood how cultural capital works. Disdaining the reserves of actual capital that were available to them through the major labels, indie musicians sought a competitive advantage in acquiring cultural capital instead. As indie’s successes began following one another in increasingly rapid succession, musicians working in other genres began to take notice. Hip-hop is an illustrative foil. As indie bands in the ’90s did everything they could to avoid the appearance of selling out, rappers tried to get as rich as possible. The really successful ones stopped rapping—or at least outsourced the work of writing lyrics—and opened clothing lines and record labels. But for all their corporate success, rappers knew where the real cultural capital lay. When Jay-Z decided, as an obscenely wealthy entertainment mogul, that he wanted finally to leave his drug-dealer persona behind, he got himself seen at a Grizzly Bear concert in Williamsburg. “What the indie rock movement is doing right now is very inspiring,” he said to a reporter. One year later, his memoirs were published by Spiegel & Grau. 

Pitchfork has fully absorbed and adopted indie rock’s ideas about the uses of cultural capital, and the results have been disastrous. ]]></description>
<dc:subject>music criticism pitchfork</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:8f30a6ccf00b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:music"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:criticism"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:pitchfork"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/The-Case-for-Breaking-Up-With/131760/">
    <title>The Case for Breaking Up With Your Parents - The Chronicle Review - The Chronicle of Higher Education</title>
    <dc:date>2012-05-07T15:02:57+00:00</dc:date>
    <link>http://chronicle.com/article/The-Case-for-Breaking-Up-With/131760/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In his iconic essay of 1784, "What is Enlightenment?" Immanuel Kant put it thus:

Enlightenment is man's emergence from his self-incurred immaturity. Immaturity is the inability to use one's own understanding without the guidance of another. This immaturity is self-incurred if its cause is not lack of understanding, but lack of resolution and courage to use it without the guidance of another. The motto of enlightenment is therefore: Sapere aude! Have courage to use your own understanding!...

The sentimental pathology of the American middle-class family—not to mention the mind-warping digitalization of everyday life—usually militates against such ruthless candor. But what the Life of the Orphan teaches—has taught me at least—is that it is indeed the self-conscious abrogation of one's inheritance, the "making strange" of received ideas, the cultivation of a willingness to defy, debunk, or just plain old disappoint one's parents, that is the absolute precondition, now more than ever, for intellectual and emotional freedom.]]></description>
<dc:subject>teaching self_education</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:113104c4ea19/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:teaching"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:self_education"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://jacobinmag.com/spring-2012/against-chairs/">
    <title>Against Chairs</title>
    <dc:date>2012-05-07T14:34:32+00:00</dc:date>
    <link>http://jacobinmag.com/spring-2012/against-chairs/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Some time in the Stone Age, probably between 6,000 and 12,000 years ago, high-status individuals in some cultures began to sit on small raised platforms, just large enough to hold a single person and with a backrest to support or frame the sitter. This was an effective way to designate elevated status among people who otherwise sat on the ground – much more so than stools, which lacked a back, and benches, which accommodated more than one person. The earliest evidence of these primitive thrones comes from figurines excavated in southeastern Europe, but single-person seats with a back were important status symbols in ancient Mesopotamia and Egypt, as well... During the Middle Ages, chairs were not common in the Western world at all. After the Visigoths sacked Rome, their habits of squatting and sitting on the ground became the predominant ways for commoners to sit and until the Renaissance even wealthy feudal households had very little furniture because they had to keep moving around to avoid getting sacked themselves... Eventually life got easier for the rich and lavish furniture became more widespread among the upper class. Style became increasingly important in furniture design through the seventeenth and eighteenth centuries, and chair making, previously the domain of generalist woodworkers, became a specialized trade in its own right. Tellingly, furniture in this period was typically designed based on trends in decorating fashion rather than physiological concerns... That changed with the Industrial Revolution. Suddenly chairs were being made cheaply in factories and more people could afford to sit like the rich. At the same time, labor was being sedentarized: as workers moved en masse from agriculture to factories and offices, laborers spent more and more time sitting in those newly mass-producible chairs. As usual, class aspirations determined what people bought: body-conscious innovations like patent chairs, which were adjustable, and rocking chairs, which encouraged movement, sadly received only marginal acceptance from the wealthy and saw limited use.

And so it was that from the turn of the twentieth century on, chairs had society in their clutches.

]]></description>
<dc:subject>furniture chairs design_history</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:2212cd544a1d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:chairs"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:design_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://blogs.loc.gov/digitalpreservation/">
    <title>The Signal: Digital Preservation</title>
    <dc:date>2012-05-07T14:32:38+00:00</dc:date>
    <link>http://blogs.loc.gov/digitalpreservation/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Library of Congress's blog on digital preservation]]></description>
<dc:subject>preservation databases archives</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:931423a72506/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:preservation"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:databases"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:archives"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://opinionator.blogs.nytimes.com/2012/05/06/the-practical-and-the-theoretical/">
    <title>The Practical and the Theoretical - NYTimes.com</title>
    <dc:date>2012-05-07T14:28:01+00:00</dc:date>
    <link>http://opinionator.blogs.nytimes.com/2012/05/06/the-practical-and-the-theoretical/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Our society is divided into castes based upon a supposed division between theoretical knowledge and practical skill. The college professor holds forth on television, as the plumber fumes about detached ivory tower intellectuals. The felt distinction between the college professor and the plumber is reflected in how we think about our own minds... When we reflect, we are guided by our knowledge of truths about the world. By contrast, when we act, we are guided by our knowledge of how to perform various actions... According to the model suggested by this supposed dichotomy, exercises of theoretical knowledge involve active reflection, engagement with the propositions or rules of the theory in question that guides the subsequent exercise of the knowledge. Think of the chess player following an instruction she has learned for an opening move in chess. In contrast, practical knowledge is exercised automatically and without reflection. The skilled tennis player does not reflect on instructions before returning a volley — she exercises her knowledge of how to return a volley automatically.

...There are barriers in our society erected by a false dichotomy between practical work and theoretical reflection. If someone develops early on a skill at repairing cars, she may falsely assume that she will not be adept at literary analysis or theorem proving. This robs not only her of opportunities but also society of a potentially important contributor to literary analysis or mathematics. The reward structure of society also assumes it, reflected in both the pay and the cost of pursuing what are thought of as the theoretical pursuits. The supposed distinction also operates on an everyday level... The distinction between the practical and the theoretical is used to warehouse society into groups. It alienates and divides. It is fortunate, then, that it is nothing more than a fiction.]]></description>
<dc:subject>theory_practice praxis epistemology learning UMS</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:4dc8d2aefdfb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:theory_practice"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:praxis"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:learning"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:UMS"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arcade.stanford.edu/journals/rofl/blog/theory-dead">
    <title>Is Theory Dead? | Republics of Letters: A Journal for the Study of Knowledge, Politics, and the Arts</title>
    <dc:date>2012-05-07T05:29:23+00:00</dc:date>
    <link>http://arcade.stanford.edu/journals/rofl/blog/theory-dead</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Only a handful of born-again Theorists will refuse to acknowledge that the fundamental problem with Theory did not lie so much with the original works themselves (which is not to say they do not have their own problems), but with the ways in which they were used. Derrida can be annoying and mystifying, yet is usually a far more stimulating read than most Derrideans. In other words, the fundamental problem with Theory is that it stopped being theory. Derrida, or Lacan, or Deleuze, were not invoked to question, but to answer. The result was that the research always ended up validating the Theory, in an eternal, feedback-loop return. Theory always won...

If Theory is to survive, it must fall off its pedestal, and loose the capital. Foucault, Deleuze, and others will always remain a source of intellectual thrills, and should not be packed off to some new Enfer. But they, like every other theorist, should be read against the grain; only in this manner can they sharpen, rather than blunt, the mind. At the same time, the doors of theory must be opened wider: it is a curious parallel that at the very moment humanities professors were exploding the literary canon, they were cementing a most exclusive canon of Theory.]]></description>
<dc:subject>theory academic professional_practice UMS</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:1f2a264793fb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:theory"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:academic"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:professional_practice"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:UMS"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/Life-After-the-Death-of-Theory/44910">
    <title>Life After the Death of Theory - Advice - The Chronicle of Higher Education</title>
    <dc:date>2012-05-07T04:13:38+00:00</dc:date>
    <link>http://chronicle.com/article/Life-After-the-Death-of-Theory/44910</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[...like many others, I learned how to fake it.

Theory became a kind of confidence trick: a means of reducing the impossible workload to a few catchphrases: "Puhleese, the author's intentions are irrelevant here." "Everything is political." "There is nothing but the text." They were like the applause lines used by politicians. And they always seemed to work in seminars. All that was required, ultimately, was conformity with a set of political beliefs...

For all its avowed radicalism, Theory seemed to stifle the possibility of dialogue at the time in my life when I most needed it. When anyone can take offense at anything, the safest thing to be is silent or incomprehensible.

What graduate student has not felt the chill of failing to grasp someone's theoretical allusion in a seminar? Of a growing awareness that you are, by process of elimination, being coerced into offering some comment of support on a complex concept about which you know almost nothing? But you must say something...

Theory with a capital T grew up with the expansion of graduate programs and the adjunctification of higher education during the last 30 years. It was a ticket to success for a charmed circle of insiders: a few people at elite institutions with the connections and advance knowledge to get in and out of the game before the general rush...

And now it seems like everyone is rushing to get out with what's left of their devalued stock. Famous scholars such as Henry Louis Gates, Homi Bhabha, and Terry Eagleton have announced that "theory is dead."...

I believe that literary and cultural theory can be subtle, learned, passionate, and aesthetically pleasing. And, of course, on a basic level, it is impossible to be a critic without some kind of theory. To claim to have no theory is like pretending to have perfect objectivity. We're all theorists now, and, ultimately, my grievance with theory has more to do with the credulousness of some secondhand practitioners than with the judicious application of various theories themselves.

I want my students to see theory as a means of shedding partial light on texts -- not a set of self-righteous dogmas that make literature irrelevant except as grist for the political mill. I want them to question the fundamental assumptions of everything, including theory itself. I want my students to know how to talk the talk, so that they will not have to be intimidated by the cynical use of jargon. I want them to avoid the tendency of Theory -- as it is too often practiced -- to define in painstaking detail the mote in thy brother's eye while ignoring the beam in thine own.

And, in the process, I am trying to teach myself not to care about the "Next Big Thing." ]]></description>
<dc:subject>UMS theory academic_discourse professional_practice awesome</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:c70cd1f98ff0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:UMS"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:theory"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:academic_discourse"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:professional_practice"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:awesome"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://twigterrariums.com/">
    <title>Twig.</title>
    <dc:date>2012-05-05T05:41:17+00:00</dc:date>
    <link>http://twigterrariums.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA["Twig Terrariums is a verdant, Brooklyn, New York based venture, sprung from the minds of two old friends, Michelle Inciarrano and Katy Maslow. We create moss terrariums and other small worlds in antique, vintage, and new glass containers, apothecary jars, science glass, kitchenware, and any odd glass objects we find on our travels."]]></description>
<dc:subject>terrariums plants objects display</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:f8d80267d7cd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:terrariums"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:objects"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:display"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.youtube.com/watch?v=PQ4o1N4ksyQ">
    <title>Pete Holmes - Google (Not Knowing) - YouTube</title>
    <dc:date>2012-05-05T04:16:42+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=PQ4o1N4ksyQ</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[ha!]]></description>
<dc:subject>epistemology knowledge comedy</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:b027fd32e6fd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:knowledge"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:comedy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://vimeo.com/41579923">
    <title>BRIDGE by Kevin T. Allen on Vimeo</title>
    <dc:date>2012-05-05T04:07:02+00:00</dc:date>
    <link>http://vimeo.com/41579923</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A study of three similar but distinct microcultures: the Manhattan Bridge, Brooklyn Bridge and Williamsburg Bridge. Their soundscapes interrogated through the use of contact microphones, allowing us to listen to the physical infrastructure of the bridges and reveal their inherent macroacoustics. The film aims to treat the bridge as an anthropological body for discourse, as a physiology of limbs, organs, eyes and ears moving in time.]]></description>
<dc:subject>infrastructure sound_art object_oriented_philosophy</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:2fdf801762d9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:sound_art"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:object_oriented_philosophy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.domusweb.it/en/book-review/app-proof-architects">
    <title>App-proof architects - Reading Room - Domus</title>
    <dc:date>2012-05-04T22:13:04+00:00</dc:date>
    <link>http://www.domusweb.it/en/book-review/app-proof-architects</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Yes is More remains effectively anchored to the book form but does lend itself to dynamic solutions (videos, 360-degree images) that enhance it and make good use of the iPad's capabilities. The result is a work that reflects the inspired and dynamic personality of its author and is bursting with content, but presents a few non-intuitive navigational obstacles and requires a certain dose of user receptiveness and patience. 

Fuksas. A Journey through Architecture is a different matter. It is published by Encyclomedia, which has unquestionable historic credentials and was one of the first houses in Italy to work with multimedia. The work's structure is clear from the outset. An illustrated index allows you to browse through the app's 40 projects, which can be viewed via 10 lists that range from year of completion to city, structural design and consultants. ]]></description>
<dc:subject>ipad books media_architecture comics</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:984b253965b9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:ipad"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:books"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_architecture"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:comics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nyuarchiveworkshop.wordpress.com/2012/05/04/networked-new-york-qa-kristen-doyle-highland/">
    <title>Networked New York Q&amp;A: Kristen Doyle Highland | nyuarchiveworkshop</title>
    <dc:date>2012-05-04T21:57:08+00:00</dc:date>
    <link>http://nyuarchiveworkshop.wordpress.com/2012/05/04/networked-new-york-qa-kristen-doyle-highland/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I should start by saying that my larger research project focuses primarily on the nineteenth-century NYC bookstore. But the Networked NY conference was a great opportunity to begin to think about the relationship between yesterday’s bookstore and the status (often described as the “plight”) of today’s bookstore—point here being that I’d love to hear others’ thoughts on the modern bookstore.  It seems an obvious point to us today to say that the bookstore isn’t just about selling books—it’s about a lifestyle, about values, about community, literacy, culture. ... But with the rise of the dedicated retail bookstore—increasingly, though not always, separate from publishers—in the 19th century, we have the opportunity to consider how the bookstore imagined and produced itself as a venue for books in an urban landscape that had libraries, reading rooms, and street-corner book peddlers, among other book spaces. I focus on New York specifically because by the mid-19th century, it had become the national center for the book industry and had a lively, diverse bookselling trade. ]]></description>
<dc:subject>books infrastructure bookstore</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:de258b7be2c5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:books"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:bookstore"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nymag.com/daily/intel/2012/05/11-things-different-about-old-new-york.html">
    <title>Eleven Things That Were Different About Old New York -- Daily Intel</title>
    <dc:date>2012-05-04T21:37:08+00:00</dc:date>
    <link>http://nymag.com/daily/intel/2012/05/11-things-different-about-old-new-york.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The New York City Department of Records recently made 870,000 photos from its archives available online for the first time, offering a fascinating glimpse into the city's past, and some of the ways that life here has changed over the years.]]></description>
<dc:subject>archives photography urban_media new_york urban_archaeology</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:c9091cb4a101/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:urban_media"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:new_york"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:urban_archaeology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://m.ammoth.us/blog/2012/05/glitch-jam/">
    <title>glitch jam – mammoth // building nothing out of something</title>
    <dc:date>2012-05-04T21:33:55+00:00</dc:date>
    <link>http://m.ammoth.us/blog/2012/05/glitch-jam/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[NPR reported this morning on a traffic jam in California caused by an algorithmic glitch “accidentally summon[ing] 1,200 people to jury duty on the same morning”. An excellent reminder of the tendency of algorithmic dysfunction to manifest as physical dysfunction, and (at a relatively small scale) of the potentially disproportionate impact of glitches when they are translated from dataspace into an infrastructural system.]]></description>
<dc:subject>infrastructure sentient_city transportation glitch</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:f3147d7f251f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:sentient_city"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:transportation"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:glitch"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://anthem-group.net/2012/05/02/the-object-strikes-back/">
    <title>The Object Strikes Back « ANTHEM</title>
    <dc:date>2012-05-03T21:09:24+00:00</dc:date>
    <link>http://anthem-group.net/2012/05/02/the-object-strikes-back/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA["I think one of the weaknesses of the heavily relational approach of ANT (Actor Network Theory) is that it cannot adequately deal with the parts of the object that exceed its current relations. Latour’s best case studies (Pasteur, for example) are about things that have already happened. All the relations and translations have finally done their work, and we can use Latourian tools to explain how it occurred. …

Yet I’m not sure that ANT is quite as useful at counterfactual cases. What counterfactual cases do is allow us to look at the innate powers of a thing that might not have been expressible in their actual environment, and ask how things might have played out differently. …"]]></description>
<dc:subject>object_oriented_philosophy actor_network</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:52a5c74a76e6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:object_oriented_philosophy"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:actor_network"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://motherboard.vice.com/2012/5/2/hey-big-companies-data-are-actual-things-that-take-up-space">
    <title>Hey Big Companies, Digital Sprawl Will Bankrupt You | Motherboard</title>
    <dc:date>2012-05-02T22:02:09+00:00</dc:date>
    <link>http://motherboard.vice.com/2012/5/2/hey-big-companies-data-are-actual-things-that-take-up-space</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Contrary to what some might assume are imaginary little 1s and 0s, data are actual things that take up space. Microchip technology, according to Turek, is getting heartily outpaced by the amount of data that consumers and corporations are creating and storing. The data have to go somewhere – and those “somewheres” are massive “data centers,” which are actual brick and mortar things.... To avoid the dystopian future of sprawling, steaming piles of data centers (there’s no incentive to make these places nice to look at), we need better storage technology. One potential data storage hero is graphene, which is an atomically razor-thin sheet of bonded carbon atoms. Graphene has been shown to have exceptional qualities of electrical conduction and resistance to heat, and could potentially have a role in data memory devices. (There are stirrings that it could replace silicon, but the jury’s definitely still out on that.) Turek also mentions cloud computing and “new nano materials,” that aid with chip-cooling, as new technologies that can reinvent dated IT methods.]]></description>
<dc:subject>data storage infrastructure data_centers</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:754a56fe2a49/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:data"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:storage"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:data_centers"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.fastcodesign.com/1669638/photographs-of-the-amazing-infrastructure-that-powers-ibm-microsoft-and-ge#">
    <title>The Amazing Infrastructure That Powers IBM, Microsoft, And GE | Co.Design: business + innovation + design</title>
    <dc:date>2012-05-02T21:55:22+00:00</dc:date>
    <link>http://www.fastcodesign.com/1669638/photographs-of-the-amazing-infrastructure-that-powers-ibm-microsoft-and-ge#</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Amazing Infrastructure That Powers IBM, Microsoft, And GE
CHRISTIAN STOLL CAPTURES SOME OF THE WORLD’S LARGEST CORPORATIONS IN WIDE-ANGLE SPLENDOR.]]></description>
<dc:subject>infrastructure data_centers photography media_space</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:14247c4f5271/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:data_centers"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_space"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.acegallery.net/artistmenu.php?Artist=8#">
    <title>ACE GALLERY | TARA DONOVAN</title>
    <dc:date>2012-05-02T04:37:41+00:00</dc:date>
    <link>http://www.acegallery.net/artistmenu.php?Artist=8#</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA["Ms. Donovan, 38, who recently won a $500,000 MacArthur Foundation “genius” award, has drawn attention over the last decade for her ability to transform huge quantities of prosaic manufactured materials — plastic-foam cups, pencils, tar paper — into sculptural installations that suggest the wonders of nature. The retrospective will include many of the works that made her name, like the series “Bluffs” (2006), which she created by gluing hundreds of thousands of clear shirt buttons together into craggy peaks that recall white coral reefs or stalagmites. "]]></description>
<dc:subject>sculpture art topography</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:786b90319f83/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:sculpture"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:topography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://brooklynrail.org/2011/05/artseen/david-altmejd-1">
    <title>DAVID ALTMEJD - The Brooklyn Rail</title>
    <dc:date>2012-05-02T04:27:06+00:00</dc:date>
    <link>http://brooklynrail.org/2011/05/artseen/david-altmejd-1</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Canadian wunderkind, David Altmejd, has quickly garnered a reputation for his fantastical chimeras, often realized through Dionysian fusions of synthetic flesh, metal armature, mirror, and fur. Werewolves, half man/half animal hybrids, Paleolithic colossi—all are card-carrying members of the sculptor’s artistic army—divinations culled from the birthing stages of human consciousness, which, had they not been positioned within the white cube of the contemporary gallery, might have found a more proper ancestry on the cave walls of Lascaux. Altmejd’s latest exhibition at Andrea Rosen, however (his third solo endeavor in the space), reveals a break in the artist’s penchant for such raw manifestations of the mind-body. In the wake of Altmejd’s arsenal of fetishistic taxidermied forms, calculatingly precise architectural interventions ensue. Museum-quality dioramas, executed on the sculptural level of history painting, and site-specific evocations and evacuations of space in plaster are only a few of the formal shifts on display.

“The Vessel” (2011) is the overwhelming harbinger of the show, comprised of a series of intricately connected Plexiglas compartments that, when viewed from the front, evoke an eerie illusion of symmetrical precision. Closer inspection reveals the artist’s measured hand at work, as we soon notice the staggering number of “entry points” into and out of the object... This experiment (indeed, the inner sanctum of the scientific lab is repeatedly evoked in Altmejd’s meticulous use of rare materials and Petri-dish displays) of connectedness vs. compartmentalization continues with the second monolithic vitrine, “The Swarm” (2011). 

see also http://theidproject.org/blog/matt-jones/2011/04/15/weekly-art-32-altmejd-and-erik-wysocan-andrea-rosen]]></description>
<dc:subject>display vitrine art assemblages classification sze</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:6c9005d14218/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:display"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:vitrine"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:assemblages"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:sze"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://brooklynrail.org/2007/12/artseen/wade-guyton">
    <title>Wade Guyton - The Brooklyn Rail</title>
    <dc:date>2012-05-02T04:19:56+00:00</dc:date>
    <link>http://brooklynrail.org/2007/12/artseen/wade-guyton</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[First, Guyton is a visionary in the mode of George W. Bush. Like Bush, he knows that history is on his side, he doesn’t like to exert too much effort, he knows he’s always absolutely right, and he lacks curiosity of any sort. Second, he appeals to those collectors who either manage or run hedge funds because they work long hours to produce nothing, while he doesn’t have to work very hard to produce a lot. Third, he makes himself both lovable and indispensable to academic theorists because his work can be seen as a series of increasingly perfected Pavlovian responses engendering equally precise Pavlovian praise. Professors and curators—the middle managers of cultural institutions—are happy to chant the mantra of appropriation, post-Duchampian/post-studio practice, and the death of the handmade, because they know he will deliver the goods in the right package.]]></description>
<dc:subject>xerox printing art</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:156179c02a1a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:xerox"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:printing"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2012/05/remember-the-telephone/256616/">
    <title>Remember the Telephone - Rebecca J. Rosen - Technology - The Atlantic</title>
    <dc:date>2012-05-02T03:08:09+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2012/05/remember-the-telephone/256616/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[If writers, academics, and observers of all stripes are concerned about the effects social media are having on society, they're hardly the first to worry about the changes wrought by a new technology. Pretty much any disruptive technology is met with a now-familiar cycle of dismissal, "grandiose pronouncements," and gradual adoption, explains Tom Vanderbilt, and for a fine telling of what this has looked like historically, turn to his story of the telephone's early life in the new issue of the Wilson Quarterly (where I used to work)... Yet despite its "seemingly transformative nature," the telephone, Vanderbilt writes, is rather understudied. There is not a single scholarly publication devoted in its entirety to the phone. The parallels between its early years and our own nascent Internet age go unremarked.... When we are uncomfortable with the way a new technology is changing our society, the story of the telephone reminds us that we should be careful to parse out the things that are vulnerable in our society (such as jobs, institutions, and organizations) from what seems a bit more resistant to change -- namely, us. ]]></description>
<dc:subject>media_history telephone</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:49fae652ffe2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:media_history"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:telephone"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/A-Digital-Boot-Camp-for-Grad/131665/">
    <title>A Digital Boot Camp for Grad Students in the Humanities - The Digital Campus - The Chronicle of Higher Education</title>
    <dc:date>2012-05-02T00:44:42+00:00</dc:date>
    <link>http://chronicle.com/article/A-Digital-Boot-Camp-for-Grad/131665/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Our goal is to provide a small team of graduate students with soup-to-nuts training in software development for humanities research and exchange. Along the way, they will gain hands-on experi­ence in knowledge representation and design: the most fundamental, formal activities underlying the production of digital scholarship. It's pretty geeky stuff—but our students also exercise so-called softer skills. They learn to collaborate effectively across disciplinary borders and class lines in the academy, and with practitioners from profoundly different intellectual traditions. They plan and manage projects with aggressive timelines, complex moving parts, and personnel who are also peers (including not only fellow students, but librarians and information-technology professionals). And they hone their ability to communicate—to scholars, to potential supporters, and to a broad and public audience...

Like the scholarly tool we are building, our work in the Praxis Program is public and iterative, an exercise played out individually and collectively. There are no polished jewels here: Our students are cobbling together a framework for future scholarship even as the warts-and-all mandate of our charter drives them to fashion, for themselves, hybrid scholarly identities as newly refractive and contextual as anything on the Web. The digital-humanities community values process as much as product, so we're sharing everything as we go: the software we're building, our students' reflections on the experience, and our curriculum as this year's practicum shapes it]]></description>
<dc:subject>praxis PhD</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:8c195cb4c29c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:praxis"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:PhD"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://proteanrelay.blogspot.com/2012/03/make-your-next-group-project-great.html">
    <title>Protean Relay: Make your next group project a great experience</title>
    <dc:date>2012-05-01T23:52:11+00:00</dc:date>
    <link>http://proteanrelay.blogspot.com/2012/03/make-your-next-group-project-great.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The document is not prepared by the professor (although the professor can provide guidance), but is prepared by each individual group to outline expectations of each group member. Here are some examples:
- Group planned deadlines
- How far ahead a group member is required to notify that he/she will not be able to make a group deadline and/or needs assistance
- Rules for fair work distribution
- If a part is assigned, what constitutes it being complete?
- How members of the group should be treated
- The preferred method of contact and expected response time
- What needs to be done in case a group member has an emergency
- If a group member is “slacking”, how far does the responsibility of remaining group members stretch to get the person active
- Repercussions for a member disobeying the expectations (warning(s) or asked to leave the group)]]></description>
<dc:subject>teaching group_work</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:948856022fa3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:teaching"/>
	<rdf:li rdf:resource="http://pinboard.in/u:shannon_mattern/t:group_work"/>
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<item rdf:about="http://www.nybooks.com.libproxy.newschool.edu/articles/archives/2012/may/10/master-bigness-rem-koolhaas/?pagination=false">
    <title>The Master of Bigness by Martin Filler | The New York Review of Books</title>
    <dc:date>2012-05-01T23:51:32+00:00</dc:date>
    <link>http://www.nybooks.com.libproxy.newschool.edu/articles/archives/2012/may/10/master-bigness-rem-koolhaas/?pagination=false</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[His polymathic father, Anton Koolhaas, was an esteemed journalist, author of beloved fables about anthropomorphic animals... Following his father’s example, the young Koolhaas initially turned to journalism and screenwriting. In 1963, when he was eighteen, he began working for De Haagse Post, a right-liberal weekly published in The Hague, where he designed layouts and wrote on a wide range of political, social, and cultural topics. He then studied at the Netherlands Film and Television Academy in Amsterdam (which his father headed from 1968 to 1978), and later cowrote an ultimately unproduced movie script, Hollywood Tower, for the soft-porn director Russ Meyer, auteur of such camp classics as Faster, Pussycat! Kill! Kill! (1965).... There were other family influences as well. Koolhaas’s maternal grandfather was Dirk Roosenburg (1887–1962), a Jewish vanguard architect in whose studio the boy made some of his earliest architectural drawings.... Apart from his short-lived Vegas display space, Koolhaas’s only executed art gallery remains his Kunsthal of 1987–1992 in Rotterdam, a temporary exhibition facility with flexible galleries arranged around a squared-off helix of interior ramps that lead visitors almost effortlessly from level to level, without the now-ubiquitous escalators that give so many contemporary museums (including Taniguchi’s MoMA) the air of a shopping mall. Koolhaas used this same low-tech internal circulation for his largest work in the US, the Seattle Central Library, which was enthusiastically received upon its completion in 2004. Koolhaas’s Seattle project perfectly demonstrates his fundamental disdain for a major preoccupation of bien-pensant architects since the 1960s—“contextualism,” or designing a building to fit in with earlier structures near it.

Koolhaas is inexorably drawn to the architecture of state power, and is fascinated by earlier architects attuned to power regardless of its source. None of the great twentieth-century masters was more assiduous in his willingness to work for clients of any political stripe, from Communists to Nazis and all stops in between, than Koolhaas’s idol Ludwig Mies van der Rohe. But whereas Mies’s design genius might excuse much guilt by association, it is hard to fathom Koolhaas’s perverse fondness for Wallace K. Harrison... As for his own relations with power, Koolhaas harbors no discernible qualms about abetting a state-controlled propaganda agency of the current Chinese dictatorship. Following the example of architects from time immemorial, he has gone where the work is, and during the past decade that means China, where his major projects include the Shenzen Stock Exchange of 2006–2011, a monolithic, Miesian tower surrounded by a projecting “base” hoisted six stories above ground level by massive diagonal struts. What is likely to remain Koolhaas’s most controversial commission is now nearing completion in Beijing: the 4.2-million-square-foot China Central Television Headquarters, begun in 2004 and now at least three years behind its original estimated occupancy date, with an estimated cost of more than $800 million. The CCTV building brings to mind a twice-as-large, deconstructed version of Johann Otto van Spreckelsen’s Grande Arche de la Défense of 1982–1989 in Paris, one of the most visible, if least distinguished, of the grands projets initiated by President François Mitterrand. 

Such morally laissez-faire attitudes (e.g., "Bigness") infuriate Koolhaas’s detractors, who see him as pandering to the basest market-driven impulses in a world that has largely abandoned the social vision of the early Modernists as either pragmatically impossible or impossibly utopian. 

Project on the City @ Harvard GSD: These seminars are based on Scott Brown and Venturi’s now-famous 1968 Yale course that led to Learning from Las Vegas. Some critics consider both [Koolhaas's] subject matter and methodology de-haut-en-bas slumming. ]]></description>
<dc:subject>koolhaas architecture museums</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:611358f6cc71/</dc:identifier>
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<item rdf:about="http://takingnotenow.blogspot.com/2012/04/categories-and-wastebaskets.html">
    <title>Taking note: Categories and Wastebaskets</title>
    <dc:date>2012-04-30T21:34:26+00:00</dc:date>
    <link>http://takingnotenow.blogspot.com/2012/04/categories-and-wastebaskets.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Nelson Goodman's Problems and Projects (Indianapolis: The Bobbs Merrill Comapany, Inc., 1972) contains a chapter entitles "Snowflakes and Wastebaskets". It is about the notion of "categories" in Immanuel Kant and C. I. Lewis. Since Goodman believes that Lewis went "as far beyond Kant" as Kant went beyond his predecessor, he prefers Lewis's understanding of categories....


Kant thought that "categories" are the fundamental synthetic functions of thinking, that is, the necessary conditions of the possibility of thinking at all. without categories, we could not think at all. In particular, we could not think in terms of objects. Lewis rejected this view. For him, categories were just tools we use to sort out stuff that "comes" to us. They represent the order we impose on things. They represent our "filing system" and any kind of filing will do....

By fiddling with the categories we can make some recurrences more probable. But the reliability of the system decreases with the number of categories. Maximum reliability is achieved by having the waste basket as the only category. But reliability alone is not enough, so our filing systems tend to betray a tension between safety and the "need for specificity" we may have....

The important point for him is, however, that the regularity of the world does depend upon the arbitrary choices we make in categorizing the world. "Reality must be regular because reality is distinguished by the very fact that it conforms to the requirements of the non-wastebasket compartments of our categorical scheme." Chaos is impossible as long as we have some categories. 

But absence of chaos is not really what we are after. We clearly want more. Therefore the choice of our non-wastebasket categories matters very much. The trick is to find those that have the right sort of specificity that allows not only for novelty and regularity, but also for revision. 

This is why all note-taking systems need categories—any categories and why a "miscellanea" can never be sufficient.
]]></description>
<dc:subject>cataloguing classification organization UMS</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:a4c95bfa1a04/</dc:identifier>
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<item rdf:about="http://www.cca.qc.ca/en/collection/1701-this-sense-of-apprehension">
    <title>This sense of apprehension | Canadian Centre for Architecture (CCA)</title>
    <dc:date>2012-04-30T21:00:57+00:00</dc:date>
    <link>http://www.cca.qc.ca/en/collection/1701-this-sense-of-apprehension</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The end of the Second World War and the subsequent baby boom meant great stretches of single-family homes were hastily erected across the United States, facilitated by both the automobile industry and by investments in infrastructure.

In 1950, William Levitt of Levittown-fame graced the cover of Time magazine and the face of American heroism changed from soldier to business tycoon. Photographer William Garnett was commissioned the same year by the developers of Lakewood Park in California to make aerial views of 17,000 housing units and accompanying schools, churches, and commercial sites in various stages of construction.

Aerial photography was used extensively in reconnaissance missions during World War II and to a lesser extent World War I, and has long been compared to architectural drafting for its ability to flatten and demarcate space. The New Topographics photographers were influenced by this sense of visual survey; Adams, Deal, and, more so, Gohlke often photographed from an oblique angle, confining themselves to the outer limits of their subjects.

...the New Topographics photographers portrayed an urban sprawl that seemed to reach far beyond the frame. Aerial photography of suburban developments perpetuated rather than contained this sense of immeasurability.]]></description>
<dc:subject>media_architecture media_city suburbs housing photography aerial_photography topography</dc:subject>
<dc:source>http://pinboard.in/</dc:source>
<dc:identifier>http://pinboard.in/u:shannon_mattern/b:428cfdf033a0/</dc:identifier>
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