The document was a single, bright red sheet of paper, crowded with close-set black type. Different kinds of lines and arrows connected in wild formulations, linking George Soros with the Illuminati, various stars of the UFO community with their alleged handlers, the CIA with Alex Jones.

The document was a single, bright red sheet of paper, crowded with close-set black type. Different kinds of lines and arrows connected in wild formulations, linking George Soros with the Illuminati, various stars of the UFO community with their alleged handlers, the CIA with Alex Jones.

I am interested in 'the hole' in its conceptual, metaphorical, and literal crossovers. Who has written about holes? In the ground? In theory? In myth and fiction? I'd be super keen to read theory that cites specific holes found in myth and fiction, or people who have written about sinkholes, boreholes, etc. from geological/geographic perspective, but also, as mentioned above, the hole in a more conceptual level is super interesting.

Holes as the absence of geographic materialities, loss, gaps, and collapse of meaning. Holes as potential sites of openings, creativity, and reconstruction of new or recovered meaning.

Any ideas or leads welcome!

On Material Entanglements: an Interview with Morehshin Allahyari Although we both live in the bay area, I got to Morehshin Allahyari’s work through an internet rabbit hole. Some months ago I picked up ‘Cyclonopedia’ by Reza Negarestani and got pretty engrossed by the book’s mix of fact and fiction. The story suggests that petrol functions as a lubricant necessary to spread an ancient evil throughout the world eventually leading into what he calls a desertification of the earth. a place where all will be flattened and ready for some sort of re-boot.

From the paradoxical nature of our impending quantum (computing) future to the enduring mystery of the Big Bang – the ideas explored in HOLO 2 could not be any bigger. We think it shows.

On the mutual influnce of science fiction and innovation http://t.co/kcf1zwyqb3 – Darren Wershler (alienated) http://twitter.com/alienated/status/421985489676419072

If there’s one topic that writers can be counted on to tackle at least once in their working lives, it’s writing itself. A good thing too, especially for all those aspiring writers out there looking for a little bit of guidance.

If there’s one topic that writers can be counted on to tackle at least once in their working lives, it’s writing itself. A good thing too, especially for all those aspiring writers out there looking for a little bit of guidance.

These games are offered as solutions for two kinds of problems. One is writer’s block. Let’s be done with the waiting for ‘inspiration’. Let’s just get to work all one has to overcome is one’s resistance to labor.

The BBC children’s television programme Teletubbies is, evidently, based upon an SF conceit. But how meaningful is it to call it SF? Whilst conceding science-fictional elements to the show, most viewers, I suppose, would not think of it as belonging to the SF genre. And yet there is a point in making the identification.

The Teletubbies live in Teletubbyland, a sort of hi-tech hobbiton of green fields and hills, dotted with coloured flowers and grazing rabbits, under a bright blue sky. The four Teletubbies themselves live in a sunken dome, tended by technological gadgets of various sorts: a robotic vacuum-cleaner called ‘Nu-nu’ who cleans up all messes, food-producing and other machines, and periscopes that rise spontaneously from the turf to talk or sing to the Teletubbies.

The ’tubbies are differentiated from one another in various ways, and each has a favourite toy or prop. They are, in descending order of size: Tinky-Winky (who is purple, his antenna a triangle shape, his favourite ‘prop’ a handbag); Dipsy (lime green, his antenna a straight-up phallic thrust, his favourite prop an enormous black-and-white top hat); La-La (yellow, her antenna curled like a pig’s tail, her prop a ball); and Po, the littlest of them (red, his antenna a circle, his prop a scooter). The show’s conceit is that these curious space-alien-creatures represent toddlers at different stages of development, such that Tinky-Winky has the greatest (although still severely limited) linguistic capabilities, and Po talks in baby-talk. They are also differentiated in terms of character: they all have racially ‘white’ faces and hands, except for Dipsy who is racially ‘black’ (quite apart from his pimp hat, Dipsy adopts rather patronisingly stereotypical hip-hop dance postures). La-La likes to sing. Po likes to ride around on her scooter. All four of these beings have television screens inset into their bellies: which is, of course, the feature that gives the show its name.

Prometheus contains such a huge amount of mythic resonance that it effectively obscures a more conventional plot. I'd like to draw your attention to the use of motifs and callbacks in the film that not only enrich it, but offer possible hints as to what was going on in otherwise confusing scenes.

Let's begin with the eponymous titan himself, Prometheus. He was a wise and benevolent entity who created mankind in the first place, forming the first humans from clay. The Gods were more or less okay with that, until Prometheus gave them fire. This was a big no-no, as fire was supposed to be the exclusive property of the Gods. As punishment, Prometheus was chained to a rock and condemned to have his liver ripped out and eaten every day by an eagle. (His liver magically grew back, in case you were wondering.)

Fix that image in your mind, please: the giver of life, with his abdomen torn open. We'll be co

Prometheus contains such a huge amount of mythic resonance that it effectively obscures a more conventional plot. I'd like to draw your attention to the use of motifs and callbacks in the film that not only enrich it, but offer possible hints as to what was going on in otherwise confusing scenes.

Let's begin with the eponymous titan himself, Prometheus. He was a wise and benevolent entity who created mankind in the first place, forming the first humans from clay. The Gods were more or less okay with that, until Prometheus gave them fire. This was a big no-no, as fire was supposed to be the exclusive property of the Gods. As punishment, Prometheus was chained to a rock and condemned to have his liver ripped out and eaten every day by an eagle. (His liver magically grew back, in case you were wondering.)

Fix that image in your mind, please: the giver of life, with his abdomen torn open. We'll be coming back to it many times in the course of this article.

The ethos of the titan Prometh

What is ROFLCon? It's a biennial convention (this year was its third) held to celebrate and discuss internet memes and the celebrity that is often created alongside them. This year's invited guests included Chuck "Nope" Testa, Antoine Dodson, who became famous when he appeared on local news after a home invasion, Paul "Bear" Vasquez, AKA the "Double Rainbow" guy, and "Tron Guy" Jay Maynard. There are also internet celebs of a different ilk — people who have created loved and admired "works," like Chris Torres, creator of Nyan Cat, Matt Oswald, creator of the "Me Gusta" guy, or film editor Duncan Robson, creator of the very well known supercut "Let's Enhance." There were also academics, thinkers, and media on hand to round out the very diverse crew. Oh, and Scumbag Steve was there.

We put the question to experts in various fields. Biology is no stranger to large, international collaborations with lofty goals, they pointed out — the race to sequence the human genome around the turn of the century had scientists riveted. But most biological quests lack the mathematical precision, focus and binary satisfaction of a yes-or-no answer that characterize the pursuit of the Higgs. “Most of what is important is messy, and not given to a moment when you plant a flag and crack the champagne,” says Steven Hyman, a neuroscientist at the Broad Institute in Cambridge, Massachusetts.

Nevertheless, our informal survey shows that the field has no shortage of fundamental questions that could fill an anticipatory auditorium. These questions concern where and how life started — and why it ends.

One of the things I instinctively hated about my “ancestral culture,” that of Bangladesh, is that there wasn’t that great of an emphasis on individual independent thought. Why, for example, was it important never to drink water while you were eating, as opposed to after you were done? The response was simple: that’s the rule. Even if there was a functional rationale, there wasn’t even any pretense at offering a reasoned explanation for why a custom was a custom. It’s just how it was.

In this view belonging to a religion involves accepting a set of beliefs, which are held before the mind and assessed in terms of the evidence that exists for and against them. Religion is then not fundamentally different from science, both seem like attempts to frame true beliefs about the world. That way of thinking tends to see science and religion as rivals, and it then becomes tempting to conclude that there's no longer any need for religion.

This was the view presented by the Victorian anthropologist JG Frazer in his book The Golden Bough, a study of the myths of primitive peoples that is still in print. According to Frazer, human thought advances through a series of stages that culminate in science. Starting with magic and religion, which view the world simply as an extension of the human mind, we eventually reach the age of science in which we view the world as being ruled by universal laws.

Some of the evidence has been under our nose all along. Conventional history has long shown that, in many ways, we have been getting kinder and gentler. Cruelty as entertainment, human sacrifice to indulge superstition, slavery as a labor-saving device, conquest as the mission statement of government, genocide as a means of acquiring real estate, torture and mutilation as routine punishment, the death penalty for misdemeanors and differences of opinion, assassination as the mechanism of political succession, rape as the spoils of war, pogroms as outlets for frustration, homicide as the major form of conflict resolution—all were unexceptionable features of life for most of human history. But, today, they are rare to nonexistent in the West, far less common elsewhere than they used to be, concealed when they do occur, and widely condemned when they are brought to light.

The decline of violence is a fractal phenomenon, visible at the scale of millennia, centuries, decades, and years

I'm looking for examples of websites that have successfully enhanced a research community (academic or artistic) with a dynamic online/social/mutual-portfolio presence. Blog and social media based hubs, perhaps, that showcase the possibilities of web portfolio/research integration for academic and creative purposes. I've been asked to help implement a website/blogging platform for a community of 20 MFA students.

Basically I'd like to gather up some examples of dynamic websites attached to academia (or similar i.e. the arts). These examples will be then passed on to my superiors with an eye to developing our own platform that takes the best approaches we discover and adds/mutates them to our needs. The cream of the crop in terms of design, content and implementation.

The perfect fit would (perhaps) give each student their own (blog) space from day one, and have the content they choose to share dynamically interface with the other students as the course unfolds. We might use it as a portfolio format (the students are studying art and writing) or we might integrate it with the theoretical components of the course, use it to share tutorial feedback, or even open the reading we do to the wider world.

Ideally we will do this cheaply, with open-source software.

Send me some impressive and inspiring examples!

Cheers in advance

Do institutions and galleries have a growing interest in New Media? Two weeks ago, I identified the art “internet bubble” at The L Magazine, a trend that’s currently giving new media the spot light. Not everyone sees new media the same way though. Domenico Quaranta, an Italian writer and curator previously best known to this blog for “Holy Fire“, a dubiously themed new media exhibition in Brussels that included only “collectible” work, being one such example. Quaranta’s followed up the 2008 exhibition by writing a whole book on the subject of New Media — “Media, New Media, PostMedia” — one core theme being that the field isn’t accepted in the contemporary art world. ”New Media Art is more or less absent in the contemporary art market, as well as in mainstream art magazines,” he writes in his abstract, ”and recent accounts on contemporary art history completely forgot it.”

For the past dozen years, several distinguished thinkers about law and technology have warned that a golden age of Internet freedom may be about to close. The most influential alarm-ringer has been Lawrence Lessig, who argued in his 1999 book, Code, that under corporate and governmental pressures, the Net could be flipped to serve top-down control instead of individual freedom. In The Future of the Internet and How to Stop It (2008), Jonathan Zittrain showed why this reversal might come about as a result of popular demand. Both the personal computer and the Internet are what Zittrain calls “generative” technologies, free to be built on without corporate or governmental permission. Besides generating positive innovations, however, these technologies invite viruses and other mischief, which drive people toward safe, reliable “information appliances” tethered to particular companies (think Apple’s iPhone).