bivdu

Midge Hadley is a fictional doll character in the Barbie line of toys by Mattel that was first released in 1963. Midge was created, along with Skipper, to counteract criticism that claimed Barbie was a sex symbol. She was marketed as Barbie's best friend. No Midge dolls were sold for the rest of the vintage years after the 1960s.

The dolls sold in this time period usually had red hair, often with freckles, and her eye color was usually blue or green.

When Barbie first came out, she was the subject of a lot of criticism, some of which that claimed Barbie was too sexy for children. Midge was the first same-size friend of Barbie ever sold, and was created to oppose these controversies aimed at Barbie. She had a fuller, gentler face mold that was less sexually intimidating.

more
midge on flickr

Also i found this cute pic here

redhead facts

2010-11-04T01:35:00.000-07:00

From Tromsø with LOL

2010-10-28T15:37:00.000-07:00

so verry..

2010-10-11T17:22:00.000-07:00

2010-10-11T16:57:00.000-07:00

GUESS WHAT?!

manual. (catalogue piece)

2010-09-24T11:55:00.000-07:00

compilation

2010-09-19T22:16:00.000-07:00

all black everything/all white everything

2010-09-19T14:21:00.000-07:00

2010-09-14T09:56:00.000-07:00

That's what you get, when you're in love with a yuppie..!

- Gonzo

2010-09-14T09:52:00.000-07:00

http://www.netlingo.com/acronyms.php

http://www.ac6v.com/morseaids.htm

2010-09-14T08:48:00.000-07:00

http://en.wikipedia.org/wiki/Epitaph

http://en.wikipedia.org/wiki/Sign

http://en.wikipedia.org/wiki/Ideogram

http://en.wikipedia.org/wiki/Symbol

Ordet tekst stammer fra det gammelnorske textr eller texti som igjen kommer fra det latinske textus som egentlig betyr «sammenføyning« eller «vev» (jamfør ordet tekstil).

mamuthones

2010-08-30T10:59:00.000-07:00

2010-08-25T06:51:00.000-07:00

Sara Ludy
|||||||||||||||||||||

Aztec window

Bad dream/Good dream

Tuesday

Kind of fucked up, but makes sense

link

MORGENBLADET - Kunst er best på internett

2010-08-25T05:15:00.000-07:00

– Jeg vil skape kunstverk i en sånn hastighet at de speiler verden rundt meg. Derfor inneholder bloggen min en konstant strøm av bilder, som en etterligning av Google eller CNN, sier internettkunstneren Brad Troemel på telefon fra Illinois i USA.

Han er en av mange unge kunstnere som heller viser frem verkene sine på en url enn irl: heller på nettet enn in real life. Sammen med kunstnerkollegaen Lauren Christiansen driver han bloggen The Jogging, hvor publiseringshastigheten på bilder og videoer er like skremmende som fascinerende, og en autoscrollfunksjon gjør det mulig å bla nedover bloggen i det uendelige.

Enkelte vil hevde at slike ting bare gjør oss mette, at vi blir ute av stand til å verdsette ett og ett bilde. Det mener ikke Troemel.

– Vår visuelle oppmerksomhet har tvert imot blitt skjerpet, i et slags forsvar mot kapitalismen. For å fortsette å kjøpe hva vi vil, og være hvem vi vil, må vi være i stand til å forstå nyansene mellom uhorvelig mange produkter, sier Troemel.

Verkene på The Jogging viser hvordan vår visuelle oppmerksomhet rettes stadig mer mot overflaten, heller enn mot arbeidet som ligger bak. Bloggen er full av forvirrende sammenstillinger av hverdagslige objekter og referanser til medie- og kunstverdenen. Verkenes titler slår nøkternt fast hva vi ser: Partially Censored Beanbag, Lecture Ticket in a Tree, Purple Plastic and Head.Bildene kan ha undertittelen skulptur, installasjon eller performance, selv om det like gjerne kan være en digital konstruksjon. Spørsmål om ekthet eller teknikk er uviktige. What you see is what you get.
Kasinokunst. Troemels filosofi er at alle kan lage kunst. Derfor skriver han jevnlig på bloggen sin at alle som besøker den kan bidra med egne kunstverk.

– Jeg er ikke et geni som er bedre enn andre, og ser ingen grunn til at de som ser på kunst ikke også skal kunne skape den. Jogging skal bli en selvregulerende mekanisme, hvor mottakerne også er skapere, sier Troemel.

Det idealistiske synet på nettkunst utdyper han i essayet «Free Art», som han publiserte på bloggen sin i mai. Han omtaler essayet som et manifest som nettbaserte kunstnere kan stille seg bak. Her presenterer han ideen om at internett er det beste stedet for kunst i dag.

– På nettet er publiseringshyppighet og antall tilskuere vesentlig. Det er ikke perfekt, og jeg mener ikke at den kunsten de fleste liker er den beste. Men det er mer demokratisk enn at kuratorer avgjør hva som er god kunst, mener Troemel.

I «Free Art» angriper han de mektige kunstinstitusjonene og kunstnere som har festet dollartegn til verkene sine.

– Hovedforskjellen mellom kunst på nettet og den utenfor, er materialiteten. Det er først og fremst et økonomisk skille. Materiell kunst har varekarakter. Hvis du lager verk for å selge, blir det uadskillelig fra andre kunstneriske mål. Det er en form for sensur, hevder Troemel.

Han skriver i essayet at kunst ikke kan endre måten vi betrakter verden på så lenge den vises i steriliserte, hvite bokser, «designet spesifikt for å få betraktere til glemme hva 'livet' egentlig er». Gallerier beskriver han som kasinoer: de eksisterer utenfor tid og rom, og refererer bare til seg selv.

Museumskrig. Kanskje er verdensveven virkelig et mer egnet sted for kunst enn gallerier? Nettet er vår hovedkilde til informasjon om verden rundt oss. Vi henter underholdning og nyheter. Vi shopper, er i kontakt med venner og stifter nye bekjentskaper der. Det eksisterer en rekke visningsrom for nye kunstverk på nettet, og det finnes internettarkeologer som leter etter og viser frem det man kan kalle «brukskunst», animasjoner og illustrasjoner fra tidlige nettbrukeres hjemmesider. Store deler av vår visuelle kultur er tilgjengelig på nettet, og Troemel jobber for å gjøre verker som ikke allerede finnes der tilgjengelige.

Med kunstutstillingen Ready Or Not It's 2010 gikk Christiansen og Troemel til en slags hellig krig mot kunstgallerier som motsetter seg overgangen til den digitale tidsalderen. På utstillingen kunne hvem som helst delta, med bilder, videoer og nettsidelenker. Utstillingen foregikk på facebookveggen til Los Angeles County Museum of Art, som vanligvis kun bruker Facebook for å lokke folk til museet.

– Gallerier og museer burde 3D-skanne verkene sine og presentere dem på nett. Da ville de levd opp til det de skal gjøre, nemlig å skape forståelse for kunst og historie. Men jeg har ikke tro på at det vil skje, for da underkjenner de hele den fysiske viktigheten av objektene de bruker så mye penger på å skaffe seg. Å gjøre det ville være som om Barack Obama bestemte seg for å gå av og la et anarkiststyre overta, sier Troemel.

Netthumor. I mars i år bedrev Jogging-duoen institusjonskritikk ved å skape sitt eget visningssted for kunst. De kuraterte utstillingen An Immaterial Survey of Our Peers, en utstilling som kun eksisterer på nettet. Vegger i et utstillingslokale ble fotografert, og kunstverkene ble deretter plassert på vegger og gulv digitalt.

En av dem som bidro på utstillingen var den norske kunstneren Andreas Meinich, for nettsurfere best kjent som Andreas Banderas. På en av de virtuelle veggene hang fem av hans abstrakte, digitale kollasjer. En av dem ser ut som en krysning mellom en lampeskjerm og en manet hengende i et tre, mens en annen viser det som kan være en romvesenserviettring med en mørkeblå serviett tredd gjennom, mot en bakgrunn av rosahvite mineraler.

Meinich tror i likhet med Troemel at nettet fører til at kunstnere tar saken i egne hender, heller enn å vente på gallerier.

– Kunst presentert på nettet er friere. I gallerier er det ofte noe som skal passe inn i et visst tema eller sammen med en gruppe kunstnere. Ofte lager jeg et verk og publiserer det på nettet. Så blir det vist på et galleri senere, forteller Meinich. Det gjelder for verket «Caps Lock», en caps med en hengelås festet på.

– Det kan virke som det er mer rom for humor i kunsten på nett?

– Kunst på internett har ikke så høy status som i gallerier, og er heller ikke alltid karakterisert som kunst. Terskelen er mindre for å publisere arbeid på nettet, noe som kan være både positivt og negativt, forteller Meinich.

Absurd animasjon. Filformatet gif er den kanadiske kunstneren Stephanie Davidsons foretrukne medium. Med 8 bit per piksel og 256 farger var gif ideelt for små animasjoner i internetts tidlige stadier.

– Jeg liker gif-er fordi de er umiddelbare, begrensede og lette å dele. Dermed må ideen være rett på sak, skriver Davidson på e-post fra Toronto.

Hun bruker bloggen Rising Tensions som sitt nettgalleri. Der legger hun ut animasjoner med babyer som gløder i neonfarger, datamaskiner som brenner i idylliske landskaper og hamburgere snurrende oppå diamanter.

– Gif-er er ikke særlig salgbare, så de passer ikke for gallerier. Jeg tror ikke tradisjonelle artister nødvendigvis lager verk eksplisitt for gallerier heller, men forskjellen er opplevelsen av nettbaserte verk kontra de som henger i gallerier. Et utprintet bilde på et galleri blir vist ærbødighet, mens det å se på noe på en blogg er mindre formelt og ikke så krevende, sier Davidson.

Den svenske kunstneren Rasmus Emanuel Svensson har laget boken Omg Sooo Random vol 1.sammen med Hanna Terese Nilsson. Den består av det Svensson selv omtaler som en «tilfeldig, men likevel utvalgt mengde informasjon» om temaer som biblioteket i Alexandria, bjørkeøl, emotikoner, Archimedes og hårstrikk. Svensson mener også det er mer rom for humor i nettkunsten enn i gallerikunsten.

– Jeg tror det har å gjøre med at alt beveger seg så raskt på nettet. Spøker fanger oppmerksomheten. Dessuten gjør det store lageret av bilder og annen informasjon at det er lett å lage absurde sammensetninger og kollasjer. På et vis kan man si at hele internettkulturen ligner America's Funniest Home Videos, men jeg syns ofte at humoren er dyp og meningsfull. At den sier ting som ikke helt kan artikuleres i ord, forteller Svensson.

Http://. Nederlenderen Constant Dullaart (som insisterer på at det er hans virkelige navn) mener internettkunst mister sin gyldighet hvis den presenteres andre steder enn online. Han lager blant annet nettbundet kunst i form av samlinger med domenenavn. Han omtaler dem, med henvisning til Marcel Duchamps berømte pissoar, som «domain name readymades».

– Toppdomener som http://example.com kan ikke bli kjøpt, bare leaset. Noen av dem har fantastiske, idealistiske grunner til å eksistere, som http://offline.com, hvor det står: «No web site is configured at this address». Men det er det jo faktisk, det er jo en html som viser den teksten, sier Dullaart.

Han beveger seg mellom ulike kontekster, og har blant annet laget en skulptur av kulene som snurrer rundt når youtubevideoer lastes inn.

– Det var et forsøk på å løse spørsmålet om hvordan kunst skapt for nettet kan vises i fysiske utstillingsrom. Besøkende gjenkjente skulpturen umiddelbart som youtube-lastingen, filmet den og la den ut på youtube! forteller Dullaart.

Promoteringsverktøy. Dullaart ser på Troemels essay som «a sweet illusion». Han støtter ideen om at alle kan bli kunstnere, men tror realiteten er at utdanning og sosial bakgrunn vil fortsette å være avgjørende for hvem som vil lage kunst.

– Hvordan skal kunstnere klare seg uten gallerier som selger det de lager?

– De kan holde forelesninger, søke på stipender, selge merchandise, skrive bøker, rane banker, spørre moren sin. Det er fint å tjene penger, men ikke viktig. Husker du van Gogh? spør Dullaart retorisk. Dullaarts landsmann og kunstnerkollega Vincent Van Gogh var som kjent fattig, og led av underernæring store deler av livet.

Den berlinbaserte, amerikanske duoen med det iøynefallende navnet Aids 3D er også enig med Troemel i at nettet byr på nye muligheter, men har ikke den samme tiltroen til det som ham.

– Nettet gjør det lettere for kunstnere å promotere seg, men det beste det kan lede til, er tilgang til den etablerte galleriverdenen, som så langt ikke har mistet mye makt til nettsider, sier Nik Kosmas i Aids 3D.
Antikken i 3D. – Internettkunst gløder rett i øynene dine, mens du ligger i sengen, sier Kosmas entusiastisk.

Sammen med kunstneren Daniel Keller har han blant annet laget en obelisk med «OMG» (Oh my God!) skrevet i neonbokstaver. Den ble bygd til en utstilling, deretter avbildet og omgjort til en blinkende gif-animasjon.

– Vi lager som oftest utstillinger og deler dokumentasjonen på nettet. Men vi bruker også internett som et redskap i våre utstillinger. For eksempel har vi en serie fontener koblet sammen over nettet, som del av et globalt prosjekt for å kurere forskjellige sykdommer. Dessuten har vi en skulptur kalt Alpha. Den er et intelligent stykke drivved fra Thailand, som automatisk omsetter aksjer, forteller Kosmas.

Verkene til både Aids 3D og Rasmus Emanuel Svensson er preget av utopisk fremtidstro, samtidig som de har dyp forankring i mytologiske landskap. Og nettopp dette er et fremtredende trekk ved mye nettkunst – at teknologi gjerne kombineres med obskure referanser til magi. I digitale verk er både romskip og antikke statuer naturlige referanser.

– Hvorfor er det digitale så mystisk?

– Som Arthur C. Clark skrev: «Any sufficiently advanced technology is indistinguishable from magic.» Det har vel alltid eksistert en understrøm av mystisisme i vestlige lands rasjonelle vitenskapsprosjekt. Når det gjelder de gamle eller antikke tingene finner jeg, og mange andre, tror jeg, en fascinasjon i å se sånt i internettsammenheng. 3D-animasjoner av antikke statuer. Det er en pirrende motsetning, sier Svensson.

Av Andreas Ervik

ae@morgenbladet.no

http://www.morgenbladet.no/apps/pbcs.dll/article?AID=/20100716/OKULTUR/707169973

2010-08-14T13:45:00.000-07:00

http://www.kent-engineers.com/abbreviations.htm

161

Ain't got no ones so we throw up the two

2010-05-11T13:10:00.001-07:00

picasso// de kooning // skype

2010-05-09T20:54:00.000-07:00

Lets do it again!!! (soon)

♡☯♡.♀:.@.*~*☺666++**☼:1♥ Marthe Elise

i can haz website. rough sketch**

2010-05-08T19:31:00.000-07:00

73

2010-05-05T05:47:00.001-07:00

*************************************************
The National Telegraphic Review and Operators Guide in April 1857
documented the use of the number 73 in Morse
code to express "love and kisses" (later reduced to the more formal
"best regards"). Dodge's Manual in 1908 documented the
reintroduction of "love and kisses" as the number 88.
*************************************************

1337 speak

2010-05-05T04:51:00.007-07:00

A language in which numbers and symbols are put together to look like letters. Some people create their own 1337 letters and it makes them look more 1337 by fellow 1337-speakers. Here is an alphabet of 1337 letters I know and have created:

A: 4 or l\ or ^ or @ or /\ or /-\
B. l3 or 8 or ß or ]3 or l:
C: ( or < or © or ¢
D: l) or l> or ])
E:3 or £
F: l= or # or ƒ
G:6 or 9
H: # or l-l or (-) or !-! or }-{ or }{ or l+l or )+( or !+! or }+{
I: 1 or ! or ]
J: _l or _/
K: l< or l( or l{ or l<=
L: 1 or ! or ]
M: l\/l or /\/\ or l\l\ or ^^
N: l/l or /\/
O: 0 or () or <> or * or ø or Ó or °
P: l* or l> or |D or l^ or l+
Q:& or (\) or ¶
R: l2 or ®
S: 5 or $ or §
T:+ or 7
U: l_l or /_/
V: \/
W:|/\| or \/\/ or |/\/ or \/\|
X: >< or }{ or :-:
Y: ¥
Z: 2

()/\/\9 7^l+l+ 15 7)-( 3 1337 #l\:-:<>l2 1 +()l_l> ¥ <>* ^l3°l_l+ /\/\3}-{ #1213l/ll>!!!1!!11!1!! )+(3 |D\l\/l/l2.

ranslation:Oh my god that is the leet hacker I told you about my friend! He owns.

source

on stage

2010-04-26T07:31:00.000-07:00

2010-04-25T16:59:00.000-07:00

> Connected—you can now speak.
Partner: ur very pretty :)
You: u too :-)
Partner: hope ur not showin anything!
You: haha
Partner: dont make them happy
You: where r u from?
Partner: they're all idiots;d
Partner: Poland ;
Partner: u?
You: yes this is sick
You: norway
Partner: how is ur day?
You: ok.. a bit tired now.. you?
Partner: i have a massive headache!
You: ouch!
Partner: and i have to study tonight
Partner: sucks
You: yeah I should be filling out some forms myself... but I cant concentrate..
Partner: i know that from somewhere
Partner: :P
You: wasting time on chatrt.. instead...
Partner: haha exactly
Partner: ;d
You: pretty wise
You: what do you study?
Partner: turkish lang. u?:P
You: ah
You: I study art
Partner: thats nice:)
Partner: u look talented :d
You: hahah
You: not sure i am though
Partner: i bet u are!
Partner: ure a woman, u have to be:d
You: thanx for the support! haha
You: true
You: this site is evidence on whos superior of the genders
Partner: haha
Partner: yeah :d
Partner: well.. i think i've seen Willies from all over the world
You: its a bit frightening almost how stupid some people act
You: haha yeah..
Partner: thats beyond sick
You: true true..
You: its funny though... people are funny
Partner: im wondering though.. how many girls show them boobs when asked
You: I think hardly anyone
You: or i dont know
Partner: hope so!
You: the boys seems to never give up
Partner: they have an aim...
You: all they get to see is other guys wanking
Partner: thats the best punishment!
You: but whatever..
You: haha
You: yeah
You: some might like it though
You: u never know
Partner: hmm... point taken :P
You: oh well I should get back to work and so should you! :-P
Partner: ohhhhh
Partner: :(
Partner: i dont want to!
Partner: so bad
Partner: ;d
You: yeah.. me neither
Partner: we should try
You: yes
Partner: fingers crossed for u!
You: nice meeting u!
Partner: stay strong, woman!:D
Partner: u too :)
You: good luck with yr headache
Partner: thanks:)
Partner: nitttee :)
You: bye!
> Round ended. Press "Again" for another round.

betrayed by nature

2010-04-23T13:11:00.000-07:00

in the making

polar

2010-04-23T09:29:00.000-07:00

2010-04-23T08:29:00.000-07:00

2010-04-22T11:06:00.000-07:00

...

2010-04-21T12:44:00.000-07:00

2010-04-15T10:44:00.001-07:00

Lindsay Howard:

♡+♡=❤²

2010-04-05T16:31:00.000-07:00

;-)

"– Ja, jeg sendte en bunke smileys.

Barnslig, ja, men med tanke på

hvordan jeg hadde hatt det de siste årene

der jeg var redd jeg aldri ville se barna mine igjen,

var det en avreagering der og da"

2010-04-04T12:40:00.000-07:00

CONTENT

2010-04-04T10:34:00.000-07:00

It's all messed up I'm afraid
I'll never get the chance
So the time is now but I
Wish I had a better plan

How to make content
I wanna make content
I wanna make content, oh yeah
I wanna make content

I luv to watch ya but I never let ya
Catch me when I'm starin' at you
Ya look so special and I really wanna
Tell ya but I never do

Wanna make content
Wanna make content

Wanna make content, oh yeah
Wanna make content

I could be satisfied
Makin' it with you
Then doin' it over and over and over
The whole night through

If I could make content

http://en.wikipedia.org/wiki/Content_%28media_and_publishing%29

2010-04-04T09:56:00.000-07:00

http://speaklolcat.com/

2010-03-23T10:41:00.001-07:00

2010-03-22T18:26:00.000-07:00

2010-03-05T00:55:00.000-08:00

Chaos_magic_ritual_involving_videoconferencing

2010-03-04T08:56:00.000-08:00

chaos theory on
wiki

Technopaganism on wiki

2010-03-04T08:48:00.000-08:00

On the Internet, nobody knows you're a dog

2010-03-01T14:31:00.001-08:00

2010-03-01T12:04:00.000-08:00

Blingee.com

Chandra Talpade Mohanty

2010-02-28T14:43:00.001-08:00

marshall macluhan

2010-02-28T11:58:00.000-08:00

2010-02-28T11:38:00.000-08:00

The fashionable ideology that "artificial" lacks the inherent goodness of "natural" is an appealing, but hopelessly simplistic notion of the intellectually chic. Artifice is the result of a deliberate intent to make. Nature also "makes" things, using a set of basic building blocks common throughout the universe. Exchanging infinite time for deliberate design, nature has ingeniously built plants, planets, galaxies and unimaginable constructs which seem to structure the universe itself. What we call "natural" is simply the result of whatever set of rules nature has followed in fashioning our observable reality. On planet Earth, nature has manipulated the common elements to fashion everything from bacteria to the molten core of the planet. Discoveries in the "nano" technologies of bio, molecular, and micro engineering will re-edit the nomenclature of "natural" versus "unnatural", blurring if not erasing the line of distinction between "machine" and "organism", "natural" and "unnatural", "God-given" and "man-made". — Syd Mead

.

2010-02-28T09:10:00.000-08:00

the cyborg manifesto

clay pottery

2010-02-21T16:32:00.000-08:00

source

ebay

2010-02-20T13:29:00.000-08:00

politics of love

2010-02-19T11:36:00.001-08:00

"People today seem unable to understand love as a political concept...The modern concept of love is almost exclusively limited to the bourgeois couple and the claustrophobic confines of the nuclear family. Love has become a strictly private affair. We need a more generous and more unrestrained conception of love. We need to recuperate the public and political conception of love common to premodern traditions. Christianity and Judaism, for example, both conceive love as a political act that constructs the multitude...There is really nothing necessarily metaphysical about the Christian and Judaic love of God: both God's love of humanity and humanity's love of God are expressed and incarnated in the commmon material political project of the multitude. We need to recover today this material and political sense of love, a love as strong as death. This does not mean you cannot love your spouse, your mother, and your child. It only means that your love does not end there, that love serves as the basis for our political projects in common and the construction of a new society. Without this love, we are nothing."
Michael Hardt and Antonio Negri, Multitude: War and Democracy in the Age of Empire (New York: The Penguin Press, 2004), pp. 351-52.

more

2010-02-16T04:52:00.000-08:00

CHATROULETTE.COM

2010-02-06T07:18:00.001-08:00

Lihkku beivviin!

Lahkoe biejjine!
Vuorbbe biejvijn!

Happy 6th of February all Sami people!

2010-02-02T12:28:00.000-08:00

rachel harrison

2010-01-29T08:56:00.000-08:00

triage

.

2010-01-29T08:31:00.000-08:00

"(....)

Nicolas Bourriaud's little book Postproduction does not match the emphasis on cultural contestation and collaborative independence that is so conspicuous in the networks and projects of the new socially oriented artists. True, Bourriaud argues that "art can be a form of using the world", but when it comes to the details, Bourriaud converts these social events back into those of an encounter "between the artist and the one who comes to view the work". His new artist is a 'semionaut' (the DJ, the programmer, the web surfer), whose 'collaborations' with the social world are reduced to exchanges of signs. When he speaks of how the semionaut "activates the history" of appropriated material, Bourriaud is referring to the generation of new meanings. And because he places his hope in the liberatory effects of semiotic play, he takes his position in direct opposition to the avantgardist who asked "what can we make that is new?" with the motto, "how can we make do with what we have?" I think the new socially oriented artists are closer to the avantgarde than this, with a question that goes beyond Bourriaud's semiotic play: how we can make what we have do something else?

Old Habits Die Hard emphasises an aspect of contemporary independent art that separates it from Bourriaud's semionauts. The semionaut is an individual who, in Bourriaud's account, is in opposition to others, in particular to the obsolete producers on whom the semionaut's appropriational practice depends. Of course, this opposition can be redescribed in collaborative terms. The DJ and the socially oriented artist acts in a spirit of hospitality rather than hostility. While hospitality can contain its own forms of hostility - when inclusion is nothing but a positive spin on the neutralisation of opposition, for instance - there can be a tenderness to hospitality that is worth encouraging. As a genre of social interaction, hospitality is more promising, ethically, as a model for an artist run space than, say, entrepreneurialism or semiotic play. Collaborative independence, involving hospitalities within hospitalities, is a form of independence that does not delude itself that autonomy (self-determination) is equivalent to isolation (the myth of the self-created self) The 'self' of 'self-determination' is understood, within collaborative independence, to be co-produced with others. That is, the self of self-determination is not self-sufficient. And thus, the independence in collaborative independence is necessarily based on the individual's utter dependence on others.

We are not semionauts; we are, if anything, socionauts. Socially oriented artists do not demonstrate any inclination today to reduce social encounters to semiotic encounters. At the same time, such social encounters are not typically those between an artist and a viewer mediated by the object that is made by the former for the visual pleasure of the latter. If the contemporary artist contests culture by, among other things, contesting the role of the artist, then it follows that the contemporary artist contest culture by contesting the modes of attention of the viewer (the artist's traditional collaborator). In fact, contemporary artists seem to be in the process of converting the viewer into a doer, an active participator in the events and actions set up by the socionaut. In this sense, the contemporary artist in the first decade of the 21st century has in common with the avantgardist in the first part of the 20th century a vital commitment: the merging of art and life as a critique of the isolation of art from everything else. If the avantgarde's sense of breaking new ground gave them a social superiority complex, the current crop of socially oriented artists are avantgarde only insofar as they share the political programme of the avantgarde, not their social position at the head of culture. Avantgardism was always independent but now it has become independent collaborative hospitality."

source

2010-01-28T19:32:00.001-08:00

2010-01-28T19:31:00.000-08:00

2010-01-28T17:02:00.000-08:00

The Greek symposium was a key Hellenic socio-political institution. Though the name originally referred to a drinking party (from the Greek sympotein, "to drink together"), the symposium was a forum for free men to debate, plot, boast, or simply to party with others. They were also held to celebrate the introduction of young men into aristocratic society or other special occasions, such as victories in athletic and poetic contests.

The sympotic elegies of Theognis of Megara and two Socratic dialogues, Plato's Symposium and Xenophon's Symposium all describe symposia in the original sense.

The term has since come to refer to any academic conference, or a style of university class characterized by an openly discursive format, rather than a lecture and question–answer format.

(...)

In keeping with Greek notions of self-restraint and propriety, the symposiarch would prevent matters from getting out of hand. The playwright Eubulus, in a surviving fragment of a lost play has the god of wine, Dionysos himself, describe proper and improper drinking:

For sensible men I prepare only three kraters: one for health (which they drink first), the second for love and pleasure, and the third for sleep. After the third one is drained, wise men go home. The fourth krater is not mine any more - it belongs to bad behaviour; the fifth is for shouting; the sixth is for rudeness and insults; the seventh is for fights; the eighth is for breaking the furniture; the ninth is for depression; the tenth is for madness and unconsciousness.

wiki

2010-01-28T16:33:00.000-08:00

Fleetwood Mac – Silver Springs

.

Letter to Peter and Alison Smithson by Richard Hamilton

2010-01-28T16:00:00.001-08:00

16th January 1957

Dear Peter and Alison,

I have been thinking about our conversation of the other evening and thought that it might be a good idea to get something on paper, as much to sort it out for myself as to put a point of view to you.

There have been a number of manifestations in the post-war years in London which I would select as important and which have a bearing on what I take to be an objective:

Parallel of Life and Art
(investigation into an imagery of general value)

Man, Machine and Motion
(investigation into a particular technological imagery)
Reyner Banham's research on automobile styling
Ad image research (Paolozzi, Smithson, McHale)
Independent Group discussion on Pop Art - Fine Art relationship
House of the Future
(conversion of Pop Art attitudes in industrial design to scale of domestic architecture)

This is Tomorrow
Group 2 presentation of Pop Art and perception material attempted impersonal treatment. Group 6 presentation of human needs in terms of a strong personal idiom.

Looking at this list is is clear that the Pop Art/Technology background emerges as the important feature.

The disadvantage (as well as the great virtue) of the TIT show was its incoherence and obscurity of language.

My view is that another show should be as highly disciplined and unified in conception as this one was chaotic. Is it possible that the participants could relinquish their existing personal solutions and try to bring about some new formal conception complying with a strict, mutually agreed programme?

Suppose we were to start with the objective of providing a unique solution to the specific requirement of a domestic environment e.g. some kind of shelter, some kind of equipment, some kind of art. This solution could then be formulated and rated on the basis of compliance with a table of characteristics of Pop Art.

Pop Art is:
Popular (designed for a mass audience)
Transient (short-term solution)
Expendable (easily-forgotten)
Low cost
Mass produced
Young (aimed at youth)
Witty
Sexy
Gimmicky
Glamorous
Big Business

This is just a beginning. Perhaps the first part of our task is the analysis of Pop Art and the production of a table. I find I am not yet sure about the "sincerity" of Pop Art. It is not a characteristic of all but it is of some - at least, a pseudo-sincerity is. Maybe we have to subdivide Pop Art into its various categories and decide into which category each of the subdivisions of our project fits. What do you think?

Yours,

(The letter was unanswered but I used the suggestion made in it as the theoretical basis for a painting called Hommage á Chrylsler Corp., the first product of a slowly contrived programme. R.H.)

2010-01-26T11:49:00.000-08:00

TOTEM TEDDIES - JOHN FEODOROV

2010-01-26T11:34:00.000-08:00

"Totem Teddies was my first exploration with mixed media assemblage as an undergraduate student at Cal State Long Beach. When I first created The Totem Teddies, my goal was to reclaim the dignity and power of the bear--a common totem symbol for numerous indigenous peoples. I felt that Western consumer culture had castrated the power of the bear (as well as other spiritual/natural symbols)--transforming it into a cute cuddly and harmless commodity. I chose to present the teddies as spiritual products that, once purchased by the consumer, demanded constant appeasement and attention in order to ward off bad luck. If the consumer unwittingly offended his or her teddy, a handy spinning oracle (sold separately) could be consulted for suggestions on how to re-harmonize oneself with the offended teddy."

- John Feodorov

2010-01-11T13:28:00.000-08:00

BOURRIAUD - RELATIONAL AESTHETICS - GLOSSARY
(INTEGRAL)

From "Relational Aesthetics" by NB, published by "les
Presses du Reel", Dijon, France
2002 english version 1998 french version.
it costs 11 or 12 euros... Deeply recommended.

Academism:
1. An attitude that involves clinging to the defunct signs and forms of one's day and rendering these aesthetic.
2. synonum: pompous (pompier)
-And why wouldn`t he do something pompous, if it pays off` (Samuel Beckett)

Aesthetics
An idea that sets humankind apart from other animal species. In the end of the day, burying the dead, laughter, and suicide are just the corollaries of a deep-seated hunch, that life is an aesthetic, ritualised, shaped form.

Art.
1. General term describing a set of objects presented as part of a narrative known as art history.This narrative draws up the critical genealogy and discusses the issues raised by these objects, by way of three sub-sets: painting,sculpture, architecture.
2. Nowadays, the word 'art' seems to be no more than a semantic leftover of this narrative, whose more accurate definition would read as follows: Art is an activity consisting in producing relationships with the world with the help of signs, forms, actions and objects.

Art (The end of )
'The end of art' only exists in an idealistic view of history. We can nevertheless, and not without irony, borrow Hegel`s formula whereby 'art, for us, is a thing of the past' and turn it into a figure of style: let us remain open to what is happening in the present, which invariably exceeds, a priori, our capacities of understanding.

Artist
When Benjamin Buchloh referred to the conceptual and minimal generation of the 1960`s, he defined the artist as a 'scholar-philosopher-craftsman' who hands society 'the objective results of his labour' . For Buchloh, this figure was heir to that of the artist as 'mediumic and transcendental subject' represented by Yves Klein, Lucio Fontana and Joseph Beuys. Recent developments in art merely modify Buchloh's hunch. Today's artist appears as an operator of signs, modelling production structures so as to provide significant doubles. An entrepeneur/politician/director. The most common denominator shared by all artists is that they show something. The act of showing suffices to define the artist, be it a representation or a designation.

Behaviour
1. Beside those two established genres, the history of things and the history of forms, we still need to come up with a history of artistic behaviours. It would be naive to think that the history of art represents a whole capable of perennially replacing these three sub-groups. An artist's microbiography would point up the things he has achieved within his oeuvre.
2. Artist, producer of time.
All totalitarian ideologies show a distinctive wish to control the time in which they exist. They replace the versatility of time invented by the individual by the fantasy of a central place where it might be possible to acquire the overall meaning of society. Totalitarianism systematically tries to set up a form of temporal motionlessness, and rendering the time in which it exits uniform and collective, a fantasy of eternity aimed first and foremost at standardising and monitoring patterns of behaviours. Foucault thus rightly stressed the fact that the art of living classed with 'all forms of fascism, be they already there or lurking '

Co-existence criterion
All works of art produce a model of sociability, which transposes reality or might be conveyed in it. So there is a question we are entitled to ask in front of any aesthetic production: 'Does this work permit me to enter into dialogue [ Could I exist, and how, in the space it defines?] A form is more or less democratic. May I simply remind you, for the record, that the forms produced by the art of totalitarian regimes are peremptory and closed in on themselves (particularly through their stress on symmetry).
Otherwise put, they do not give the viewer a chance to complement them.
(see: Relational (aesthetics)).

Context
In situ art is a form of artistic activity that encompasses the space in which it is on view. This consideration by the artist of the exhibition venue consisted, yesterday, in exploring its spatial and architectural configuration. A second possibility, prevalent in the art of the 1990s consists in an institutional structure, the socio-economic features encompassing it, and the people involved. This latter method calls for a great deal of subtlety : although such contextual studies have the merit of reminding us that the artistic doing does not drop out of the sky into a place unblemished by any ideology, it is nevertheless important to fit this investigation into a prospect that goes beyond the primary stage of sociology, It is not enough to extract, mechanically, the social characteristics of the place where you exhibit (the art centre, the city, the region, the country...) to ''reveal'' whatever it may be. For some artists who complicated thinking represents an architecture of meanings, no more nor less (Dan Asher, Daniel Buren, Jef Geys, Mark Dion) how many conceptual hacks are there who laboriously 'associate', for their show in Montelimar, nougat production and unemployment figures? The mistake lies in thinking that the sense of an aesthetic fact lies solely in the context.

2. Art after criticism
Once art 'overtook' philosophy (joseph Kosuth), it nowadays goes beyond critical philosophy, where conceptual art has helped to spread the viewpoint. Doubt can be cast over the stance of the 'critical' artist, when this position consists in judging the world as if he were excluded from it by divine grace, and played no part in it. This idealistic attitude can be contrasted with Lacanian intuition that the unconscious is its own analyst. And Marx's idea that explains that real criticism is the criticism of reality that exists through criticism itself. For there is no mental place where the artist might exclude himself from the world he represents.

Critical materialism
The world is made up of random encounters (Lucretius, Hobbes, Marx, Althusser). Art, too, is made of chaotic, chance meetings of signs and forms. Nowadays, it even creates spaces within which the encounter can occur. Present-day art does not present the outcome of a labour, it is the labour itself, or the labour-to-be.

Factitiousness
Art is not the world of suspended will (Schopenhauer), or of the disappearance of contingency (Sartre), but a space emptied of the factitious. It in no way clashes with authenticity (an absurd value where art is concerned) but replaces coherences, even phoney ones, with the illusory world of 'truth'. It is the bad lie that betrays the hack, who at best touching sincerity inevitably ends up as a forked tongue.

Form
Structural unity imitating a world. Artistic practice involves creating a form capable of "lasting", bringing heterogeneous units together on a coherent level, in order to create a relationship to the world.

Gesture
Movement of the body revealing a psychological state or designed to express an idea. Gesturality means the set of requisite operations introduced by the production of artworks, from their manufacture to the production of peripheral signs (actions, event, anecdotes)

Image
Making a work involves the invention of a process of presentation. In this kind of process, the image is an act.

Inhabiting
Having imagined architecture and art of the future, the artist is now proposing solutions for inhabiting them. The contemporary form of modernity is ecological,haunted by the occupancy of forms and the use of images.

Modern
The ideals of modernity have not vanished,they have been adapted. So "the total work of art" comes about today in its spectacular version, emptied of its teleological content. Our civilization makes up for the hyperspecialization of social functions by the progressive unity of leisure activities. It is thus possible to predict,without too much risk attaching thereto, that the aesthetic experience of the average late 20th century individual might roughly resemble what early 20th century avant-gardes imagined. Between the interactive video disk, the CD-Rom, ever more multi-media-oriented games consoles, and the extreme sophistication of mass recreational venues, discotheques and theme parks, we are heading towards the condensation of leisure in unifying forms. Towards a compact art. Once a CD-Rom and Cd-I drives are available. which have enough autonomy, books, exhibitions and films will be in competition with a form of expression that is at once more comprehensive and more thought-restricting, circulating writing, imagery and sound in new forms.

Operational realism
Presentation of the functional sphere in an aesthetic arrangement.The work proposes a functional model and not a maquette. In other words, the concept of dimension does not come into it, just as in the digital image whose proportions may vary dependng on the size of the screen, which unlike the frame, does not enclose works within a predetermined format, but rather renders virtuality material in x dimensions.

Ready-made
Artistic figure contemporary with the invention of film. The artist takes his camera-subjectivity into the real, defining himself as a cameraman: the museum plays the part of the film, he records. For the first time, with Duchamp, art no longer consists in translating the real with the help of signs, but in presenting this same real as it is (Duchamp, the Lumière brothers...

Relational Aesthetics
Aesthetic theory consisting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt.(see co-existence criterion)

Relational (art)
A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.

Semionaut
The contemporary artist is a semionaut, he invents trajectories between signs.

Society of extras
The society of the spectacle has been defined by Guy Debord as the historical moment when merchandise achieved 'the total occupation of social life ' , capital having reached 'such a degree of accumulation' that it was turned into imagery. Today , we are in the further stage of spectacular development: the individual has shifted from a passive and purely repetitive status to the minimum activity dictated to him by market forces. So television consumption is shrinking in favour of video games, thus the spectacular hierarchy encourages 'empty monads', i.e. programmeless models and politicians, thus everyone sees themselves summoned to be famous for fifteen minutes, using a TV game, street poll or new item as go-between. This is the reign of the 'Infamous Man' , whom Michel Foucault defined as the anonymous and 'ordinary' individual suddenly put in the glare of the media spotlights. Here we are summoned to turn into extras of the spectacle, having been regarded as its consumers. This switch can be historically explained: since the surrender of the Soviet bloc, there are no obstacles on capitalism's path to empire.It has a total hold of the social arena, so it can permit itself to stir individuals to frolic about in the free and open spaces that it has staked out. So, after the consumer society, we can see the dawning of the society of extras where the individual develops as a part-time stand-in for freedom, signer and sealer of the public place.

Style
The movement of a work, its trajectory 'The style of a thought is its movement' (Gilles Deleuze and Félix Guattari).

Trailer
Having been an event per se (classical painting), then the graphic recording of an event (the work of Jackson Pollock with photographic documents describing a performance or an action), today's work of art often assumes the role of a trailer for a forthcoming event, or an event that is put off forever.

source

Political Woman - Ilona Staller (Ciccolina)

2010-01-04T11:13:00.000-08:00

2010-01-04T11:12:00.000-08:00

Til digternes forsvar

Hvad skal vi gøre med digterne?
Dem er det synd for,
de er så hjerteskærende i deres sorte tøj
blåfrosne af indvendige polarstorme.

Poesien er en frygtelig pest,
de smittede går rundt og jamrer sig,
deres skrig forgifter atmosfæren som udslip
fra mentale atomkraftværker. Det er så psykisk.
Poesien er en tyran;
den holder folk vågne om natten og ødelægger
ægteskaberne,
den driver mænd ud i øde sommerhuse midt om vinteren,
der sidder de forpinte med høreværn og halstørklæder.
En hæslig tortur.

Poesi er en plage,
værre end gonoré - en grusom pestilens.
Men tænk på digterne, de har det hårdt,
bær over med dem!
De er hysteriske som højgravide tvillingemødre,
de skærer tænder i søvne, spiser jord
og græs. De står i timevis udenfor i blæsten
plaget af ufattelige metaforer.
Hver dag er en højtid for dem.

Åh, hav barmhjertighed med digterne,
de er døve og blinde,
hjælp dem i trafikken, hvor de vakler rundt
med deres usynlige handicap: De husker
alt muligt. Af og til standser en af dem op
og lytter efter en fjern udrykning.
Vis hensyn.

Poeterne er som sindssyge børn
jaget hjemmefra af den samlede familie.
Bed for dem;
de er født ulykkelige -
deres mødre har grædt over dem,
søgt lægehjælp og juridisk bistand,
indtil de bare gav op
for at frelse deres egen forstand.
Åh, græd over poeterne!

Dem er der ingen redning for.
Befængt med lyrik som hemmeligt spedalske
er de spærret inde i deres egen fantasi -
en uhyggelig ghetto, fyldt med dæmoner
og ondskabsfulde spøgelser.

Når du på en klar sommerdag med strålende sol
ser en stakkels digter
komme vaklende ud fra en opgang, bleg
som en dødning og vansiret af spekulationer -
så gå hen og hjælp ham!
Bind hans snørebånd, tag ham med
over i parken og sæt ham på en bænk
i solen. Syng lidt for ham,
giv ham en is og fortæl ham et eventyr;
han er så ked af det.
Han er helt ødelagt af poesi.

In Defence of Poets

What are we to do about the poets?
Life's rough on them
they look so pitiful dressed in black
their skin blue from internal blizzards

Poetry is a horrible disease,
the infected walk about complaining
their screams pollute the atmosphere like leaks
from atomic power stations of the mind. It's so psychotic
Poetry is a tyrant
it keeps people awake at night and destroys marriages
it draws people out to desolate cottages in mid-winter
where they sit in pain wearing earmuffs and thick scarves.
Imagine the torture.

Poetry is a pest
worse than gonorrhea, a terrible abomination.
But consider poets it's hard for them
bear with them!
They are hysterical as if they are expecting twins
they gnash their teeth while sleeping, they eat dirt
and grass. They stay out in the howling wind for hours
tormented by astounding metaphors.
Every day is a holy day for them.

Oh please, take pity on the poets
they are deaf and blind
help them through traffic where they stagger about
with their invisible handicap
remembering all sorts of stuff. Now and then one of them stops
to listen for a distant siren.
Show consideration for them.

Poets are like insane children
who've been chased from their homes by the entire family.
Pray for them
they are born unhappy
their mothers have cried for them
sought the assistance of doctors and lawyers, until they had to give up
for fear of loosing their own minds.
Oh, cry for the poets!

Nothing can save them.
Infested with poetry like secret lepers
they are incarcerated in their own fantasy world
a gruesome ghetto filled with demons
and vindictive ghosts.

When on a clear summer's day the sun shining brightly
you see a poor poet
come wobbling out of the apartment block, looking pale
like a cadaver and disfigured by speculations
then walk up and help him.
Tie his shoelaces, lead him to the park
and help him sit down on the bench
in the sun. Sing to him a little
buy him an ice cream and tell him a story
because he's so sad.
He's completely ruined by poetry.

2010-01-03T12:45:00.000-08:00

Vi vandrer på rullende kloder,
vi seiler i et ukjendt hav,
og hvordan vi seiler, og hvordan vi roder,
vi styrter tilslut i en grav.

Og nogle har hundrede guder,
mens andre nøies med én,
og hvordan de knæler, og hvordan de tuder,
de vorder tilslut til ben.

Sigbjørn Obstfelder

open office

2010-01-03T09:09:00.000-08:00

2010-01-03T09:07:00.000-08:00

Tretten aar
Jeg er bare tretten aar,
og jeg vil gaa hen og dø;
for alle de længsler som blomstrer i mig,
de skal ikke staa og forblø.

For ingen kan svare de tusen svar
paa alt hvad jeg ikke forstaar.
Saa maatte jeg væmmes ved hus og hjem,
og saa løp jeg min vei igaar.

Og jeg har revet min haand tilblods
og flakket et døgn omkring –
og jeg har graat mig isøvn i en grøft
og fablet om ingenting.

Og jeg har længtet mig op til Gud
ad stjernernes hvite sti.
Og jeg har vaagnet ved veiens kant,
hvor kjørne trampet forbi.

Og nu har jeg mistet hvert spor jeg fandt,
og glemt hvem jeg engang var.
Jeg speiler mig kanske idag i en dam
og tigger mig selv om et svar.

Jeg gaar til jeg finder et stille sted,
hvor ingen hører og ser –.
For nu har jeg levet i tretten aar
og vil ikke leve mer.

Rolf Hiorth Schøyen
1887–1932

RED ALERT

2009-11-29T10:40:00.000-08:00

When you want to play Red Alert over the 'net you'll find yourself chatting to others. Here are some abbreviations and other jargon often used on WChat and other places where RA games are played. It soon becomes quite easy to read these and it saves a lot of typing:

:-) :) ;-) ;) :]	A smiley (used to mean laughing or to show the last sentence was meant as humourous).
<---ladder name	"My ladder name is the same as my Westwood Chat nickname".
12xx	See 'rank'
2v2	Play cooperatively with 2 humans against 2 computers. This may change when version 3 of Red Alert is released.
AI	"Computer player"
ALT F4	A joke often played by experienced players who want to reduce the number of newbies on WChat. Pressing ALT-F4 closes WChat, regardless of what anyone else says it does!
AM	"Aftermath" game
a/s/l	What is your Age/Sex/Location?
b4	before
bbrains	My WChat nickname. If you want to talk to me then you may find me on WChat.
brb	Be Right Back
C&C2	Officially C&C2 is Tiberium Sun, the sequel to Red Alert and the third in the C&C series. Some people still refer to Red Alert as C&C2 though.
Cases	A "Cases ladder" game. See 'ladder game'
coop,co-op	A co-operative game. Usually means the 2 human players team up against one or more AI players in the game. (See Maxi Co-ops for a new way to play this)
CS	"CounterStrike" game.
Dis	Distract (from Sole Survivor)
EvW	East versus West. Used in a 4 player game when it is finally released. When the game starts you will usually find that two players are on the Eastern side of the map and two are on the West. The players will ally in those pairs.
flooding	Sending the same message repeatedly in a few seconds.
fun (game)	Any game not to be played as part of any ladder or tournament. However, it still may be taken 100% seriously.
fusion	A "Fusion Co-operative" game.
GD	Global Defence. A new way to play Red Alert by helping your side to win the world war.
GF	Game Fortress. Another way to play Red Alert in a ranking system to prove you are the best
hehe	denotes laughing
HelpBot	A computerised helper on WChat. It automatically kicks out people who swear and can give you limited help if you try priving it.
host	The player who sets up the game. "i host" means 'I want to host', "u host" means they want you to set it up.
invite	If someone else sets up a game they may invite you to join their channel. This can be done as normal, but nobody else can join the game so you won't get the 'channel full' error.
IP address	A unique name/number describing each computer on the internet. Sometimes used to set up games, but not over WChat.
KALI	Another place to play internet games. Similar to WChat.
kick	When a host removes someone from a chat room they are referred to as being kicked out.
kotg	"Keep Off The Grass". A favourite map of many of the top players.
ladder game	A game which will change your rank on the ladder. There are several Red Alert ladders, the main ones being the official Westwood tournament and Cases ladder.
ladder name	"What is your ladder name?". Used when playing in a non-Westwood tournament where matches have to be reported.
lag	Lots of lag means the game will run slowly.
latency	see 'lag'
lol	'Laugh Out Loud'
maxi	A co-operative map with a new challenge.
mega(map)	Any map larger than those that came with the original RA. Usually only playable with the Aftermath CD.
ne1 4	"Anyone for" (usually follwed by 'a game')
nsc	"New Southern California 1947". A bland custom map with loads of gems. Often played by tank rushers.
nurple (map)	A map which has had some characteristics changed. Usually everything is cheaper and faster.
page (me)	Use the locate/page function to send a message to someone not in your current channel.
ppl	people
priv,prv	A "Private message"
RA	"Red Alert"
rank 12xx	Someone who is on the ladder (usually Case's) and is ranked (in this example) between 1200 and 1299.
report	In non-Westwood ladder systems, often the loser has to report any losses he suffers. However, some people do not. Often there are arguments about someone not reporting and all involved gets a bad name.
RMM	"Real Multiplayer Mission"
Sole Survivor	A C&C style game where you control only one unit and try to remain alive with 49 others around you!
squelch	Choosing to ignore messages from a particular person (eg someone who is flooding) involves squelching them. Someone once said if 10 people squelch a person he is automatically kicked out, but I don't know if this is true.
SS	See Sole Survivor
sysop	SYStem OPerator. Means someone who officially is from the chat server.
tank rusher	Someone who uses the 'tank rush' strategy of just building tanks as fast as possible.
TEN	Another place to play internet games. Similar to WChat.
TS	Tiberian Sun. The sequel to Red Alert.
u	"you"
UltRA	"Ultimate Red Alert". A RULES.INI file which used to be played often before Aftermath.
W95	"Windows '95"
WChat	"Westwood Chat"
whisper	See 'priv'
WRU	Where are you (in the world)?

There are quite a lot of phrases here, but remember, it is quite easy to have WChat open at the same time as this page in W95 so you can refer to it if there's something you don't understand. For instance, someone may type:
ne1 4 kotg AM? rank <3xx. i host. Prv rank translates to:
"Does anyone want to play an AfterMath game playing on 'Keep Off The Grass' map? I am looking for players ranked 399 or better (usually meaning (s)he is ranked around 400). I want to host the game. Send a private message to me with your rank if you want to play." ;-)

2009-10-30T17:07:00.000-07:00

.

Healing post-colonial trauma, sexualy.

.

2009-10-30T17:05:00.000-07:00

2009-10-30T17:03:00.000-07:00

-

"When Mary Kelly turns Mary Shelley..."

v

2009-10-20T17:42:00.000-07:00

2009-10-08T12:42:00.000-07:00

EVENT: onblur
onblur="action" The onblurs event occurs when the element that is in focus, loses that focus. You use the term, in blur, to signify that an element does not have focus. Since only one element can be in focus at one time, all other elements are in blur. By focus, we mean that the cursor is at that element. For example, if the element was an input text box in a form, the cursor would appear inside the element and you could type and enter data into the box. These six events are useful when dealing with forms and form elements: onblur - runs a script when the element loses focus. onchange - runs a script when the element changes. onfocus - runs a script when the element gets the focus. onreset - runs a script when the form is reset. onselect - runs a script when the element is selected. onsubmit- runs a script when the form is submitted. source

nation on blur, flag politics

2009-10-08T07:41:00.001-07:00

culture vulture vs. pride - cash upfront

2009-10-08T06:40:00.000-07:00

"the Sami people , Norway.
Perfect for anyone who loves the Sami people . We have other Norway flags and the Sami people flags, the Sami people symbols and the Sami people coat of arms.
Its a great way to show your the Sami people pride. Best Norway flags, best quality always."

2009-10-07T21:48:00.000-07:00

2009-10-07T21:44:00.000-07:00

.

.

imagery

2009-10-07T21:36:00.000-07:00

2009-10-07T18:39:00.000-07:00

I may never have a daughter
Cos I've far too much to tell her
And far too much to answer for

2009-10-03T06:06:00.000-07:00

2009-10-01T10:05:00.000-07:00

human person

and

female body person

2009-09-29T02:00:00.000-07:00

Dude... you have saved my life! I used 2 b the
king of all Wusses. A supplicating, gift-buying,
emotional douche-rag! I shudder in disgust at the
way I was. My success story is bittersweet. First
bitter, cuz I met this absolute 10, a gorgeous
Indian artist chick.

very talented and super sharp. I was doing all the
right things by accident and ended up spending the
night at her house, then I ruined everything by
telling her how close I felt to her - like I'd
known her for years, etc,etc. BOOOORING!! Needless
2 say, I haven't heard from her since. After
banging my head against the wall repeatedly, I got
fed up and bought your DVD set. I must be a quick
learner cuz 1 month later I am pulling some
maneuvers that would make you smile.

....

2009-09-28T08:59:00.001-07:00

2009-09-28T08:50:00.000-07:00

utboks: 02:45 - Jeg fatter .ikke w ikke alle bare er fan?!
jævla losers az..

bivdu

nm this

SPRINGTIME_ONLINE

I think u've got ♡ in your internetz

content, over and over and over.

~kiss me~

random sketch

zzzZZZzz

redhead facts

From Tromsø with LOL

so verry..

manual. (catalogue piece)

compilation

all black everything/all white everything

mamuthones

MORGENBLADET - Kunst er best på internett

Ain't got no ones so we throw up the two

picasso// de kooning // skype

i can haz website. rough sketch**

73

1337 speak

on stage

betrayed by nature

polar

CONTENT

Chaos_magic_ritual_involving_videoconferencing

On the Internet, nobody knows you're a dog

Chandra Talpade Mohanty

marshall macluhan

clay pottery

politics of love

Letter to Peter and Alison Smithson by Richard Hamilton

TOTEM TEDDIES - JOHN FEODOROV

Political Woman - Ilona Staller (Ciccolina)

Til digternes forsvar

In Defence of Poets

open office

RED ALERT

nation on blur, flag politics

culture vulture vs. pride - cash upfront

"the Sami people , Norway.Perfect for anyone who loves the Sami people . We have other Norway flags and the Sami people flags, the Sami people symbols and the Sami people coat of arms.Its a great way to show your the Sami people pride. Best Norway flags, best quality always."

imagery

"the Sami people , Norway.
Perfect for anyone who loves the Sami people . We have other Norway flags and the Sami people flags, the Sami people symbols and the Sami people coat of arms.
Its a great way to show your the Sami people pride. Best Norway flags, best quality always."