terça-feira, agosto 18, 2015

The Flash Artists who Cybersquatted the Whitney Biennial

The Flash Artists who Cybersquatted the Whitney Biennial
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U B U W E B - Film & Video: Hito Steyerl - November (2004)

sábado, agosto 15, 2015

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terça-feira, agosto 11, 2015

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domingo, agosto 09, 2015

"We are uncovering better ways of developing software by doing it and helping others do it. Through..."

We are uncovering better ways of developing
software by doing it and helping others do it.
Through this work we have come to value:

Individuals and interactions over processes and tools
Working software over comprehensive documentation
Customer collaboration over contract negotiation
Responding to change over following a plan



- Manifesto for Agile Software Development (via fyprocessing)
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quarta-feira, julho 29, 2015

precursor of The Big Kiss

precursor of The Big Kiss
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segunda-feira, julho 13, 2015

Culture isn't free by Edward Picot

What has happened is that the Web, which initially seemed to offer small producers a level playing field with the big ones, has been carved up by the new digital mega-corporations: Amazon, Google/YouTube, Facebook, Apple, Twitter. All of these are content-hosts: they make their money by offering a hosting framework within which people or businesses can place their content or products. Apple and Amazon make profits by actually selling product, whereas Google/YouTube, Facebook and Twitter milk their audiences via advertising, but all of them are trading on the fact that they pull in so many viewers/consumers every day. On the Web, money follows attention, and if you can set up a site or a service which pulls in millions of visits per day, you’ll be in a position to make a fortune. The people who use the host services - who place their videos on YouTube, who put their self-published books on Amazon, or who release their musical offerings on iTunes - may or may not be able to build themselves a sizeable online audience for their work: the vast majority of us won’t: but essentially, whether we make any money or not, we’re just acting as cannon-fodder for the big corporations.

So, as artists we’re caught in the middle of a double-whammy. Grants, funding, commissions, higher education placements and so forth - top-down funding - are drying up because of the economic crisis. But bottom-up funding - the possibility of being able to make yourself some money by selling your work directly to the public - a field in which the Web initially seemed to offer such enormous promise - is drying up too because of the restructuring of the marketplace.


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