Weapon of Mass Instruction
Built from a welded frame atop a 1979 Ford Falcon, Raul Lemesoff drives around the streets of Buenos Aires distributing free books to anybody who wants to be assaulted with some serious learnin’.
(via: make / laughingsquid)
(via fuckyeahbookarts)
Kate Heart has put together an array of charts breaking down the covers of 2011’s Young Adult fiction.
fantastic
git init
—
Melissa McEwan, of course, on the terrible bargain. My life as a woman, as a queer person, as a fat person, is not your thought experiment. (via sanitywatchers)
This really struck a chord. Even my boyfriend, feminist that he is, can have this reaction when I’m in tears after an NPR story. This is my fucking life. Excuse me if I can’t remove the personal.
(via curiousgeorgiana)
I reblogged this before, but I like it a lot so I’m reblogging it again.
This whole thing is the reason why confrontations with people that I consider friends always leaves me crying. Like, I get so angry and so flustered because it’s not just some stupid game to me, like it is to them. It’s something that’s real and personal.
(via liquidiousfleshbag)
Aaaaaand reblogged for every single man I’ve ever known.
(via michelleshock)
(via 1234stuff)
exhibit-e’s web brochure is a book. like, a publication-ready scholarly tome with references and a glossary. industry leader? check and mate.
via buckt:
(via artinablender)
uh, yes please.
(Source: alanajoy, via prettybooks)
Six Tips on Writing from John Steinbeck
- Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
- Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
- Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
- If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
- Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
- If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
(via artinablender)
—
Audre Lorde (via laragazzagrande)
I try to remember this.
(via pompadoursandpincurls)
(via youdontlooklikeafeminist)
Marcelo Coelho - ‘Art-O-Meter’
Evaluating Art (So You Don’t Have To)
Light sensor placed beneath painting evaluates quality of artwork based on time spent by visitor examining said artwork:
Art-O-Meter is a device that measures the quality of an art piece. It bases its evaluation on the amount of time that people spend in front of an artwork compared to the total time of exhibition. The measurements are graphically represented by comments and a 5-star rating system.
Without the interaction of a viewer, the Art-O-Meter will register time like a regular clock. However, when a user enters the area covered by its motion sensor, a second timer is triggered and it will count time as the viewer observes the artwork.
Reblogged from paxmachina:
Ummmm ok MIT, yer the smartiest!
via prostheticknowledge:
ha!
(via metamuseums)
Elegant mixed-media collages by Tom Moglu.
The New Five Foot Shelf, 2001
The Allen Ruppersberg’s studio of the last 15 years is collapsed into a 50 volume set of books and a set of posters. The 44 posters reproduce the studio on a one to one scale and when they are assembled it recreates the studio as it was at 611 Broadway. The books are an exact reproduction of the Harvard Classics, Dr. Eliot’s Five Foot Shelf Of Books published in 1910 by P.F. Collier & Son. It provided in about 22,000 pages, knowledge of ancient and modern literature that seemed essential to the idea of a cultivated man. It came in a handsomely bound set of 50 volumes of about 350 pages each.
We have reproduced them (on the outside) exactly as they were. On the inside, the volume 50 of the books is a second photographic record of the studio that serves as an index. The first volume is a facsimile of the manual of the Five Foot Shelf Of Books. The other 48 volumes are a collection of texts which represent a part of the unseen interior and symbolic sense of the space.
The text pages are arranged so as to appear to be captions for selected pages of the index as well as a narrative that runs throughout all of the volumes. They can be read one sentence, one page, or one book at a time. There are 16 pages of text in each book. Four signatures of each volume are printed, the rest are left blank. Into this empty space we have randomly inserted a selection of obituaries, mostly of artists, from the collection of Allen Ruppersberg.
Mixing real time with fictional time, a piece of the studio and a piece of the actual world mark a page in a purely imaginary space. Since the work can be read in many ways and directions at the same time. We have left many bookmarks to plot the course. When everything has been completely rearranged and put back together again and again by the viewer, a very private world is opened up for all to see. One collection placed inside the container of another. An old space is filled with new information.
An index is a type of sign that arises as the physical manifestation of a cause, of which traces, imprints, and clues are examples. In this case, the photographs of the studio bear an indexical relationship to the works and ideas that came out of it rather than the objects seen in the photographs. A new Merzbau, “some form of container for a variety of objects which bore commemorative and autobiographical significance”. A room folded into a set of books. An architectural autobiography. Another form of concrete poetry with the pages shuffled like cards and a rhythm to match.http://www.gms.be/index.php?content=artist_detail&id_artist=34
Being here, by Mark Garry, thread pins, beads
Backing cloth
MAKE OUT LIKE YOU NEVER SIGNALLED AND DIDN’T SHOULDER CHECK
AND I DON’T REALLY SPEED THAT MUCH
BUT YOU DRIVE LIKE SUCH AN ASSHOLE SO...
Acrylic, collage, pencil, ink and pen on paper. Tom&James 2011
Please click through to see this story…..it’s one of my...
Crystallized books by Alexis Arnold
Silver Fox
“Best super villain plan ever.”
