Adrienne LaFrance, “The US Army Says It Can Teleport Quantum Data Now, Too.”
Joe Veix, “Top Tweets from the CIA.”
Adrienne LaFrance, “The Promise of a New Internet” and “Facebook is Expanding the Way It Tracks You and Your Data.”
Robinson Meyer, “Google Owns a Satellite Now.”
According to Tim Parks, in “Reading: The Struggle,” it is really hard to read today. I wish someone would talk to me before making such claims. . . .
Andrew Leonard, “Andrew Ross Sorkin’s Vision of the Future is Terrifying.”
And some good news in hyperarchivalism: the entire Jade Tree catalog just became available for streaming. Avail, Cap’n Jazz, Denali, Jets to Brazil, Lifetime, Milemarker, Pedro the Lion, The Promise Ring, These Arms Are Snakes, The Turing Machine, et cetera. My youth in miniature.
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It’s been a busy end of the semester and I haven’t been able to post anything for a bit. So, now that I have a bit of time before the semester wraps up, here’s a bunch of stuff that has been happening the last few weeks. My apologies if I’m a bit late on some of these things.
Nuclear and Disaster
Laura Miller reviews Craig Nelson’s The Age of Radiance: The Epic Rise and the Dramatic Fall of the Atomic Age.
John Metcalfe, “What Famous Old Paintings Can Tell Us About Climate Change.”
Only .02% of published research rejects global warming.
Adam Weinstein, “Arrest Climate Change Deniers.”
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Christine Jun for Dazed Digital has posted an A-Z list of some incredible contemporary art that engages with technologies of surveillance in “The dA-Zed Guide to Surveillance: Drones in the Sky, Whistleblowers in Jail: How Art is Responding to Big Brother’s Watch.” Of especial note is Robin Hewlett and Ben Kinsley‘s Street with a View, which was done a number of years ago while both were pursuing Master’s of Fine Arts degrees at Carnegie Mellon University, just down the street from me. I have met Ben a few times and had the opportunity to talk with him about this project while he was working on it. A pic (and a link to the Street with a View at Google maps):
I especially appreciate Hewlett and Kinsely’s hyperarchivally realist work here for integrating the archival processes of contemporaneity, the all-surveilling eye of Google and their maps, the social and local residents of the area, and what in the end is pretty high-concept performance art. Simply wonderful. (And that they somehow got Google to come out and take part, all the better. I also probably should have posted something about Street with a View years ago, but I’m glad being pointed toward Dazed Digital‘s A-Z list reminded me of how excellent this happening was.)