artscience @ Le Laboratoire [Paris]

Le Laboratoire: Ryoji Ikeda & Benedict Gross; Shilpa Gupta & Pamela Sklar; R&Sie(n) & François Jouve :: Schedule below :: Le Laboratoire, 4 rue du Bouloi, 75001 Paris.

Conceived and initiated by the Franco-American scientist and writer David Edwards, Le Laboratoire is a ONE YEAR OLD experimental art and design centre located in the heart of Paris. Here artists and designers conceive and develop ideas in collaboration with scientists working at the cutting edge of science today. These ‘experiments’ produce unconventional art and design exhibitions that reflect the work-in-progress nature of the creative process. Through exhibition we invite the public into this analytical and intuitive, deductive and inductive creative process that is shared by artists and scientists alike. We call this artscience, an institution-agnostic process underpinning cultural, industrial, humanitarian, and educational kinds of innovation

We are pleased to present the artistic program of the second season:

Ryoji Ikeda & Benedict Gross: V≠L (Oct 11 - Jan 12): Le Laboratoire is pleased to present, for the first time in Europe, a personal exhibition of the Japanese artist Ryoji Ikeda, a major figure of the sound and visual electronic scene. From his correspondence with the American mathematician Benedict Gross, he has conceived a work where the definition of the sublime blends with the immateriality of infinity. Welcome to a world of millimeter precision.

As an artist/composer, my intention is always polarized by concepts of “the beautiful and the sublime”. To me, beauty is crystal; rationality, precision, simplicity, elegance, delicacy. The sublime is infinity; infinitesimal, immensity, indescribable, ineffable. The purest beauty is the world of mathematics. Its perfect assemblage amongst numbers, magnitudes and forms persist despite us. The aesthetic experience of the sublime in mathematics is awe-inspiring. It is similar to the experience we have when we confront the vast magnitude of the universe, which always leaves us openmouthed. The aim of this project is to engage in dialogue with the mathematician Benedict Gross and other number theorists to find a common language on aesthetics.” Ryoji Ikeda

In partnership with Festival d’Automne à Paris, with the support of Nomura, Fondation Franco-Japonaise Sasakawa and Fondation pour l’étude de la langue et de la civilisation japonaises acting under the aegis of la Fondation de France. Within the framework of 150th anniversary of French-Japanese relationships

Shilpa Gupta & Pamela Sklar: Is fear genetic? (February - April, 2009) - Shilpa Gupta (an Indian artist currently living in Mumbai) investigates the power of images in terms of how they affect the way we think. Are images so influential that they can change how we perceive reality? The work of Pamela Sklar (neuroscientist, geneticist, psychiatrist and professor at Harvard) echoes Gupta’s investigations.

Through her research, the scientist Sklar has developed the hypothesis that certain psychiatric illnesses are hereditary. What if fear, depression, and other mental issues had genetic origins? Shilpa Gupta and Pamela Sklar are launching an interactive experiment and invite visitors to Le Laboratoire to participate. This project is realized in the context of an annual conference at Le Laboratoire on global health, supported by the non-governmental organization Medicine in Need (MEND), based in South Africa, France, and the United States.

R&Sie(n) & François Jouve: Architecture of Moods (May - July, 2009) - The architecture studio R&Sie(n) unveils the research it has undertaken with the mathematician François Jouve (Professor at the University of Paris VII and Lecturer at école Polytechnique). Together they explore new modes of structuring architecture.

Until now, housing criteria has relied on obvious visible data (area, lifestyle, number of rooms…); R&Sie(n) are establishing a new set of criteria, one that is invisible, based on the neurobiological signals of each visitor to the exhibit. An urban structure, created in real time using robotic machines, has great potential for variability and indeterminability as it aggregates and materializes the detected desires of these “future homebuyers”.

An interview is used to understand fluctuations of emotional state, which are translated into algorithmic data to generate a “neuropsychological” architecture, an architecture of moods.

A sales desk allows the “visitor/client” to place an order for his/her bio-architecture to be implemented as part of the collective structure.


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from Networked_Performance

by jo


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on Oct 11, 2008, 3:15PM

Originally by jo from Networked_Performance on October 11, 2008, 5:15pm

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This post was written by admin on October 12, 2008

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Capturing Bodies

Before I leave the room, tired and ready to go home, I look back in after Ihave turned the lights off. The 8 cameras positioned all around the room, on the walls and in the ceiling grid splay their red light across the floor, the computers, the chairs, staying on, always capturing, always seeing.

I am working on a project that I call Becoming Dragon. The aim of the project is to do a 365 hour immersive performance in Second Life, using a Head Mounted Display so I will only see Second Life and a Vicon motion capture system to map my physical movements back into Second Life. The project is a collaboration between myself, Chris Head who’s writing the mocap code, Kael Greco who’s working on the stereoscopic code for the HMD, Anna Storelli, our modeler and Ben Lotan, our documentarian.

The motion capture system is composed of 8 cameras, a smaller version of the 24 camera system in the performative computing lab. Each camera has multiple circular arrays of lights which put out infared, near-infared or red light. At the center of these arrays is a high quality digital camera equipped with a networking board, which sends its data in real-time over the network to the MX Ultranet router and to the host machine which controls the entire assemblage of cameras. You cannot look at the cameras too closely for too long, because your pupil doesn’t close to shield you from the infared light, so there is a possible danger of eye damage. The cameras look at you, but it is dangerous to look back.

Last week we installed the Vicon system into the reconfigurable lab that will be the location for the performance, which will happen in December. Todd Margolis of the Center for Research in Computing and the Arts and I spent that week installing the Vicon in the lab, moving cameras, running cable, wrestling with software. We discussed my living situation for the performance, where the bed would be, where I want to be tracked, if I want to be tracked while sleeping, where the audience will stand, access to the sink, and tried to arrange the cameras to cover the tracking area. The cameras cover the most area at an angle, and need to be at multiple heights, to insure that at least 3 tracking markers are seen by at least 3 cameras at all times, to provide position and rotation data in 3 dimensions.

From the Nintendo Wii to the latest iPod touch, the body is being brought back into the interface, the general public now has access to cheap motion capture technologies, and is using them largely for entertainment, for now. The Vicon system is not the latest motion capture technology, such as markerless motion capture or 3D cameras, but it is a robust and reliable technology, still used widely in the gaming and medical industry.

While the Vicon is referred to as a Motion Capture system, there are actually two modes it can be used in. One is to capture and record motion data, specifically x, y and z coordinates for markers as well as rotations in x, y and z directions. Another mode, the way I will be using it, is to send real time motion data over the network. Chris Head and myself have worked on a bridge to interpret the motion data and send it to a script in Second Life. When the system is in use this way, it acts as more of a digital prosthesis. One moves one’s body and sees that motion doubled on screen instantly. The sensation is one of extension or mirroring. The Vicon also has kinematic information, where you can label parts of your body as rigid bodies, such as your forearm, and the live data contains that information as well. So while the system can be used for capturing bodies, recording their position and replaying it at a later time, it can also be used to track bodies in real time and represent that motion in various ways, as points or with 3d models overlaid on top.

For the purposes of my project Becoming Dragon, we will be sending the motion data to Second Life, to control the location and movement of an avatar there. We’re still in a development stage, but will be doing extended test runs in November. I’m planning on doing a day long trial and a few days, to build up to the goal of a 365 hour immersion in December.

I’ve been training with the head mounted display (HMD). Today I used it for over an hour. The sensation when coming out of the HMD is strong, your eyes feel strange, your movement seems too strong. Coming out of the HMD today I walked through the hallway with my head lowered, looking ahead, with a vaguely subversive feeling, like people don’t know what I’ve been up to, doing something out of the ordinary, in my strange explorations of synthetic space. When I’ve been in the HMD for long periods and have a feeling of nausea, it’s such a visceral feeling. I have a sense of urgency as I head to the coffee cart to get a carbonated drink, shedding the usual daily concerns. My awareness shrinks in closer to my body, feeling the muscles in my jaw and neck, waiting to get back to normal.

The Vicon system strikes me as a hyper panopticon. For the system to work, 3 reflective markers on your body have to be seen by at least 3 cameras at all times. It is a form of hyper-surveillance, where every movement of your body is measured down to less than a millimeter by multiple 4 megapixel cameras simultaneously. The system works by flashing the red strobes very quickly, which reflect off of the retroreflective markers and capturing a greyscale image of where the markers are. There are a variety of strobes, visible red, near infrared and infrared, all part of the system at once.

Even being in the lab, there is a strange sense as you look around the room at all these MX40+ cameras looking at you. Starting up the Vicon IQ software that runs the system, all the cameras flash their red circles of led’s and then varous colors of indicators lights, blue and green, like an organism coming to life. The software faithfully reports the frames per second of your life being captured, hovering around 120, although the max is up to 2,000 fps.

Today there are already applications such as Buddy Beacon for devices like for the Helio Ocean and the iPhone which can automatically update your facebook profile with your gps coordinates, ostensibly for your friends, who can also be your Buddy Beacon buddies, and you can track them on a map in real time. Perhaps twitter and facebook status will evolve into real time motion capture streams, where your friends can see what you are doing at any moment. With 3d cameras and computer vision, such an application on a phone is realizable today. With the accelerometers and gyroscopes in the Wii and the new iPod touch, motion and direction data is available, so the slow speeds of satellite GPS can be enhanced.

Yet with the current lock down nature of products like the iPhone, can consumers have any trust in what manufacturers will do with such data? Definitely not. Now that the Wii has been cracked, one can expect the imaginations of hackers to interpret the body to start flowing with ideas, although I expect we’ll see lots and lots of sex games. While the history of performance art and feminist art has engaged with the body, reimagined it and opened up so many possibilities, perhaps it is Wii hacking enthusiasts who will bring together the body and technology in new, as yet unimagined ways. Hopefully the body modification communities who are into suspension might get together with the Wii hackers and something really wild will emerge. Maybe the electrostim crowd will be the bridge, or the folks over at slashdong. Cheap access to motion capture technologies might develop into a particular kind of tactical media, like the recent book tactical biopolitics, allowing a mass reintroduction of the body into the network.

I know I’ve always been one who enjoys getting attention. I can’t help but wonder, sitting at the center of all these cameras, if this is just yet another attempt to be seen. My last attempt, participating in a queer open source porn laboratory, definitely involved me being seen, but I always felt like something was missing. Porn, while transgressing bounds, has its own parameters and limits.

Everyday I get coffee or something of the sort and someone calls me sir or man, and in that moment I know I’m not being seen. Maybe I’m trying to make up for that. Of course its a futile goal, to hope to ever really be seen. Maybe that’s the goal I’m always striving for with my lover, to be close enough to someone who actually sees most of me. Still, here, with these cameras, I think the sense that they are a kind of prosthesis is accurate, physically, informationally and emotionally. I would imagine that Second Life is this for many people, filling in the space where something is missing, a gap, even if it is the gap of the yearning to escape the confusing chaos around us.

Fortunately, I am reassured that the cold, repetitive, constant gaze of these cameras will continue when I leave and shut the door behind me, after I look back at them on my way out. Or maybe not, with the current situation, any kind of future for capitalism is hard to imagine right now, much less one that involves expensive technology. Unless we look to Argentina, and the economic crisis there in 2001, which led to a future of resistance and autonomy. In Argentina we’ve seen not only autonomous worker run factories and collectives, but networks of autonomous factories exchanging goods and services among one another, creating new assemblages and networks of autonomy. That is what gives me hope for imagining future prostheses, that they may be made outside of the gatekeepers of corporations, by artists and people in resistance, forging new possibilities for the body and subjectivity, arising out of a whole different set of assumptions and goals from the ones that have produced today’s technologies. [posted on techno tranny slut]


Originally
from Networked_Performance

by jo


reBlogged

on Oct 11, 2008, 3:44PM

Originally by jo from Networked_Performance on October 11, 2008, 5:44pm

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This post was written by admin on October 12, 2008

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“Video Vortex Reader” Available for Free

The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media.

After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives?

Contributors: Tilman Baumgärtel, Jean Burgess, Dominick Chen, Sarah Cook, Sean Cubitt, Stefaan Decostere, Thomas Elsaesser, David Garcia, Alexandra Juhasz, Nelli Kambouri and Pavlos Hatzopoulos, Minke Kampman, Seth Keen, Sarah Késenne, Marsha Kinder, Patricia Lange, Elizabeth Losh, Geert Lovink, Andrew Lowenthal, Lev Manovich, Adrian Miles, Matthew Mitchem, Sabine Niederer, Ana Peraica, Birgit Richard, Keith Sanborn, Florian Schneider, Tom Sherman, Jan Simons, Thomas Thiel, Vera Tollmann, Andreas Treske, Peter Westenberg.

colophon: Editors: Geert Lovink and Sabine Niederer. Editorial Assistance: Marije van Eck and Margreet Riphagen. Copy Editing: Darshana Jayemanne. Design: Katja van Stiphout. Printer: Veenman Drukkers, Rotterdam. Publisher: Institute of Network Cultures, Amsterdam. Supported by: Amsterdam University of Applied Sciences, School of Design and Communication, and XS4ALL.

Download PDF Geert Lovink and Sabine Niederer (eds.), Video Vortex Reader: Responses to YouTube, Amsterdam: Institute of Network Cultures, 2008. ISBN: 978-90-78146-05-6.

Order a free copy by emailing books[at] networkcultures.org.


Originally
from Networked_Performance

by jo


reBlogged

on Oct 11, 2008, 5:01PM

Originally by jo from Networked_Performance on October 11, 2008, 7:01pm

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Connected Urban Development: Green Tech for Cities

By Scott Smith

The sustainable future will be a networked future: technology will be the glue that binds the green city together. One voice among those pushing this idea comes from communication equipment giant Cisco, which is staking the claim that sustainable cities are not just about grass roofs and vertical farming, but about using the IT skeleton of the urban environment — its web of communication systems, connected transport systems and networked living and working environments — to tie the whole city together in an integrated, controllable, monitored community.

As a step on this road to fully networked city environments, last month Cisco and the City of Amsterdam held the second Connected Urban Development (CUD) conference to highlight the Dutch city’s inclusion as one of three initial cities, alongside San Francisco and Seoul, in its CUD initiative. CUD’s creation in 2006 was driven by Cisco CEO John Chambers’ involvement in the Clinton Global Initiative, and held its first summit in San Francisco last year. This year’s event also marked the inclusion of four additional cities as CUD testing ground: Madrid, Hamburg, Lisbon and Birmingham, England.

Kicking off the conference, Amsterdam mayor Job Cohen pointed out that his city has several obvious reasons for being interested in looking more deeply into using IT to do its part to help slow climate change: not only because it is a low-lying city that would be strongly impacted by rising sea levels, but also because it has a tech-centric economy, with 12 percent of employment linked to IT and new media. With major traffic problems (and increasingly tech-based solutions) in his city as well as around the Netherlands in general, Cohen said Amsterdam felt not only pressure but an obligation to cut carbon emissions, and has set C02 reduction targets for 2029 at 40 percent lower than 1990, which will require aggressive action. Population density is a core issue the Dutch have had to face in recent years, as the country ranks 23rd in inhabitants per square kilometer worldwide, even higher if only land mass is taken into consideration.

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Despite very high usage of alternative transport, Amsterdam still faces carbon problems driven by population density.

Cisco Europe’s Chris Dedicote also pointed to IT as a potentially powerful tool in helping cities lower emissions and achieve greater levels of sustainability by linking transportation, energy, built environments and other urban infrastructure, but only if use of technology itself is better understood for its own potential for negative impact on the environment. Dedicote said an estimated 2 percent of global carbon emissions can be traced back to unmanaged use of IT, and that his company was itself trying to better understand its own internal carbon consumption in order to establish carbon budgets alongside financial budgets. “You have no idea how much energy a department or an office uses,” Dedicote said in his keynote. “In the same way we know how much money [a department] spends, if we also know how much energy they use, it has an incredible impact on the way they work.” Dedicote pointed to refining monitoring and sensing technologies as the next key step in getting to this level of transparency across companies, buildings and entire cities.

Larger IT and communication companies have placed a main focus on the topic of energy-efficiency strategies as a competitive advantage. Cisco and one of its largest competitors, Nortel, have both been focusing on the energy consumption levels of their own networking equipment and benefits of green IT. Nortel’s latest ad campaign targets Cisco directly, claiming its own gear’s lower energy consumption amounts to an “energy tax” on those who use Cisco equipment. Cisco itself appointed a director of green engineering earlier this year to drive the company’s efforts in the area.

One element of Amsterdam’s strategy is the development of networked co-working centers, the first of which opened last week in Almere. The fast-growing satellite city to Amsterdam’s east is typical of sprawl that has emerged as the Netherlands’ population has grown in the past few decades. Created in 1971 in part to ease crowding in Amsterdam and now home to 185,000, Almere is expected to double in population by 2030, according to the city’s mayor, Annemarie Jorritsma. The Smart Work Centre provides working space for area commuters, including meeting space and fiber-based videoconferencing facilities, taking advantage of the massive fiber network infrastructure that has been laid under the Netherlands in the past decade. The city of Amsterdam uses the co-working space, as does IBM, but it will take many such centers to make a significant impact on working and commuting patterns in the region, and even then proponents will have to break through a traditional work culture built around 9 to 5 presence under management’s eye.

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Almere’s mayor Annemarie Jorritsma speaks with Amsterdam mayor Job Cohen and others via a fiber-based video link.

CUD’s next stop is next spring in Seoul, where it will take stock of the initiative’s progress. Based on the plans and case studies discussed at CUD, sights are set high among government leaders, technologists and urban planners. With major projects ranging from San Francisco’s Treasure Island redevelopment to Abu Dhabi’s futuristic technology project of Masdar City — both presented at the conference — those hatching new mega-developments globally are feeling increasingly pushed to put sustainability front and center in order to achieve the scale of their project plans. Where a diverse set of city departmental managers once sat in different facilities watching traffic or power grid performance disconnected from one another, concepts discussed at CUD point toward a future where integrated “dashboard” views of a city’s vital statistics — a la Sim City — will redefine the nature of city management.

Scott Smith is a futurist and founder of Changeist, a human foresight consultancy, and project director of Smartspace, a research initiative to map development of integrated intelligent communities worldwide.

Photos taken by the author.

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(Posted by WorldChanging Team in Columns at 8:45 AM)


Originally
from Worldchanging: Bright Green

by WorldChanging Team


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on Jan 1, 1970, 8:00AM

Originally by WorldChanging Team from Worldchanging: Bright Green on January 1, 1970, 9:00am

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This post was written by admin on October 7, 2008

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Media_city Seoul: what is media art today?

0aaturnwidddennn.jpgLong overdue…. A follow-up on media_city Seoul, a media art biennale hosted until November 5, 2008 at the Seoul Museum of Art.

The events aims to reflect on the place that media art has taken into contemporary art. Each in their own way, the works selected for the exhibitions bring a fragment of answer to fundamental questions such as: What is media art? What is different from the conventional art? What changes have been made by that in the field of art? and what influences could come from now?

In order to ensure a broader and more informed coverage of these issues, Park Il-ho, exhibition director, professor at Ewha Womans University and main curator of media_city Seoul surrounded himself with four international curators: Maarten Bertheux from the Stedelijk Museum, independent art curator and critic Raul Zamudio, curator of Tokyo’s National Museum of Modern Art Tohru Matsumoto and art historian and curator Andreas Broeckmann.

I had the opportunity to attend a talk in which Broeckmann shared with the audience his point of view on some of the questions raised by the media art biennale: What can be defined as media art today?

Most of you probably know Andreas Broeckmann as the artistic director of the transmediale festival (2000-2007) and the co-director of the media arts lab TESLA in Berlin (2005-2007). The curator and art historian recently co-chaired the re:place 2007 interdisciplinary science and art history conference and is currently working on the next edition of ISEA which will take place in the Ruhr area (Dortmund, Essen, Duisburg, a. o.) in August 2010.

Below are my (fairly rough) notes from the talk.

10 years ago it was easier to define what media art was, any artist using computer, video or the net in his creative practice was qualified as a media artist. In the Netherlands they call it ‘art with a plug’. The idea of what constitutes media art has evolved over the past few years and it no longer makes sense to focus solely on the technical media in use.

Questions such as What does it mean to speak of media art today? or What is the territory of media art today? have given rise to many ongoing discussions and are even the core subject of a couple of exhibitions (such as media_city Seoul). One of these exhibitions closed yesterday at the Stedelijk Museum in Amsterdam. Deep Screen - Art in Digital Culture. Proposal for Municipal Art Acquisitions 2008 was organized with the objective of getting a sample of contemporary media artists living in The Netherlands. The Stedelijk plans to select a few artworks from the sample and buy them for its permanent collection. The questions they museum asked right from the start was ‘How can we bring this recent art, with its own aesthetics and thematics into the collection?’

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Persijn Broersen and Margit Lukács‘ Hinterland #2 series (exhibited at the Stedelijk)

Broeckmann’s conviction is that in fact not much of it is really new for the Stedelijk. After all, they have been buying such artworks for 40 years now: Fluxus works, videos by Abramovic, Bill Viola, etc. Media art shouldn’t be reduced to technology, some media art pieces are just good examples of conceptual art and have other strong connections with modern and post-modern art.

We are now living a historical time when digital technology is used everywhere everyday. We don’t have to think about it anymore. It just became so natural. Only a tiny minority of people had a mobile phone 10 years ago. Today we all have one. Being connected is easy and that’s the way we expect it to be. Yet people keep seeing media art as something different, a genre which puts a heavy emphasis on technology and when we speak about art, it mostly refers to art creation that uses analog media.

In the past, when technologies were news, artists were engaging with it in a free and often very explorative way. Now that they have mastered the technology the focus is mostly on making good art. Of course some artists are still developing complicated art pieces but we are seeing much more work using easy, hand-on technology.

An important question to raise is: What happens to art when it has reached the phase beyond digital technology novelty? We used to be fascinated by technology and now it is so much part of our life that we don’t have to think about it anymore.

Many people have the feeling that we still describe something when we say ‘media art’. Which role does media art has in contemporary art? Are there particular themes, ideas or fields that media art references?

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One of the works shown at media_city Seoul illustrates a possible answers. At first look, Julien Maire’s Exploding Camera is a heap of electronics on a table. The bits and pieces belong to a video camera which, although it was disassembled, is still perfectly functioning. The lens has been taken out. Instead, external light coupled with LEDs and laser produce video images by direct illumination of the camera’s CCD (light sensor). A transparent disc containing photographic positives is placed between the lights and the CCD. The pictures are projected onto the CCD when a light is turned on. Because of the different position of the lights, movement in the same picture can be created. Large lights and the laser create explosions (they trigger a sound that overlays the backing soundtrack).

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Exploding Camera Screenshots

The installation was inspired by the murder, two days before the 9/11, of the most credible opponent to the Taliban: Commander Massoud.

Two al-Qaida suicide bombers posing as journalists killed him with an exploding camera at his camp in Afghanistan’s remote Panjshir Valley.

Although the murder is connected with 9/11, it has been almost completely forgotten because of the magnitude of the events a few days later.

The artist wrote: For me, it is as if the destroyed camera used in the attack against Massoud had continued to work and has been filming a war film for the last 6 years.
All of this, as well as the death of the almost mythic figure of Massoud, has lead me to develop the piece ‘the exploding camera’: a kind of destroyed medium able to produce live an experimental historical film reinterpreting the events of the war
.

Just like Persijn Broersen and Margit Lukács‘ Hinterland #2 series (exhibited at the Stedelijk but not in Seoul), the work deconstructs the technology of audiovisual media in order to better reflect on the way that it works. This theme is often explored in media art and could therefore constitute an element that contribute to its definition.

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Marko Peljhan, Speckr, Linz

An other relevant figure to consider is Marko Peljhan, an artist interested in social and political context of technology. He develops works in the Russian constructivist tradition of the 1920. His art projects deal with with technology and offer the public the opportunity to engage with them and talk about technology, scientific research, military developments, etc. The aesthetics of his work is directly inspired by the aesthetics of science and technology while exposing its dark side, the esoteric and sometimes irrational aspects of modern science.

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Hello World by Yunchul Kim

Hello, World!, offers an interesting dialog with mediality by showing the process of the translation from the digital to the analog through copper pipes. The installation, developed by Yunchul Kim, uses acoustic signals to store data. A codified auditory signal (feedback) circulates in a closed system consisting of a computer, a loudspeaker, 246 meters of copper tubing and a microphone. Due to the acoustic delay in the tubing system, it’s possible to save data, whereby the rule is: the longer the copper tubing, the longer the time delay and the greater the memory capacity.

Where is the medium in this work? Is it the computer with the hardware which carries the data file? Or is it the software? The electrical signal?

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Driessens & Verstappen, Breed

Erwin Driessens & Maria Verstappen’s Breed (also included in the Stedelijk exhibition) is a fascinating take on the theme of the transition from digital to analog. A computer program uses artificial evolution to grow very detailed bronze sculptures that represent virtual mathematical models. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfills this “fitness” criterion and thus yields a workable form. The virtual designs become tangible artefacts through 3D printing techniques.

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Driessens & Verstappen, Breed

The whole creation process is left in the ‘hands’ of the computer, there is no direct artistic decision. The final result is presented in a very traditional way: the print-out structures are cast in bronze and presented in a glass case.

Breed reflects on the relationship between virtuality and materiality but also the relationship human and machine creativity. Belonging both to the software art genre and the sculpture genre, Breed pushes the boundaries of mediality.

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Pierre Bastien

The work of Pierre Bastien which engages mostly with mechanical age looks at the degree zero of media. He uses very basic (wind, voice, fans, etc.) media for human expression in a ‘post-machinic age’ scenario. It doesn’t make much sense to talk about new media art in this context but his work is an artistic expression that uses the most ancient media possible. On the other hand, it can be regarded as media art because of the way it reflects on the mediality of its own materiality (and vice-versa?.)

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Electroboutique

Ironic wink from Alexei Shulgin and Aristarkh Chernyshev with their latest artistico-commercial adventure: Electroboutique, a conceptual project that playfully but intelligently reflects on the status of media art as another product of consumer culture. The Russian artists are exhibiting at media_city Seoul Super-i, a pair of goggles that allow visitors to reverse the virtual/real duality by transforming the “real” world around us into a pixelated one in real time.

Today, many electrical and digital technologies are available to artists, they are free to choose which one best fits their work. That didn’t use to be the case. There was a time when these technologies were expensive and not available to the hoi polloi. Nowadays, these technologies have been ‘liberated’. In the past, computers would limit what an artist could do, they were ‘imprisoned’. Today, an artist can decide freely whether it is software or wood that best correspond to their project. This also constitutes a liberation from the idea that the essence of media art is technology.

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The Cage, by Tania Ruiz Gutiérrez, tries to re-create the experience of being incarcerated. The projection shows an image of a tiger kept prisoner in a zoo. The image is always the same, yet the tiger moves around his cage. The artist explains that the movement is in fact determined by the relative sizes of tiger and cage, such that his movements are optimized to the only possible path given the tight space available. Given that both the duration and the distance are repeated, one can imagine that in the tiger’s brain there exists a double incarceration, both spatial and temporal. Moreover, the tiger’s path traces over and over the sign of infinity. I would like to make visible the passing of a suspended time and give this installation both a reflexive and hypnotic character.

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Pneuma Monoxyd, by Thomas Köner, is a visual metaphor of how time and memory intersect into our mind. The video installation merges in a dark blur surveillance images of a German shopping street and a Balkan marketplace.

These last works show how media art offer us new possibilities to look at the world in a different way.

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Mark Hansen’s 2 channel video Other People’s Feelings Are Also My Own No.3 shows the artist in a similar outfit and facial expression as those of the man, woman or child in the picture next to his. The work explores notions of ego, subjectivity and identity but it also looks into the mediality of the human face and how much it can be used as a screen.

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Herwig Weiser’s sound sculpture Death Before Disko is a self-absorbed machine, it is a medium that could be qualified as ‘autistic’. It appears to be busy with itself and communicates as little as possible to the outside. ‘Death Before Disko’ uses an online data stream from space observation and translates it into sound and light events. With the proliferation of digital technologies, users have become more and more distant from the physical hardware of their laptop or hi-fi units. ‘Death Before Disko’ aims to return to the foundations of the hardware, and shows how our relationship towards technology is more often emotional than rational.

Broeckmann’s view is that it is getting less and less important to have specific media biennales and festivals. If a ‘media art’ piece is a good art piece it will survive as contemporary art.

Further reading: Deep Screen - Art in Digital Culture. An Introduction by Andreas Broeckmann.


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from we make money not art

by Regine


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This post was written by admin on October 6, 2008

New Perspectives from The Atlas of the Real World

The Daily Telegraph published a handful of cartograms yesterday from The Atlas of the Real World

, the latest book from big-picture focused professors and worldmapper.org creators Daniel Dorling, Mark Newman and Anna Barford.

The Atlas of the Real World includes 366 digitally modified maps ‘depicting the areas and countries of the world not just by their physical size, but by their demographic importance on a vast range of subjects.’

The book focuses on a ‘variety of subjects ranging from population, health, wealth and occupation to how many toys we import and who’s eating their vegetables.’ The Daily Telegraph picked up Land Area, Aircraft Travel, Rail Travel, Mopeds and Motorcycles, Nuclear Weapons, and both the Increase and Decrease in Emissions of Carbon Dioxide. Here are a few I found most interesting:

Aircraft%20Travel.jpg
Aircraft Travel: the size of each territory indicates the total distance flown by aircraft registered there.

nuclear%20weapons.jpg
Nuclear Weapons: As of 2002, eight countries are known or suspected to have strategic nuclear weapons: the United States, Russia, France, China, the United Kingdom, Israel, India and Pakistan.

Increase%20in%20emissions.jpg
Increase in Emissions of Carbon Dioxide: Between 1980 and 2000, nearly three-quarters of all territories saw an increase in carbon dioxide emissions, with China, the United States and India leading the way.

Decrease%20in%20Emissions.jpg
Decrease in Emissions of Carbon Dioxide: Between 1980 and 2000, 28 per cent of countries reduced their emissions. Almost half of reduction were made in territories of the former Soviet Union, while Germany (15 per cent), Poland (eight per cent) and France (six per cent) also made substantial cuts.

With almost 400 pages displaying new ways of looking at the world, The Atlas of the Real World provides us many spots at which to stand to gain a new perspective. Seeing the areas and countries of the world manipulated in this way gives a simplistic elegance to the complicated topics they address; they make clear in one image what some books take hundreds of pages to explain.

This collection of delicious mind candy will no doubt be proudly displayed on the coffee tables of cartography geeks and info-fiends alike for years to come, and will hopefully infiltrate the libraries and classrooms of schools throughout the world. If you’re hungry for more information like this, and need instant satisfaction, I would highly recommend geeking out for a few hours on the Worldmapper site.

Images from The Atlas of the Real World: Mapping the Way We Live by Daniel Dorling, Mark Newman and Anna Barford, published by Thames & Hudson

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(Posted by Sarah Kuck in Planet at 3:10 PM)


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from Worldchanging: Bright Green

by Sarah Kuck


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on Jan 1, 1970, 8:00AM

Originally by Sarah Kuck from Worldchanging: Bright Green on January 1, 1970, 9:00am

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Building Connections Between Cultures

 

If you’ve been to a tech conference in the past five years, there’s a good chance you’ve also been to an “unconference“. Unconferences work to break down the barrier between speakers and audience, inviting all attendees to participate in shaping the program, offering sessions or contributing to the discussion that’s taking place. Done well - Foo Camp, the various Bar Camps, blog unconferences - they’re a great way to tap the expertise of everyone in the room, to ensure that discussions focus on topics people care about. Done badly, they’re chaotic and frustrating, dominated by the loud and self-confident (I’m both, and I’m well-aware that I need to be moderated.)

So I approached Mastermundo, a day-long conference following on the end of PICNIC with some trepidation. The conference organizers were emphatic in making the point that this was an unconventional conference, designed to break the rules of conferences as we knew them. Instead of having a stage, podium and audience, we’d meet in the modern art museum, on a train, in public spaces, moving from Amsterdam to the Hague during the day, with speakers delivering talks to an audience listening on headphones. Not an unconference as I’ve attended them before, but certainly not a conference like PICNIC, with a stage, an audience, the performative act of making your case with your words and a few sides.

What the hell. As it turned out, I was planning on spending my Saturday in Amsterdam visiting the modern art museum and taking a train to the Hague to meet a friend for dinner. Why not attend a conference while I was at it?

Two surprises about Mastermundo. First, I had a great time… and I wasn’t sure I would. Second, it’s really hard for people to break from their scripts, even if you beg them to.


Mastermundo Conference at Stedlijk Museum

At the (temporary location of) the Stedelijk Museum, we were given headsets and told that we could wander anywhere in the gallery while listening to the speakers. The first speaker, a Dutch designer, immediately broke script, asked people to sit near him, so that we could see the images on his laptop screen. When subsequent speakers encouraged attendees to wander through the galleries - showing a fantastic show of contemporary African photography - they were rapidly defeated by the short range of the headphones and the tendency of people to want to see who’s speaking to them. Try as you’d like to break this rule - when someone tells a story, people will sit and listen to her.

And despite promises of breaking all the rules, we eventually found ourselves in a conference room in the Hague, looking at the speaker in the front of the room and watching a slideshow on a giant screen. You may be creative, rebellious Dutch artists, but you are no match for the power of Powerpoint.

I’d chosen to give my talk on the train from Amsterdam to the Hague, figuring this was the only way I’d be guaranteed the opportunity to read my notes. As it turned out, I probably had the most unusual experience of all the speakers. I sat in the front seat of a train car, wedged in next to the equipment necessary to broadcast my voice via FM, looking at the end of the car or out the window. As I delivered my talk, the only person I could see was the technician, who was trying so hard to keep the transmitter attached to its battery that I couldn’t get any emotional feedback from her at all. It felt more like one of the recording sessions I’ve done for reading for the blind than like giving a lecture.

I found the whole experience so strange that when my friend Rafi took my place as the next speaker, I perched myself within his field of vision so that he’d have a face to look at and the reassurance that someone was hearing what he was saying. I don’t know whether this was helpful or simply made him more self-conscious. I simply hope he doesn’t think I’m stalking him.

A few folks seemed to connect well with the talk so I thought I’d share it here, more or less as I delivered it. Envision yourself sitting on a train looking out the window as I read this to you. Or while you’re wandering through a gallery of contemporary African photography. Or don’t. That will work too.


When I was twenty years old, I’d just finished university, and I’d won a scholarship to study in Ghana, West Africa for a year to study Ghanaian music.

I knew more about Ghana than the average American. For four years, I’d studied Ghanaian drumming in university and had worked with some of the best musicians in that country. I’d read books, magazine articles, newspapers, talked to lots of Ghanaians in the US, people who’d traveled there before.

Which basically meant that I knew nothing. As the plane from London descended, I looked out the window expecting to see the bright lights of the city of Accra, one of the largest and most populated cities in West Africa. It took me a moment or two to notice that there weren’t that many lights and that very, very few of them were on top of one another.

In that single moment, I realized that my vision for how I’d be spending this year was entirely wrong. I’d been planning on finding a part of Accra where young urban professionals lived in apartments. I’d get an apartment, make friends with the neighbors and live basically the same way that I would had I left college and moved to Boston or New York.

This, of course, turns out not to be possible. In 1993, it was pretty uncommon to rent an apartment in Ghana with less than 10 years rent in advance. And besides, people didn’t really rent apartments - they lived with their families until they were able to build their own houses. The young, up and coming Ghanaians I wanted to meet were either making their fortunes in the UK or the US, or living with their parents.

I ended up renting an apartment from a guy named Patrick Fiachie. He’d left Ghana for the Soviet Union as a youth, studied at Patrice Lumumba People’s Friendship University in Moscow, and eventually sought political asylum in the US, in Minnesota. For twenty years, he worked as a counselor to undergraduate students at a small college in Minnesota… which meant kids like me were very familiar to him, and he was very familiar to me.


Patrick Fiachie, Osu, Accra, Ghana. 1993

Patrick had come home to Accra, and found himself in the business of translating between the realities of Americans who’d come to study in Ghana and Ghanaian realities. He was a bridge figure - he was able to explain to the owner of the building he lived in why it made sense to make foreign visitors pay rent one month at a time… and as a result, the building she’d built as an investment filled up with international scholars who were paying far more rent than Ghanaians would have… despite the fact that I was paying $100 a month for two bedrooms, a living room, kitchen and bathroom, which had power most of the time, though no running water.

Patrick acted as a bridge in different directions. I mentioned to him one night, as we were playing chess together, that I felt like a stranger in the neighborhood. The kids kept calling me “brofunyo” - white man - even though I stopped in the streets and introduced myself in Ga. A couple days later, I noticed that everything had changed - people were greeting me by name and being much friendlier. I overheard a conversation at a local market stall - a woman said to another market woman, “Oh that white man - he’s uncle Pat’s nephew.”

I didn’t make any sense in the neighborhood until someone had claimed a relationship with me. It was pretty obvious that I wasn’t Patrick’s nephew - I’m white, he’s black, we don’t look very much alike. But in introducing me to the neighborhood as his nephew, I became his responsibility. If I did something wrong, they could contact Uncle Pat about my behavior. And once I was connected like this, it made sense to treat me differently.


The view from my apartment window, Accra, 1994

It would have been pretty hard to figure all this out without getting on an airplane. I can tell you what it’s like to go from being a stranger, an outsider, to being part of the neighborhood. I can even tell you what it smells like when you get off the airplane, wet earth and burning plastic, but I can’t explain why it’s one of the most wonderful smells in the world, why it brings tears to my eye when I catch a whiff of it.

A few years later, I had the chance to go back to Ghana in some very different circumstances. I’d gotten very lucky in the dotcom boom in the US, and I had some money in the bank. And I wanted to do something to help this nation, which I’d fallen in love with. My bright idea was that Ghana might be able to participate in the same sort of Internet revolution that the US and Europe had been living through. I realized that one of the gaps Ghanaian businesses were dealing with was a skills gap - there were very few people who knew how to design a webpage, set up a database or manage an internet service provider. So I started raising money to bring American and European volunteers to come live and work in Ghana for a few months at a time. We called it Geekcorps because it was a little like the American Peace Corps, except it was staffed with geeks.

This worked out pretty well, actually. There are lots and lots of burnt-out geeks in the world who are excited about the chance to work in Africa. And African businesses are often pretty receptive to the idea of low-cost consulting on technical issues. It worked well enough that we ended up running projects in more than a dozen nations, mostly in Africa. Some succeeded, some failed, but I noticed something in the long run: whether or not a project was successful, it almost always had some sort of transformative effect on the volunteer’s life.

Several of the people we worked with decided to stay in Africa for good. A handful got married to people they met while they were volunteering. A large number changed the direction of their careers and a few are now leading people involved with the world of technology transfer in the developing world. Having the chance not just to visit as a tourist, but to work in countries like Ghana, Rwanda or Mongolia gave them a chance to make connections that ended up changing their lives.


Me. Dzolo-Gbogame, Volta Region, Ghana, 1994.

I don’t run that nonprofit anymore for a very simple reason - it’s really, really expensive to buy airline tickets. Not just the tickets - it’s expensive to get visas, to house people, to make sure they’ve got health insurance and enough money so they eat. But if I could find a way to do it that wouldn’t bankrupt me and destroy the environment, I’d be looking for as many opportunities as possible to take people out of their everyday context and bring them into different parts of the world where they can be helpful. This doesn’t need to cross international borders, by the way - the US is big enough and diverse enough that I’ve seen people get a full dose of cross-cultural contact by going urban to rural or vice versa. But it needs to be for a long time, and it needs to be in the course of doing a project, otherwise you’re a tourist, and it’s hard to connect in that circumstance.

What I’m looking for are the sorts of experiences that forces someone to confront the reality that the way they, personally live, isn’t the only way to live… and that it may not be the best way to live. That’s something easy to understand consciously, but it’s harder to feel. Personally, that feeling wears off for me fairly often - I need to spend a lot of time with people I admire, people who are living very different lives from my own to be reminded that my way of seeing things isn’t the only way.

Basically, what was so great about Geekcorps was that it put me in a position where I could help create xenophiles. Xenophiles are people who are fascinated by the whole world, by things other than their ordinary experience. They’re people who want to connect with people who see the world very differently. Some of these people are born this way, lots more are made - a good recipe for xenophilia is to raise a child in a culture deeply different from that of her parents - people call these kids “third culture kids”. Third culture kids have one foot in each of two cultures - the culture of the country they grew up and the culture of their parents, and as a result they don’t really live in either, but a little bit in both. Some kids hate this - many love it, and they end up bridge figures, natural xenophiles who can help translate cultures for other people. Barack Obama’s one of them.

It’s my theory that xenophiles are going to be very powerful in the future. We’re living in a world that the pro-globalization folks refer to as “flat”. That’s bullshit, obviously. The world is flat as far as stuff is concerned. In my hometown of 3000 people, I can get water from Fiji and fish from Chile, but I’m not going to encounter any Fijians or Chileans. I’m not even likely to encounter information from those countries, news, opinion or cultural influences like films or TV… not unless I very actively go looking for it. So the world’s flat in terms of stuff, but not in terms of human interaction. It’s flat, but in the least important ways - in the ways that matter, in the ways that would allow us to connect with people from other cultures, allow us to share ideas and solve problems together, the world is disconnected. It’s lumpy.

Xenophiles are good at making connections in this lumpy world. It’s a good idea to have them if you’re trying to do business in another country - some of the people who are making lots of money in this economy are people from developing nations who study in Europe or America and then return home. They can bridge between cultures in a way that helps them make smart economic decisions. They’re even more important if you’re concerned with security or with diplomacy, because their ability to cross cultures makes it far more likely that they can collaborate and create solutions with people from other cultures.

So here’s the question I’m interested now: how do we build real, productive connections with people across national, cultural and linguistic boundaries… without putting people on airplanes? Or trains? How do we efficiently manufacture xenophiles?

And since you guys can’t answer, I’ll go ahead and offer one solution that works really well - intermarriage. If you fall in love with someone from a very different culture, you’ve got a strong incentive to connect with that person’s family, learn their culture, change your perspectives. And while I’ve thought about this, it’s even harder to figure out a scheme to make intermarriage mandatory on a massive scale than it is to figure out how to put a substantial fraction of the world’s population on airplanes.

I’d been hoping the internet could be a solution to these problems. After all, it’s now possible to read the newspapers in another country, to read the blogs of people who live in these countries and hear what they’re thinking about. We can go to flickr and see the photos that people take, we can surf youtube and watch the videos that are making people laugh in other countries. Shouldn’t this help us connect with people around the world?

That’s what I thought a few years ago. I helped start a website called Global Voices, which is basically a site designed to help you find citizen media from other countries, especially the developing world. Want to know what people in China are talking about online? We filter through thousands of Chinese blogs, try to find the conversations that are interesting, translate them into English… and then into over a dozen other languages. If you read the site, you’ll end up getting a much better sense for what the hot topics are in other parts of the world… and you may find yourself emotionally invested in someone else’s blog, and by extension in their life and ideas.

But you probably won’t. That’s one of the biggest things we’ve discovered with the project - it’s hard to care, even if you want to. I can point you to a lively conversation taking place in another corner of the blogosphere and even if you can read the language, you’re probably not going to connect with the conversation. You don’t have the context. And beyond that, you don’t have any connection to the people or events involved.

It’s not your fault. Human beings are tribal by nature. There’s a sociological phenomenon called “homophily” - it’s the tendency of birds of a feather to flock together. Let people organize themselves and people will form into groups, usually by race, nationality, religion, level of education. In the US, there’s a lot of mobility - people move all the time - and we’re starting to see this happen politically - Bill Bishop calls it “The Big Sort”. It ends up meaning that left-leaning people live with other leftists, conservatives with other conservatives and we’ll each understand less about each other. We do this with information as well. If information affects people like us, we pay attention to it - if not, we’re almost hard-wired not to care.

It turns out that there’s an art to getting people to care. It’s about telling stories, stories that introduce us to people we care about, whose pasts we speculate about, whose future we worry about. Most of the world’s problems can’t be summed up by a single story about a single person… but unless you can attach a story to a problem, it’s likely that you won’t get anyone to pay attention to the larger problem. The problem with this art is that it can turn into a trick. The trick works by oversimplifying, turning stories into good versus evil, black and white. If we tell the story and lose the subtlety, at a certain point we’re lying.

We’ve got the infrastructure that makes it possible to connect to one another, to tell stories to one another, to share films and family photos and things that make us laugh or cry with people anywhere in the world. And so far, we’re pretty bad at using it. At the worst, we use it to hurt each other - think of the guy in Lagos who wants to rip you off while promising you millions of dollars… or the guy in London who makes sport out of humiliating and punishing him.

So here’s where I’m asking for help - we need bridge figures, people who can help build connections between cultures. We need xenophiles, people who are interested in the whole world and in building conversations that break out of the homophily trap. We need tools that let us use this infrastructure to connect. Help me figure out how to bridge people and how to build these tools.

This piece originally appeared on Ethan Zuckerman’s excellent personal blog, My Heart’s In Accra.

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(Posted by Ethan Zuckerman in Media at 5:50 PM)


Originally
from WorldChanging

by Ethan Zuckerman


reBlogged

on Jan 1, 1970, 8:00AM

Originally by Ethan Zuckerman from WorldChanging on January 1, 1970, 9:00am

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Zero Impact Within Our Lifetimes

This article was written by Alex Steffen in January 2008. We’re republishing it here as part of our month-long editorial retrospective.

Zero%20Now.jpg The time has come to reconcile ourselves with a fundamental truth. Most of us were already alive when humanity went into overshoot and (sometime in the late 80’s) began using up the planet faster than the planet could replenish itself. And many of us will still be alive, when, by mid-century at the latest, we have returned again to being a sustainable, one-planet civilization.

Of course, we may prove ourselves to be an evil and criminally shortsighted generation. We may melt the ‘caps, log the Congo, burn the Amazon, slushie the tundra, acidify the ocean, drive half of all life into extinction and needlessly cause the deaths of billions of our fellow human beings. But I don’t think we will. I think enough of us are better than that, braver than that and bolder than that.

Which means that we have to stop pussy-footing around and speak plainly: our goal is to have zero impact within our lifetimes. Our goal is to provide reasonable affluence and high qualities of life for everyone of the planet, while reducing our CO2 emissions, toxic releases, ecosystem impacts and resource draw-downs to essentially nothing, because anything more than zero is wrong.

Put more precisely, any ecological impact beyond global biocapacity tends to undermine Earth’ natural systems, destroy ecosystem services and climate stability and ultimately destroy the options of our descendants. Worse yet, we are beginning to understand that more and more unsustainably intensive uses of the Earth bring increasing risks of passing catastrophic tipping points, and, indeed, that those tipping points may be closer than we think. These effects, and the risks they bring, are largely cumulative. With all of this in mind, it ought to be our goal to have no impact — to bring our ecological footprint below biocapacity, perhaps even to start healing the planet (to change our ecological footprint into an ecological handprint — as soon as possible.

The idea of zero impact ought to be non-contraversial. It is simple common sense that practices which are unsustainable cannot continue, and we know that it is true that propping up unsustainable practices with non-renewable resources has even more dramatic consequences. And we are currently growing rapidly less sustainable, and using more and more non-renewable to keep the ecological consequences at bay. This must stop. All of this is just plain speaking, and ought to be obvious to any informed observer.

What is less obvious, even to those who think about these issues a lot, is how quickly this must stop. When do we need to arrive at zero?

The answer, more and more clearly, boils down to now.

Take climate. Just today the Washington Post reported on two major recent studies which both concluded that zero energy emissions ought to be our goal by mid-century:

Their findings, published in separate journals over the past few weeks, suggest that both industrialized and developing nations must wean themselves off fossil fuels by as early as mid-century in order to prevent warming that could change precipitation patterns and dry up sources of water worldwide.

Using advanced computer models to factor in deep-sea warming and other aspects of the carbon cycle that naturally creates and removes carbon dioxide (CO2), the scientists, from countries including the United States, Canada and Germany, are delivering a simple message: The world must bring carbon emissions down to near zero to keep temperatures from rising further.

“The question is, what if we don’t want the Earth to warm anymore?” asked Carnegie Institution senior scientist Ken Caldeira, co-author of a paper published last week in the journal Geophysical Research Letters. “The answer implies a much more radical change to our energy system than people are thinking about.”

Expect, in the next few years, to see a lot more reports like these from nearly every field. Most of the smart scientists and researchers I know expect both scientific modeling and scientific moxie to converge on much more plain-spoken assessments of our need for radical change in the ways we’re treating the planet.

Some people fear that telling people the truth will result in a loss of our credibility or a despairing retreat from action. I don’t think that’s right or true. I think our job is to tell the truth, help people come to grips with it, and help them imagine how their worlds could improve as we solve these problems.

Bargaining with the universe is a pretty universal human reaction to bad news. Even those of us who have no belief in the supernatural tend to drop into a pleading negotiation with some unseen power when the doctor walks in with a grim look on her face.

It’s pretty easy to look at humanity’s reaction to the environmental crisis from this light. We can already see people coming to grips with the diagnosis. We ought to encourage a rapid ratcheting down of our denial reactions as we all come to peace with the reality that everything needs to change, and set our resolve to change it.

We’d all better hope it happens soon. The longer we wait, the tighter the window, of course; but there’s also a lot more upside to be had if we act quickly. And I think the upside of a zero footprint civilization is what we really ought to be focusing on here.

I, for one, do not believe that we must be worse off for this transition. Under most models, the economy will continue strong growth even if we push hard on reducing emissions — indeed, many of the things we need to do will actually improve productivity, more than paying for themselves. (This is true, by the way, not just for carbon emissions, but for toxics, waste reduction, water conservation, ecosystem service preservation, greater access to education and health care and host of other sustainability priorities). On pure GDP terms, making this transition quickly may be a huge winner.

And, of course, GDP isn’t everything. There are a whole host of human security, moral happiness and quality of life questions that tackling this crisis will help us answer. If we move quickly, we could not only have staved off disaster by mid-century, but built a profoundly better world. And that is far more than nothing.

But to get there, we have to be honest about the goal of having no impact at all. We have to be willing to stand up, in public, and say the words: zero, now.

(Image: All the world’s water, all the world’s air. Internet flotsam of unknown origin)

Zero, Now. is part of our month long retrospective leading up to our anniversary on October 1. For the next four weeks, we’ll celebrate five years of solutions-based, forward-thinking and innovative journalism by publishing the best of the Worldchanging archives.

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(Posted by WorldChanging Team in Worldchanging Retro at 8:43 AM)


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Climate Change is a Problem We Can Choose to Tackle

This article was written by Saul Griffith in March 2008. We’re republishing it here as part of our month-long editorial retrospective.

Saul Griffith is a remarkable guy: inventor, entrepreneur, Squid Labs, ThinkCycle and Instructables founder, columnist, genius grant winner and now president of the clean energy start-up Makani Power. A couple weeks ago, I did a talk at eTech, and while I was there, I had the fortune to hear Saul give his presentation on energy literacy and climate change.

Saul’s essential point is that climate change is a problem we can choose to tackle: that the means are within our control, if we’ll learn to think clearly about them. It’s a great talk, and like all great talks, there’s lots to quibble with in it (I’m sure Worldchanging readers will spring to the task), but at it’s core, the message could not be more consonant with our goals as a site. Saul has kindly turned his talk into a series of posts for Worldchanging, which we’ll be posting over the course of the week. –Alex

This is an old story, hopefully told in a new way.

Al Gore’s documentary “An inconvenient truth” reached many people but his is just the most recent telling of a story that has been told many times before. At the peak of the energy crisis in the 1970’s, Amory Lovins wrote a book called Energy Strategies that largely outlined the problem we have today. In the 1950s Buckminster Fuller wrote many similar treatises on the dangers of over-consumption of energy and materials and its effects on the earth’s ecosystems. At the turn of last century, Henry Thoreau wrote a beautiful book about simple living in the woods of Massachusetts as an antidote to the destructive lifestyle of modern living he perceived at that time. Walden has sold many copies and inspired the modern conservation movements. Muir and Carson should be attributed for their contributions also. 2 millenia ago, in his book “Critias”, Plato wrote about the demise of the forests:

“What now remains compared with what then existed is like the skeleton of a sick man, all fat and soft earth having wasted away, and only the bare framework of the land being left…there are some mountains which have nothing but food for bees, but they had trees not very long ago, and the rafters from those felled there to roof the largest buildings are still sound.

There are many more books and speeches and documents beside these that are available today to further discuss humanity’s influence on the environment. Except for the fact that we now have better information thanks to the concerted efforts of modern science and the many tireless individuals that study the effects of humans on the environment, I’m not telling you a story much different than these.

The principal difference here is that I’ve approached telling this story as an engineer would approach a challenge. “Tell me what I have to do and I’ll make it work” might well be the call cry of engineers. This document is thus set out as a resource and an open document for other people to critique and improve until we can specify the task for engineers. Once we know what we have to do, we will certainly do it.

This document started out as a very cold and impersonal look at the physics, and the thermodynamics of Earth’s energy systems. It was clearly apparent that while audiences enjoyed that conversation and it provided valuable perspective, the numbers were too large, and the issues so impersonal, that it was difficult to understand the implications.

In an effort to remedy that this document now has two stories intertwined: The larger, global energy picture, and the more personal energy accounting for all of earth’s individuals. The larger story is about very big numbers and very big implications. The personal story is about each of us living and working in this shared planet, and the cumulative effects that each of our lives make.

I remember first watching Al Gore give a tremendous, and important, presentation at a conference with his climate change talk. The immediate questions from that audience were “How does this effect me?” and “What can I do to make a difference?”. A few years later the answers to these questions ended up in the credits of his documentary “An Inconvenient Truth”. Because the answers to those questions are the only way we as individuals can understand our global challenge, we have tried to bring them into the center of this conversation rather than the appendix. This isn’t meant as a gross criticism of Gore, just that I personally want a deeper understanding of the consequences, and to know what to do.

Without doubt, the only way to move forward is to know what the target is, know how to measure progress towards that target, and have the data and information to make good personal decisions as well as good global decisions.

globaloverview.gif

Each of the following steps will be addressed at greater length in its own post:

Step 1 CO2 = Climate
Understand the link between CO2 concentration and climate change. Understand the models, their predictive power, their accuracy.

In laying out the logic of this document we hope to give you the tools to rebuild this story as it relates to you. If you disagree with any specific assumption or piece of information, you have the approach outlined here to return to.

If you believe global warming isn’t happening at all, this logic is still valid for you. You will merely conclude that nothing needs to be done immediately, and you will walk away with a greater understanding of your own energy consumption, ways to save money, and ways to increase the security of energy supplies as fossil fuel supplies slowly dwindle.

If you believe that we should return to pre-industrial levels of CO2 this story is still valid - you will reach more drastic conclusions about the urgency of action, and the things we must start to do. The real point here is that this is an approach which really lays out climate change for what it is. A collective choice for humanity. A choice that determines the aesthetics of our future planet, the way we live, breathe, work, eat, and play.

The first step in the problem is understanding the relationship between greenhouse gases (principally CO2) and climate change. This is very well studied and the IPCC has been at the forefront of collecting and vetting this information for humanity. The other goal of laying out the logic this simply is to push the conversation forward for climate change. It is going to have to come down to a choice, where we set a real goal - not a diluted percentage of industrial output goal like the Kyoto goal - but a global CO2 concentration and emissions goal and consequent clean energy production goals. People will do what they need to do once they have a goal in place. We all love challenges.

Step 2 Temperature Choice
Choose the temperature at which you would like to stabilize the earth. Acknowledge the implications of your choice.

As we increase CO2 concentrations in the atmosphere, the temperature rises. By halting or reversing the rate at which we emit CO2 to the atmosphere we are in effect choosing the CO2 concentration that the atmosphere will eventually stabilize at. This concentration determines the temperature that the world will stabilize at. The idea is that once you have an understanding of the relationship between CO2 and temperature (with all of its uncertainties) you can make a choice of what temperature you would like to live at, and what effects that has on the environment.

This is a choice that nobody seems to want to make. No one wants to be wrong. No government wants to say “3 degrees more heat is OK”, and then find out that it isn’t. It’s hard not to conclude that the safe and sane choice is the conservative one. Act now, and if we over-estimated the threats and consequences then the next generations can change our estimates and resource use because they will know more than we do now.

Step 2: Choosing a global temperature target.
This choice of temperature is obviously going to be the most difficult choice humanity has ever made.

The first time I publicly gave this talk it was at a technology conference for the programmer / hacker community. The temptation was to say that “Earth’s climate is humanity’s operating system” and that “what temperature we choose determines what functional calls we have, how stable the platform is, and what chances there are that we crash the OS and have to reboot”. That mightn’t be the best metaphor for general audiences, but the point of bringing it up here is we need to find the metaphors for every audience. Everyone needs to develop an intuition for what this means to us all.

One principal reason the temperature choice will be difficult is that at different temperatures you have a different set of winners and losers. This is probably only true for small temperature changes where the argument is about how this wine producing region increased in productivity while this rainforest dries out. At larger temperature changes, like those beyond +2 degrees Celsius, I think there is a compelling argument that no one wins. The world changes so much and the struggle for resources for survival will become so great, that no one can hide, and no one wins.

Step 3 Allowable Carbon
Determine from your choice of climate change the amount of carbon you are allowed to release into the atmosphere annually.

Having chosen a temperature, we can infer what CO2 concentration we should aim at for creating equilibrium on the planet. This is a number measured in parts per million (ppm) of CO2. This talk largely ignores the other green-house gases of CH4 and NO2, methane and nitrous oxide respectively. Methane is produced in large quantities by our livestock (sheep and cows in particular) and our landfills, as well as natural sources. Nitrous oxide is a by-product of our nitrogenous fertilizers for agriculture and produced in air travel through the jet-fuel combustion process. The concentrations of these gases is sometimes measured as CO2 equivalent. Methane per molecule is a 21 times more absorbing greenhouse molecule than CO2. Nitrous oxide is even worse, with an effect 310 times that of CO2. Obviously we need to address all of the molecules that contribute to climate change, and work to reduce the concentrations of all of them. This conversation will however focus just on CO2. I’m assuming that if we develop the awareness of climate implied by this document, that will happen in parallel to our focus on the largest contributor, CO2.

Carbon has an atomic weight of 12. Oxygen has an atomic weight of 16. Each time you combust, or burn, a carbon molecule, it is oxidized to become CO2. Some people measure carbon input into the atmosphere in terms of C, others in terms of CO2. To convert between these values multiple Carbon by 3.67, or divide CO2 by 3.67.

C : C02 = 12 : (12 + 16 + 16 ) = 44 hence 44/12 = 3.67.

Step 4 Useable Fossil Energy
Determine from the amount of carbon you can release to the atmosphere the amount of energy available to us from fossil fuels and carbon emitting sources and therefore what “new clean power component we need to generate.

Knowing the concentration we wish to stabilize at, we know how much power we can make burning carbon based fuels, over what time frame we need to reduce it, and to what ultimate value. This is an extremely important number to determine because it sets us our target of how much non-carbon power we will need to produce to support the lifestyles we want to live.

With these choices and their consequences, we can now understand the grand challenge of renewable (or non-carbon emitting) energy, or indeed whether it is a challenge at all.

My personal interpretation of the information laid out here is that this is the biggest engineering challenge ever faced by mankind. That barely implies that it is also the biggest social, economic and political challenge in history!. I personally would conclude that you should support a concerted effort to meet this challenge in every way possible whilst also learning to live your personal life in healthier and happier ways.

Every choice you make is important here: your choice of how much climate change you can tolerate; your choice of lifestyle and the power generation it implies.

The other intent of laying out this logical framework and making this an open document is that this story needs to be told in different ways by different people in order to tell the story as far and wide as possible. The wisdom of many eyes on this document interpreting it in better ways will surely help humanity face and conquer this challenge. - This is after all about our collective choice, not the choice of any single player in the game. The coal companies get their vote, the environmentalists get their vote, middle Americans get their vote, Indian peasants get their vote. It’s everyone’s climate. Thats what we have to realize. It’s everyone’s climate. It’s everyone’s choice.

Step 5 Clean Energy Sources
Analyse from what sources we can possibly make the clean power component

This step allows us to know where all of the earth’s energy resources are, how they can be tapped, and what we can expect of each of them. Even which secondary effects each of those choices might have: how much land area we devote to this or that, or what ecosystem effects solar panels and wind farms have. The important thing here is to know what the possibilities are and to inform wise investment choices in the potential of each one.

Finally we get to the really fun part. This is where the challenge turns to engineering. This is where we get our hands dirty, put our shoulders to the grindstone, and solve the problem.

Step 6 New Energy Mix
Choose a mix of technologies to make “the clean power component” and estimate the industrial and engineering effort to meet the challenge.

Pick your new energy mix, how much wind, how much solar, how much coal, how much gas, how much petroleum, how much nuclear, how much wave, how much tidal, how much geothermal. Once picked we are only a bunch of good new jobs and fulfilling work-days away from meeting our challenge.

“The sun pays all the bills”
- Kim Stanley Robinson.

localoverview.gif

The personal side of the story:
where does your energy go?

Step 1 My Lifestyle
Calculate my own current energy consumption as a result of my lifestyle.

Step 2 Carbon Calculators
Compare to other people’s “Carbon Calculators”

Step 3 My Share & Energy Demographics
Make it personal: give everyone an equal share of the current total energy resource. Compare my equal share to world’s current demographics.

Step 4 My New Life
Re Evaluate my own personal footprint to see what impact an equal share would have on my lifestyle.

The personal side of the story: Step 1.

Step 1 My Lifestyle
Calculate my own current energy consumption as a result of my lifestyle.

No one is exactly like anyone else. That’s part of why it is fun to be human. We all live in different ways. How we live determines the impact we each have on the environment. In recent times this has led to a public conversation about “Carbon Footprint”. I personally prefer to think about it as your own personal power requirement. Carbon and power are like the chicken and the egg. It is hard to figure out which came first and which one we should think in.

I am definitely unusual. As I write this I am a 34 year old scientist, inventor, and entrepreneur living in California. I have my own company that is trying to invent new ways of harnessing renewable power sources. I live in ‘the Mission’, a small yet colorful district in the city of San Francisco. I rent a small stand-alone house with two bedrooms that I share with my partner. I fly a lot, both for business and pleasure, and generally those trips are combined. I don’t drive very much, and when I do it is mostly in a very efficient Hybrid, or a reasonably efficient vintage VW beetle. I am an omnivore - I eat meat - regularly. I try to commute by bicycle and public ferry most days. I like to think of myself as environmentally aware and as motivated to building a better future for the planet. In spite of all these things, preparing this document has shown me that I am a major part of the energy problem. I don’t buy as many things as most other people, but the things I do buy (like lap-tops and cell phones) are particular energy intensive products.

I have a strong background in mathematics and physics and engineering and a PhD from MIT to show for it. Even with that I find it very difficult to calculate my own ecological footprint to the accuracy I would like, and during the analysis I found myself repeatedly stumbled for lack of information. I am sure it is hard for everyone. I have every modern resource available and I still find this whole issue extremely challenging to understand and deal with.

By calculating in detail my own energy consumption I hope to make more people aware of their own personal environmental impacts. I hope also to induce an improvement in the reporting
of personal environmental impact by the companies that provide us with our material goods.

Step 2 Carbon Calculators
Compare to other people’s “Carbon Calculators”

By now nearly everyone is aware of the concept of a “Carbon Calculator”. There are many freely available on the web. Critiques of the system already get air-time in the press. I will compare a large set of them here to see how they compare using the same data I used myself. The bad news : the results are more variable than they are accurate. Why would I want to show this? If these are going to be the principle tools for the average person to figure out their progress in helping the world, then let’s make them precise, and accurate. As all engineers know (and athletes!), you can only improve if you measure well and if you have benchmarks.

Step 3 My Share & Energy Demographics
Make it personal: give everyone an equal share of the current total energy resource. Compare my equal share to world’s current demographics.

It’s worth here looking at the demographics of humanity’s energy use, and the way our collective behaviour is the contributor. I include this quick study of demographics not to point the finger at any country in particular, but to put things in perspective, to help plan the future. We have to remember that our lifestyles and cultures changed and went in these directions before we knew a lot about climate change and the relationship with personal consumption. Rather than have Europeans thumb their noses at Americans and say “Look how much better we are” it would be hoped everyone says “OK, here we are, how do we all improve”… “what do you know that can help me improve, what do I know that can help you”. The thing about living on the same planet tied together with the same atmosphere is that we can’t simply ignore our neighbors.
We are all in it together.

Step 4 My New Life
Re-Evaluate my own personal footprint to see what impact an equal share would have on my lifestyle.

I found it very powerful to look at the global power consumption,
and the global population, and determine the average global power consumption per person. I then used this number to re-evaluate my life. Can I reduce my lifestyle to this average? Will it be hard? Easy? will it improve my life or make it less interesting? I’d recommend everyone go through this exercise and make your own choices: it helps you think about what is important to you. I still choose some portion of international travel because my family lives overseas. You might not. What really surprised me is that my new life actually looks a lot better for my health. I can also imagine that it will really improve the quality of my life. People will call me an optimist. I am!

I’m not trying to imply that equal distribution of the earth’s energy resources is the right solution, I’m merely using it as a starting point for perspective. It certainly can’t hurt to use this as your target.

Science and the scientific method.

Science is interesting. In modern day life we are bombarded with scientific study headlines. “Study shows (insert bizarre phenomena and conclusion).” Because of this, the public might be forgiven for becoming complacent to, or inoculated against, the latest “scientific” finding. Next week’s study will likely contradict this week’s. In part this is because the modern media does a fairly poor job of communicating science, and mostly because it tries to “dumb it down” or “sensationalize” it. I think the majority of the problem is that there isn’t a wide understanding of the difference between “science” and “the scientific method”.

Science is the study of some sort of phenomena accompanied by an effort to explain it with a theory. Because of this, great skepticism does and should meet any single scientific study. That skepticism by the rest of the scientific community is really what the “scientific method” is. As a scientist you are obliged to question every assumption and conclusion, and to test and retest them until an established truth emerges. With enough time, and enough questioning, we can build a lot of confidence that the theories are correct. This has been a proven method for generating the incredible amount of knowledge that humanity taps to construct modern life.

This method is particularly easy for easily measurable things like the mass of a neutron or the size of the moon, or for the motions of the planets. More recently it has gotten harder because the complexity of the things that we study has greatly increased. In biology it is very difficult to reach simple conclusions and knowledge because the entire system is so complex and interconnected. This is also true of climate change. The earth’s climate is not completely understood. That is true and will likely always remain true. In the science of complex systems we build models. These models explain large data sets by simplifying the problem for us. We can test these models by measuring reality and comparing it with our models. It takes quite a long time to draw strong conclusions, but in the end, through the scientific method, we can have high confidence that the conclusions are generally correct, even if we do not know the exact details.

At right is a paper by Arrhenius, a great scientist of the late 19th century. He is most famous for the Arrhenius equation, but also studied the chemistry of our atmosphere. His study on “Carbonic Acid” (now referred to as CO2) is one of the earliest studies that links climate change with CO2 in the atmosphere.

A century later the scientific method has concluded with great confidence that our CO2 and other greenhouse gas emissions are heating our world and endangering our lifestyles and the future of our children. While it remains wise to continue to doubt the headlines of each new “scientific study” it would be very unwise indeed to ignore the results of the collective wisdom of thousands of scientists working together through the scientific method. The conclusion now reached is that our behavior with regards to how we produce our energy and therefore generate CO2, must change. And now.

(Thanks to Worldchanging New Zealand columnist Craig Neilson for his assistance!)

How to Become Energy Literate and Battle Climate Change is part of our month long retrospective leading up to our anniversary on October 1. For the next four weeks, we’ll celebrate five years of solutions-based, forward-thinking and innovative journalism by publishing the best of the Worldchanging archives.

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(Posted by WorldChanging Team in Worldchanging Retro at 8:57 AM)


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Originally by WorldChanging Team from WorldChanging on January 1, 1970, 9:00am

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Hot Idea: Recycling Wasted Energy

Computers and cacti go together like chocolate and peanut butter.

Bill McKibben once lamented the unsexiness of waste heat recovery, an energy efficiency technique that languishes in obscurity despite its potentially huge environmental benefits. Perhaps this story will capture the public imagination: in a move that will save money and cut carbon emissions, the University of Notre Dame in Indiana has begun housing some of its computer servers in the nearby “Arizona Desert Dome,” a conservatory for cacti and other desert plants.

Computer servers create a lot of waste heat — so much so that keeping them cool is a major cost driver and engineering challenge for data centers. Particularly in coal-fired Indiana, air conditioning for data centers equates to a lot of carbon emissions.

Cacti, on the other hand, need a lot of heat, particularly in the winter, when South Bend is blanketed in snow.

You can see where this is going. Housing servers in the desert dome, where air currents can carry away their waste heat, is expected to save the university about $100,000 in cooling costs. Meanwhile, the city will save some of the $70,000 it spends each year to keep the conservatory warm. Given that the conservatory was cut out of the city’s 2010 budget altogether, such steps toward self-sufficiency are necessary to ensure its continued existence.

And here’s some recycled energy news with perhaps wider impact: Vinod Khosla is backing a company that creates solar energy systems designed to harness the waste heat from traditional solar photovoltaic panels.

Details on the technology are scarce. It sounds a bit like a solar panel smooshed together with a solar hot water heater — presumably alongside some clever engineering to make the smooshing as efficient as possible. The company claims to be able to double the energy capture of today’s solar photovoltaics, which, if true, would represent an an enormous leap forward for rooftop systems.

Recycled waste heat presents one of the biggest, cheapest opportunities for slashing our carbon budget. It looks like the idea is starting to get its day in the sun.

Adam Stein is a co-founder of TerraPass, where this post originally appeared. He writes on issues related to carbon, climate change, policy, and conservation.

Photo credit: University of Notre Dame

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(Posted by Adam Stein in Columns at 9:00 AM)


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Originally by Adam Stein from WorldChanging on January 1, 1970, 9:00am

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