Signatures and Pictographs
Representatives of the Ottawa, Chippewa, Potawatomi, and Wyandot tribes signed this treaty with the United States on November 17, 1807, ceding millions of acres in Ohio and Michigan. Each tribal representative signed with a pictograph. President Thomas Jefferson and Secretary of State James Madison signed at the bottom. The tribes received $10,000 collectively, $2,400 annually, and reservations of 1 to 6 square miles.
Treaty between the Ottawa, Chippewa, Wyandot, and Potawatomi Indians, 11/17/1807
(November is Native American Heritage Month!)
Via Fictional Interface.
A set of tools to transform typed text into familiar-looking unicode for stylistic or encryption purposes:
Homoglyphi.cc is a simple tool for writing Unicode-calligraphy. The user can combine characters from the Astral Planes of the code structure to create alternative word-images. These can, for exemple, be pasted into typographically restrictive social media. The point of view of homoglyphi.cc is the basic character set of cloud-english.
A homoglyph is a symbol that has a similar form to another symbol. The Unicode Standard is a utopian masterplan where each archetypical symbol is given its own space in an immense skeletal structure reaching for the sky. The FAQ says: “Unicode covers all the characters for all the writing systems of the world, modern and ancient.” At the time of writing, 110,182 symbols are encoded. Many of these are homoglyphs. This offers possibilities for creative users wishing to embellish their writing.
There are two online tools which (both illustrated in the GIFs above) one is an automatic converter of text, the other a custom character-by-character editor. Both can be used here
As well as these, there is now a Chrome extension available, allowing you to automatically covert text typed anywhere online - this works in Google, Facebook, Twitter … even Tumblr. The Chrome extension is available here
Fake Skyline Alex Hofford
Tourists visiting Hong Kong during hazy days can now take a picture of the skyline with the help of banner photographs of the skyline during a sunny day. Does that make sense? Guess it does by the amount of tourists using the backdrop photographs! Be sure not to let the seam show…
simulacra simulacrum sim city
"Ronald Bladen watching the installation of his sculpture Black Triangle, 1969 / John A. Ferrari, photographer. Fischbach Gallery records, Archives of American Art, Smithsonian Institution.”
"Pizza Dot Net"
Amazon’s spam problems are well documented. The Kindle store is awash in books confusingly similar to bestsellers. Companies like Icon Group International offer highly specific books like The 2013 Import and Export Market for Sawn, Chipped, Sliced, or Peeled Non-Coniferous Wood over 6 Millimeters Thick in New Zealand. Icon’s books are created by a patented system. The system’s creator Philip M. Parker says he’s planning to go after romance novels next.
When heralding the age of mass customization and the rise of rapid prototyping it is easy to get enthusiastic. Even when talking about what could go wrong, people typically stop at “but a lot of amateurs will generate bad early attempts”. Talk about crapjects and strange shaper subcultures still gives the whole threat a kind of artisanal feel. The true scale of object spam will be much greater.
Yes, lowered barriers to entry mean more small scale making and writing. Yes, domestic rapid fabrication and print on demand services open the floodgates to amateur designers and authors. They open the floodgates to algorithms too.”
via The New Inquiry
For DIY Web archiving without having to deal with Heritrix:
Web Archiving Integration Layer (WAIL) is a graphical user interface (GUI) atop multiple web archiving tools intended to be used as an easy way for anyone to preserve and replay web pages.
The files are saved on your local computer and can be backed up that way. A very useful tool from Mat Kelly, particularly for personal digital archiving. Archive your blog and your loved ones’ blogs and your internet crush’s blogs today!
Art in General, in collaboration with The Center for Fiction, New York, presents Stockholm-based artist Meriç Algün Ringborg’s New Commissions project, The Library of Unborrowed Books.
The project, presenting hundreds of books that have never been borrowed from the Center for Fiction’s library, calls into question what subjects in any contemporary moment have ‘currency’ or desirability, and brings attention to topics and stories that have been temporarily overlooked but that could have their relevance restored in the future.
Via Post Position (via josh bauchner’s twitter):
How It Is in Common TonguesCited from the Commons of digitally inscribed writing by John Cayley & Daniel C. Howe
NLLF [Natural Language Liberation Front] · 296 pages
Some seek diamonds in the rough on the Web; others mine from this lode of language mud and darkness. This profound document was fashioned with snippets of pages, with the search engine, and with the novel first publised as Comment c’est – using all of them quite perversely. Samuel Beckett’s 1964 How It Is describes a person moving and not moving through the mud, alone, not alone, and then once more alone. Cayley and Howe, bending the service known as Google to their literary purposes, have located every phrase of the novel on Web pages where no reference to Beckett is made. For instance, the first words, “how it was I quote,” are found in a New York Times excerpt from Elie Wiesel’sAnd The Sea is Never Full. The phrase is provided, the URL is given in a footnote … and the same is done for every other phrase in How It Is. The result is an edition of Beckett’s book made of text that was literally found on the Web. The only thing funnier will be the Beckett Estate’s response.
Twitter has started to roll out an option to download an html file of all your tweets. The interface looks good! Now everyone gets to relive their painful early tweets about what they were eating that day!
Oliver Laric, Kopienkritik, 2011. Installation, Skulpturhalle Basel.
Nice lil’ manifesto by Domenico Quaranta at Rhizome about putting the emphasis on ideas rather than technology in the curation of new media art:
So, the questions at stake are: if technology is the problem, can curating allow the art audience to access new media art without technology, or at least reduce the impact of technology on the perception of the work? Can the curator become a mediator between art that tackles the social, political and cultural implications of technology, and the art audience, rather than between technology and the art audience…?
Quaranta also mentions an upcoming project from Oliver Laric:
Thanks to the CAS grant, Laric will now be able to create a new work of art for The Collection and Usher Gallery’s permanent collection. According to the press release, the work 'will employ the latest 3D scanning methods to scan all of the works in The Collection and Usher Gallery's collections – from classical sculpture to archeological finds – with the aim of eliminating historical and material hierarchies and reducing all the works to objects and forms. These scans will be made available to the public to view, download and use for free from the museum's website and other platforms, without copyright restrictions, and can be used for social media and academic research alike. Laric will use the scans himself to create a sculptural collage for the museum, for which the digital data will be combined, 3D printed and cast in acrylic plaster.'