That shiny new tower with its curtain wall of low-e windows might be supremely energy efficient, but building such a structure requires tons and tons of carbon-intensive steel and concrete.

Meanwhile, with oil now scarce, a number of Nordic and Western European countries, including Germany, Austria, France, Switzerland, and Sweden, adopted aggressive measures to facilitate a transition to geothermal electricity and geothermal heating and cooling.

He argues players are thus encouraged to “witness” history, and this experience “follow[s] the logic of a theme park ride” (Reisner, 2013, p. 254). Baron, is deeply critical of such lack of player agency in the use of archival material, arguing that it functions to “promote a sense that history is teleological and can happen -- could have happened -- only one way”

videogames can and should be considered as a new and significant form of public history. Public history occurs outside formal learning contexts, involves the general public, is participatory and straddles history and heritage.

Autocene more clearly than the automobile

And the same with the extremely cold ecosystems. And the same with the redwood forests. Trees can’t up and move quickly enough to keep up with climate change.

projected for a 4°C world have not been evaluated, but they could be expected to vastly exceed the consequences experienced to date (heat-related deaths, forest fires, harvest losses) and potentially exceed the adaptive capacities of many societies and natural systems.

If we accept the idea that the entire surface of the earth is migratory, then why not landscapes in particular? A landscape — as a scene, landschap, ecosystem, and socio-political territory — is a material assembly of moving entities, a dynamic medium which changes in quality and structure through the aggregate movements or actions of the things that constitute it.

and any known lifeform has always and probably will always be transient, a passage in time

Practicing reason would tame the passions and thereby “free” humans to recognize the advantages of the political or “artificial” over the natural state.

His answer was that nature had endowed humans with reason (“logos”) and that, hence, the function of humans is to think and, more specifically, to participate — by way of thinking — in the divine thought that organizes the cosmos.

For all, Culinary Modernism had provided what was wanted: food that was processed, preservable, industrial, novel, and fast, the food of the elite at a price everyone could afford. Where modern food became available, populations grew taller, stronger, had fewer diseases, and lived longer. Men had choices other than hard agricultural labor, women other than kneeling at the metate five hours a day

and in much of the world people avoided fresh vegetables, all on medical advice.

This is obvious when you consider that, once, the word ‘computer’, like the word ‘typewriter’, could originally be applied both to the human being ‘using’ – that is to say, involved with – the machine as well as to the machine itself. And it is no accident that most of these typewriters and computers were in the first instance women.

s.

Smaller and smaller moments of human life are being transformed into capital, whether it’s the ability to automatically scan thousands of cars for outstanding court fees, or a moment of recklessness captured from a photograph uploaded to the Internet

“More information” does not produce “more truth”, it endangers it

Violent jihadism and other forms of right-wing extremism share two characteristics identified by the sociologists Seymour Martin Lipset and Earl Raab: “monism” and “simplism”. Monism is described as “the tendency to treat cleavage and ambivalence as illegitimate [...] the repression of difference and dissent, the closing down of the market place of ideas”, while simplism is the “unambiguous ascription of single causes and remedies for multifactored phenomena”.

budgets account for only a fraction of the numbers that curators have on the brain. Thoughts swarm about the details of an art work, its dimensions and accession number; technical specifications for a projector; image resolution; security requirements and insurance values; conservation concerns, including light levels and humidity; the accessibility of facilities, such as the width of doorways or the maximum weight of a stair lift; visitor numbers – the list is endless.

The score may be viewed as an algorithm, expressive both in structure and in the writing hand of the composer.

Clearly early civilizations developed procedures for counting and measuring. They also created procedures for weaving, grinding, making fire and cooking. Any of these procedures, when well defined, could be viewed as an algorithm. Indeed  weaving technology played an important role in the history of computers.  If we can spell out the procedure for any given task then, given all the necessary materials and skills, we should be able to carry out the task

Today we are inclined to view any well defined procedure as an algorithm. A recipe for baking bread is an algorithm. Follow the recipe faithfully and you will duplicate the kind of bread made by the person who wrote the recipe.

Andre was not so lucky. His instructions were simply: ‘Timber Piece, 28 units c. 1′ x 1′ x 3″ and a little drawing. I pictured ‘timber’ as raw logs, where he meant finished lumber. It looked great, but he always insisted that it was my piece, not his.

Thus, if everything could be art and everything was worthy of being the subject of art, then it seemed – in 1969 – that curating itself might soon become obsolete. The fact that it has not signals an ultimate failure. Despite its huge influence within the art world up to the present, conceptual curating remains what Luis Camnitzer has called ‘full-belly art

The show was so large that the public would be overwhelmed and have to depend on its own perceptions. The index card form was carried over to the subsequent numbered exhibitions:

I had just returned from a radicalising trip to Argentina (with French critic Jean Clay) during the military dictatorship. There we had met members of the Rosario group in the midst of their Tucamán Arde campaign (which in the last decade or so has finally been recognised as the groundbreaking work that it was). This was the first time I had heard artists say that they were not going to make art until the world was changed for the better. It made a profound impression on me.

The manifesto removes itself from the vernacular application of the term “recombinant” (one tied to genetically modified organisms). Instead, the recombinants’s materials are described to be the result a form of data-splicing that removes any disparity between the data anatomy of digital datasets and organic DNA, which are explained to be constantly rewritten, or “recombined” in a cycle of constant rebirth and in the form of an eternal return. The manifesto claims many things the Recombinants are not; there are direct rejections of being merely cyborgs, replicants, mutations, humans, or computers, and the Recombinants reject any adherence to the past or future. From an outside perspective, the manifesto is mysteriously ambiguous, as the Recombinants claim to exist as nothing and everything at the same time.

by their visual similarity,

which provides a curated list of annotated links to relevant stories about contemporary art that provide greater context for the work we host and produce

How can museums make sense and meaning of such inordinate amounts of hyperconnected data, organised flatly and without a clear hierarchy for establishing value?