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✖ Via PhilipKDick.com: Letter to Jeff Walker at The Ladd Company - October 11, 1981
“The author shares his enthusiasm for the upcoming release of “Blade Runner” with the production company.”

“Philip K. Dick wrote this letter after seeing his first glimpse of Blade Runner in a television segment. To the best of the family’s knowledge, this letter has never been previously released to the public.”

Philipkdick.com is Philip K. Dick official web site:

“On behalf of Philip K. Dick’s children, welcome to the Official Philip K. Dick website. We endeavor to create a venue for new readers, as well as a valuable resource for the loyal fans who have enjoyed his works for years. It is a work in progress, but one nevertheless that we hope you will find useful, and also truly enjoy.”(more)

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An empirical test of ideas proposed by Martin Heidegger shows the great German philosopher to be correct: Everyday tools really do become part of ourselves. The findings come from a deceptively simple study of people using a computer mouse rigged to malfunction. The resulting disruption in attention wasn’t superficial. It seemingly extended to the very roots of cognition. “The person and the various parts of their brain and the mouse and the monitor are so tightly intertwined that they’re just one thing,” said Anthony Chemero, a cognitive scientist at Franklin & Marshall College. “The tool isn’t separate from you. It’s part of you.” Chemero’s experiment, published March 9 in Public Library of Science, was designed to test one of Heidegger’s fundamental concepts: that people don’t notice familiar, functional tools, but instead “see through” them to a task at hand, for precisely the same reasons that one doesn’t think of one’s fingers while tying shoelaces. The tools are us.
✖ Via Wired Science: “Your Computer Really Is a Part of You” by Brandon Keim, March 9, 2010

The study “A Demonstration of the Transition from Ready-to-Hand to Unready-to-Hand” by Dobromir G. Dotov, Lin Nie, Anthony Chemero is available online (PDF).

The “fondamental concept” to which Chemero is referring is the concept of “readiness-to-hand”. Heidegger explains this concept in section 15 of his book Being and Time : “The Being of the Entities Encountered in the Environment” (see Google Books). To understand this concept, one can get help from Wikipedia, from an online Glossary of Terms in Being and Time (edited by Roderick Munday, last updated in March 2009) and from Dean Heckles’ blog (Heckle “is a social–cognitive scientist and a PhD student at Stanford” and he specifically chose to name his blog… “Ready-to-hand” : great introduction to the concept if you’re into technology or communication or media studies).

For a good overview of what’s at stakes today when it comes to our relationship to technology, one should read the “General Introduction” of the first book of the Technics and Time trilogy by Bernard Stiegler. The book has been translated from French by Richard Beardsworth and George Collins. The “General Introduction” which run from page 1 to 18 is available via Google Books.

Previously on Skandalon: cognition and media ecology.



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✖ Via Errance by Raymond Depardon, 2000 [amazon]
“Raymond Depardon (b. 6 July 1942, Villefranche-sur-Saône, France) is a French photographer, photojournalist and documentary filmmaker. In 1966, Depardon co-founded the photojournalism agency Gamma. He has been a member of Magnum Photos since 1979. Depardon is also the author of several documentary shorts and feature films notably including 1974, une partie de campagne, on the 1974 presidential campaign of Valéry Giscard d’Estaing, Reporters (1981) and New York, N.Y. (1986), both winners of the César Award for best short documentary, La captive du Désert (1990), nominated for the Palme d’Or at the 1990 Cannes Film Festival and Délits flagrants (1994) which won awards for best feature documentary at the César Awards, the International Documentary Film Festival Amsterdam (Joris Ivens award) and the Vancouver International Film Festival.” (wikipedia)

Raymond Depardon at Magnum Photos.


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✖ Via

The New York Times: “Hey, ‘Friend,’ Do You ‘Like’ My Sad Story?” by Nick Bilton, March 8, 2010

“I called up an expert on language for some insight into this issue: Jesse Sheidlower, lexicographer and editor at large of the Oxford English Dictionary.

Mr. Sheidlower said the evolution of meaning and interpretation is natural for language. He considers it entirely possible that a younger generation growing up online might understand “like” to mean something different than older folks do.

“People are posting very heartfelt feelings on these social sites, and the option is to either like it or comment,” he said. “I don’t think it changes the meaning of the word, but there is a disjunct that is happening here, and it forces you to think of the word that is pointing to a story and not necessarily the content within it.”

“Like” clearly isn’t the only word that is seeing a change to its context or understanding. We are starting to perceive the word “friend” differently, too, thanks to social networking services.

“There’s a point when these friends are really just people I have in common with others, or people I’ve only met once, but ‘friend’ is the only word available to say you know this person, even though they are simply connections,” Mr. Sheidlower said.” (more)


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✖ Via I Am Paddy: “4 Pixels or Less” by Paddy Donnelly

About the project:

“Well, feeling inundated with the amount of fonts, brushes, images, patterns, gradients, drop shadows and copy I generally squeeze into each day, I set myself a little minimalistic design challenge. The challenge : represent a range of movies in 4 pixels or less.” (more)

About Paddy Donnelly:

“Anyway, I am an Irish web designer, blogger, interviewer and illustrator currently living in Belgium. My official title over at Nascom is somewhere between ‘user experience designer’ and ‘information architect’. I’m a big fan of my own little mini projects and I generally spend way too much time on the Internet. I learned most of what I know from my degree in Interactive Multimedia Design, my Masters in Multi-Disciplinary Design and Wikipedia.” (more)

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✖ Via Mashable: “Tumblr Hits Major Milestones, Plans to Start Generating Revenue” by Stan Schroeder, March 8, 2010
“Last but not least, Tumblr plans to launch two revenue generating features next month. Details are scarce (all we know is they’ll be powered by the widget, pictured below), but with constant talk of Twitter’s revenue generating plans (which are still completely open to interpretation), it’ll be interesting to see how Tumblr plans to tackle the issue. Its success (or lack thereof) might pave the way for microblogging networks (although Tumblr arguably stands in the middle, between blogging and microblogging), an area traditionally devoid of revenue.

About Mashable:

“Mashable is an Internet news blog, started by Pete Cashmore in July 2005. With a reported 7+ million monthly pageviews and an Alexa ranking just over 400, it ranks as one of the largest blogs on the Internet. Mashable regularly writes about YouTube, Facebook, Google, Twitter, MySpace, Apple and startups, but it also reports on less high-profile social networking and social media sites. Mashable is popular on many social networks. As of December 21, 2009, it has over 1.8 million Twitter followers, over 90,000 fans on Facebook, and over 330,000 RSS subscribers.” (wikipedia)

Check Mashable’s “About Us” page.

First spotted via Oueb Niouzes.


↳Share Mar 08  link  notes technology  communication  economy  business  Tumblr  social 

SO: ARE PRINTED BOOKS DEAD? Not quite. The rules for iPad content are still ambiguous. None of us has had enough time with the device to confidently define them. I have, however, spent six years thinking about materials, form, physicality and content and — to the best of my humble abilities — producing printed books. So, for now, here’s my take on the print side of things moving forward. Ask yourself, “Is your work disposable?” For me, in asking myself this, I only see one obvious ruleset:
- Formless Content goes digital.
- Definite Content gets divided between the iPad and printing.
Of the books we do print — the books we make — they need rigor. They need to be books where the object is embraced as a canvas by designer, publisher and writer. This is the only way these books as physical objects will carry any meaning moving forward.
✖ Via Craig Mod: “Books in the Age of the iPad” March 2010

Craig Mod is a “developer; writer; book designer; publisher; professional world-wide digital hobo”. Here’s what he has to say about books:

“I’ve always loved books. I’ve always loved computers. We are currently experiencing a very unique convergence point for things digital and analog. Because of this, I think that right now is a very exciting time to be involved with storytelling. The world is smaller than ever and the stories hidden in data and hitherto inaccessible cultures are just a few keystrokes or a plane ride away. I’m interested in engaging these stories, developing sustainable businesses that evoke thoughtful communities and finding ways to bridge cultures.” (more)

Check out the books he designed.



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✖ Via Samantha Loman: “Underskin” (on the behance network)

About Samantha Loman:

“Sam or in case you are wondering her full name is Samantha Patricia Loman was born on August 7, 1983. She studied Illustration at the academy of arts in Rotterdam the Netherlands and received her Bachelor of Design in January 2005. A year before her graduation she started her own design business. First as an illustrator but soon she extended her creative skills with graphic design, photography, product design and writing children and non-fiction books.” (more)

↳Share Mar 07  link  notes reblogged from Oueb Niouzes art  communication  technology  system  circulation  anatomy  transport  design  metaphor 
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✖ Via The New Yorker: “Subway Man” cover by Roz Chast for the June 30, 2008 edition.

About Roz Chast:

“Rosalind “Roz” Chast (born November 26, 1954) is an American cartoonist and a staff cartoonist for The New Yorker. She grew up in the Flatbush section of Brooklyn, the only child of an assistant principal and a high school teacher who subscribed to The New Yorker. Her earliest cartoons were published in Christopher Street and the The Village Voice. In 1978 The New Yorker accepted one of her cartoons and has since published more than 800. She also publishes cartoons in Scientific American and the Harvard Business Review. (wikipedia)

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✖ Via Mrs. Deane: Simon Menner, IBB Preis für Fotografie 2009 (catalog for the IBB Prize for Photography designed by Simon Menner)

Image above taken from the Boobytraps series (2008):

“The last series, Boobytraps, is not photographic in nature, but has every thing to do with spread ing ter ror and cre at ing an atmosphere of invisible menace that sur­rounds us everywhere and could hit any of us any time. Taken from two US Army field manuals they show soldiers how to construct boobytraps out of literally every­thing available in the world of every day objects, including pipes, beds, couches and chocolates.” (read more)

Artist’s statement about his Boobytraps series:

“I have taken these images from two books “Boobytraps” (1965) and “Unconventional Warfare Devices and Techniques - References” (1966). These are two “Army Field Manuals” of the US Army. In these books, soldiers are taught to construct boobytraps out of literally everything available. The key point of these two books is not how to detect these exploding traps but how to construct them.

The basic idea of building a trap out of - let´s say - a tea kettle is to spread terror. If a simple tea kettle might be a bomb that could kill or maim me what is there left to trust. Everything might be a bomb and therefore, in the head of the potential victim,everything IS a trap.”

See the whole Boobytraps series. The complete catalog can be dowloaded in PDF (Texts German, 3.12MB). Here is Simon Menner official website.

About Mr. Deane:

“Mrs. Deane is a blog run by Beierle + Keijser, visual artists from respectively Ger­many and Holland. It is named in after a spiritistic medium from the beginning of the 20th century. For us, Mrs. Deane stands for the ambiguous and the undecidable that one finds one selfconfronted with near the borders of the perceptible and the prob­able. Here, every man has to decide for him self what he holds to be true and what not.” (read more)

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