| Oregon QB Jeremiah Masoli talks about the Ducks |
| Ducks coach Chip Kelly talks about the opening of fall camp |
Wednesday, August 12, 2009
could be good
Tuesday, August 11, 2009
DUCKS GET SI COVER- CAINT NOBODYY FUCK WIT MY BODYY
its real bietch
CRASHING YOUR PARTY LIKE VINCE VAUGHAN AND OWEN WILSON
CRASHING YOUR PARTY LIKE VINCE VAUGHAN AND OWEN WILSON
Sunday, August 9, 2009
AMAZING
Kuroshio Sea - 2nd largest aquarium tank in the world - (song is Please don't go by Barcelona) from Jon Rawlinson on Vimeo.
incredible. you will love this.
huh
From the Paper Monument pamphlet, I Like Your Work.
How Artists Must Dress
July 27th, 2009
Artists must first of all distinguish themselves from members of the adjacent professional classes typically present at art world events: dealers, critics, curators, and caterers. They must second of all take care not to look like artists. This double negation founds the generative logic of artists' fashion.
The relationship between an artist's work and attire should not take the form of a direct visual analogy. A stripe painter may not wear stripes.
The relationship between an artist's work and attire should function in the manner of a dialectic, in which the discrepancy between the personal appearance of the artist and the appearance of her work is resolved into a higher conceptual unity. An artist's attire should open her work to a wider range of interpretive possibilities.
The artist's sartorial choices are subject to the same hermeneutic operations as are his work. When dressing, an artist should imagine a five-paragraph review of his clothes—the attitudes and intentions they reveal, their topicality, their relationship to history, the extent to which they challenge or endorse, subvert or affirm dominant forms of fashion—written by a critic he detests.
Communicating an attitude of complete indifference to one's personal appearance is only achievable through a process of self-reflexive critique bordering on the obsessive. Artists who are in reality oblivious to how they dress never achieve this effect.
Whereas a dealer must signal, in wardrobe, a sympathy to the tastes and tendencies of the collector class, an artist is under no obligation to endorse these. Rather, the task of the artist with regard to fashion is to interrogate the relationship between cost and value as it pertains to clothing, and, by analogy, to artworks.
An artist compensates for a limited wardrobe budget by making creative and entertaining clothing choices, much in the way that a dog compensates for a lack of speech through vigorous barking.
Artists are not only permitted but are in fact required to be underdressed at formal institutional functions. But egregious slovenliness without regard to context is a childish ploy, easily seen through.
An artist may dress like a member of the proletariat, but shouldn't imagine he's fooling anyone.
The affluent artist may make a gesture of class solidarity by dressing poorly. She is advised to keep in mind that, at an art opening, the best way to spot an heiress is to look for a destitute schizophrenic. Middle-class or working-class artists, the destitute, and the schizophrenic can use this principle to their social advantage.
The extension of fashion into the violation of norms of personal hygiene and basic grooming constitutes the final arena for radicalism in artists' fashion. Brave, fragrant souls! You will be admired from a distance.
—Roger White
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How Artists Must Dress
July 27th, 2009
Artists must first of all distinguish themselves from members of the adjacent professional classes typically present at art world events: dealers, critics, curators, and caterers. They must second of all take care not to look like artists. This double negation founds the generative logic of artists' fashion.
The relationship between an artist's work and attire should not take the form of a direct visual analogy. A stripe painter may not wear stripes.
The relationship between an artist's work and attire should function in the manner of a dialectic, in which the discrepancy between the personal appearance of the artist and the appearance of her work is resolved into a higher conceptual unity. An artist's attire should open her work to a wider range of interpretive possibilities.
The artist's sartorial choices are subject to the same hermeneutic operations as are his work. When dressing, an artist should imagine a five-paragraph review of his clothes—the attitudes and intentions they reveal, their topicality, their relationship to history, the extent to which they challenge or endorse, subvert or affirm dominant forms of fashion—written by a critic he detests.
Communicating an attitude of complete indifference to one's personal appearance is only achievable through a process of self-reflexive critique bordering on the obsessive. Artists who are in reality oblivious to how they dress never achieve this effect.
Whereas a dealer must signal, in wardrobe, a sympathy to the tastes and tendencies of the collector class, an artist is under no obligation to endorse these. Rather, the task of the artist with regard to fashion is to interrogate the relationship between cost and value as it pertains to clothing, and, by analogy, to artworks.
An artist compensates for a limited wardrobe budget by making creative and entertaining clothing choices, much in the way that a dog compensates for a lack of speech through vigorous barking.
Artists are not only permitted but are in fact required to be underdressed at formal institutional functions. But egregious slovenliness without regard to context is a childish ploy, easily seen through.
An artist may dress like a member of the proletariat, but shouldn't imagine he's fooling anyone.
The affluent artist may make a gesture of class solidarity by dressing poorly. She is advised to keep in mind that, at an art opening, the best way to spot an heiress is to look for a destitute schizophrenic. Middle-class or working-class artists, the destitute, and the schizophrenic can use this principle to their social advantage.
The extension of fashion into the violation of norms of personal hygiene and basic grooming constitutes the final arena for radicalism in artists' fashion. Brave, fragrant souls! You will be admired from a distance.
—Roger White
Subscribe to n+1!
Saturday, August 8, 2009
))n.jpg)
Friday, August 7, 2009
good angle
>> Over the course of five years, Sara Ziff snuck her ex-boyfriend Ole Schell into fashion shows, shoots, and parties so that he could film "without other people realizing it." Sometimes he got thrown out, but they were able to collection hundreds of hours of footage along the way, which they edited down to produce Ziff's documentary, Picture Me, which exposes the dirty underbelly of modeling.
In it, the stories are hardly pretty. Ziff told the Guardian about a 16-year-old model who complained to her agency when a 45-year-old photographer made a pass at her: "Her agency said she should have slept with him." She captures another model talking about how weight is approached: "In castings, people have slapped my thigh, and I'm not in any sense overweight, I never have been. I've been the same weight for a long time, but they'll slap your butt and be like 'Oooh, fat' in Italian or in French. 'It's too big here.'"
Ziff, who started modeling at 14 and surpassed her father's income by the time she was 20, relates a story about her third casting ever:
We had to go in one by one. The photographer said he wanted to see me without my shirt on. Then he told me that it was still hard to imagine me for the story so could I take my trousers off. I was standing there in a pair of Mickey Mouse knickers and a sports bra. I didn't even have breasts yet. 'We might need to see you without your bra,' he told me. It was like he was a shark circling me, walking around and around, looking me up and down without saying anything. I did what he told me to. I was just eager to be liked and get the job. I didn't know any better.
Ziff filmed an interview with a model who was sexually assaulted by one of fashion's top photographers at a photoshoot in Paris, but the interview didn't make Picture Me's final cut because the day before the film's New York premiere, the 16-year-old model backed out, fearful of the repercussions. The Guardian reports the girl's experience, as told by Ziff:
She has very little experience of modelling and is unaccompanied by her agency or parents. She leaves the studio to go to the bathroom and meets the photographer — 'a very, very famous photographer, probably one of the world's top names', according to Ziff — in the hallway. He starts fiddling with her clothes. 'But you're used to this,' says Ziff. 'People touch you all the time. Your collar, or your breasts. It's not strange to be handled like that.' Then suddenly he puts his hands between her legs and sexually assaults her. 'She has no experience of boys, she hasn't even been kissed,' says Ziff. 'She was so shocked she just stood there and didn't say anything. He just looked at her and walked away and they did the rest of the shoot. And she never told anyone.'
Unfortunately, stories like these seem to be a theme among all the footage Ziff has captured. The film features an interview with another model, Sena Cech, who talks about a casting with a top photographer who asked her to take off her clothes:
She does as instructed and takes off her clothes. Then the photographer starts undressing as well. 'Baby — can you do something a little sexy,' he tells her. The photographer's assistant, who is watching, eggs her on . . . The famous photographer demands to be touched sexually. 'Sena — can you grab his cock and twist it real hard,' his assistant tells her. 'He likes it when you squeeze it real hard and twist it.' 'I did it,' she shrugs, looking into the video camera. 'But later I didn't feel good about it.'
The film is still touring the festival circuit — most recently, it picked up the audience award for Best Picture at the Milan International Film Festival. The Guardian deems it "one of the best films about the world of modelling and an honest portrayal of an industry built on artifice." The trailer can be seen below.
Thursday, August 6, 2009
Wednesday, August 5, 2009
yet another state of things update
what would furlghost say?! im trying to stay up w the times but g0ddamn
it's coming...
the music's a little much, but fuck it, god bless america. put on that yacht album or samethaniel
cain't forget,
Yacht new album review
Album Review
Jona Bechtolt-- founding member of YACHT, former member of the Blow-- is a huge talent, something that may not have been readily apparent on any of his three previous LPs. Those albums, created largely as solo endeavors, will not have prepared listeners for See Mystery Lights. Now an official partnership between Bechtolt and Claire L. Evans, who performed on several songs on 2007's I Believe In You, Your Magic Is Real, YACHT finally feel like a full-fledged band with direction and vision, particularly given the added weight (or rather, levity) of Evans' influence.
The songs on See Mystery Lights-- from the bouncy, burbling you-can't-take-it-with-you screed "The Afterlife" (which plays like a less spastic companion piece to the Mae Shi's "Run to Your Grave") to the roller rink-ready vocoder vocals of "I'm In Love With a Ripper"-- represent YACHT at their most poppy. It's a collection of stone jams that finds the band finally as hellbent on experimenting and expanding the boundaries of its sonic scope as it is on having fun. Built on electronic foundations-- laser effects, skittering computerized beats, and spacey synth lines (or guitar riffs that have been tuned or distorted to sound like synths)-- these new songs are giddy with creative freedom while remaining tethered in service of their melodies. The vocal melodies are bright and buoyant, but delivered (by either band member, or in unison) in a chanted, oftentimes detached monotone that plays up the repetitive lyrics' mantra-like feel and adds a welcome undercurrent of slacker cool to their otherwise sugary optimism.
See Mystery Lights also marks the first time that YACHT are recording for DFA. Normally a label-change wouldn't be notable, as it is usually less an indicator of artistic choices than it is of financial or business ones, but moving to a label with such a distinctive aesthetic may be enough for many to reconsider their work. YACHT themselves created the track "Summer Song" as an homage to LCD Soundsystem, and LCD/DFA leader James Murphy liked it enough to release it on his label. It's no wonder that Murphy was smitten; the track, which also appears on the full-length, echoes the deadpan vocal delivery and burbling 80s krautrock synths of his own band, as well as cowbell-and-handclap percussion ripped from the Rapture's "House of Jealous Lovers", one of DFA's biggest singles. Even other tracks on the collection-- ones that weren't written specifically in homage to Murphy-- can't help but sound influenced by him. Case in point: "We Have All We've Ever Wanted", with its minimalist dance beat, heavy bass, and Bechtolt's dry, talky delivery, recalls "Losing My Edge", albeit with a lighthearted, anthemic chorus.
Still, while YACHT clearly share influences with Murphy's gang (Eno, Ferry, Neu!, ESG, etc.), their positive, futuristic jams actually sound most closely related to Tom Tom Club. Perhaps that's because, like Tom Tom Club's first self-titled album, which was recorded in Barbados, See Mystery Lights was recorded in a sunny, faraway locale-- in this case, far from the band's native rainy Portland, Oregon, in Marfa, Texas. The vibe of the album is relaxed and sun-soaked-- especially "Psychic City (Voodoo City)", which features an elastic groove built on a dubby, reggae-ish keyboard melody inspired by the bassline of Althea and Donna's "Uptown Top Ranking".
Regardless of influence or intent, however, See Mystery Lights is a triumph. It's a feel-good album for an era that could use a little happiness, a sweaty collection of heady, hedonistic tunes just in time for the hottest days of the year. And the best part is that one spin of this wily, sunny disc will be able to transport you back to summer vacation any day of the year.
— Rebecca Raber, August 5, 2009
Monday, August 3, 2009
Are Whales Smarter Than We Are?
Figure from "Cetaceans Have Complex Brains for Complex Cognition," Marino et alia, PLOS Biology
by
R. Douglas Fields
Friday, July 31, 2009
Beijing or Bust
The largest cloud seeding system in the world is that of the People's Republic of China, which believes that it increases the amount of rain over several increasingly arid regions, including its capital city, Beijing, by firing silver iodide rockets into the sky where rain is desired. There is even political strife caused by neighboring regions which accuse each other of "stealing rain" using cloud seeding. About 24 countries currently practice weather modification operationally. China used cloud seeding in Beijing just before the 2008 Olympic Games in order to clear the air of pollution, but there are disputes regarding the Chinese claims. In February 2009, China also blasted iodide sticks over Beijing to artificially induce snowfall after four months of drought, and blasted iodide sticks over other areas of northern China to increase snowfall. The snowfall in Beijing, which rarely experiences snow, lasted for approximately three days and led to the closure of 12 main roads around 
Dry ice and silver iodide agents are effective in changing the physical chemistry of supercooled clouds, thus useful in augmentation of winter snowfall over mountains and under certain conditions, lightning and hail suppression. While not a new technique hygroscopic seeding for enhancement of rainfall in warm clouds is enjoying a revival, based on some positive indications from research in South Africa, Mexico, and elsewhere. The hygroscopic material most commonly used is salt. It is postulated that hygroscopic seeding causes the droplet size spectrum in clouds to become more maritime (bigger drops) and less continental, stimulating rainfall through coalescence From March 1967 until July 1972, the U.S. military's Operation Popeye cloud seeded silver iodide to extend the monsoon season over North Vietnam, specifically the Ho Chi Minh Trail. The operation resulted in the targeted areas seeing an extension of the monsoon period an average of 30 to 45 days.[2] The 54th Weather Reconnaissance Squadron carried out the operation to "make mud, not war" - Wikipedia
Dry ice and silver iodide agents are effective in changing the physical chemistry of supercooled clouds, thus useful in augmentation of winter snowfall over mountains and under certain conditions, lightning and hail suppression. While not a new technique hygroscopic seeding for enhancement of rainfall in warm clouds is enjoying a revival, based on some positive indications from research in South Africa, Mexico, and elsewhere. The hygroscopic material most commonly used is salt. It is postulated that hygroscopic seeding causes the droplet size spectrum in clouds to become more maritime (bigger drops) and less continental, stimulating rainfall through coalescence From March 1967 until July 1972, the U.S. military's Operation Popeye cloud seeded silver iodide to extend the monsoon season over North Vietnam, specifically the Ho Chi Minh Trail. The operation resulted in the targeted areas seeing an extension of the monsoon period an average of 30 to 45 days.[2] The 54th Weather Reconnaissance Squadron carried out the operation to "make mud, not war" - Wikipedia
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