Tumbleweed Work in Progress, Version 1
Tumbleweed Work in Progress, Version 1
A contemporary Northern California gardening journal, suitable for note-taking and photo
documentation of any indoor or outdoor botanical experiment up to twenty-six weeks in
length. Appropriate for field use. Results from recent L.E.D. horticulture experiment included.
Also contains recent art, photography, light sculpture, and installation art. A list of relevant
books, films, and prior art is appended for reference.
Earth Day. First on March 21, 1970. Now “coordinated’ via Earth Day Network on April 22 annually.
Instantiated in San Francisco via Earth Day SF Street Fair. This event is April 18th, 2015 on 22nd street between Mission and Valencia streets.
David Ireland, Sidewalk Repair, 500 Capp Street, San Francisco, 1976. Conceive of something that is a maintenance action.
Agnes Denes, Wheatfield – A Confrontation, 1982. Is there a way to transmute the urban materials of concrete, sidewalks, into something green?
Situated on the public sidewalk space and streets of the Mission District, in San Francisco, CA.
Public space is currently contested in this area. One of the main parks is half closed, and tensions between longtime and new residents, between residents and visitors, and between residents and tourists mix in unpredictable and often antagonistic ways.
Dolores Park is half closed due to a multi-year park improvement project, and has been the origin for clashes between under-staffed park rangers and partying parkgoers. The neighbors immediately surrounding the park are concerned with late-night vandalism, and the mounds of trash left by partying parkgoers every weekend.
Public trash piles and sidewalk litter are exacerbated by the removal of public trash cans on San Francisco city streets in 2007 by the Board of Supervisors and Gavin Newsom. A summary quote from the linked-to article:
“Before, there used to be a container on every street,” said Salvador Román, the janitor at La Victória bakery on 24th and Alabama. “Now there is one every two blocks.”
Goal: Choose an approach that moves your work in a new trajectory and deepens your experimentation. What kind of public might the work produce? Take into account your mode of address and tactics, considering time and site, the political moment, and opportunities for solidarity, amelioration, agonism, antagonism, etc. Have a working Plan B prepared. — A.B.
A Plan: Each of the participants will enact sidewalk sweeping, trash removal, and or mobile trashcan-being as a counter-performance to the EDN Earth Day Street Fair. We target Capp Street, 15th to 20th from 11am to 3pm. Each participant will wear an identifiable uniform or costume, wear gloves, and carry a broom. (??) We will document this action with still photography and perhaps some gopro footage.
B Plan: We attend the Earth Day Network event on 22nd street starting at 3pm, and document how the actual event differs from our perception and conflict with Earth Day.
Complicating Distribution Plan: We will try to use the documentation of the fact on social media, to use the Yes Men methodology to give the media an in to a longstanding greivance. Can we target a supervisor for the Mission or a neighborhood group? Can we do this in other venues? Depends on the reaction.
Paper and me.
It is incongruous on first glance, like many great romances.
Paper: Archival, botanical, the substrate of so much knowledge, and a surface so variable, from crisp ultra smooth to hand-poured and soft. How to fill out the profile: is it elemental, or common yet still mysterious? A flattering look for every light.
Me: Not so archival. Botanical friendly. Perhaps the opposite of the above.
Paper: A twenty century history, origins in Asia, entwined with the earliest movements of people across Eurasia, from origins in China to Japan to Spain and lower France, long before the Americas were perceived from across the Atlantic Ocean. But wait! Enter the Americas, and ideas of freedom, information, and paper, all intertwined.
Me: Imported from Detroit.
Paper: World-wide practice not centered in Europe, yet with an ancient art historical tradition which easily satisfies even the most strictly pedantic / European formalist art history probing.
Me: (Laughs to himself. Laughs, and laughs.)
Me: So you look at a back-lit LED all day, and want to look at something else, non-luminant? Paper. You find yourself living in the midst of the real-life de-materialization of objects? Paper. You actually have no confidence that you can navigate the vast proliferation of digital document formats over time, and want to standardize on one thing that multiple generations can understand and has centuries of archival understanding? PAPER.
Me: There’s more. The thing about paper is that it is still heavily used as a primary creative medium. I think on paper. I use paper to write down ideas in a notebook. I inkjet on it. I try to make big sheets of it with wet pulp and a robot. Why not? I see artist from John Cage to Nam June Paik to khole on paper. I see graphic scores, graphic diagrams for layering, random doodles, flippant marginalia, ways to describe hybrid media. I see bande dessinee from Moebius, the pop culture of Japan in the seventeenth century, and the hacker zine 2600 as a meta-universe of works that were rendered on paper. In a disparate world, there is still no more common denominator.
Me: You. Even if the art jumps of the page at a later stage, it started on paper. And often comes back to it, in unexpected ways.
Looking at four visual themes in Andy Warhol’s art works during the summer of 1965. Four visual themes: grid saturation, grid portraiture, grid black and white tonal variance, and multi-screen, multi-channel mixed-media film work.
Flowers, Lleana Sonnabend Gallery, Paris, 1965. Now via Gagosian Gallery, see Warhol From The Sonnabend Collection, 2009.
Holly Solomon, gelatin silver print, 1965. Now via
Grid B&W Tonal Variance/Deterioration Aesthetic
Cagney, screenprint, 1962
Film and Video
Bruce Conner, Cosmic Ray, premier at Film-Maker’s Cinemateque, 1964-11-30
Andy Warhol, Newsreel, premier at Film-Maker’s Cinemateque, 1964-11-30
Andy Warhol, 13 Most Beautiful Women, premier at Film-Maker’s Cinemateque, 1964-12-07
Vinyl, filmed March 1965.
Poor Little Rich Girl, 70 min, B&W, filmed March-April, 1965, premier at Film-Maker’s Cinemateque, 1965-06-05, five nights, screened with Vinyl.
Beauty #2, filmed early July 1965, premier at Film-Maker’s Cinemateque, 1965-07-17, two nights, screened with Party Sequence for The Poor Little Rich Girl.
Space, filmed summer 1965, premier at Film-Maker’s Cinemateque, 1965-09-17, one night
Outer and Inner Space.
The New Multi-Screen World Infographic, Think With Google, 2012.
Rush, Michael. Video Art. Thames and Hudson, 2007.
Found while researching Andy Warhol, Outer and Inner Space, or any combination of related topics. Notes for future reference.
Background, Film and Video, Ownership, Access, Archives
Andy Warhol gives approval to the Whitney’s the Andy Warhol Film Project at the Whitney and “hands over his original films to MoMA” for cataloging and storage in 1984.
In 1997, the Foundation donated ownership for “most” of AW’s film and video works to the Museum. Also, via the AWFP above, the Museum, MoMA, and UCLA Film and Television Archive gets a copy of each restored print. The Museum currently has 273 films and the entire AW Video Collection (4k tapes). Copies of all television material owned by the Paley Center for Media, NY and LA.
New digitization partnership, accessibility push in 2014 via The Andy Warhol Museum, MoMA, and MPC. Looking to “make accessible approximately 500 titles made between 1963-1972″, including 1k rolls of 16mm, marked for conversion to 2k image format.
The Whitney plans to open the new downtown building in 2016 with a retrospective of Warhol, curated by Donna De Salvo.
Andy Warhol, Museum of Modern Art (MoMA), NY.
Andy Warhol, SFMOMA, CA
Andy Warhol, Pompidou, Paris, France
Andy Warhol, Art Institute Chicago
Andy Warhol Film Newspaper Advertisements 1964-1970
Audio tape with Andy Warhol discussing Richard Ekstract and Norelco taping (Tape #1241, Tape #1223).
First issue of “Tape Recording” magazine, a NY magazine about recording founded by Richard Ekstract around 1965.
Picture of Andy Warhol in “HiFi Magazine”, October 3, 1965.
Premier of Outer Inner Space at The Film-makers Cinemateque.
September 29, 1965 “The Underground Party” on the train platform under the Waldorf-Astoria. The party itself is videotaped and played back to guests (Rush, 213)
“I agreed to sponsor the world premiere of these videos in an underground location. The party was held on an unused rail platform underneath the Waldorf Astoria Hotel in New York City, adjacent to the tracks of the New York Central Railroad. Guests had to enter through a fire door on East 49th Street and descend two long staircases to reach the tracks, which then had to be crossed to reach the platform. The Waldorf Astoria Hotel was kind enough to run an electric line down to the platform so we could show the work. We had to move in by hand the bulky equipment needed to project the sound and video.” (R.Ekstract, NYC).
The party in the tunnels under the Waldorf Astoria that Richard Ekstract describes so vividly celebrated the premiere of Warhol’s first video with Edie Sedgwick, Outer and Inner Space (R. Dorment, NYRB)
The New York Herald Tribune, on October 3, 1965 has a Sunday edition documenting the opening party of Outer and Inner Space. (Rush, 213)
2014/09/21 1 Comment
All SD cards are formatted with “Disk Utility” on the Mac OS, using GPT partitions. Make one partition, use the FAT filesystem, and apply. This actually creates two partitions, a small (200MB) EFI partition (say /dev/sdb1) and the requested FAT partition (say /dev/sdb2).
To enter the EFI boot menu on Macintosh hardware, hold down the option key at boot.
The generated SD card may work as-is on newer Mac Pro models when connected to the machine via a USB SD card reader inserted into the front panel USB interface on the machine. However, to boot Mac Airs, one must put the generated SD card into the SD card slot, not via USB.
livecd-iso-to-disk --efi --format --extra-kernel-args selinux=0 ~bkoz/mounts/software/fedora/20/Fedora-Live-Desktop-x86_64-20-1.iso /dev/sdb
How to disable Plymouth
How to use systemd See in particular how to boot into a rescue shell, similar to ye-old-style “init 1″
And how to boot into “init 3″
And how to boot into “init 5″
How to make nomodeset permanent.
Will need to install Broadcom wireless drivers:
yum install -y broadcom-wl