Cahill Keyes Star-X

Cahill-Keyes Star X Internet Infrastructure

The data sources and iconography used are as follows:

  1. Fiber nodes, submarine cables, from TeleGeography (thin black lines)
  2. Starlink Satellite Gateways (black triangles)
  3. Internet Exchanges (purple x)
  4. Tor Exit Nodes (blue ray clusters)
  5. Tor Exit Nodes With Obfuscated Geolocation (larger green ray clusters)

The Star-X projection is based on the Cahill-Keyes Butterfly M projection as implemented in the Visionscarto base map. This projection geometry is mostly accurate with limited distortion, and has been associated with decades of anti-nuclear and utopian thinking. The Cahill-Keyes Butterfly M projection is landscape (horizontal) in orientation, with four horizontal octets or sections – quarto one is a north and south octet paired– that starts in the Pacific Ocean by New Zealand to the coast of North America as the first quarto, and then the second quarto is the rest of of the Americas, the third quarto is the Atlantic Americas to Africa and Europe, and the fourth quarto is Asia to Oceania. 

The Star-X projection is to cut up the four quartos as above and stack them on top of each other. Spatially, this is a look “down” at the globe, as if from space but over the North Pole. Take the first two quartos as the southern vertical half of the projection, where the northern vertical half is composed of rotating the third and fourth quartos about the North Pole, such that they are upside-down and on top of the southern half. In the center of the page is a star geometric shape that marks the position of the North Pole.

Here’s a smaller map that shows what this rotation and tessellation looks like when the continents and land masses are obvious.

Can you see land?

Besides this obsessive geometric symmetry, the fiber routes run off the globe, falling off the cartography and being pulled to the sides as if from a force much greater than known gravity. 

The size of this map almost exactly matches the poster given away at SFMOMA by Felix Gonzalez-Torres “Untitled”, 1992/1993,  29 x 44

The Star X projection as manifest in 2022 is made of 4 components, each  22×17 inches portrait. The total image size is 44×34 inches, and with a 1 inch matt, 46 x 36.

See the following diagram of plate location and orientation, with plate numbers in red.

ARP Database Notes

Software configuration for commodity x86/86_64 linux art research platform.


Assume Fedora 27. See base document for full software stack.

Database Setup 1: server mysql

Both the wiki and wordpress require a database. So, pick the MySQL database, which is packaged as mariadb on Fedora. Project page for MariaDB.

dnf install -y mariadb mariadb-server php-mysqlnd phpMyAdmin

Secure it (and set the root password on the database) with


And enable and start it via

systemctl enable mariadb.service
systemctl start mariadb.service

To use the web-ui to administer, go to


Configuration file is: /etc/my.cnf
Log file is:/var/log/mariadb/mariadb.log
The site files are in prefix:/var/lib/mysql

Database Setup 2: per-user postgressql

For non-platform use, aka for individual users, pick the glom front-end for the postgres database. Some platform notes are here.

dnf install -y postgresql postgresql-server postgresql-libs postgresql-contrib phpPgAdmin

Initialize the database

postgresql-setup --initdb --unit postgresql

Then enable and start

systemctl enable postgresql
systemctl start postgresql

To use the web-ui to administer, go to


There is a graphical database called glom that is similar to FileMakerPro on the mac and Access on windows.

dnf install -y glom

Art Distribution Case Studies

Survey and analysis of publishing and distribution methods for a variety of arts groups.

Pending sites and organizations as per

Artistic Research Platform Notes

Software configuration for commodity x86/86_64 linux art research platform.


Assume Fedora 27.


The wide variety of web and print platforms for contemporary artistic research can be found at the survey.


  1. Database
  2. Webserver
  3. Content Management System
  4. Wiki
  5. Etherpad
  6. IPFS

Cartography Futures

1.dymaxion to authagraph to myriahedral projections
Buckminister Fuller and co-cartographer Shoji Sadao, designed an alternative projection map, called the Dymaxion map. Since then, several other projections have been proposed that evolve the idea of map projections in a similar manner. Favorites are:
2. new approaches to population density, use natural earth data and then read the shapefile with python


4. geospatial python


5. example api

Ben Fry Geospatial

Processing started with a map of zip codes. Since then, Ben Fy has made some extraordinary maps of the United States, a few of which are listed below.

1. zipdecode. How does the postal code numbering work in the United States?

2. allstreets.

Visual ChangeLog as Obelisk v10

visual_change_obelisk-10.09 visual_change_obelisk-10.05.scale visual_change_obelisk-10.06

Platform Cooperativism, Blockchain Notes

See New School’s site, A summary. For the use of block chain and arts, see A Bitcoin for Digital Art.

And Monegraph. Also on vimeo and Facebook. See also Electric Objects, Daylighted, Artsy.

On the video side: Nameless,, Electric Arts Intermix, Video DataBank. Or, YouTube and or bittorrent on the pirate side. And, research catalogue, figure/ground on the public archive side.

Fuck War 1996-2001 via 2015


Visual ChangeLog as Obelisk v7

visual_change_07.02 visual_change_07.02.stripe

Visual ChangeLog as Stele

visual_change_04.01.a visual_change_04.01.b visual_change_04.02.a visual_change_04.02.b visual_change_04.03.a visual_change_04.03.b visual_change_04.04.a visual_change_04.04.b visual_change_04.05.a visual_change_04.05.b

Visual ChangeLog as Obelisk v5


Tumbleweed Prototypes


Tumbleweed Work in Progress, Version 1


Notes on Notes on the Grove

Benjamin De Kosnik, Notes on the Grove: Member Portfolios and Botanical Experiments, 2015
148 pages, 8.5 x 11 inches, softbound and ebook

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 Actions

 Historical Context

Earth Day. First on March 21, 1970. Now “coordinated’ via Earth Day Network on April 22 annually.

See: A Brief History of Earth Day, or the longer American Experience piece on PBS Earth Days (or via YouTube).

Instantiated in San Francisco via Earth Day SF Street Fair. This event is April 18th, 2015 on 22nd street between Mission and Valencia streets.


Art Context

Yes Men hijinks including “Canada turns over a new leaf,” “Balls Across America,” and media jamming in La Jolla Action. Think of way to involve media.


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?


Site Context

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.”


Possible Actions

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.

Warhol Outer Space Notes

Visual Work

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.

Grid Saturation

Flowers, Circa 1965, Arranged 2009

Flowers, Lleana Sonnabend Gallery, Paris, 1965. Now via Gagosian Gallery, see Warhol From The Sonnabend Collection, 2009.

Grid Portraiture
Holly Solomon

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.

Research Notes

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.

Special Collections

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

1965 Chronology
1966 Chronology

The Andy Warhol Museum.

Current Archives Collection Research Requests.

Current Pursuits
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)

Dream Freely



This is a picture of the moon.

Please humor me for ten seconds, and be silent. Look at the moon and think about the art that we will make in the future. Ten seconds.

(one thousand)

(two thousand)

(three thousand)

(four thousand)

(five thousand)

(six thousand)

(seven thousand)

(eight thousand)

(nine thousand)

(ten thousand)



This year is the fiftieth anniversary of the free speech movement. That’s both a historical event that has special significance for Berkeley, Palo Alto, San Francisco, and the wider Bay Area. And it’s something that set up a chain of events that gave citizens of the US special privileges with respect to media and rights in the public sphere.

Related to the free speech movement is free software. This is the idea that every human being should be able to interact with computers without any shackles of commercial control. Free software can be thought of as a social movement that started when one guy wanted to print, and couldn’t use the printer software. Part of my art practice is being a free software diplomat.

Related to free software is free culture. Culture is what we make as artists. Freedom of expression is important, and a vital tool in making art.

This fall, in honor of the free speech movement, I’m dedicating myself to free culture. As part of this I’m looking for allies, artists, and accomplices. My first project is to turn any unused computers in the Graduate Computer lab into a free-software based rendering grid during the weekend midnight hours. I’ll keep this to un-used workstations on the weekends, between the hours of midnight to 7am, and choose to think of it as these machines dreaming freely.

Notes on the software/hardware configuration.

All the Uhuras



All the Left/Right Uhuras, 2014
All the Center Uhuras, 2014

68 cm x 86.5 cm, Inkjet over lapis and silvertone wash on Awagami Bamboo 250 gsm paper. Master jedi paper tricks via Emily York.

These prints are composed of 288 cropped images of Uhura from the television show Star Trek. Each frame of the first season is analyzed with facial recognition software, and found Uhura faces are either inscribed with tattoo-like circles representing individual facial detection algorithms, or scaled, cropped, and center-aligned via sophisticated image-processing routines

To offset the explicitly computed nature of this work, the images are aligned on broken grids, and floated on an organic background of silvertone metallic or lapis mineral pigments.

iAM/iCAN CJ Redux


iAM/iCAN is a multimedia documentary shot in Austin, Texas in 1994. It featured tagged/searchable video embedded into a raster graphic interface. Five subjects discussed gender, race, nascent-on-line culture, technology, hopes and dreams for the future. Given the technical constraints of the time, this meant 4:3 aspect video compressed to a rather severe 160 x 160 pixels, so that streaming off of a state-of-the-art 2x cd-rom player was feasible. Video was shot by Shane Herman, and edited with Premiere. An interface was coded in Director. We called it New Media but didn’t really even understand the Old Medias.


Years later, the video is small and grainy and the interface elements seem rather small, but still pretty. The audio is still quite powerful. The interface doesn’t work anymore but the individual graphic elements can be clicked on and the original files are still valid. Still holding interest: the audio, the actual interviews.

Here are all the interviews with CJ Manetta-Romano, who has fearlessly given permission to share his commentary from 1994.

Politics, Working Together, Unity

Interactive Entertainment, Technology as Adult Toys

Internet Culture

Was Intimidated by Technology

Future Interactive Education

Gender Generation Gap

Gender Stereotypes and Rave Flyers

Anarchy, Raves as Free Space

Future Raves, After Raves