American touring rules
Leon a fait partie de Impaled, Exhumed et fait partie de Intronaut. Ce post comprend des conseils sur la vie en tournée qui s'adresse surtout aux americains mais qui peuvent très bien s'adapter à tout le monde. A lire même si on est pas musiciens car cela donne une bonne idée de la vie des groupes une fois sur la route.
Friday, June 29, 2007
Wednesday, June 27, 2007
Peeters parle de mise en page des cases
Four conception of the page
The conventional use of the box and the page is however far from being limited to this period of the history of the comic strip. One encounters it in the work of many authors who never were subjected to the requirements of daily publication by strips but in which, nonetheless, the page is divided into a certain number of lines of the same height (often four), themselves divided into a certain number of panels (from two to five). The overall arrangement of the page thus creates the conditions for a regular reading (from left to right and from top to bottom), very close to that of a page of writing (figures 3 and 4). This is what André Franquin has aptly named "the waffle iron."
[...]
The most interesting uses of this principle are in any case those which, far from minimizing it, push this constancy of the framework to its limits, until a kind of fixed plane unfolds on the page. Cartoonists like Schulz, Feiffer, Brétécher, Wolinski or Copi gave remarkable examples of sequences in which the least modification in the gestures or facial expressions takes on a considerable significance because of the regularity of the units.
[...]
Obviously, the page was designed as a concrete object which was to be made as harmonious as possible. In both cases, too, as soon as one observes the real page and not just its geometrical configuration, one notices that the effect concerned is of a simply aesthetic nature. The narrative hardly arises as a consequence of this particular arrangement; it is inscribed within a more or less predefined framework
Many spectacular effects, such as inset panels and violations of panel borders, obey a logic of this kind: far from corresponding to a true invention, they often function as simple degradations of sequential continuity, even as compensations for its poverty. It is not certain, thus, that the prodigious graphic upheavals of many comics of the Eighties and Nineties profoundly renewed the relation to narration
[...]
It is never in itself that a page can be described as modern, it is according to the relations that it maintains with the entire comic. It is not thus a question of wondering whether a page layout is extravagant or banal, it is a question of examining the way in which a work benefits from the apparatus that it sets up.
The conventional use of the box and the page is however far from being limited to this period of the history of the comic strip. One encounters it in the work of many authors who never were subjected to the requirements of daily publication by strips but in which, nonetheless, the page is divided into a certain number of lines of the same height (often four), themselves divided into a certain number of panels (from two to five). The overall arrangement of the page thus creates the conditions for a regular reading (from left to right and from top to bottom), very close to that of a page of writing (figures 3 and 4). This is what André Franquin has aptly named "the waffle iron."
[...]
The most interesting uses of this principle are in any case those which, far from minimizing it, push this constancy of the framework to its limits, until a kind of fixed plane unfolds on the page. Cartoonists like Schulz, Feiffer, Brétécher, Wolinski or Copi gave remarkable examples of sequences in which the least modification in the gestures or facial expressions takes on a considerable significance because of the regularity of the units.
[...]
Obviously, the page was designed as a concrete object which was to be made as harmonious as possible. In both cases, too, as soon as one observes the real page and not just its geometrical configuration, one notices that the effect concerned is of a simply aesthetic nature. The narrative hardly arises as a consequence of this particular arrangement; it is inscribed within a more or less predefined framework
Many spectacular effects, such as inset panels and violations of panel borders, obey a logic of this kind: far from corresponding to a true invention, they often function as simple degradations of sequential continuity, even as compensations for its poverty. It is not certain, thus, that the prodigious graphic upheavals of many comics of the Eighties and Nineties profoundly renewed the relation to narration
[...]
It is never in itself that a page can be described as modern, it is according to the relations that it maintains with the entire comic. It is not thus a question of wondering whether a page layout is extravagant or banal, it is a question of examining the way in which a work benefits from the apparatus that it sets up.
Tuesday, June 26, 2007
Le dernier diplomate américain à Baghdad
Our latest man in Bahgdad
When he finally unpacks, though, the U.S. ambassador will take out a battered calendar from 24 years ago and hang it in his office. It was on his office wall in Beirut when a suicide truck bomb destroyed the U.S. Embassy there on April 18, 1983, killing 64 people. Slammed against a wall but not seriously hurt, the young diplomat immediately began clawing barehanded through the rubble, searching for his colleagues. The calendar has traveled with him ever since, bearing the scars of that day: "a little bit of glass, a little bit of blood, a little bit of spilled coffee." His voice gets quieter: "It reminds me of my responsibilities to the mission. And that in diplomacy, as in the military, you're playing for keeps."
When he finally unpacks, though, the U.S. ambassador will take out a battered calendar from 24 years ago and hang it in his office. It was on his office wall in Beirut when a suicide truck bomb destroyed the U.S. Embassy there on April 18, 1983, killing 64 people. Slammed against a wall but not seriously hurt, the young diplomat immediately began clawing barehanded through the rubble, searching for his colleagues. The calendar has traveled with him ever since, bearing the scars of that day: "a little bit of glass, a little bit of blood, a little bit of spilled coffee." His voice gets quieter: "It reminds me of my responsibilities to the mission. And that in diplomacy, as in the military, you're playing for keeps."
Orson Welles - Film postume
Orson Welles - the One man band
Un film / documentaire réalisé par Oja Kodar, un ami proche de Orson Welles, qui l'a monté à partir de document d'archives de Welles après sa mort.
Un film / documentaire réalisé par Oja Kodar, un ami proche de Orson Welles, qui l'a monté à partir de document d'archives de Welles après sa mort.
CIa - Family jewels
Family Jewels
Le document de 700 pages est disponible directement sur ce site. Pas de possibilité d'impression a moins de tout copier / collé ce qui serait une perte de temps. Il y a un système de navigation correct sur la même page pour aller directement a une page et ne pas avoir a tout survoler. A parcourir au moins.
Le document de 700 pages est disponible directement sur ce site. Pas de possibilité d'impression a moins de tout copier / collé ce qui serait une perte de temps. Il y a un système de navigation correct sur la même page pour aller directement a une page et ne pas avoir a tout survoler. A parcourir au moins.
Saturday, June 23, 2007
Conspiracy theorist of the world unite !
CIA to revel decades of misdeeds
The US Central Intelligence Agency is to declassify hundreds of documents detailing some of the agency's worst illegal abuses from the 1950s to 1970s.
The US Central Intelligence Agency is to declassify hundreds of documents detailing some of the agency's worst illegal abuses from the 1950s to 1970s.
The papers, to be released next week, will detail assassination plots, domestic spying and wiretapping, kidnapping and human experiments.
Many of the incidents are already known, but the documents are expected to give more comprehensive accounts.
[...]
These detail government discussions in 1975 of the CIA abuses and briefings by Mr Schlesinger's successor at the CIA, William Colby, who said the CIA had "done some things it shouldn't have".
Among the incidents that were said to "present legal questions" were:
- the confinement of a Soviet defector in the mid-1960s
- assassination plots of foreign leaders, including Cuba's Fidel Castro
- wiretapping and surveillance of journalists
- behaviour modification experiments on "unwitting" US citizens
- surveillance of dissident groups between 1967 and 1971
- opening from 1953 to 1973 of letters to and from the Soviet Union; from 1969 to 1972 of mail to and from China
The papers also convey mounting concern in President Gerald Ford's administration that what were dubbed the CIA's "skeletons" were surfacing in the media.
Wednesday, June 20, 2007
Future ruins - Le futur détruira notre présent
Michelle Lord - Future ruins
Ballard often described the beckoning future of the modern metropolis in terms of the utopian ideology of Brutalist concrete architecture. Brutalism was an architectural movement originally associated with social idealism that is now criticised for disregarding the communal, h
istoric and surrounding built environment. Set against a backdrop of Birmingham’s few remaining concrete structures such as Spaghetti Junction, Central Library and New Street Station signal box, Future Ruins aims to highlight the temporality of our landscape, particularly at a time when Birmingham has embarked on a process of regeneration in order to redefine itself.
Derrida et l'hauntology
Hauntology revived
Along the way, Derrida coined the term "hauntology" as a pun on "ontology." Ontology is the study of being, of what exists. Derrida wants to say that our ideas of reality are "haunted" by the stuff we exclude—the things we don't want to remember or acknowledge. The Holocaust, for example, or the slave trade. Our sense of Western history as the progressive march of "freedom" and "civilization" is haunted by genocide and enslavement.
Along the way, Derrida coined the term "hauntology" as a pun on "ontology." Ontology is the study of being, of what exists. Derrida wants to say that our ideas of reality are "haunted" by the stuff we exclude—the things we don't want to remember or acknowledge. The Holocaust, for example, or the slave trade. Our sense of Western history as the progressive march of "freedom" and "civilization" is haunted by genocide and enslavement.
Un critique rock parle de la culture pop et de J.G. Ballard
"Magisterial, precise, unsettling" Simon Reynolds on the Ballard connection
I’ve long felt that pop music is driven by some pretty ambivalent, sometimes outright antisocial or malevolent energies. But I’ve probably derived that more from various French thinkers and Nietzsche, also from certain rock writers. And also just listening closely and honestly to my own responses to music. Still you could see that idea of music as fitting a Ballardian worldview to some degree. The idea of human culture as fundamentally perverse.
[...]
Well I think it was me who first broached the idea of ‘hauntology’ as a rubric for this loose network of contemporary bands who were playing with the cultural imagery of ghosts, spectres, the uncanny, the return of the cultural repressed, memory, and so forth, while also trying to make genuinely eerie music. But I didn’t particularly intend for there to be a tight correlation between Derrida’s concept of hauntology and what these bands were trying to do. It was just a convenient and cute term, ‘haunt’ referencing ghosts and ‘-ology’ suggesting the image of crackpot scientists working in the sound laboratory. There are certain affinities with Derrida’s ideas as elaborated in Spectres of Marx.
The word ‘hauntology’ has got a lot of traction, though, because it chimes in with things that are going on in modern art (the trend for work based around the concept of the archive and dealing with questions of collective memory) and in academia (with the boom of studies related to the spectral and uncanny, work on ruins, remains and rubbish, mourning and memory work, nostalgia for the future). Even just on the level of the word ghost or its homonyms popping up across popular culture in countless band names, album titles, novels and non-fiction books, et al - something is going on. With the ghostified bands specifically, I think what has grabbed some of us (apart from the music, which is fantastic) is that these are musicians who have tons of ideas both musical and non-musical. They tend to be very well read and thoughtful, real autodidacts with a passion for esoteric knowledge and bizarre historical arcana. They are making connections between music, film, books, TV, the occult, history, design… and their records also have a highly developed visual aesthetic.
I’ve long felt that pop music is driven by some pretty ambivalent, sometimes outright antisocial or malevolent energies. But I’ve probably derived that more from various French thinkers and Nietzsche, also from certain rock writers. And also just listening closely and honestly to my own responses to music. Still you could see that idea of music as fitting a Ballardian worldview to some degree. The idea of human culture as fundamentally perverse.
[...]
Well I think it was me who first broached the idea of ‘hauntology’ as a rubric for this loose network of contemporary bands who were playing with the cultural imagery of ghosts, spectres, the uncanny, the return of the cultural repressed, memory, and so forth, while also trying to make genuinely eerie music. But I didn’t particularly intend for there to be a tight correlation between Derrida’s concept of hauntology and what these bands were trying to do. It was just a convenient and cute term, ‘haunt’ referencing ghosts and ‘-ology’ suggesting the image of crackpot scientists working in the sound laboratory. There are certain affinities with Derrida’s ideas as elaborated in Spectres of Marx.
The word ‘hauntology’ has got a lot of traction, though, because it chimes in with things that are going on in modern art (the trend for work based around the concept of the archive and dealing with questions of collective memory) and in academia (with the boom of studies related to the spectral and uncanny, work on ruins, remains and rubbish, mourning and memory work, nostalgia for the future). Even just on the level of the word ghost or its homonyms popping up across popular culture in countless band names, album titles, novels and non-fiction books, et al - something is going on. With the ghostified bands specifically, I think what has grabbed some of us (apart from the music, which is fantastic) is that these are musicians who have tons of ideas both musical and non-musical. They tend to be very well read and thoughtful, real autodidacts with a passion for esoteric knowledge and bizarre historical arcana. They are making connections between music, film, books, TV, the occult, history, design… and their records also have a highly developed visual aesthetic.
Literay criticism - Wikipedia
Literary criticism
Literary criticism is the study, discussion, evaluation, and interpretation of literature. Modern literary criticism is often informed by literary theory, which is the philosophical discussion of its methods and goals. Though the two activities are closely related, literary critics are not always, and have not always been, theorists.
Literary criticism is the study, discussion, evaluation, and interpretation of literature. Modern literary criticism is often informed by literary theory, which is the philosophical discussion of its methods and goals. Though the two activities are closely related, literary critics are not always, and have not always been, theorists.
Bruce Sterling (auteur de science fiction) - Wikipedia
Bruce Sterling
Mirrorshades anthology : Receuil de nouvelles d'auteur de Cyberpunk. Receuil à l'origine de la définition du genre. A lire en VO, la VF est chiante a mourir.
Shaper/Mecanist : From the late 1970s onwards, Sterling wrote a series of stories set in the Shaper/Mechanist universe: the solar system is colonised, with two major warring factions. The Mechanists use a great deal of computer-based mechanical technologies; the Shapers do genetic engineering on a massive scale. The situation is complicated by the eventual contact with alien civilizations; humanity eventually splits into many subspecies, with the implication that many of these effectively vanish from the galaxy, reminiscent of The Singularity in the works of Vernor Vinge.
[...]
He has been the instigator of two projects which can be found on the Web -
Mirrorshades anthology : Receuil de nouvelles d'auteur de Cyberpunk. Receuil à l'origine de la définition du genre. A lire en VO, la VF est chiante a mourir.
Shaper/Mecanist : From the late 1970s onwards, Sterling wrote a series of stories set in the Shaper/Mechanist universe: the solar system is colonised, with two major warring factions. The Mechanists use a great deal of computer-based mechanical technologies; the Shapers do genetic engineering on a massive scale. The situation is complicated by the eventual contact with alien civilizations; humanity eventually splits into many subspecies, with the implication that many of these effectively vanish from the galaxy, reminiscent of The Singularity in the works of Vernor Vinge.
[...]
He has been the instigator of two projects which can be found on the Web -
- The Dead Media Project - A collection of "research notes" on dead media technologies, from Incan quipus, through Victorian phenakistoscopes, to the departed video game and home computers of the 1980s. The Project's homepage, including Sterling's original Dead Media Manifesto can be found at http://www.deadmedia.org
- The Viridian Design Movement - his attempt to create a "green" design movement focused on high-tech, stylish, and ecologically sound design.[1] The Viridian Design home page, including Sterling's Viridian Manifesto and all of his Viridian Notes, is managed by Jon Lebkowsky at http://www.viridiandesign.org. The Viridian Movement helped to spawn the popular "bright green" environmental weblog Worldchanging. WorldChanging contributors include many of the original members of the Viridian "curia".
J.G. Ballard (auteur de science fiction) - Wikipedia
Jg Ballard
Auteur de Crash
The adjective "Ballardian", defined as "resembling or suggestive of the conditions described in JG Ballard's novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments", has been included in the Collins English Dictionary. [1]
Auteur de Crash
The adjective "Ballardian", defined as "resembling or suggestive of the conditions described in JG Ballard's novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments", has been included in the Collins English Dictionary. [1]
Monday, June 18, 2007
Friday, June 15, 2007
Dopplr - La carte de vos amis
Dopplr
Un système qui n'en est encore qu'a sa version beta mais qui permet de créer une carte avec les noms des personnes. Très utile pour des personnes voyageant souvent et rencontrant beaucoup de monde puisque cela permet de clarifier en quelques clics les allées et venus de ses contacts.
Un système qui n'en est encore qu'a sa version beta mais qui permet de créer une carte avec les noms des personnes. Très utile pour des personnes voyageant souvent et rencontrant beaucoup de monde puisque cela permet de clarifier en quelques clics les allées et venus de ses contacts.
Des transferts de données a travers les os
Bones could allow data swaps through handshakes
YOUR backbone's connected to your shoulder bone, your shoulder bone's connected to your neck bone - and your neck bone's connected to your cellphone.
They then measured how well bone conducted these signals when they were generated in places on the body where devices are normally worn: the wrist for watches, the lower back for cellphones worn on a belt, and behind the ear for headsets. They found the skeleton conducted even low-power vibrations from one location to another with surprisingly few errors. "This is quite amazing because all the links involved multiple bones and many joints," Zhong told a conference on body networks in Florence, Italy, this week.
YOUR backbone's connected to your shoulder bone, your shoulder bone's connected to your neck bone - and your neck bone's connected to your cellphone.
Something along these lines is what Lin Zhong and Michael Liebschner at Rice University in Houston, Texas, envisage. They want to use the human skeleton to transmit commands reliably and securely to wearable gadgets and medical implants. Their research, funded by Microsoft and Texas Instruments, could also lead to new ways for people with disabilities to control devices such as computers and PDAs.
[...]They then measured how well bone conducted these signals when they were generated in places on the body where devices are normally worn: the wrist for watches, the lower back for cellphones worn on a belt, and behind the ear for headsets. They found the skeleton conducted even low-power vibrations from one location to another with surprisingly few errors. "This is quite amazing because all the links involved multiple bones and many joints," Zhong told a conference on body networks in Florence, Italy, this week.
The researchers suggest applications such as a vibrator in a wrist receiver/transmitter that could tell an implant placed near a bone to release a drug dose, with the implant then sending back data from its sensors. Similarly, tooth clacks or finger clicks could be interpreted by a receiver to activate, say, functions in a phone.
For Liebschner, the great benefit is security. "All data transfer is contained inside the human body, and it can only be retrieved through direct physical contact," he says. People could even swap information between devices via a firm handshake, Zhong suggests.
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