Dustin O'Hara A Brooks

A. Brooks
04 April – 18 May 2013
Private View: 04 April 2013 18.00 – 21.00

A Brooks Art is delighted to present A. Brooks a new project by Dustin O’Hara.

Before becoming a gallery, A. Brooks was a family run flower shop. For roughly 70 years the Brooks family sold flowers to their neighbours. Remembered by many local residents, the A. Brooks flower shop, and its family, became an integral part of the Hoxton landscape. The transition from a family run flower shop to a contemporary art gallery is emblematic of the wider changes currently unfolding across the neighbourhood. This exhibition mines the shop’s recent and personal history, as a way of reflecting upon both the personal lives that animated the flower shop and the wider collective identity of the Hoxton neighbourhood.

“The power of ordinary urban landscapes to nurture citizens’ public memory, to encompass shared time in the form of shared territory – remains untapped for most working people’s neighbourhoods” Dolores Hayden, The Power of Place

Dustin O'Hara A Brooks

The A. Brooks exhibition was developed in collaboration between Dustin O’Hara, Julia Riddiough, and Toni Brooks. Dustin O’Hara’s work could be described as experimental community archiving, Julia Riddiough currently runs the A. Brooks gallery and Toni Brooks is a retired florist. Kathy and Mark Brooks also worked in the shop and family business for over thirty years. Mark now has a stall in Hoxton Street market and continues to sell flowers today.

An old advisor, and friend, Warren Sack, recently gave a lecture at Goldsmiths about a chapter of his current software studies book project.

The “digital convergence” of the last few decades has coerced a number of industries into the business of computers and networks. The institutions of film, television, video, photography, printing, publishing have succumbed to a “rewriting” in digital format. This rewriting is only possible because of the new, uncanny form that language has taken, the language of computer programming, the language of software. The uncanny language form makes images, numbers, and languages “equivalents.” Consequently, to write today is a hybrid affair of code and commentary, programs and prose, in which one must tangle with this entanglement of images, numbers, and languages.

Warren Sack is a software designer, media theorist and artist whose work explores theories and designs for online public space and public discussion. His projects include work in Open Source software development, locative media, computer-supported translation, and systems for visualizing and facilitating online discussions. Sack’s work has been exhibited at the ZKM, Karlsruhe,; the New Museum, New York; and the Walker Art Center, Minneapolis. He has a Ph.D. from the MIT Media Laboratory and a BA in Computer Science and Psychology from Yale College. He is a Professor of Film & Digital Media at the University of California, Santa Cruz and, for the 2012-2013 academic year, an American Council of Learned Societies Digital Innovation Fellow and a Visiting Professor at the École nationale supérieure des télécommunications (Paris).

This lecture is co-hosted by the Centre for Innovation and Social Process and the Digital Culture Unit, Centre for Cultural Studies, Goldsmiths, University of London

A new book: 10 PRINT CHR$(205.5+RND(1)); : GOTO 10

Software is deeply woven into contemporary life—economically, culturally,
creatively, politically—in manners both obvious and nearly invisible. Yet
while much is written about how software is used, and the activities that
it supports and shapes, thinking about software itself has remained largely
technical for much of its history. Increasingly, however, artists, scientists,
engineers, hackers, designers, and scholars in the humanities and social
sciences are finding that for the questions they face, and the things they
need to build, an expanded understanding of software is necessary. For
such understanding they can call upon a strand of texts in the history of
computing and new media, they can take part in the rich implicit culture of
software, and they can also take part in the development of an emerging,
fundamentally transdisciplinary, computational literacy. These provide the
foundation for software studies.

 

reposted from laughingsquid

how-fast-could-you-travel-across-the-us-in-the-1800s

This map from the Atlas of the Historical Geography of the United States (1932) shows how long it took to travel across the United States in 1800, with a starting point in New York City. For example, New York City to New Orleans took about four weeks. By comparison, the map below shows rates of travel in 1930, when railroads allowed travelers to cross the country in about 4 days. For more maps, check out Mother Nature Network.

how-fast-could-you-travel-across-the-us-in-the-1800s-1

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