December 2, 2009
Overwhelmed that a photo of the Iqaluit cemetery taken from Happy Valley looking out over Koosejee Inlet in October 2002, can travel so far because of the initiative of Sep and Jonathan, two cyber citizens who have created Art 2.0: a collaborative art form linking (and hyperlinking) art, technology, consciousness . . .
Their methodology was impeccable, including dozens of collaborators through a series of courteous and informative emails that described the step-by-step process.
The final result is mind-boggling.
They provided the customized url for the image of pages on which the work of each contributor is shown:
They also provided a link to the Amazon site where the book itself is on sale at a very low price considering the high quality of the book design and its unique format which is a harbinger of a Art 2.0.
I am grateful they trawled Flickr and found a fragment of my own narrative . . .
After nearly 3 years of hard work we are so very happy to announce that We Feel Fine: An Almanac of Human Emotion is in stores starting today. You should all be receiving your books within the next few weeks, but we hope that you will take a sneak peek next time you’re at your local bookstore. Copies should be on the shelves of bookstores nationwide in the United States.
If you live within the Unites States, your complimentary copy of the book will be shipped out today or tomorrow. If you live outside of the US we will be shipping your book next week and it may take some extra time to get to you. Thank you all for being so patient and it shouldn’t be too much longer until you have it in your hands.
We also hope that you will spread the word and perhaps include the exciting news in your facebook status or on your blog. We will be posting the simple: “We Feel Fine book in stores today! http://bit.ly/wffbook)” in our facebook/twitter as well.
As we have said before we honestly couldn’t have done this without all of you and so on today of all days would like to send you all our sincerest gratitude. For me, personally, I have had an incredible time working on this book and a huge part of that has been reading your blogs. Thanks for everything. Best, Sep
Filed in Artists, Blogosphere, collaborative, Cultural Anthropology, Human Geography, microblogging, My personal product recommendations, social cohesion, Technology and Software, Technology. Mind and Consciousness, Visual Arts, Web 2.0
Tags: bricoleuse, collaboration, Creative Commons, cyberdelirium, cyberworld nomad, human nature, reflexivity, social cohesion, we feel fine
November 14, 2007
I was never attracted to the paintings of E. H. Hughes while I worked as contract art educator at the National Gallery of Canada. It wasn’t until I lived near his home for almost two years, in the Cowichan River valley area that I began to understand that his work was a highly detailed documentation of plants, trees, geological formations, waterways and marine activity — not an attempt to express the impression of the landscape from a tourist’s point-of-view. The ubiquitous greys of the island from November through March explain the colour-challenged palettes in most of Hughes’ prints. The original paintings are rare since most of them have been sold to a unique collector in Germany. But framed expensive mass-produced prints from the original paintings (which the vast majority of people in the age of Robert Bateman — and more recently high quality giclee1 — mistake for original works of art) are prominent, particularly in the places like the family restaurant in Duncan called the Dog House.
In Canada plein art painting in cold weather is possible but uncomfortable. This small acrylic plein air sketch was painted in a couple of hours on the windy escarpment at Edelweis Point. The larger version will portray the mountains more accurately. I often find myself fantasizing about knocking on doors of stranger’s homes-with-a-view to ask for three hours of air space to paint in the off seasons. Following in the paths of plein air painters I had made up my own rules that I followed for decades. I would not paint from pictures. But I moved a lot since then. Each new Canadian region offers new visual opportunities and challenges for painting. Even the qualities of light itself, its clarity, luminosity, is different from region to region. I spent a lot of time studying the patterns of waves on the coast of Vancouver Island. Now I am confused, overwhelmed by the mountains. I want to hike their trails and see them from as many angles as is possible with easy 5-hour scrambles. These days I take digital photos on our day trips in and around Calgary to ecological reserves, public parks or even roadside in Cochrane, Canmore . . . Now I find myself painting with a laptop open beside me so that my finished painting becomes a visual tool for memory work, another way of living in and visualizing my everyday world. I also used to feel that selling mass-produced prints was dishonest and deluded an ill-informed public. Now I am just happy to have available images whatever their source or quality to compare and learn: Flickr, Google images, Virtual museums like the National Gallery of Canada’s, reproductions, etc. There aren’t any overpriced framed Giclees of specific mountain peaks from our local shopping mall galleries hanging over the sofa at home, but I will study and compare them as another way of seeing.
As I refine tags and folksonomy in the virtual world, I seek out more precise multidisciplinary taxonomies in ecosystems I inhabit. It informs the way I see, and the way that I take photographs and paint plein air. I tag my images through Google Earth, Picasa and Flickr. Adobe Photoshop provides tools that allow me to enhance or layer some images. Using www.bivouac.com, Peaks of the Canadian Rockies, and numerous other maps, images and texts I can hyperlink each mountain peak to its exact longtitude/latitude coordinates in Google Earth (and or Picasa and Flickr). In Google Earth I can link the altitude tool relative to space/ground with the height of the mountain. I can also link customized image icons and detailed information including the exact www.bivouac.com and/or Peaks of the Canadian Rockies urls. The process of social tagging or folksonomy fuels my interest in searching for the names that provide the most accurate historical, ecological, geographical information about mountain peaks, glacial erratics, medicinal plants, post-contact plants . . .
Google searches before and after help refine our understanding of the places we have visited. Public librairies, local museums and even Tim Horton’s customers provide more suggestions. Sharing using one of our many social networks is easy. Flickr provides tools for describing and commenting on details of images, adding textual information as well as refined folksonomy, geotagging and comparing photos with special interest groups. Google docs archives the unpublished notes, annotated webliographies and bibliographies and keeps track of published blogs.
In the process I learn about contributions to Alberta’s history by individuals and communities descended from First Nations, Chinese, Italians, French, Irish, British, African-Americans . . .
Of course it is a visual form of memory work. If we only relied on the printed word for knowledge claims we would find ourselves with limited perspectives provided by experts in exclusive academic disciplines who claim that their magisteria is nonoverlapping.
This is changing so rapidly in a world of integrated management. Ecohydrology combines the fields of ecological processes and hydrology that informs integrated management of watersheds. Google Earth allows nonexperts to view climatic zones, mountain ranges, massifs, river valleys, individual mountains, hillslopes, stream channels, estuaries, gullies, barchannels, recharge areas, and in some cases meter-sized features. We can fly over and zoom in on the watershed of the Athabaskan Lake and River, Fort McMurray, Fort Chipewyan. We can read related reports online and track changes ourselves. This kind of information has never been easier to collect and share.
The most accurate scientific information from legitimate sources provides exact terminologies and taxonomies2 that not only clarify complex issues, they are also folksonomy-friendly.
1. Limited edition archival prints where the editions are limited to a hundred or less of an original work of art and hand autographed by the artist are priced accordingly and were considered to be art collectors items. Robert Bateman is well-known for his high-priced multiple edition prints of his popular wildlife paintings. These are often purchased for a hefty price by uninformed collectors who believe they have an original work of art. With progress in digital technologies, printing inks and processes, giclees from original oil paintings can be printed on canvas that appears to have a varnished finish and priced as much as a unique original painting. Giclees on high quality water colour paper do have an archival life of over a hundred years. Their production is costly so they are priced more than a mass-produced print. Giclee archival prints are a huge improvement over the prints of the Group of Seven and Emily Carr distributed to public schools in Canada in the Post World War II years. Most of these framed prints which unfortunately still hang in public places over fifty years later, have darkened and have lost all semblance to original colours.
I now fully embrace the giclee concept as a way of sharing visual information more widely. It is yet another take on Walter Banjamin’s mechanical reproduction.
2. I looked to wikipedia under geomorphology to find the equivalent of taxonomy for mountains that I have been using to identify wildflowers, medicinal plants. According to wikipedia, “Different geomorphological processes dominate at different spatial and temporal scales. To help categorize landscape scales some geomorphologists use the following taxonomy:
- 1st – Continent, ocean basin, climatic zone (~10,000,000 km²)
- 2nd – Shield, e.g. Baltic shield, or mountain range (~1,000,000 km²)
- 3rd – Isolated sea, Sahel (~100,000 km²)
- 4th – Massif, e.g. Massif Central or Group of related landforms, e.g., Weald (~10,000 km²)
- 5th – River valley, Cotswolds (~1,000 km²)
- 6th – Individual mountain or volcano, small valleys (~100 km²)
- 7th – Hillslopes, stream channels, estuary (~10 km²)
- 8th – gully, barchannel (~1 km²)
- 9th – Meter-sized features”
Creative Commons reference:
CC Flynn-Burhoe, Maureen. 2007. “How to paint mountains: Geomorphological taxonomy.” >> speechless. November 13.
NB: This article is supposed to be automatically re-published on speechless as changes are made in Google docs. I prefer to have both references available.
Filed in Art and Science, Artists, Blogosphere, collaborative, everyday life, folksonomy, memory, Memory Work, Power and everyday life, slow world, teaching learning and research, Technology. Mind and Consciousness, Visual Arts, Visual.Arts, Web 2.0
Tags: bricoleuse, Calgary, Cowichan Bay, Creative Commons, cyberworld nomad, ethnoclassification, ethnoclassification: faceted tagging, everyday.life, flickr, folksonomy:faceted tagging, Google, Google Docs & Spreadsheets, GoogleEarth, Green Calgary, images, Learning from users, noise vs. pattern, nonoverlapping magisteria, social bookmarking, tagging, taxonomy, taxonomy:faceted tagging, wikipedia
September 28, 2007
Speechless is now on WordPress’ list of Growing Blogs with 22,854 viewers. My first entry was entitled “Navigation Tools for the Blogosphere” and as I approach Speechless’ first anniversary I’ve just begun to use two new Open Source applications, CiteULike and Flexlists. I had attempted Zotero as a replacement for my huge EndNote library but I somehow lost the new library when I switched computers. CiteULike is all on-line and annotates references for me in formats used by academics. It also allows me to enter my CiteULike entries into my EndNote database. So far I’ve just been experimenting with compiling references on the concept of “memory work” in My Webliography and Bibliography. I have been contributing to building on-line resources of the concept “memory work” on wikipedia, deli.cio.us, WordPress, Googles Customized Search and Swicki.
I’ve also begun a list of key concepts on Flexlists which I prefer to call My Organic Glossary since it will mutate as my understanding of terms matures, deepens and develops through further teaching, learning and research.
I had attempted to use Babylon as an Open Source on-line build-your-own-glossary but realized that it is not actually free. It offers a limited introductory period followed by a pay-to-use plan. It would have been frustrating to invest time in building a glossary only to lose access to it!
I’ve started investing more time into my Google Customized Search on “Memory Work” and added Adsense. I have added refinements to it through labels: health, academic, article, museology, Inuit,
Filed in Blogosphere, collaborative, folksonomy, Memory Work, semantic web, Tag Clouds, teaching learning and research, Technology and Software, Web 2.0
Tags: blog stats, CiteULike, cyberdelirium, cyberworld nomad, del.icio.us, EndNote, EndNote 8, Ethical turn, flexlist, Google Customized Search, Halévy, Daniel, New generation social marketing, noise vs. pattern, Nora, Pierre, rapture of the deep internet, search engine optimization, SEO, social bookmarking, social.networks, Tag Clouds, tagging, taxonomy, zotero
June 30, 2007
As our cardboard boxes and Rubbermaids ravenously gape at me to be filled, I am aware that this is the last entry on this PC. My new Free-Agent Pro is busily backing up my gigabytes of memory to make it portable. I checked out some Macs yesterday and the resolution of their screens revealed details and clarity in my Flickr images that I had never seen before.
I have been using as many services on Web 2.0 as possible since I first learned of its existence in the fall of 2006. But there are still so may files that are dependent on physical memory. My major concerns are my EndNote and Adobe Photoshop files.
Web 2.0 is not just a virtual space for personal data storage, it is a space of sharing thanks to Creative Commons. Speechless has had 18,192 hits since first uploaded in October, 2006.
to be continued . . .