Quote IconStop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art.

Brian Eno (via jessiethatcher)

I could reblog/post this every day as a constant reminder.

(via notational)

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The Upfront's Best Moments -- and Most Awkward Moment | Special Report: TV Upfront - Advertising Age

slavin:

If you’ve never been in the advertising or TV businesses, this is a useful intro. This is the part where ~60 billion dollars from brands moves through the hands of the agencies, who give it to the networks. $60 billion a year.

This is not done with spreadsheets and algorithms. It’s done with parties, alcohol, steak, and big musical numbers —all at a scale you’d find shocking. I like all those things (not musical numbers). But I don’t confuse them with the conditions necessary to understand a product, evaluate a risk, or do business. 

We live in a moment where inefficiencies are smoothing out quickly. The upfronts were born in a moment where it was legitimately difficult to exchange information without convening a crowd. But those days are over, for better and worse. It would be like bringing a bunch of insanely overpaid actors to the NYSE to pretend they still trade stocks there. Oh, wait.

This is the part of the story where everyone just keeps doing what they’ve been doing. Not because it makes any sense, but because they don’t know what else to do.

The parts of the story that come after that part are usually sort of sad.

Upwards of 40% of a network’s annual sales are determined during this one week.

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Amazon Publishing Introduces “Kindle Worlds,” a New Publishing Model for Authors Inspired to Write Fan Fiction

stefanhayden:

Get ready for Kindle Worlds, a place for you to publish fan fiction inspired by popular books, shows, movies, comics, music, and games. With Kindle Worlds, you can write new stories based on featured Worlds, engage an audience of readers, and earn royalties. Amazon Publishing has secured licenses from Warner Bros. for Gossip Girl,Pretty Little Liars, and The Vampire Diaries, with licenses for more Worlds on the way.

this has always been in my Future of Media headcanon.
Quote IconVangelis Vasilopoulos is the chief engineer for a company which builds swimming pools in the wealthy northern suburbs of Athens, home to ship-owners and tycoons like Spyros Latsis, one of the richest men in the world, who hosts Prince Charles on his travels to Greece. Industrialist Theodore Angelopoulos and his wife Gianna, who led the organising committee for the Athens Olympic Games (only six years ago, when Greece was heralded a “little nation miracle”) are installed there too, as is Mr Papandreou himself.
Mr Vasilopoulos says his company has been “inundated with calls” from residents of such elite residential neighbourhoods as to how to camouflage their swimming pools. At first blush, the requests seem bizarre.
In fact, they stem from the revelation that the Greek finance ministry is using Google Earth software to track down the owners of the pools, which tax inspectors consider an indicator of wealth, and which have often been built illegally.
“There are therefore two reasons to hide one’s swimming pool,” said a pool-owner who confessed guilt on both counts and, not surprisingly, asked not to be named.
Fortunately for him, however, there is a ingenious solution.
“The formula is simple,” said Mr Vasilopoulos. “All you need is a green-coloured cover and then the pool cannot be spotted from above. But if the water is visible, or the netting or cover is blue, then you’ve had it”.

Greek Tax Avoidance 101: Cover Your Swimming Pool With A Tarp, Fool A Satellite | Zero Hedge (via new-aesthetic)

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astralcavalier:

hacheload:

cronusempire:

steven-moffat:

grim-bark-tier:

lordwhat:

There should be a show called “You’ll Never Find Out” where each week there’s a new story with a new set of characters and it always ends on a cliffhanger.

Well hello there satan

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NO BUT THEN IN THE SEASON FINALE THEY HAVE LIKE 3 MINUTE SPOTS TO SHOW THE CONCLUSIONS FOR ALL THE STORIES

AND PLOT TWIST: All those unconnected stories? They connect like puzzle pieces in the end. 

I. WANT. THIS.

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ambassador-of-anguish:

shouldertappingghosts:

If I was a famous author I would publish a book with ten different endings which all went to print with varying degrees of rarity, but not tell the fans about it so that I could watch their confusion as they disagree over how the story ended. Then when they figured it out I would ‘come clean’, telling them that I had released eleven alternate endings and watch them panic again as they all try to find the last ending.

This is perfect.

explore-blog: If there ever was tragically visceral evidence of how remix culture fuels creativity and copyright hinders it, it is this: Despite – or perhaps because of – millions of views in less than a week, The David Foster Wallace Literary Trust has filed a copyright claim against the wildly popular YouTube version of the wonderful short film adaptation of Wallace’s timeless 2005 commencement address, This Is Water. (Luckily, you can still watch the film on Vimeo – but that’s beside the point.) Here is an example of a project made out of love, the existence of which harms the estate in no way, financial or otherwise, but serves the public good by way of cultural preservation and celebration of Wallace’s spirit and legacy, extending his message and allowing it to touch more lives. That the estate finds any of this harmful is gobsmacking, at once an aberration of the law and a complete failure of cultural duty.
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explore-blog:

If there ever was tragically visceral evidence of how remix culture fuels creativity and copyright hinders it, it is this: Despite – or perhaps because of – millions of views in less than a week, The David Foster Wallace Literary Trust has filed a copyright claim against the wildly popular YouTube version of the wonderful short film adaptation of Wallace’s timeless 2005 commencement address, This Is Water. (Luckily, you can still watch the film on Vimeo – but that’s beside the point.)

Here is an example of a project made out of love, the existence of which harms the estate in no way, financial or otherwise, but serves the public good by way of cultural preservation and celebration of Wallace’s spirit and legacy, extending his message and allowing it to touch more lives. That the estate finds any of this harmful is gobsmacking, at once an aberration of the law and a complete failure of cultural duty.

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