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Recording of Anika Yi exhibition, “In love with the World” mixed with two recordings from the banks of the River Thames at Putney, roughly 8pm as rowers from the various clubs Riverside came in after night rowing sessions. I mention it in particular now because Guerrilla Audio 153 uses a field recording made at the Tate. (And then disappears-the podcast feed only ever features the lastest show.) The content, duration and frequency all work to make something that’s a fascinating semi-monthly treat treat. They’re each about twenty minutes long, more or less. Twice a month they release (available as a podcast) a short composition by Simon Fisher Turner where he combines some differents sounds he’s recorded or made. Guerrilla Audio is a wonderful sound project run by Touch. When the collector is uncomfortable about the lack of warranty clarify the technical support you are willing to give.
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The spirit of giving the collector all schematics, software and code, plus the training, spare parts and manuals, is that you are now delegating conservation to his or her collection. You are not a corporation, you do not control the conditions of the exhibition or the handling of the piece after you depart.
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But you should under no circumstances guarantee that the work will function a given amount of time. You should let the collector know about whatever warranty there is on the individual components of the piece, for example a computer usually has a 1-year warranty. For example, choose gear that can function in a range of voltages 100-240V ideally with auto-switching circuitry or if you are Canadian never use Robertson screws despite how great they are, as no one outside of our proud country has drill bits for this screw head.
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He and his team put their code on GitHub, which also holds Best Practices for Conservation of Media Art from an Artist’s Perspective: My strategy for conservation is if younger generations start using my code then they will know it in the future and because they’ll incorporate into their own work and then it’ll be easier for somebody in 20 years, time to look back at the code and say, oh, you know, I, I can fix this. And so instead of fighting against it, we need to make our work more viral.
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I love this position, Ben, because I think that in digital worlds, we know that there is a certain abundance, right? There is this capability for perfect digital reproduction. You could either buy the catalog, which was, I don’t know, whatever 25 bucks or you could buy a USB stick for I think it was $10, which included all the source code and schematics for every single artwork so that if you really liked the piece. It’s a fascinating discussion about conservation of digital art.Īs an example, in my show in 2015 in Mexico City, we had 43 artworks on view. See also my list first lines to Richard Stark’s Parker Books and the comprehensive site The Violent World of Parker.Įpisode 15 of the Art and Obsolescence podcast ( RSS) is an interview with Rafael Lozano-Hemmer, whose Pulse Topology was heard in Listening to Art 09.11 Screenshot of the podcast listing, with the audio widget blocked I think he twisted “Widmerpool” into “Wymerpaugh.” I don’t know when he began reading Powell, but it’s reasonable he got on to the Dance early and then read them as they came out. The sixth, The Kindly Ones, came out in 1962 (same as The Hunter), when Westlake turned 29. It was Magnus Donners he wanted to identify with, but he kept finding his sympathies going to Widmerpool.īy 1972 the first ten books of the Dance were out. Sternberg stripped to his boxer shorts, turned down the bed, settled himself comfortably with his pillows behind his back, and opened the Anthony Powell novel he’d started on the plane. By the time he’d unpacked and desanitized everything, the air in the room had a bit of life in it. The air conditioner had been on, but Sternberg switched it off first thing, turned the thermostat up to seventy-three, and opened the window slightly. Widmerpool is mentioned by name in Plunder Squad (1972)
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One of the major characters in the series is named Widmerpool. Westlake was a great admirer of Anthony Powell and his twelve-novel sequence A Dance to the Music of Time, as I wrote about in 2015 in Westlake and Powell. This is the only time he appears in the series. Wymerpaugh here is one of Parker’s crew on a quick job stealing money from the Outfit. The other two, Elkins and Wymerpaugh, Parker had worked with in the past. He was the only one Parker hadn’t known before Joe Sheer had recommended him. The man named Wiss took a chisel from his pocket and held it by the blade end, like a club. They went back down the hall, moving faster now, toward the door marked ST LOUIS SALES, INC. In the last chapter of the first book, The Hunter (1962), I noticed something for the first time: I started rereading the entire series of Parker crime novels by Richard Stark (really Donald E.