Excellent collumn by Matt Taibbi over at smirkingchimp.com on what the candidacy of Sarah Palin says about the state of American politics [read the whole thing is is worth it!]:

Here’s the thing about Americans. You can send their kids off by the thousands to get their balls blown off in foreign lands for no reason at all, saddle them with billions in debt year after congressional year while they spend their winters cheerfully watching game shows and football, pull the rug out from under their mortgages, and leave them living off their credit cards and their Wal-Mart salaries while you move their jobs to China and Bangalore.

And none of it matters, so long as you remember a few months before Election Day to offer them a two-bit caricature culled from some cutting-room-floor episode of Roseanne as part of your presidential ticket. And if she’s a good enough likeness of a loudmouthed middle-American archetype, as Sarah Palin is, John Q. Public will drop his giant-size bag of Doritos in gratitude, wipe the Sizzlin’ Picante dust from his lips and rush to the booth to vote for her. Not because it makes sense, or because it has a chance of improving his life or anyone else’s, but simply because it appeals to the low-humming narcissism that substitutes for his personality, because the image on TV reminds him of the mean, brainless slob he sees in the mirror every morning.

Sarah Palin is a symbol of everything that is wrong with the modern United States. As a representative of our political system, she’s a new low in reptilian villainy, the ultimate cynical masterwork of puppeteers like Karl Rove. But more than that, she is a horrifying symbol of how little we ask for in return for the total surrender of our political power.

Not only is Sarah Palin a fraud, she’s the tawdriest, most half-assed fraud imaginable, 20 floors below the lowest common denominator, a character too dumb even for daytime TV - and this country is going to eat her up, cheering her every step of the way. All because most Americans no longer have the energy to do anything but lie back and allow ourselves to be jacked off by the calculating thieves who run this grasping consumer paradise we call a nation.

(…) The great insight of the Palin VP choice is that huge chunks of American voters no longer even demand that their candidates actually have policy positions; they simply consume them as media entertainment, rooting for or against them according to the reflexive prejudices of their demographic, as they would for reality-show contestants or sitcom characters.

[smirkingchimp via boingboing]

… message plates for x-ray scanners by Evan Roth [via gizmodo.com]:

I am on my way back from the still ongoing conference ‘Kreative Arbeit und Urheberecht‘ (Arbeit2.0) organized by irights.info and the HKMV in Dortmund. The conference is taking place in the phoenix-halle on the terrain of the former phönix-west iron works in Dortmund. The whole terrain is currently being developed into a nanotechnology/creative-industries/science park and this development takes place around the industrial ruin of the blast furnaces 5 & 6 of the former Phönix-west iron works, where at the hight of production in the early 20th century more than 6.200 workers produced steel.

We spend Friday’s lunch-break exploring the impressive ruin by climbing up to the top of the remaining blast furnace (most of the second one has been disassembled and shipped to china where is has been reassembled), which is quite a fantastic environment to explore as you can see from this series of beautiful black and white pictures taken within the same complex). Interestingly the construction workers that where renovating parts of the ruin did not seem to care about our presence at all (as long as we would greet them with ‘mahlzeit’ that is…).

For me the ruin provided a quite apt (and somewhat cynical) backdrop for the discussions of the conference which on the first day centered around the question how creative individuals can make a living from their work in times of ubiquitous access to creative works and a ever more repressive copyright system geared at preserving the rights of ‘big content’ and inflexible collective rights management organizations. I am sure that i was not the only person who took the ruins on the horizon as evidence that even the most established branches of industry can disappear as the result of changes that happen around them…

Update (2018): Fotonauts is long gone, note of the links to fotonauts below work anymore.

Fotonauts (still in private beta for more information see here) has just made their widget functionality public. I really like these widgets and especially the way they are handling the Attribution and license information (which of course is much more relevant on collaborative albums like this one from the isummit). Here is a widget with the pictures from the Keirin race that i saw in august as a fotonauts widget:

I spend last weekend at ars electronica speaking at the symposium on a new cultural economy curated by Joi and hanging out with an amazing bunch of people. Did not see much of the exhibitions, but at least managed to see the cyber arts 08 exhibition in the OK center and found another nice CFL for my collection. Most of the works were rather underwhelming. One of these exceptions was ‘Salat‘ by Johannes Gees which was documented at the OK center. Salat (the arabic/quranic term for prayer) consisted of a series of interventions that Gees did in the summer of 2007 in Swiss Cities. He constructed so-alled sound bombs that consisted of adapted megaphones combined with a time controlled the mp3 player that – once activated – would play the pre-recorded call to prayer of the muezzin of the grand mosque in mecca at prayer time.

Gees secretly placed these sound bombs on church towers in Basel, Zürich and Sankt Gallen and documented the reactions by passers by on video. While the work itself is certainly not the most original (apparently similar things have been done before), Gees had the luck of being sued by an overzealous Swiss christian who claimed that he had insulted objects of religious worship (which is a criminal offense in Switzerland) and as a result the police impounded one of the sound bombs and opened a case on him. After a while the public prosecutor came to the conclusion that there was no criminal wrongdoing involved. Now this being a proper legal case the public prosecutor had to write down the reasoning in the document that declared the case closed. At ars electronica Gees had displayed copies of the official documents from the public prosecutor alongside video stills and one of the sound bombs (see picture above). The interesting aspect of the installation is the way the public prosecutor attempts to get a grip on this artistic intervention in legalese. I cant find the text of the documents online but here is a short snippet (in german) that i could reconstruct from one of the pictures i took:

Im vorliegenden fall käme allenfalls die Tathandlung in Form von Verspotten in Betracht . Die Verspottung selbst gilt nach herrschender lehre als Unterfall de Missachtung und beschreibt Äusserungen, durch welche die angegriffenen religiösen Überzeugungen als lächerlich dargestellt werden (Stratenwerth, Schweizerisches Strafrecht BT II Straftaten gegen Gemeininteressen , Bern 2000 §39 N 5). Indem der Angeschuldigte den Ruf des Muezzins erschallen liess, ist eine Verspottung der religiosen Überzeugung des Geschädigten Richard Scholl, welcher gemäss Anzeige an das Stadtrichteramt Zürich vom 13. Juli 2007 der evangelisch reformierten Kirche angehört, nicht ersichtlich. Mithin wird durch das Verhalten des Angeschuldigten die glaubensbezogene Überzeugung des Geschädigten als Christ nicht in unsachlicher weise herabgesetzt oder lächerlich gemacht. Das heisst der Gottesglaube des Geschädigten wird nicht tangiert. Es gilt festzuhalten dass vielmehr sich Angehörige der islamischen Religion, mithin gläubige Muslime, durch die Aktion des Angeschuldigten in ihrer Ãœberzeugung in Glaubenssachen – Achtung vor dem Mitmenschen und seiner Überzeugung in religiösen dingen – hätten verletzt fühlen müssen, zumal der ruf des Muezzins in der hiesigen Geselschaft bis dato nicht zum Alltags- bzw. Ausleben der islamischen Religion gehört. […] Dennoch vermag der Ruf des Muezzins das Durchschnittsempfinden eines vernünftigen Durchschnittsbürgers (sic!) nicht in schwerer Weise verletzen. Ebenso wird durch den Gebetsruf nicht die christliche Überzeugung der Geschädigten tangiert, da der gläubige Mensch in seinem Innersten und seiner religiösen Entscheidung nicht beeinflusst wird.

In the end the case against Gees was dropped but he was ordered to pay CHF 900 in legal costs because he ‘could have asked for permission’ before placing the sound bombs. As if someone would have given him that permission…

I had a bit of a bad feeling when opening a package from amazon.co.uk on the day when i saw a sign in the window of my corner bookstore that announced that they would close within a month. The place has been empty for a while but since this summer there has been some activity inside which today has culminated in the opening of a new book store: INKT & OLIE

Lets hope that i and others will value this place more than amazon. so far it looks like they are doing everything they can to make this happen: long opening hours (till 20:00h), good quality tea (no tea bags but real loose leaf tea) and they will take orders for books by email. Good-bye amazon and congratulations to the owners: with the too-complicated-to-remember first names Nadezjda and Anouk (thanks, daan!) …

Update (2018): Of course that place did not last, closed some time before we moved out of our appartment in the summer of 2018 and was replaced by a coffee bar.

Had to take a leak yesterday as we were on the way back from the opening reception of the uitmarkt on java island. conveniently we were cycling past the navy terrain in central amsterdam and the outside wall of this super secret military installation is about the only place in all of central amsterdam where you can actually take a leak a little bit off the road. turns out that it is not only a very convenient place but probably also the most private place to take a leak as you are protected from a satellite picture of yourself showing up on google earth/maps:

Of course you are probably still being filmed by all kinds of CCTV installations and if you are really unlucky you will get caught by one of the google street view cars that are currently roaming the streets.

For some reason i never managed to write about manifesta7 after having visited 3 of the 4 locations on the opening weekend back in mid july. not sure what to say of the overall exhibition but it included a number of really interesting and beautiful artworks. my favorite among them was Tantalum Memorial – Residue, by Graham Harwood together with Richard Wright and Matsuko Yokokoji. Is a memorial/intstallation to the Congolese people who have died as a result of the coltan wars. Regine over at we make money not art has posted a short description of the installation:

This installation is constructed out of an old electro-mechanical 1938 Strowger telephone exchange, discovered amongst the remains of the Alumix factory. Seen from afar it looked like it does belong to the ex-factory. An old telephone switch forgotten for decades. The switches are reanimated by tracking the phone calls from Telephone Trottoire – a social telephony network designed by the artists in collaboration with the Congolese radio program Nostalgie Ya Mboka in London. The TT network calls Congolese listeners, plays them a phone message and invites them to record a comment and pass it on to a friend by entering their phone number. This builds on the traditional Congolese practice of “radio trottoire” or “pavement radio”, the passing around of news and gossip on street corners in order to avoid state censorship.

More pictures on my flickr page.

The same location (the ex-Alumix factory in Bolzano) also hosted the first ever installation by my good friend Lawrence Liang: Pandoras Index consists of a filing cabinet filled with index cards referring to various aspects of the debates around, cultural production, intellectual property and piracy. Having known Lawrence for years some of the drawers appeared to me as elaborate attempts to replicate parts of reasoning (or parts of his brain) in a series of index cards. probably only makes sense if you know Lawrence or if you are really familiar with the topics he addresses, but i liked it quite a lot (again, more pictures are available on my flickr page):

Reading trough my dead migrants rss feeds i ran into a new blog post about san la muerte today. this time it is a short blog post about the Santa Muerte cult that is thriving in Mexico and among Mexican migrants (this is why the blog post got caught in my ‘dead migrants’ filter) in the US. From what i can tell it does look like the Mexican version of this cult is much less intresting (but more ceremonial) than the variant existing in Argentina and Paraguay that i wrote about back in 2006. Time magazine also has a photo essay with 15 Santa Muerte pictures from Mexico:

the blog post in question somewhat unconvincingly links the cult to a number of themes prevailent in chinese folk culture and japanese manga.

So on my last day in Japan i ventured out to see a Keirin race somewhere on the finges of the Tokyo metropolis (big thanks to Fumi for figuring this out for me). Apparently Keirin has made it to become an olympic discipline a while ago, which is kind of interesting insofar that keirin in not really a sport but a form of gambling. it is like horse racing but then the horses are substituted with bicycles and since bicycles do not move by themselves the jockeys (not the similarities in headgear and outfit) have to do the pedalling. so in essence you can place bets on humans and then watch them race against each other.

The race format (at least on thursday in Ōmiya) is fairly straightforward: 4 laps on a concrete race track, the first three of them behind a pacer and when the bell rings for the final lap the 9 riders battle it out between them (sometimes using elbows). you can either place bets on first second third combinations or you can place bets on fist and second combinations.

4 rounds of 400m or so may not seem like much but if you consider that this spectacle takes place in early afternoon in august in an open air stadium (with 35 degrees celsius and more in the shadows), then you got to admire these riders for even making it to the finish (plus this makes those american track cyclists who arrived in peking wearing face masks look like complete sissies)

Not that anybody in the public really cares about the riders, for the public they are just the numbers that they wear on their brightly colored jerseys. Most of the gamblers dont even care enough to actually watch the race, instead they stay in a giant air conditioned hall where they can chovienenltly place their bets and watch – without much display of emotion – the race results on overhead screens.

The gamblers are a strangely interesting mix, especially when contrasted with the teenager and salarymen dominated insanity of central Tokyo: 99% male (i think i saw three women that did not work at the racetrack), at any given point in time half of them have a cigarette in their mouth and literally nobody carries a mobile-phone. The whole place felt like some kind of retired male working class heaven complete with 100yen entry fee, an endless supply of cold green tea from machines, cheap and good (at least the teppanyaki) food and the promise of placing a winning bet and going home rich. From that point of view Keirin makes much more sense than that other japanese ‘gambling’ obsession Pachinko (which is simply insane and completely lacks the social interaction taking place around the keirin track).

More pictures in this set on my flickr account.