OMD Aggregators…
Where are all the online music service aggregators? And the lawsuits to follow…
Sui
I’m on my third of these Sui worklights from Artemide. The first one, which we bought in Rome, was broken by the movers last year. The second one (which arrived after a 4-month wait) turned out to be ex-display and damaged. Finally, almost a year to the day since the move, a new one turned up at SCP. I love these lights — the actual illumination is a grid of 18 white LEDs, and on battery they will last a couple of hours between charges. And they feel good in the hand, if somewhat surgical in their ergonomics.
Pinned and Grinning
Found on Conscientious, which is worth a long slow browse…
(pre)occupations
Tools sink into extended being: it takes craft and intent to keep them visible. I’m wondering if there’s some connection with Shklovsky’s thoughts on art: that art exists to make perception difficult. Is art, amongst the other things it is, what makes us aware of what is the kernel of us, minus our embedded tools, yet through their use in its creation? Is that some of what art does, and how? Ink that in five lines becomes a bunch of nettles, in the night points one step north; where the colour of water gets over the road, over the pearl …
Court of Hours
Walking from home to lunch and the Helen Chadwick retrospective at the Barbican the other day, discovered, down a sliproad of London Wall, the Worshipful Company of Barber-Surgeons’ herb garden, in a little park in the shadow of a fragment of the wall. Perfect place for a picnic ala Jeffrey Smart, in the shadow of some of London’s ugliest buildings.
With Nude Media, All You Hold is But A Cache of What You Own
That’s the crucial fork between my view of digital media and the more traditional one (wherein MP3s, for example, replace vinyl as object in one’s possession). If your local copies are simply expedient cacheings of that to which what you’ve purchased rights, then restrictions on formats, limited freedoms of transcoding, and the other restrictions that are currently being wrapped into DRM, are obviously inappropriate, arbitrary restrictions the only benefit of which is to support particular business models. This isn’t new news. But…
Hand[le|el](s) with Care
Back in the day, Mac programmers had to deal with what their tattered copies of Inside Macintosh called handles: doubly indirected pointers to data structures. Handles made memory management easier — the actual data structures can be created anywhere, and moved around, without software authors having to explicitly deal with garbage collection and other memory management issues. Good Mac programming involved always working on objects only through their handles (^^PictRect for example). Back to digital media: the progression {unique original to instance of clones, to pointer to — not originals — but architectures in flux, constantly being revisted and tweaked …
Putting Digital Music to Rights
Music, through the imminent DRM format wars, will become increasingly ghettoised through branded delivery mechanisms — already iTunes and Sony software insist on transcoding from one expedient but lossy format to another if you want to play tracks on competing players. And there seems to be a lot of pressure from all involved to pass off such low-quality formats as worthy of purchase and collection, presumably to create a profitable market of low-res, ‘throw-away’ copy-protected music, and to encourage ongoing waves of repurchase as listeners demand better quality or support of later playback technologies. I think these effects result from …
From Here to Where?
From performance, to recorded music, to nude media, to what?