* experimental/avant-garde/art/scene/movement newspapers/broadsides/freesheets/one-sheets – often hyperlocal due to distribution issues (stuffing & sending envelopes is a non-trivial pain in the arse), sometimes hyperlocal by design –

– if you’re giving them away, or charging a token amount for the pleasure/privilege of holding the print object and thereby paying the print bill —

– surely a printer-ready ghost of that object could live on archive.org under a CC license that preserves your authorship(s)/curation and otherwise allows the thing to instantiate anywhere some interested person/nutter would like it to?

(none of which is a new idea, but the archive.org bit just popped into my head, as did the idea of someone with fifteen minutes’ access to a newspaper printer yanking down the InDesign (or whatever) file of PAPER SCIENCE and banging off 1500 copies for free distrib at (say) Toronto Comic Arts Festival)

Alexander McQueen, Autumn 2010 collection:

Ann Demeulemeester, Spring 2010 collection:

It’s the faces.

Both images from Fashionphilos

* "reputation economy" is a particularly ’00s thing to be thinking about, but it’s been on my mind tonight.

* reputation economy is the "but" in "he/she’s a dick, but…" Look at the shit Cory gets on and around BoingBoing when he posts about his work; and yet the material he hunts down and brings to the table there buys him (reputation) (indulgence) (kudos)

* and in turn, when Cory/Xeni/operator directs the attention of the people at the table to something Cory/Xeni/operator deems worthwile, their (reputation) sends eyes and ears along that line to the something

* "hunting" and "table" are metaphors speaking to a pre-reputation-economy space: this is in fact still the era of The Feudal Internet, and "reputation economy" does not express in a manner as civilised as the term might suggest. It expresses as Clout.

clout (klout)

Not a subtle thing. But it’s what gets the job done in a Feudal Internet where money = access and no-one wants you to read news on a freesheet in the street anymore.

* (it’s called "notebook," not "reasoned, polished and fully-baked discourse")

(Catherine Kennedy)

(Jessica McCourt)

(via Xplanes)

(Unknown Haitian student photographer, Young Haitian Documentary Photography Group, 2007, via Siege)

(from JUDEX, 1963)

• 

  Irene Kaoru

• Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that won’t edit, that can’t be properly joined, are those which record a radically different kind of time.

  – Tarkovsky

• 

• For the world to be interesting, you have to be manipulating it all the time.

  – Brian Eno

• 

  my notebook, August 20 1998 – almost exactly a decade ago

• 

• “A widespread taste for pornography means that nature is alerting us to some threat of extinction.”
  
  – JG Ballard
  
• 
  
  (books I have owned and probably lost)