Little Voice
Sara Bareilles
CD
Release date: Jul 3, 2007
Released By Epic Records
With a sizeable underground following Sara Bareilles (pronounced Bar-rell-is) is proving to be one of the year’s most promising new artists. It’s tempting to liken her to Norah Jones or Fiona Apple, but Sara’s sound goes further into another direction. Influenced by soul, jazz, rock and pop, her writing is bold, honest and edgy. She writes intelligent, unpredictable lyrics and melodies that she delivers courtesy of a truly soulful and powerful voice. Having no formal training in voice or piano, Sara spent her adolescence at a worn piano teaching herself chords and scribbling out simple melodies and lyrics. At the young age of 21, she co-produced her first independent studio demo, Careful Confessions which led to a signing with Epic Records in 2005.
read more:
http://mondomedeusah.typepad.com/mondomedeusah/2007/06/mondomedeusah-1.html
Saturday, June 30, 2007
GPL v3 launched
The third version of GPL was released today by the free software fundation. Here is the final version
read more | digg story
read more | digg story
Google Gadget Ventures - earn $100,000 from Google to develop gadgets
Marissa Mayar, VP of Google, announced a Google Gadget Ventures where they pay developers $100,000 to build gadgets.
read more | digg story
read more | digg story
Data Junkie: The world map of social networks
Facebook and MySpace rule America, but this colored map shows what social sites dominate other countries across the globe. Orkut, for example, isn't just for Brazilians. And what country still uses Friendster?
read more | digg story
read more | digg story
What the Hell is E-Mail? [Ad from 1977]
This is an ad from 1977. The Buzz Word is Electronic Mail or E-Mail for short. Send messages across the Globe!!
read more | digg story
read more | digg story
MacBook Pro Software Update 1.0 Released
Apple has released MacBook Pro Software Update 1.0, which "provides important bug fixes and is recommended for all 2.2/2.4GHz MacBook Pro models." While Apple does not elaborate on the contents of the update, an analysis of the update package indicates that it contains improvements to the graphics subsystem.
read more | digg story
read more | digg story
iDay Line-Blog
Place to see how busy the main locations are with people waiting for the iPhone.
read more | digg story
read more | digg story
Top 10 iPhone applications from Lifehacker
The much-anticipated iPhone hits the streets today. While developers and users alike aren't thrilled that third-party iPhone apps are limited to the web, you might be surprised at the impressive offerings that have already been developed for new iPhone users. Today's top 10 features the best iPhone applications that should be ready for your iPhone.
read more | digg story
read more | digg story
Interview With Steve Wozniak Waiting In Line For An iPhone (Video)
Engadget: "We caught up with the one and only Steve Wozniak waiting in line to take an iPhone (or six) home. He even gave a bunch of people in line shirts and signed line badges. Aw, how nice!"
read more | digg story
read more | digg story
Philly Mayor waits for iPhone, then leaves the line
Philadelphia Mayor John F. Street abruptly ended his wait in line for an iPhone Friday after a passer-by asked him "How can you sit here with 200 murders in the city already?"
read more | digg story
read more | digg story
AT&T Activation Clumsiness hurts iPhone
Apple may be smooth and polished, but AT&T has botched the great iPhone rollout. These are some of the frequent errors that people are experiencing. It is so bad that the AT&T web and phone support have shut-down at this point.
read more | digg story
read more | digg story
iPhone Touch Typing: Day 1 [Video]
FTA: "OK, it's just Day 1. Whether I turn out to be a Mossberg (typing is "a nonissue") or a Levy ("Maybe I'm a spaz") remains to be seen, but on my very first outing it took me a while just to type a simple text message. (1 down, 199 text messages to go!) Notice, though, that the system did correct my fumbly entries... twice."
read more | digg story
read more | digg story
Hahlo goes live - slick twitter interface for the iPhone (aka iTweetr)
First released just a couple of days after WWDC iTweetr is now know as Hahlo and its bringing twitter to the iPhone is a slick iPhone style interface. You can do just about anything that twitter can do, and all you need to get started is a twitter account. Built using the wonderful twitter API. Hahlo can also be used in your Firefox sidebar.
read more | digg story
read more | digg story
Attack of the Show Daily Video Podcast
http://ipodyourmondo.com/mm-G4-Tech-TV-Attack-of-The-Show.php
Exhibition of Monumental Photographic Works by Jeff Wall
2007-06-28 until 2007-09-23
Art Institute of Chicago
Chicago, IL, USA
Epic and luminous, the work of Jeff Wall has overturned nearly every convention of photography. Meticulously staged and theatrical in scale, Wall's images have more in common with the grandest history painting of the 18th century and the flickering mesmerism of cinema than with the fleeting, documentary style of much of modern photography. This Vancouver-based artist, who pioneered the use of the light box as a vehicle for displaying photographs, is the subject of a major retrospective exhibition at the Art Institute of Chicago, which will be on view from June 29 to September 23, 2007, in the museum's Regenstein Hall.
Jeff Wall, traveling to the Art Institute from the Museum of Modern Art in New York, features 41 works, measuring on average 6 feet by 8 feet. Their size and scale are testaments to the ambitions of permanence Wall brings to photography-as grand as monumental painting of the past three centuries, painstakingly staged and constructed, and digitally combined and altered. Wall's vision and use of photography represent a bold step forward in the reconsideration of the medium as analogous to the "fine art" of painting and sculpture rather than a part of a separate sphere of technically mediated image-making.
An early interest in contemporary art led Wall (b. 1946 in Vancouver) in the early 1970s to London's Courtauld Institute of Art to study art history and critical theory. He returned in 1973 to Vancouver to teach and nurture his nascent ambition of being a filmmaker. But a trip to the Prado in 1977 brought his interests-in art history and film-together as he recognized the cinematic quality and explosive intensity of the paintings of Diego Velázquez, among others. It was then, in the late 1970s, that Wall began producing his signature images, the vibrant, staged tableaus on view at the Art Institute.
The same trip to Europe led Wall to what has been described as his "bus-stop epiphanies." As he traveled, he noticed the advertising light boxes on bus-stop kiosks, which seemed to him to share the same vibrant, luminous quality of the paintings that affected him greatly in the Prado. When he resumed making art, these influences-the paintings of Velázquez and Manet, the illuminated advertisements, his long interest in film-combined into the monumental light-box transparencies that have reshaped the field of contemporary photography.
The works on view in the exhibition are both highly real and distinctly unreal. While they have the formal clarity of documentary photography, many are scrupulously constructed, often taking years to complete. Derived in part from renowned works of art or from scenes Wall has witnessed, many of the transparencies are as thoroughly staged as films. Wall uses sets, lighting, camera angles, location shoots, and "actors" to stage a narrative or create his illusions. He also relies heavily on virtual manipulations through computer technology and digital montages to blend a fantasy image with no real referent. Especially since 1991, many of his major works are the result of digitally conjoining several, or sometimes even hundreds, of discrete photographic moments shot "in the field" with manufactured images produced in the studio.
One highlight of the exhibition is a work from the Art Institute's permanent collection entitled Flooded Grave (1998-2000), an elaborately manipulated montage photograph that took Wall almost two years to create. To achieve Flooded Grave, Wall first employed two marine biologists and a botanist to harvest a sophisticated ecosystem that included starfish, anemones, urchins, and plant life. Then Wall superimposed a photograph of the mature ecosystem on another multi-layered image of scenes from a graveyard where he and a crew had painstakingly dug a hole to match the precise dimensions of his man-made ecosystem. In the end, Flooded Grave is an image that conflates numerous "real" photographs to create a scene that never existed, "composed, but not false," said James Rondeau, the Frances & Thomas Dittmer Chair of Contemporary Art at the Art Institute of Chicago, who is the supervising curator of the exhibition in Chicago.
Since the late 1980s, Wall has also returned to what might be considered more classic uses of the medium. In addition to his large, staged work, he has executed smaller, more traditional landscape and still-life images such as Some Beans (1990) and An Octopus (1990). He describes these images as "less indebted to the dialectic of painting and cinema . . . and more connected to what I think of as the mainstream of photography." While still in a large light-box format, these quiet yet compositionally rigorous works point to Wall's versatility as a photographer and his respect for the medium.
Wall's work also conveys an intellectual engagement with art history unusual among his contemporaries. Many of his photographs make reference to landscape and still-life painting, literature, and, in some cases, canonical works of art. In works like A Sudden Gust of Wind (after Hokusai) (1993) and After "Invisible Man" by Ralph Ellison, the Prologue (1999-2000) Wall makes his references transparent, while in other works the art historical connection is more attenuated. Wall's Mimic (1982), for example-a picture that recreates racial taunting Wall had witnessed on the street-makes an oblique reference to the Art Institute's own iconic painting Paris Street, Rainy Day by French Impressionist Gustave Caillebotte.
Jeff Wall is a rare opportunity to see works produced over nearly three decades, allowing viewers to not only enjoy the dazzling images themselves but to also experience an artist's career as it evolves and develops.
A lecture by the artist will take place on Thursday, June 28 at 6:00 p.m. in Fullerton Hall at the Art Institute of Chicago. This event occurs during the museum's Free Summer Hours (May 31 to August 31 Thursday and Friday evenings from 5 to 9 p.m.) and thus is free and open to the public. A full-color catalogue of the exhibition is available through the Art Institute's museum shop. The catalogue includes nearly 150 images, an essay by Peter Galassi, Chief Curator of Photography at the Museum of Modern Art, New York and an interview with the artist by Art Institute curator James Rondeau.
The exhibition Jeff Wall is organized by the Museum of Modern Art and the San Francisco Museum of Modern Art. It will be on view at the Art Institute of Chicago from June 29, 2007 to September 23, 2007 in Regenstein Hall. LaSalle Bank is the Lead Corporate Sponsor of the Chicago presentation. The exhibition is also supported by The Boeing Company. Additional support is provided by Howard and Donna Stone.
Art Institute of Chicago
Chicago, IL, USA
Epic and luminous, the work of Jeff Wall has overturned nearly every convention of photography. Meticulously staged and theatrical in scale, Wall's images have more in common with the grandest history painting of the 18th century and the flickering mesmerism of cinema than with the fleeting, documentary style of much of modern photography. This Vancouver-based artist, who pioneered the use of the light box as a vehicle for displaying photographs, is the subject of a major retrospective exhibition at the Art Institute of Chicago, which will be on view from June 29 to September 23, 2007, in the museum's Regenstein Hall.
Jeff Wall, traveling to the Art Institute from the Museum of Modern Art in New York, features 41 works, measuring on average 6 feet by 8 feet. Their size and scale are testaments to the ambitions of permanence Wall brings to photography-as grand as monumental painting of the past three centuries, painstakingly staged and constructed, and digitally combined and altered. Wall's vision and use of photography represent a bold step forward in the reconsideration of the medium as analogous to the "fine art" of painting and sculpture rather than a part of a separate sphere of technically mediated image-making.
An early interest in contemporary art led Wall (b. 1946 in Vancouver) in the early 1970s to London's Courtauld Institute of Art to study art history and critical theory. He returned in 1973 to Vancouver to teach and nurture his nascent ambition of being a filmmaker. But a trip to the Prado in 1977 brought his interests-in art history and film-together as he recognized the cinematic quality and explosive intensity of the paintings of Diego Velázquez, among others. It was then, in the late 1970s, that Wall began producing his signature images, the vibrant, staged tableaus on view at the Art Institute.
The same trip to Europe led Wall to what has been described as his "bus-stop epiphanies." As he traveled, he noticed the advertising light boxes on bus-stop kiosks, which seemed to him to share the same vibrant, luminous quality of the paintings that affected him greatly in the Prado. When he resumed making art, these influences-the paintings of Velázquez and Manet, the illuminated advertisements, his long interest in film-combined into the monumental light-box transparencies that have reshaped the field of contemporary photography.
The works on view in the exhibition are both highly real and distinctly unreal. While they have the formal clarity of documentary photography, many are scrupulously constructed, often taking years to complete. Derived in part from renowned works of art or from scenes Wall has witnessed, many of the transparencies are as thoroughly staged as films. Wall uses sets, lighting, camera angles, location shoots, and "actors" to stage a narrative or create his illusions. He also relies heavily on virtual manipulations through computer technology and digital montages to blend a fantasy image with no real referent. Especially since 1991, many of his major works are the result of digitally conjoining several, or sometimes even hundreds, of discrete photographic moments shot "in the field" with manufactured images produced in the studio.
One highlight of the exhibition is a work from the Art Institute's permanent collection entitled Flooded Grave (1998-2000), an elaborately manipulated montage photograph that took Wall almost two years to create. To achieve Flooded Grave, Wall first employed two marine biologists and a botanist to harvest a sophisticated ecosystem that included starfish, anemones, urchins, and plant life. Then Wall superimposed a photograph of the mature ecosystem on another multi-layered image of scenes from a graveyard where he and a crew had painstakingly dug a hole to match the precise dimensions of his man-made ecosystem. In the end, Flooded Grave is an image that conflates numerous "real" photographs to create a scene that never existed, "composed, but not false," said James Rondeau, the Frances & Thomas Dittmer Chair of Contemporary Art at the Art Institute of Chicago, who is the supervising curator of the exhibition in Chicago.
Since the late 1980s, Wall has also returned to what might be considered more classic uses of the medium. In addition to his large, staged work, he has executed smaller, more traditional landscape and still-life images such as Some Beans (1990) and An Octopus (1990). He describes these images as "less indebted to the dialectic of painting and cinema . . . and more connected to what I think of as the mainstream of photography." While still in a large light-box format, these quiet yet compositionally rigorous works point to Wall's versatility as a photographer and his respect for the medium.
Wall's work also conveys an intellectual engagement with art history unusual among his contemporaries. Many of his photographs make reference to landscape and still-life painting, literature, and, in some cases, canonical works of art. In works like A Sudden Gust of Wind (after Hokusai) (1993) and After "Invisible Man" by Ralph Ellison, the Prologue (1999-2000) Wall makes his references transparent, while in other works the art historical connection is more attenuated. Wall's Mimic (1982), for example-a picture that recreates racial taunting Wall had witnessed on the street-makes an oblique reference to the Art Institute's own iconic painting Paris Street, Rainy Day by French Impressionist Gustave Caillebotte.
Jeff Wall is a rare opportunity to see works produced over nearly three decades, allowing viewers to not only enjoy the dazzling images themselves but to also experience an artist's career as it evolves and develops.
A lecture by the artist will take place on Thursday, June 28 at 6:00 p.m. in Fullerton Hall at the Art Institute of Chicago. This event occurs during the museum's Free Summer Hours (May 31 to August 31 Thursday and Friday evenings from 5 to 9 p.m.) and thus is free and open to the public. A full-color catalogue of the exhibition is available through the Art Institute's museum shop. The catalogue includes nearly 150 images, an essay by Peter Galassi, Chief Curator of Photography at the Museum of Modern Art, New York and an interview with the artist by Art Institute curator James Rondeau.
The exhibition Jeff Wall is organized by the Museum of Modern Art and the San Francisco Museum of Modern Art. It will be on view at the Art Institute of Chicago from June 29, 2007 to September 23, 2007 in Regenstein Hall. LaSalle Bank is the Lead Corporate Sponsor of the Chicago presentation. The exhibition is also supported by The Boeing Company. Additional support is provided by Howard and Donna Stone.
Where the Sky Meets the Sand: Jayashree Chakravarty
2007-06-28 until 2007-07-31
Bodhi Art
New York, NY, USA United States of America
Bodhi Art, New York is proud to announce an exhibition of works by renowned artist, Jayashree Chakravarty, titled ‘Where The Sand Meets the Sky.’ In this series of fourteen works, Chakravarty creates elaborate maps of consciousness. The pictorial language of her works reflects her deepening inquiry into the secret life of memories, their pervasiveness and intensities. Disparate worlds are layered together with great panache – the effect of pigments, texture, personal and historical connotations, and the imagistic registers are orchestrated together in a magical network that creates a telling language of associations.
Chakravarty was born in Kolkata (Calcutta), India and now lives in Paris. Her works of acrylic on canvas as well as mixed media on paper are born out of the encounter between distinct worlds that co-exist even as they are dragged out of their contexts. On one canvas a castle stationed inside diagrammatic heads acquires a landscape of huts. On another canvas she creates an elaborate townscape materializing beyond knolls composed of seismic tremors layered by a series of concentric suns. Ducks, sparrows, beetles, butterflies, spiders, and trout acquire an iconic presence – as crucial as the diagrammatic human figures that populate the picturescapes.
Over the past two decades, there has been an unbroken progression of thought and application in her works. For many years, Chakravarty’s paintings presented a singular, consistent imagery. From her earliest works of surreal social groupings into her installations of double-sided collage and paintings on paper, the artist seemed entirely focused on a stationary target. In this series, there is a shift and one can discern a few different worlds being portrayed in her paintings. There is a more complicated engagement between the human, animal, and vegetal worlds and between the constructed architectural forms and the haphazardly structured impressions. Expanding the color palette from her signature slate-grays and sepias she includes luminous umbers and siennas. She also experiments with the application of paint, scraping of layers and dabbing together acrylic paint and turpentine.
In conclusion, Chakravarty’s maps are both lush and spare - definitions dissolve and re-emerge, lines shadow and close in on images, and spaces extend into each other’s domains. Chakravarty mixes abstraction with human figures that summons up a landscape mired in mystery replete with vibrant inter-penetrative elements and orbits.
About Bodhi Art
Bodhi Art is acclaimed as one of the most progressive galleries specialising in contemporary art from India. Bodhi Art’s mission is to promote and present contemporary art from India to the global market. With an unparalleled range of contemporary artists, Bodhi Art represents over thirty artists, like Atul Dodiya, Anju Dodiya, Nataraj Sharma, and Jayashree Chakravarty, among others. Bodhi Art encourages broad-based practices ranging from painting and sculpture to photography and installations, including supporting public art projects. It has galleries in New York, New Delhi, Mumbai and Singapore; and an office in Dubai. For further information, visit
www.bodhiart.in
www.mondomedeusah.net
Bodhi Art
New York, NY, USA United States of America
Bodhi Art, New York is proud to announce an exhibition of works by renowned artist, Jayashree Chakravarty, titled ‘Where The Sand Meets the Sky.’ In this series of fourteen works, Chakravarty creates elaborate maps of consciousness. The pictorial language of her works reflects her deepening inquiry into the secret life of memories, their pervasiveness and intensities. Disparate worlds are layered together with great panache – the effect of pigments, texture, personal and historical connotations, and the imagistic registers are orchestrated together in a magical network that creates a telling language of associations.
Chakravarty was born in Kolkata (Calcutta), India and now lives in Paris. Her works of acrylic on canvas as well as mixed media on paper are born out of the encounter between distinct worlds that co-exist even as they are dragged out of their contexts. On one canvas a castle stationed inside diagrammatic heads acquires a landscape of huts. On another canvas she creates an elaborate townscape materializing beyond knolls composed of seismic tremors layered by a series of concentric suns. Ducks, sparrows, beetles, butterflies, spiders, and trout acquire an iconic presence – as crucial as the diagrammatic human figures that populate the picturescapes.
Over the past two decades, there has been an unbroken progression of thought and application in her works. For many years, Chakravarty’s paintings presented a singular, consistent imagery. From her earliest works of surreal social groupings into her installations of double-sided collage and paintings on paper, the artist seemed entirely focused on a stationary target. In this series, there is a shift and one can discern a few different worlds being portrayed in her paintings. There is a more complicated engagement between the human, animal, and vegetal worlds and between the constructed architectural forms and the haphazardly structured impressions. Expanding the color palette from her signature slate-grays and sepias she includes luminous umbers and siennas. She also experiments with the application of paint, scraping of layers and dabbing together acrylic paint and turpentine.
In conclusion, Chakravarty’s maps are both lush and spare - definitions dissolve and re-emerge, lines shadow and close in on images, and spaces extend into each other’s domains. Chakravarty mixes abstraction with human figures that summons up a landscape mired in mystery replete with vibrant inter-penetrative elements and orbits.
About Bodhi Art
Bodhi Art is acclaimed as one of the most progressive galleries specialising in contemporary art from India. Bodhi Art’s mission is to promote and present contemporary art from India to the global market. With an unparalleled range of contemporary artists, Bodhi Art represents over thirty artists, like Atul Dodiya, Anju Dodiya, Nataraj Sharma, and Jayashree Chakravarty, among others. Bodhi Art encourages broad-based practices ranging from painting and sculpture to photography and installations, including supporting public art projects. It has galleries in New York, New Delhi, Mumbai and Singapore; and an office in Dubai. For further information, visit
www.bodhiart.in
www.mondomedeusah.net
Tuesday, June 26, 2007
GooCentral... Really?
Big rumor of the day: Google is buying GrandCentral. We checked with GrandCentral and they declined to comment. If it indeed does happen, it would be delicious irony: Craig Walker and Vincent Paquet were with DialPad, which got sold to Yahoo. So this would even the score.
read more | digg story
read more | digg story
20-1 Odds that Someone Will Get Trampled Trying to get an iPhone
In fact, BetUS.com figures the odds are 20-1 that someone will get trampled while scrambling to snag one June 29. The site has also put odds on how long the batteries will last and whether the devices will be recalled.
read more | digg story
read more | digg story
Thursday, June 21, 2007
Download iTunes Content at 10X Normal Speed with Swarmcast
Swarmcast said its technology can help a viewer download movies, music or television episodes to their computers up to 10 times faster than usual. Such technologies are viewed as key to help Internet media proliferate, by making it easier for viewers to access entertainment off the Internet.
read more | digg story
read more | digg story
Why Didn't Americans Adopt the Metric System?
Feet, yards, inches, miles, gallons, ounces, these may mean something to some people around the world, while others struggle with online converters or, worse, software designed to convert these values, that are not reliable most of the times.
read more | digg story
read more | digg story
0 To 12,000 RSS Subscribers In Seven Months: 10 Techniques
"...launched at the end of October 2006. ...by June 2007, I had 12,000 RSS readers and was generating enough traffic that I had to switch hosting plans twice."
read more | digg story
read more | digg story
The Pirate Bay Launches Uncensored Image Hosting
BayImg, an uncensored image hosting service, is the latest side-project from The Pirate Bay folks. The main difference compared to other image hosting services is that they pretty much allow everything on there, freedom of speech above all.
read more | digg story
read more | digg story
Hyper-Personal Search 'Possible'
Google would consider keeping a user's search data for longer than 18 months if they had explicitly consented, one of the firm's key executives has said.
read more | digg story
read more | digg story
DARPA Looking Into Invisible, Shoot-Through, Self-Healing Armor
Yeah, we're talking armor that soldiers can see and fire through on one side, but is invisible and impenetrable on the other.
read more | digg story
read more | digg story
Sunday, June 10, 2007
A remote-control, baseball-hitting robot made from mishmash junked parts
"A remote-control, baseball-hitting robot made from a mishmash of junked parts steps up to the plate. See inside for video'
read more | digg story
read more | digg story
Coolest Mac setup ever!
This guy has a great looking Mac setup and home office. I wish mine looked like this.
read more | digg story
read more | digg story
Wednesday, June 06, 2007
Diplomatic Immunities Magnetic North Theatre Festival The End-Ghettostocracy
1-Diplomatic Immunities- Magnetic North Theatre Festival
2-Ghettostocracy at Mother Tongue Books
3- Ghettostocracy at Rideau Hall- From Her Excellency the Right Honourable Michaëlle Jean, Governor
General of Canada
1-Diplomatic Immunities
For the next 2 weeks Oni will be a part of a dynamic multimedia research team in the Magnetic North Theater Festival in Ottawa. She was casted in a play called Diplomatic Immunities where she put her journalism, poetry, badminton, history, and sex ed acumen to use in the most interesting ways!
"With the reality TV craze, Magnetic North Theater Festival brings ‘reality theater’ to Ottawa, Canada with Diplomatic Immunities: The End. Local artists Oni the Haitian Sensation and Helen Choi, along with a research team, will be deployed in Ottawa on June 3-10 to scour the city for meaningful encounters, chat things up, knock on doors, check out the décor, eat some food, take some pictures and make new friends. After, Darren O’Donnell’s Mammalian Diving Reflex will create a performance piece for you to be able to get up close and personal June 13-16 with Ottawa and the people."
"By the end of the evening, there was a palpable sense of community in the room. The 'social acupuncture' that O’Donnell claims his kind of theatre creates had achieved its desired result. You left the theatre thinking and feeling differently than when you went in and - tell the truth - how often does that happen?"
– Richard Ouzounian, The Toronto Star
Diplomatic Immunities by Mammalian Diving Reflex of Toronto is a multimedia interactive ensemble piece created from the encounters between a company of research artists and the inhabitants of a city, fostering these encounters to build meaningful relationships, and finally presenting the company’s findings to an audience. Conceived and directed by Darren O’Donnell, co-directed by Rebecca Picherack and produced by Naomi Campbell.
"O’Donnell's at the forefront of the city’s avant garde movement. Translation: he experiments. His plays… are a wild mixture of philosophy, rant, cant, and vaudeville… they make you sit up and think, laugh, and then think some more."
- Glenn Sumi, NOW Magazine
Oni the Haitian Sensation was voted Ottawa’s favourite full time writer/poet (Ottawa Xpress Arts Weekly) and is an internationally recognized slam poet, author, and arts educator. Her book Ghettostocracy is a “Book of the Year” in The Globe and Mail. Oni The Haitian Sensation has performed for audiences in Europe, Australia, Canada and the U.S.. She directed Canada’s first National Poetry Slam, the Canadian Spoken Wordlympics.
Helen Choi has acted in The Vagina Monologues, and gets involved with a lot of advocacy work in international development and poverty, race, and gender equality issues. She is a media specialist who has worked for MBC television in Korea, and interned at Flow radio in Toronto and the A-Channel in Ottawa. She’s one feisty firecracker!
The Magnetic North Theatre Festival will be in Ottawa June 6 – 16, 2007.
Diplomatic Immunities: The End
Mammalian Diving Reflex from Toronto, ON
June 13-16
* Showcases the interaction between a company of research artists and the inhabitants of a city
* Local artists Oni the Haitian Sensation and Helen Choi will be members of the research team
* Oni the Haitian Sensation was voted Ottawa's favourite full time writer/poet
(Ottawa Xpress Arts Weekly) and is an internationally recognized slam poet, author, and arts educator.
* Darren O'Donnell is a novelist, essayist, playwright, director, designer, actor and artistic director of Mammalian Diving Reflex.
Check out the full Festival program at www.magneticnorthfestival.ca
2-Ghettostocracy at Mother Tongue Books
Ghettostocracy will be at Mother Tongue Books in Ottawa on June 21-007 at 7pm.
Mother Tongue Books/Femmes de parole
1067 Bank Street
Ottawa ON CANADA K1S 3W9
Tel./Tél: (613) 730-2346
Fax/Télec: (613) 730-2347
3- Ghettostocracy at Rideau Hall
Ghettostocracy has received a personal invitation to launch at Rideau Hall date TBA from Her Excellency the Right Honourable Michaëlle Jean, Governor General of Canada
To book Oni the Haitian Sensation for a performance, workshop, panel discussion or interview ,
Please contact mesooni@yahoo.com
If you have not gotten your copy of Ghettostocracy, get yours today!
2-Ghettostocracy at Mother Tongue Books
3- Ghettostocracy at Rideau Hall- From Her Excellency the Right Honourable Michaëlle Jean, Governor
General of Canada
1-Diplomatic Immunities
For the next 2 weeks Oni will be a part of a dynamic multimedia research team in the Magnetic North Theater Festival in Ottawa. She was casted in a play called Diplomatic Immunities where she put her journalism, poetry, badminton, history, and sex ed acumen to use in the most interesting ways!
"With the reality TV craze, Magnetic North Theater Festival brings ‘reality theater’ to Ottawa, Canada with Diplomatic Immunities: The End. Local artists Oni the Haitian Sensation and Helen Choi, along with a research team, will be deployed in Ottawa on June 3-10 to scour the city for meaningful encounters, chat things up, knock on doors, check out the décor, eat some food, take some pictures and make new friends. After, Darren O’Donnell’s Mammalian Diving Reflex will create a performance piece for you to be able to get up close and personal June 13-16 with Ottawa and the people."
"By the end of the evening, there was a palpable sense of community in the room. The 'social acupuncture' that O’Donnell claims his kind of theatre creates had achieved its desired result. You left the theatre thinking and feeling differently than when you went in and - tell the truth - how often does that happen?"
– Richard Ouzounian, The Toronto Star
Diplomatic Immunities by Mammalian Diving Reflex of Toronto is a multimedia interactive ensemble piece created from the encounters between a company of research artists and the inhabitants of a city, fostering these encounters to build meaningful relationships, and finally presenting the company’s findings to an audience. Conceived and directed by Darren O’Donnell, co-directed by Rebecca Picherack and produced by Naomi Campbell.
"O’Donnell's at the forefront of the city’s avant garde movement. Translation: he experiments. His plays… are a wild mixture of philosophy, rant, cant, and vaudeville… they make you sit up and think, laugh, and then think some more."
- Glenn Sumi, NOW Magazine
Oni the Haitian Sensation was voted Ottawa’s favourite full time writer/poet (Ottawa Xpress Arts Weekly) and is an internationally recognized slam poet, author, and arts educator. Her book Ghettostocracy is a “Book of the Year” in The Globe and Mail. Oni The Haitian Sensation has performed for audiences in Europe, Australia, Canada and the U.S.. She directed Canada’s first National Poetry Slam, the Canadian Spoken Wordlympics.
Helen Choi has acted in The Vagina Monologues, and gets involved with a lot of advocacy work in international development and poverty, race, and gender equality issues. She is a media specialist who has worked for MBC television in Korea, and interned at Flow radio in Toronto and the A-Channel in Ottawa. She’s one feisty firecracker!
The Magnetic North Theatre Festival will be in Ottawa June 6 – 16, 2007.
Diplomatic Immunities: The End
Mammalian Diving Reflex from Toronto, ON
June 13-16
* Showcases the interaction between a company of research artists and the inhabitants of a city
* Local artists Oni the Haitian Sensation and Helen Choi will be members of the research team
* Oni the Haitian Sensation was voted Ottawa's favourite full time writer/poet
(Ottawa Xpress Arts Weekly) and is an internationally recognized slam poet, author, and arts educator.
* Darren O'Donnell is a novelist, essayist, playwright, director, designer, actor and artistic director of Mammalian Diving Reflex.
Check out the full Festival program at www.magneticnorthfestival.ca
2-Ghettostocracy at Mother Tongue Books
Ghettostocracy will be at Mother Tongue Books in Ottawa on June 21-007 at 7pm.
Mother Tongue Books/Femmes de parole
1067 Bank Street
Ottawa ON CANADA K1S 3W9
Tel./Tél: (613) 730-2346
Fax/Télec: (613) 730-2347
3- Ghettostocracy at Rideau Hall
Ghettostocracy has received a personal invitation to launch at Rideau Hall date TBA from Her Excellency the Right Honourable Michaëlle Jean, Governor General of Canada
To book Oni the Haitian Sensation for a performance, workshop, panel discussion or interview ,
Please contact mesooni@yahoo.com
If you have not gotten your copy of Ghettostocracy, get yours today!
Tuesday, June 05, 2007
The Robotic Hand Pianist Plays Cool Classical Music
Love classical music? Wish you could play some yourself but don’t know how? Then you will love The Pianist Hand Concert. It has a set of gears and levers inside of it that move the fingers interactively to the classical music it emits, mimicking the notes from Beethoven’s “Fifth Symphony”, Scott Joplin’s “The Entertainer,” or Chopin’s “Minute Waltz,” along with three other tunes. It also has a clapper sensor built-in so a good clap starts the music without having to leave your seat.
Hair Salons as Art Galleries - Salon Moxie Showcases Art Exhibits
Salon Moxie, a new hair styling salon in Raleigh’s North Ridge Shopping Center, has opened the first of its ongoing series of art exhibits. The premiere exhibit, “Urban Images,” features large-scale photographs taken in downtown Raleigh by Cara Grace Galati and Jonathan Kaz of f8 Photo Studios, Raleigh.
Salon Moxie is a new concept from Jack and Joelle Ray, owners of the more upscale Samuel Cole Salon on Newton Road, Raleigh, that fills the void between “budget” salons and the more expensive destinations and gives “rising star” stylists an environment in which to enhance their skills.
According to the Rays, the vibe at Salon Moxie is “fresh, hip, and high-energy,” so revolving art exhibits in the salon are a natural fit.
“We wanted to find a way to connect our emerging artists at Moxie with other emerging artists in the area,” Joelle said. “We are excited to offer our support to the North Carolina arts community.”
The salon’s interior design features Raleigh artist Clark Hipolito’s special painting effects: Cherry-red walls feature dramatic slashes of color evoke images of giant scissors and locks of tumbling hair. Against that backdrop, “Urban Images” offers night views of city streets and inner-city details, effectively linking the North Raleigh salon with the pulse of the downtown district.
“Urban Images” will remain up through June. The next exhibit will showcase the work of Wrightsville Beach artist Dawn Anderson Capron of Adamantine Creative Design Studio.
Salon Moxie is located at 6196-112 Falls of Neuse Road, Raleigh. For more information on the salon, call 919-850-0721 or visit http://www.salon-moxie.com
Salon Moxie is a new concept from Jack and Joelle Ray, owners of the more upscale Samuel Cole Salon on Newton Road, Raleigh, that fills the void between “budget” salons and the more expensive destinations and gives “rising star” stylists an environment in which to enhance their skills.
According to the Rays, the vibe at Salon Moxie is “fresh, hip, and high-energy,” so revolving art exhibits in the salon are a natural fit.
“We wanted to find a way to connect our emerging artists at Moxie with other emerging artists in the area,” Joelle said. “We are excited to offer our support to the North Carolina arts community.”
The salon’s interior design features Raleigh artist Clark Hipolito’s special painting effects: Cherry-red walls feature dramatic slashes of color evoke images of giant scissors and locks of tumbling hair. Against that backdrop, “Urban Images” offers night views of city streets and inner-city details, effectively linking the North Raleigh salon with the pulse of the downtown district.
“Urban Images” will remain up through June. The next exhibit will showcase the work of Wrightsville Beach artist Dawn Anderson Capron of Adamantine Creative Design Studio.
Salon Moxie is located at 6196-112 Falls of Neuse Road, Raleigh. For more information on the salon, call 919-850-0721 or visit http://www.salon-moxie.com
Oscar’s ‘Full’ of Himself
No silly, I’m not referring to Oscar de la Renta’s ego; though the debonair and popular fashion veteran is certainly entitled to feel mighty good about himself after winning the Council of Fashion Designer’s Women’s Wear Designer of the Year Award (in a tie with Proenza Shouler).
What I AM referring to is Oscar’s penchant for full, wide- legged, cuffed, floor sweeping pants at yesterday’s resort show. Most often counterbalanced with something leaner on top (a narrow cotton hand knit or cashmere and silk sweater), they, along with wide legged jumpsuits; wasp waist, petticoated dresses; full skirted cocktail dresses; filmy caftans, were indicative of his love of volume. But since Oscar always wants to give his ladies a variety of choices and options, he also proposed a lean silhouette by way of stretch cotton pencil skirts and abbreviated jackets and narrow stretch silk pleated dresses among other things.
Coincidentally, like last year, the resort show was a formal runway presentation held just hours before the CFDA Awards; not exactly the most convenient situation considering the pouring rain (which probably accounted for the many empty seats- I estimated the venue as 75% full). And many attendees were surely preoccupied with getting themselves home or to a hair salon, in order to get ready for the big event later on.
Speaking of convenient, just a few days before, the show was wisely moved from a gallery in Chelsea (located in the far reaches of the west side) to a decidedly more elegant uptown space, 583 Park Avenue. The venue was not only more in keeping with Oscar’s unapologetically elegant and uptown design aesthetic, but it was a bit more convenient- not only for his upper east side fans and customers (Aerin Lauder, Alexandra Lind) but for top editors like Anna Wintour (with daughter in tow), and Glenda Bailey (wearing an ivory crochet coat from spring), as well as top retailers (Bergdorf Goodman’s Linda Fargo and Neiman Marcus’s Ken Downing).
By the way, with the soggy downpour courtesy Hurricane Barry, wrecking havoc all morning, the most essential item of clothing was a great raincoat and there were many on view. While Anna opted for a sharp black patent trench, many others decided upon classic or not so classic khaki (like The New York Times’s Anne Christensen who wore Burberry’s short flared sleeved Mac with large buttons).
As for the collection, it was signature, consistent Oscar all the way, and indicative of why he took home the coveted Women’s Wear of the Year Award. The neutral color palette (white, natural, and navy, black) was enlivened with hits of yellow and tangerine- the latter looked especially fresh in the form of a patent leather drawstring jacket worn with a white stretch cotton pencil skirt, natural python Larrabee bag, and tangerine patent flat sandals. Stripes, oversized polka dots (this time embroidered), bold florals, and Ikat prints (what else is new???) provided a respite from the solids.
Getting back to the resort show, ODLR continued his experimentation with sleeves (in terms of volume, length, and silhouette) and is obviously taken with blouses, which were shown with skirts and pants. Noteworthy is his new ‘schizophrenic’ blouse: from the front it appears to be a classic button down shirt but the large bow in back gives it an unexpectedly feminine touch and added volume and dimension.
A selection of bags (from sleek clutches to oversized takeaway totes), belts (like the wide corset like patent leather version), hats (both tailored menswear inspired and whimsically large brimmed), and shoes (either pancake flats or sky high heels) all by Oscar of course, perfectly accessorized each of the 64 outfits in high style.
By the way, Anna Wintour showed up at the CFDA Awards held at the New York Public Library, wearing a knee length black and white embroidered floral dress by Oscar de la Renta. Others going the short route (and choosing Oscar), were wife Annette and her daughter Eliza Reed Bolen (who also works for the designer), both in short black cocktail dresses. They were proof that one need not wear floor length gowns in order to make a grand entrance. In fact, on the contrary. Sorry to say, but Oprah Winfrey’s complicated and voluminous Ralph Lauren gown was unflattering and looked unwieldy. And considering the heat, those who dressed up too much looked hot and bothered (like Allure’s Linda Wells in cumbersome feathers).
But hey, the CFDA Awards are not your typical red carpet event, and there are going to be many different ways to dress and many ways to creatively interpret ‘black tie’. For example, Bruce Weber turned out with a trademark red and white cotton bandana on his forehead; Vogue’s Grace Coddington showed up in her trademark black pantsuit; Zang Toi and his date, Rachel Smith, Miss USA, made a visual statement clad in matching black and white paisleys. Though Zang’s was a shirt and Bermudas, and Ms. Smith’s was a grand ballgown.
Interestingly, even though this was the 25th anniversary of the CFDA, it seems that silver (which signifies the years) was eclipsed by every other color of the rainbow (red, pink, black), and by its metal counterpart gold. Though one woman did pay homage to honoree Ralph Lauren and the anniversary date by accessorizing her floor length white cotton shirtdress (emblazoned with Ralph’s signature polo player) with a silver ‘tie’.
And speaking of shirtdresses, Charles Nolan’s lacquer red short sleeved shirt dress gown, worn on his model date, was an example of taking something simple yet adding drama through color, cut, and fabric. But in a sea of gowns, I have to say that one true standout was Amy Fine Collins’ colorful vintage Geoffrey Beene gown with its abbreviated bolero. Other than this year’s inaugural Geoffrey Beene Lifetime Achievement Award (which was awarded to Robert Lee Morris), what better way to pay homage to the late great designer!
- Marilyn Kirschner
What I AM referring to is Oscar’s penchant for full, wide- legged, cuffed, floor sweeping pants at yesterday’s resort show. Most often counterbalanced with something leaner on top (a narrow cotton hand knit or cashmere and silk sweater), they, along with wide legged jumpsuits; wasp waist, petticoated dresses; full skirted cocktail dresses; filmy caftans, were indicative of his love of volume. But since Oscar always wants to give his ladies a variety of choices and options, he also proposed a lean silhouette by way of stretch cotton pencil skirts and abbreviated jackets and narrow stretch silk pleated dresses among other things.
Coincidentally, like last year, the resort show was a formal runway presentation held just hours before the CFDA Awards; not exactly the most convenient situation considering the pouring rain (which probably accounted for the many empty seats- I estimated the venue as 75% full). And many attendees were surely preoccupied with getting themselves home or to a hair salon, in order to get ready for the big event later on.
Speaking of convenient, just a few days before, the show was wisely moved from a gallery in Chelsea (located in the far reaches of the west side) to a decidedly more elegant uptown space, 583 Park Avenue. The venue was not only more in keeping with Oscar’s unapologetically elegant and uptown design aesthetic, but it was a bit more convenient- not only for his upper east side fans and customers (Aerin Lauder, Alexandra Lind) but for top editors like Anna Wintour (with daughter in tow), and Glenda Bailey (wearing an ivory crochet coat from spring), as well as top retailers (Bergdorf Goodman’s Linda Fargo and Neiman Marcus’s Ken Downing).
By the way, with the soggy downpour courtesy Hurricane Barry, wrecking havoc all morning, the most essential item of clothing was a great raincoat and there were many on view. While Anna opted for a sharp black patent trench, many others decided upon classic or not so classic khaki (like The New York Times’s Anne Christensen who wore Burberry’s short flared sleeved Mac with large buttons).
As for the collection, it was signature, consistent Oscar all the way, and indicative of why he took home the coveted Women’s Wear of the Year Award. The neutral color palette (white, natural, and navy, black) was enlivened with hits of yellow and tangerine- the latter looked especially fresh in the form of a patent leather drawstring jacket worn with a white stretch cotton pencil skirt, natural python Larrabee bag, and tangerine patent flat sandals. Stripes, oversized polka dots (this time embroidered), bold florals, and Ikat prints (what else is new???) provided a respite from the solids.
Getting back to the resort show, ODLR continued his experimentation with sleeves (in terms of volume, length, and silhouette) and is obviously taken with blouses, which were shown with skirts and pants. Noteworthy is his new ‘schizophrenic’ blouse: from the front it appears to be a classic button down shirt but the large bow in back gives it an unexpectedly feminine touch and added volume and dimension.
A selection of bags (from sleek clutches to oversized takeaway totes), belts (like the wide corset like patent leather version), hats (both tailored menswear inspired and whimsically large brimmed), and shoes (either pancake flats or sky high heels) all by Oscar of course, perfectly accessorized each of the 64 outfits in high style.
By the way, Anna Wintour showed up at the CFDA Awards held at the New York Public Library, wearing a knee length black and white embroidered floral dress by Oscar de la Renta. Others going the short route (and choosing Oscar), were wife Annette and her daughter Eliza Reed Bolen (who also works for the designer), both in short black cocktail dresses. They were proof that one need not wear floor length gowns in order to make a grand entrance. In fact, on the contrary. Sorry to say, but Oprah Winfrey’s complicated and voluminous Ralph Lauren gown was unflattering and looked unwieldy. And considering the heat, those who dressed up too much looked hot and bothered (like Allure’s Linda Wells in cumbersome feathers).
But hey, the CFDA Awards are not your typical red carpet event, and there are going to be many different ways to dress and many ways to creatively interpret ‘black tie’. For example, Bruce Weber turned out with a trademark red and white cotton bandana on his forehead; Vogue’s Grace Coddington showed up in her trademark black pantsuit; Zang Toi and his date, Rachel Smith, Miss USA, made a visual statement clad in matching black and white paisleys. Though Zang’s was a shirt and Bermudas, and Ms. Smith’s was a grand ballgown.
Interestingly, even though this was the 25th anniversary of the CFDA, it seems that silver (which signifies the years) was eclipsed by every other color of the rainbow (red, pink, black), and by its metal counterpart gold. Though one woman did pay homage to honoree Ralph Lauren and the anniversary date by accessorizing her floor length white cotton shirtdress (emblazoned with Ralph’s signature polo player) with a silver ‘tie’.
And speaking of shirtdresses, Charles Nolan’s lacquer red short sleeved shirt dress gown, worn on his model date, was an example of taking something simple yet adding drama through color, cut, and fabric. But in a sea of gowns, I have to say that one true standout was Amy Fine Collins’ colorful vintage Geoffrey Beene gown with its abbreviated bolero. Other than this year’s inaugural Geoffrey Beene Lifetime Achievement Award (which was awarded to Robert Lee Morris), what better way to pay homage to the late great designer!
- Marilyn Kirschner
So neighbors steal your wi-fi net access, kill the connection or have fun
So you find out that everyone in on your block is using your network without your permission. Do you lock it down or...? Or maybe you want to have a little fun. A little creativity with squid and you could turn your everything they browse upside down (literally)
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Google Gears (BETA): Enabling Offline Web Applications
"Google Gears (BETA) is an open source browser extension that enables web applications to provide offline functionality using following JavaScript APIs:"
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New iPhone Ads: what Mac ads should be
TUAW: The iPhone ads demonstrate the phone, its features, and how its amazing interface works. Why not with Macs?
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Lithium-Powered Superbike: No Emissions, 100 MPH, 100 Mile Range (VIDEO)
This bike is a modified Yamaha R1 that is powered by state-of-the-art lithium-ion batteries...
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Free Wifi in London Mapped
Londonist maps all the cafes, bars and restaurants in London that offer free wifi access. Any places missing? Leave a comment and they'll update the map.
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First HD anime announced for the US
Bandai Visual has announced that the OVA Freedom will be the first anime to come to the US in a hi-def format. The show will be released on DVD and HD-DVD, a marked change from Japan's stance, where Blu-Ray dominates the majority of the anime market.
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AMAZING Business card Design
"Check out this lovely design for a business card that sprouts a miniature garden when you dip it in water. The result was a business card that worked like a miniature house-plant, growing alfalfa or cress when dipped in water."
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RIAA throws in the towel in Atlantic v. Andersen
Another file-sharing defendant has prevailed against the RIAA, as the music industry has dismissed a copyright infringement brought against a disabled single mother in Oregon.
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Which ISPs Are Spying on You?
Wired News, with help from some readers, attempted to get real answers from the largest United States-based ISPs about what information they gather on their customers' use of the internet, and how long they retain records like IP addresses, e-mail and real-time browsing activity
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Strange Ways to Unlock Car Doors
Hacked Gadgets recently compiled a list of videos on how geeks unlock car doors, and we’ve selected our favorites.
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New MacBook Pros with Santa Rosa and LED Displays
Today, Apple has introduced the new MacBook Pros as expected. The new MacBook Pros utilize the Santa Rosa chipset and come in the following configurations:
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