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A literary mix tape that explores the entwined boundaries between sound, material culture, landscape and esoteric belief. Trees rigged up to the wireless radio heavens. A fax machine used to decode the language of hurricanes. A broadcast ghost that hijacked a television station to terrorize a city. A failed computer factory in the desert with a slap-back echo resounding into ruin. In High Static, Dead Lines, media historian and artist Kristen Gallerneaux weaves a literary mix tape that explores the entwined boundaries between sound, material culture, landscape, and esoteric belief. Essays and fictocritical interludes are arranged to evoke a network of ley lines for the “sonic spectre” to travel through—a hypothetical presence that manifests itself as an invisible layer of noise alongside the conventional histories of technological artifacts. The objects and stories within span from the mid-nineteenth century to the present day, touching upon military, communications, and cultural history. A connective thread is the recurring presence of sound—audible, self-generative, and remembered—charting the contentious sonic histories of paranormal culture.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Cropping up everywhere, whether steel latticework or tapered monopoles, encrusted with fiberglass antennas, cell towers raise up high into the air the communications equipment that channels our calls, texts, and downloads. For security reasons, their locations are never advertised. But it's our romantic notions of connectivity that hide them in plain sight. We want the network to be invisible, ethereal, and ubiquitous. The cell tower stands as a challenge to these desires. Object Lessons is published in partnership with an essay series in The Atlantic.
Follow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn't crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews. Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now.
This book constitutes the refereed proceedings of the 19th Symposium on High Performance Computing System, WSCAD 2018, held in São Paulo, Brazil, in October 2018. The 12 revised full papers presented were carefully reviewed and selected out of 61 submissions. The papers included in this book are organized according to the following topics: cloud computing; performance; processors and memory architectures; power and energy.
This book engages artistic interventions in the aerial elements to investigate the aesthetics and politics of atmosphere. Sensing Art in the Atmosphere: Elemental Lures and Aerosolar Practices traces the potential of artistic, community-driven experiments to amplify our sensing of atmosphere, marrying attentions to atmospheric affect with visceral awareness of the materials, institutions and processes hovering in the air. Drawing on six years of practice-led research with artistic and activist initiatives Museo Aero Solar and Aerocene, initiated by artist Tomás Saraceno, each chapter develops creative relations to atmosphere from the studio to stratospheric currents. Through narrative-led writing, the voices of artists and collaborators are situated and central. In dialogue with these aerographic stories and sites, the book develops a notion of elemental lures: the sensual and imaginative propositions of aerial, atmospheric and meteorological phenomena. The promise of elemental lures, Engelmann suggests, is to reconcile our sensing of atmosphere with the myriad social, cultural and political forces suspended in it. Through tales of floating journeys, shared envelopes of breath and surreal levitations, the book foregrounds the role of art in crafting alternative modes of perceiving, moving and imagining (in) the air. The book ends with a call for elemental experiments in the geohumanities. It makes an important and original contribution to elemental geographies, the geohumanities and interdisciplinary scholarship on air and atmosphere.
Grids are a crucial enabling technology for scientific and industrial development. Peer-to-peer computing, grid, distributed storage technologies, emerging web service technologies, and other types of networked distributed computing have provided new paradigms exploiting distributed resources. Grids are revolutionizing computing as profoundly as e-mail and the Web. From Grids to Service and Pervasive Computing, the 10th edited volume of the CoreGRID series, is based on the 2008 CoreGRID Symposium, held August 25-26 in the Canary Islands, Spain. The CoreGRID Symposium is organized jointly with the Euro-Par 2008 conference. The aim of this symposium is to strengthen and advance scientific and technological excellence in the area of grid and peer-to-peer computing. This volume is designed for a professional audience composed of researchers and practitioners within the grid and peer-to-peer computing industry. This volume is also suitable for advanced-level students in computer science.
Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead. Contributors Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. The story of the compact disc is also the story of the end of physical media. It is the story of how the quest for perfection laid the grounds for the death of a great industry. For in the passage from analogue media, like records and tapes, to digital formats, like CDs, something changed in the nature of media and in the relationship we have with music. Music became code, a sequence of 1s and 0s, a flow of pure information. The material structure of the medium itself was always supposed to disappear. But the physical has proved to possess an uncanny knack for returning. Today the CD is a zombie medium, still popular amongst certain avant-garde record labels and Japanese consumers. Against all the odds, the spectre endures. Object Lessons is published in partnership with an essay series in The Atlantic.
The first accessible reader on magic’s generative relationship with contemporary art practice. From the hexing of presidents to a renewed interest in herbalism and atavistic forms of self-care, magic has furnished the contemporary imagination with mysterious and often disorienting bodies of arcane thought and practice. This volume brings together writings by artists, magicians, historians, and theorists that illuminate the vibrant correspondences animating contemporary art’s varied encounters with magical culture, inspiring a reconsideration of the relationship between the symbolic and the pragmatic. Dispensing with simple narratives of reenchantment, Magic illustrates the intricate ways in which we have to some extent always been captivated by the allure of the numinous. It demonstrates how magical culture’s tendencies toward secrecy, occlusion, and encryption might provide contemporary artists with strategies of remedial communality, a renewed faith in the invocational power of personal testimony, and a poetics of practice that could boldly question our political circumstances, from the crisis of climate collapse to the strictures of socially sanctioned techniques of medical and psychiatric care. Tracing its various emergences through the shadows of modernity, the circuitries of ritual media, and declarations of psychic self-defence, Magic deciphers the evolution of a “magical-critical” thinking that productively complicates, contradicts and expands the boundaries of our increasingly weird present.
Blending architecture, design, and technology, a visual tour through futures past via the objects we have replaced, left behind, and forgotten. So-called extinct objects are those that were imagined but were never in use, or that existed but are now unused—superseded, unfashionable, or simply forgotten. Extinct gathers together an exceptional range of artists, curators, architects, critics, and academics, including Hal Foster, Barry Bergdoll, Deyan Sudjic, Tacita Dean, Emily Orr, Richard Wentworth, and many more. In eighty-five essays, contributors nominate “extinct” objects and address them in a series of short, vivid, sometimes personal accounts, speaking not only of obsolete technologies, but of other ways of thinking, making, and interacting with the world. Extinct is filled with curious, half-remembered objects, each one evoking a future that never came to pass. It is also a visual treat, full of interest and delight.