Context: World Without Oil
With few wolves scattered in the front gallery, all ninety-nine wolves run, gallop, and jump toward the far end of the exhibition hall, where a wall stands. The bravery of the wolves is met head on by the unyielding wall. As the leading wolves go down, many more follow with force and determination. As those in the front fall and pile up, those behind take up their positions. (caiguoqiang.com)
Is it possible to let a first sketch become an object, to design directly onto space? The four FRONT members have developed a method to materialise free hand sketches. They make it possible by using a unique method where two advanced techniques are combined. Pen strokes made in the air are recorded with Motion Capture and become 3D digital files; these are then materialised through Rapid Prototyping into real pieces of furniture. (frontdesign.se)
A gentleman with a top hat, and a series of women with ever more ludicrous hats enter a movie theatre. They refuse to remove them, until a giant bucket forcibly removes one hat. All but one woman then remove their hats, and the bucket returns to remove the woman.
Another basket of inspiration from Doc Searls:
The Intention Economy grows around buyers, not sellers. It leverages the simple fact that buyers are the first source of money, and that they come ready-made. You don’t need advertising to make them.
The Intention Economy is about markets, not marketing. You don’t need marketing to make Intention Markets.
The Intention Economy is built around truly open markets, not a collection of silos. In The Intention Economy, customers don’t have to fly from silo to silo, like a bees from flower to flower, collecting deal info (and unavoidable hype) like so much pollen. In The Intention Economy, the buyer notifies the market of the intent to buy, and sellers compete for the buyer’s purchase. Simple as that.
The Intention Economy is built around more than transactions. Conversations matter. So do relationships. So do reputation, authority and respect. Those virtues, however, are earned by sellers (as well as buyers) and not just “branded” by sellers on the minds of buyers like the symbols of ranchers burned on the hides of cattle.
The Intention Economy is about buyers finding sellers, not sellers finding (or “capturing”) buyers. (linux journal)
The Popol Vuh (K’iche’ for “Council Book” or “Book of the Community”; Popol Wuj in modern spelling; IPA: [popol wuχ]) is a book written in the Classical Quiché language containing mythological narratives and a genealogy of the rulers of the post classic Quiché Maya kingdom of highland Guatemala. (Wikipedia – Popol Vuh)
Documentary Protocols I: Emulation of the Administrative Ethos in Artistic Practices of the 1960s and 1970s in Canada may not have the catchiest title, but this unusual show at the Leonard and Bina Ellen Art Gallery at Concordia University in Montreal, engagingly and hilariously lays out a rarely seen element of Conceptual art history. During the late 60s and early 70s a group of Canadian artists, simultaneously deflated and inspired by the tedious administration of Canada’s culture industry reimagined themselves through the lens of the bureaucrat. Conceptual artists Iain and Ingrid Baxter formed the highly influential N.E.Thing Co., Vincent Trasov and Michael Morris started The Image Bank, an enormous international databank of images and contact information that grew out of mail art activities of the time, and Joyce Wieland appropriated governmental publications on Northern flora and fauna to question ideas of personal and national identity. Simultaneously questioning and promoting their own roles as ‘culture workers,’ their ironic use of public relations tools and ‘documentary protocols’ (in the form of seals, stamps, official letterhead, etc) was a means to turn the day to day business of being an artist in Canada into a viable and engaging practice in its own right. Correspondence, logos, currency, annual reports and other documents are on view both as original documents (in vitrines) and as photocopies (in accessible binders), emulating elements of institutional bureaucracy within in the exhibition design itself and providing evidence of vast artists’ communication networks long before the web. (rhizome.org)