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Man and Computer : Peter de Normanville
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IBM explains how computers work in 1967. supposedly, it's easiest to understand a computer if you reduce its invisible architecture to five basic functions: input, memory, calculation, output, and control – a framework i might liken to corbusier's five points
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The Social Life of Small Urban Spaces
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william h. whyte studied the where, why, next to who, and for how long we sit outside.* we're a very predictable bunch. we follow the sun, we want somewhere to put our coffee, we sit where other people are already sitting. this is the study that made new york legally require usable plazas–visual reach that genuinely changed the shape of cities. dually comical and informative narration while you yearn for the image of a past life of new york. *i too wish i could spend years watching people sit down as a job
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Desk Set (1957)
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its katherine hepburn and The Girls in the office up against The machine. old-school AI haterism.
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Pas de Deux, Norman McLaren, 1968
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perhaps the antidote to whatever timothee chalamet said about ballet preceeded by etienne-jules marey's chronophotography, mclaren's process involved exposing the same shot repeatedly onto a strip of film, staggering a few frames each time creating a multiplied after-image, visually tracing labor and energy in the most beautiful of ways. happy to have found out about this at like age 17 before the marey stuff which is about like hammering and industrialization
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UbuWeb film section
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makes me feel like that one woman in jurassic park that was into fossils but for old weird film/video works. all pirated, all delightful “The site is filled with the detritus and ephemera of great artists better known for other things—the music of Jean Dubuffet, the poetry of Dan Graham, the hip-hop of Jean-Michel Basquiat, the punk rock of Martin Kippenberger, the films of John Lennon, the radio plays of Ulrike Meinhof, the symphonies of Hanne Darboven, the country music of Julian Schnabel—most of which were originally put out in tiny editions, were critically ignored, and quickly vanished. However, the web provides the perfect place to restage these works. With video, sound, and text remaining more faithful to the original experience than, say, painting or sculpture, Ubu proposes a different sort of revisionist art history based on the peripheries of artistic production rather than on the perceived, hyped, or market-based center.”
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