Schwarz
View current page
...more recent posts
Residents of several neighborhoods in the New Orleans area that were hardest hit by flooding after Hurricane Katrina can sue the Army Corps of Engineers over their claims that a government-built navigation channel was largely to blame, a federal judge ruled yesterday.
Successful lawsuits against the corps could result in billions of dollars in damage payments.
Since the flood, those who lived in the devastated neighborhoods near the east side of New Orleans — including the Lower Ninth Ward, New Orleans East and St. Bernard Parish — have contended that the Mississippi River Gulf Outlet caused much of their damage by intensifying the surge from the storm. The damage, they say, was foreseeable.
Factory Girl is Edie for Dummies
Miller, meanwhile, works very hard at her Edie. She does the voice and the laugh and the style to a T, though she never nails the ineffable, effervescent vitality. Who could? On the one hand, Edie is a walking cliché: the poor little rich girl who burned bright then burned out. On the other, shes as enigmatic as Warhol, a white-light/white-heat lightning bolt from the zeitgeist, showering the scene with giddy radiance. You need but see her in Vinyl, her Factory film debut, holding down a corner of its deep-space S&M tableau doing nothing but flicking a cigarette and bopping her head, to get her enchantment. Chief among Hickenlooper's follies is his restaging of Vinyl; I'm glad his heavy hand laid off Kitchen, one of my favorite Warhol two-reelers, in which Edie gives a charmed, hilarious performance punctuated by nonstop sneezing, the signal she's forgotten a line.
Hickenlooper makes up for it with his mutilation of Beauty #2, the richest of Warhol's cine-interrogations and the apex of Edie's underground Superstardom. Plunked on a bed with a chunk of stud named Gino, Edie submits to the offscreen questions of Chuck Wein (a clueless Jimmy Fallon), an old friend of Edie's whose crucial and controversial role in the Factory ecosystem is here glossed over. Factory Girl literalizes the rape scenario implicit in Beauty #2, escalating into the vulgar (and wildly exaggerated) spectacle of Wein forcing Gino on the distressed starlet.
wasnt edie ciao! manhattan for dummies?
photographic portfolio of an unknown modernist highschool
dig the crazy work on the wall in the art room.
Fillmore 1960s Sunday Hippie Chrch Photo 4x6
no i dont watch barkitecture. i have a cat.
pronounced : sau-na
nyc highrise ceiling leak
rip liberal texan-american molly ivins
The Ecstasy of Influence
A plagiarism
Posted on Wednesday, January 31, 2007. Originally from February 2007. By Jonathan Lethem.
All mankind is of one author, and is one volume; when one man dies, one chapter is not torn out of the book, but translated into a better language; and every chapter must be so translated. . . .
—John Donne
There’s a lot of water in the air. It rises from the surface of the oceans to a height of almost 100 kilometres. You feel it in high humidity, but there’s almost as much invisible moisture in the air above the Sahara or the Nullarbor as there is in the steamy tropics. The water that pools beneath an air-conditioned car, or in the tray under an old fridge, demonstrates the principle: cool the air and you get water. And no matter how much water we might take from the air, we’d never run out. Because the oceans would immediately replace it.
Trouble is, refrigerating air is a very costly business. Except when you do it Max’s way, with the Whisson windmill. Until his inventions are protected by international patents, I’m not going to give details. Max isn’t interested in profits – he just wants to save the world – but the technology remains “commercial in confidence” to protect his small band of investors and to encourage others.
One of the three Frank Lloyd Wright houses in the Puget Sound area is on the market, a perfect time to wander through it and wonder why its ideas are being neglected in this century's thirst for reasonably priced, modestly scaled homes.
Although the asking price of just under $2 million is a giant step out of the middle-class leagues, this house wasn't conceived as a baronial estate. Original owners Ray and Mimi Brandes wrote to Wright in 1951, asking him to design a small house for a "simple unaffected servant-less life." Jack Cullen, Ray Brandes' stepson and the present owner, says they envisioned it as a showcase for their contracting business.
out of the blue from roxy music's 1975 album country life
via jz
beatlesuits
via vz
anton maiden eternal player
Anton Gustafsson (February 24, 1980 in Kinna, Västergötland, Sweden – November 1, 2003 in Borås, Västergötland) achieved minor Internet fame around 1999 by singing over MIDI and MOD-versions of Iron Maiden songs. He got famous as a phenomenon of geek and DIY culture.
He started by publishing some songs on the Internet for a small group of friends. After being encouraged by them, he made some songs available to the public in his album Anton Gustafsson tolkar Iron Maiden, which was distributed under Lunacy and Nihilism record labels.
Apparently led by feelings of depression, Anton Gustafsson committed suicide in November, 2003, and was found dead in Borås after having been missing for a week. Before his death, in an interview with the Swedish newspaper Expressen (dated June 2000), he told journalist Martin Carlsson that Iron Maiden fans "think that my interpretations are a disgrace to Iron Maiden. But that was never my intent."
By this definition, a culture cannot be aware of its own mythology for that mythology to be effective. It could be argued that the artists, political leaders and educators within a culture may be aware of the unconscious influence of the prevailing mythology, but this doesn't need to be the case. The best artists, politicians and educators may be those who have most completely internalized the mythology.
Some residents of Katonah, N.Y., are miffed that their neighbor, Martha Stewart, is trying to trademark the village's name. Martha Stewart Living Omnimedia is selling some furniture as part of a "Katonah Collection."
The company has said Stewart named the line to honor her new hometown. But not everyone feels honored.
"Overlook: Exploring the Internal Fringes of America With the Center for Land Use Interpretation," a coffee-table chronicle of land-use curiosities edited by Matthew Coolidge and Sarah Simons with an essay by Ralph Rugo
The hallmarks of this 264-page, 8-by-10-inch paperback volume (Distributed Art Publishers; $34.95) are deadpan descriptions and anonymous photography, all detailing weird, wonderful and (mostly) horrific things Americans have done to their landscape, including deliberately flooding the town of Neversink, N.Y., and practice-bombing Nevada.
Drive through some of the 80 percent of New Orleans that was inundated by flood waters after Hurricane Katrina, and you'll notice life is slowly ebbing back, one house at a time, one neighborhood at a time.
You'll also notice something else: signs advertising demolition services—across billboards, on phone poles, and along the roadways.
"You can't escape them," says Laureen Lentz, a law librarian and preservation activist. "Yesterday I was stuck behind a bus with a big 'demolition' ad plastered across the back of it."
While many of the city's homes were wrecked beyond salvation and clearly need to be demolished—Lentz's own historic house in the Tremé neighborhood was partially knocked over by Katrina winds and subsequently carted away—Lentz and others are becoming alarmed that so many of the city's homes in historic districts are being torn down, often with flood damage used as a pretext. It's as if New Orleans is now at risk of being ravaged by another flood—that of demolitio
man this place is sweet
A demolition permit has been issued for the Moore House, designed by Ohio architect Woodie Garber in 1952 for Alfred Moore. Moore sold the 5,160-square-foot wood-and-glass house and its 5.4-acre site to his son, who has built several houses there.
Last weekend, Moore allowed preservationists to salvage woodwork and other details from the house. He gave its original blueprints to a University of Cincinnati professor, whose students videotaped and photographed the house.
"To be able to document and salvage the house is, of course, a last resort," says Chris Magee, co-president of Cincinnati Form Follows Function, a nonprofit that formed in November 2005. "We got involved too late to find another buyer."
mid-century exurban landscape fabric
trailerpark wallpaper
via justin