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same as below
but set at 20 frames per second. on my PC Firefox plays it at 20 but IE won't play any GIF above 10.Same GIF at 580 pixels square
(265 KB--each GIF frame is 580 X 580, it's not just scaled up in html)
...and 580 pixels square, 10 frames per sec
(also 265 KB--not quite ready to exceed 100KB on the main blog page yet).
any comments on the relative success or failure of these different sizes and speeds would be appreciated. I'm trying to get some "optimum" standards across browsers and machines.
"3 Boxes" GIF by Jack Masters or Kasey Kite
X 4 (repost)
Radio interview here
with Seymour Hersh about his New Yorker
revelations that the US and Saudis are funding al Qaeda, the group that attacked the US on 9/11, as a supposed check on Iran, which the US foolishly empowered by invading Iraq in '03. The Sunni jihadis are already setting up shop in Lebanon to combat Hezbollah. Elliott Abrams, the same person who brought you "selling arms to the Iranians to fund the Nicaraguan contras" in the '80s, is behind this cynical mess of a policy. And President Cheney, of course. Will Congress stop the treachery?
on the one art fair this blog would have attended if it had known about it: the Comic-Con, at the Javits Center.
This preference is not because of some chip-on-the-shoulder resentment about the high-falutin' art world so much as a standing revulsion to the idea of having fairs in a city with the largest year-round real estate commitment to art. Every year dealers take work from where it looks the best, bubble wrap it, and schlepp it over to where it looks the worst. All for the convenience of a few uber-mavens who don't want to walk around Chelsea (one supposes). That, and the ultra-distilled odor of commerce that wafts over all fairs, makes it just too depressing for this sensitive artist.
Just checking out Contemporary Home Computing
, a webzine by Olia Lialina and Dragan Espenschied, with articles and blogs about our favorite appliance, its metaphors, and its place (or willed absence) in the culture at large. The perspective here is low-res and retro (in a good, non-Ludditic way). Sample article: Espenschied's Where did the computer go?
, considering the drive to dematerialize hard drives and screens in the home and workplace, bringing us closer to the Platonic ideal of data as pure light and air. Kind of like factory farming, where meat magically appears in stores in shrink-wrapped cubes and the slaughter and biochemistry takes place somewhere else.