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  1. <?xml version="1.0" encoding="ISO-8859-1"?>
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  4. <title>Imaginify Community Network</title>
  5. <pubDate>Mon, 24 Jun 2019 13:27:49 -0700</pubDate>
  6. <link>http://www.imaginify.org/post/</link>
  7. <description>PostNuke Powered Site</description>
  8. <language>en-us</language>
  9. <image>
  10. <title>Imaginify Community Network</title>
  11. <url>http://www.imaginify.org/post/images/logo.gif</url>
  12. <link>http://www.imaginify.org/post/</link>
  13. </image>
  14. <webMaster>inf&#111;&#064;&#105;maginify.org</webMaster>
  15. <item>
  16. <title>Complexity \x95 Systems Science \x95 Complex Systems</title>
  17. <link>http://www.imaginify.org/post/Article154.html</link>
  18. <description>SELECTION OF COURSES &amp; ORGANIZATIONS
  19. COMPLEXITY, SYSTEMS SCIENCE, AND COMPLEX SYSTEMS
  20.  
  21. \x95 Santa Fe Institute (SFI) | Complexity Explorer (courses)
  22. \x95 New England Complex Systems Institute | NECSI courses
  23. \x95 SystemsAcademy.io (courses) | videos (playlists)
  24. \x95 Portland State Univ. (PDX) Systems Science Program
  25. \x95 Capra Course | Trailer
  26.  
  27.  
  28. &quot;Single-layer feedforward artificial neural network&quot; Akritasa, cc 2015
  29.  
  30.  
  31. &quot;Artificial neural network with layer coloring&quot; glosser, cc 2013
  32.  
  33. Also see Imaginify Emerging Systems
  34.  
  35. </description>
  36. <pubDate>Mon, 24 Jun 2019 13:27:49 -0700</pubDate>
  37. </item>
  38. <item>
  39. <title>UPDATE TO UPDATE (2015): DH</title>
  40. <link>http://www.imaginify.org/post/Article153.html</link>
  41. <description>:: UPDATED MARCH 3RD 2015 ::
  42. &quot;A SHORT GUIDE&quot;
  43. A Short Guide to the Digital Humanities [Open Access]. 2012. MIT Press (pp. 121\x96136).
  44. Anne Burdick, Johanna Drucker, Peter lunenfeld, Todd Presner, &amp; Jeffrey Schnapp.
  45.  
  46. &quot;COMPLETE BOOK&quot;
  47. Digital_Humanities [Open Access]. 2012. MIT Press (pp. i-x and 1-141.
  48. Anne Burdick, Johanna Drucker, Peter lunenfeld, Todd Presner, &amp; Jeffrey Schnapp.
  49.  
  50. Cover: Jeremy Eichenbaum. Image: 9780262018470.jpg, JPG circa 2012. MIT Press</description>
  51. <pubDate>Tue, 03 Mar 2015 10:10:00 -0800</pubDate>
  52. </item>
  53. <item>
  54. <title>Thriving Open Source Physical Fun-da-mentals [Back-2-Basics]</title>
  55. <link>http://www.imaginify.org/post/Article151.html</link>
  56. <description>OPEN SOURCE HARDWARE ECOLOGIES EMERGING!
  57.  
  58. In 2004 (a long time ago), Imaginify noticed something . . .
  59. on the horizon . . . Open Source Ecology!
  60.  
  61. Now, Marcin Jakubowski is finally featured on TED in 2011, &quot;Open-sourced blueprints for civilization.&quot;
  62.  
  63. One day at a time . . . imagine if i . . . read the good news : )
  64.  
  65. OpenSourceEcology.org
  66. &quot;[T]he Global Village Construction Set,
  67. building open source technologies for resilient communities&quot; !!!
  68. </description>
  69. <pubDate>Thu, 21 Apr 2011 04:20:00 -0700</pubDate>
  70. </item>
  71. <item>
  72. <title>Batesons circa 2011</title>
  73. <link>http://www.imaginify.org/post/Article150.html</link>
  74. <description>
  75. AN ECOLOGY OF MIND
  76. A FILM BY NORA BATESON
  77.  
  78.  
  79. Gregory Bateson,  1904 - 1980
  80. </description>
  81. <pubDate>Sun, 10 Apr 2011 14:40:00 -0700</pubDate>
  82. </item>
  83. <item>
  84. <title>Tom Lowe's Scapes of Time</title>
  85. <link>http://www.imaginify.org/post/Article149.html</link>
  86. <description>Timescapes (2011)
  87. Behind the Scenes of &quot;TimeScapes&quot;
  88. &quot;A shot of me [Tom Lowe] working on a timelapse shot last night.&quot;
  89. Photo by Chris Mierzwinski (http://www.visceralfilms.ca)
  90. URL: http://www.flickr.com/photos/digitallion/4680293368/
  91. © Tom Lowe&#032;&#064;&#032;Timescapes.org [click photo above]</description>
  92. <pubDate>Sat, 01 Jan 2011 00:00:00 -0800</pubDate>
  93. </item>
  94. <item>
  95. <title>UPDATED: Thrivability: A New Collection</title>
  96. <link>http://www.imaginify.org/post/Article148.html</link>
  97. <description>&amp;#8220;Thrivability... the designer's role... pays attention to... details of life hidden in the landscape... The invisible frontiers... where modernity has failed to make good on its promises... the wanderer around invisible peripheries, the witness and facilitator of emergent states.&amp;#8221;
  98. - &quot;Design&quot; by Joanna Guldi, Harvard Society of Fellows
  99.  
  100.  
  101. Image: Public Domain</description>
  102. <pubDate>Wed, 03 Mar 2010 00:00:00 -0800</pubDate>
  103. </item>
  104. <item>
  105. <title>UPDATED: DH (2009)</title>
  106. <link>http://www.imaginify.org/post/Article147.html</link>
  107. <description>:: UPDATED JUNE 24TH 2009 ::
  108. &quot;THE DIGITAL HUMANITIES MANIFESTO 2.0&quot;
  109.  
  110. digitalhumanities.ucla.edu/images/stories/mellon_seminar_readings/manifesto%2020.pdf
  111.  
  112. Meta-Manifesto : June 16, 2009 : In Development
  113.  
  114. &quot;THE PROMISE OF DIGITAL HUMANITIES&quot;
  115.  
  116. digitalhumanities.ucla.edu/images/stories/papers/promise%20of%20digital%20humanities.pdf
  117.  
  118. Whitepaper : March 1, 2009 : Final Version
  119. : Characteristics :
  120. Interdisciplinary
  121. Collaborative
  122. Socially Engaged
  123. Timely and Relevant
  124.  
  125.  
  126. &quot;The Mona Lisa&quot; by Leonardo da Vinci
  127. Public Domain</description>
  128. <pubDate>Tue, 03 Mar 2009 00:00:00 -0800</pubDate>
  129. </item>
  130. <item>
  131. <title>Analog Creativity Re-Presented in Digital Medium</title>
  132. <link>http://www.imaginify.org/post/Article146.html</link>
  133. <description>
  134. &quot;Autumn Treasures&quot; by Trixi
  135. (CC) Attribution-Noncommercial-No Derivative Works 2.0 Generic
  136.  
  137.  
  138. &quot;Re Ordering&quot; by Trixi
  139. (CC) Attribution-Noncommercial-No Derivative Works 2.0 Generic</description>
  140. <pubDate>Sat, 14 Feb 2009 14:00:00 -0800</pubDate>
  141. </item>
  142. <item>
  143. <title>A crossover reference: Peer-to-Patent</title>
  144. <link>http://www.imaginify.org/post/Article145.html</link>
  145. <description>Peer-to-Patent is a pilot project in collaboration with the US Patent and Trademark Office. It was established in 2007 and recently extended/expanded to June 15, 2009. It is focused on helping the patent office perform high-quality examinations of pending patent applications by enlisting the public to help find and explain prior art.... Peer-to-Patent uses social software features to facilitate discussion amongst groups of volunteer experts. Users can upload prior art references, participate in discussion forums, rate other user submissions, add research references, invite others, and more. This helps the examiners focus their attention on the submission(s) of prior art that have the highest relevance to an application.
  146.  
  147. Beth Simone Noveck, Law Professor, and Director, Institute for Information Law and Policy, New York Law School launched the Peer to Patent: Community Patent Review project.
  148.  
  149. Incentives for submitting an application to the project include:
  150. \x95 Expedited review. Public review begins one month after publication of the application. Review continues for four months, after which the patent examiner conducts an expedited examination of the patent application.
  151. \x95 Potentially stronger patents. If Peer-to-Patent review works as expected, patents that survive the process have already undergone considerable scrutiny and will be less at risk of a successful challenge later.
  152. \x95 Public service. Applicants can feel they are contributing to a valuable experiment in new models and technologies for public decision-making.
  153.  
  154. &quot;The Peer-to-Patent Web site is built using open source technologies (RoR, MySQL, Linux OS). Hosted database/web servers, load balancers, and interactive features (threaded discussions, e-mail alerts, RSS feeds, social bookmarks, video clips, tagging, ratings, and more).&quot;
  155.  
  156. Sponsors: CA, Inc., General Electric, Hewlett Packard, IBM, Intellectual Ventures, John D. and Catherine T. MacArthur Foundation, Microsoft, Omidyar Network, and Red Hat. Peertopatent.org content is licensed under a Creative Commons Attribution-Noncommercial-ShareAlike 3.0 US License, except where otherwise noted.</description>
  157. <pubDate>Fri, 23 Jan 2009 00:00:00 -0800</pubDate>
  158. </item>
  159. <item>
  160. <title>Open Source Font &amp; Forges</title>
  161. <link>http://www.imaginify.org/post/Article144.html</link>
  162. <description>An interesting post-typographical innovation...
  163.  
  164. Free EcoFont uses up to 20% less ink.
  165. Results vary font size 9 or 10 is best depending on
  166. your software and the quality of your screen...
  167. Best for OpenOffice on Mac, PC, or Linux.
  168. Distributed under GPL and based upon Bitstream Vera...
  169.  
  170.  
  171. VeraSansSpecimen.svg by Sun Ladder
  172. CC-BY-SA 3.0 &amp; GDFL
  173.  
  174. Also check out some new forges on the top right column... : )
  175. BioForge, Digital Commons, Media Commons, Moving Images, Open GoogleCode, RubyForge,
  176. ScienceCommons, ScientificCommons, Software Archive, SourceForge, WikiSpecies</description>
  177. <pubDate>Sat, 13 Dec 2008 11:20:00 -0800</pubDate>
  178. </item>
  179. <item>
  180. <title>The 1st Stanford University Open Source Lab Unconference</title>
  181. <link>http://www.imaginify.org/post/Article143.html</link>
  182. <description></description>
  183. <pubDate>Wed, 05 Nov 2008 19:54:49 -0800</pubDate>
  184. </item>
  185. <item>
  186. <title>FLASH: Giant Styrobot Invades from Oregon!</title>
  187. <link>http://www.imaginify.org/post/Article141.html</link>
  188. <description>Giant Styrobot &amp; Featured Stories &amp; More
  189.  
  190.  
  191. &quot;Zoe and Styrobot, Looking Back - Rice University Art Gallery&quot;
  192. Source: Flickr \x95 Photo by Mr. Kimberly
  193. (CC) Attribution-Noncommercial-Share Alike 2.0
  194.  
  195.  
  196. \x93Ironically, the robots actually critique
  197. the very culture of which they are byproducts . . .
  198. Every time something ships there\x92s a piece of
  199. Styrofoam to keep it safe and sound . . .
  200. I really look at these pieces as being
  201. mechanical and robot in nature.
  202. The result is a pretty poignant statement about what we buy . . .
  203. and what we throw away.\x94
  204. - Michael Salter, Associate Professor
  205. Department of Digital Arts, University of Oregon
  206. Time-lapse of &quot;Art from Excess&quot; at the San Jose Museum of Art.
  207. </description>
  208. <pubDate>Mon, 29 Sep 2008 18:40:00 -0700</pubDate>
  209. </item>
  210. <item>
  211. <title>berkeley.edu.law.tech.freeculture.con</title>
  212. <link>http://www.imaginify.org/post/Article140.html</link>
  213. <description>
  214.  
  215. freeculture.berkeley.edu/Free_Culture_2008.html
  216. law.berkeley.edu/institutes/bclt/events_calendar.htm
  217. dmax.bampfa.berkeley.edu/blog/2008/09/free-culture-2008-international-conference-2
  218.  
  219.  
  220. </description>
  221. <pubDate>Fri, 08 Aug 2008 08:00:00 -0700</pubDate>
  222. </item>
  223. <item>
  224. <title>Cycles and Spirals</title>
  225. <link>http://www.imaginify.org/post/Article139.html</link>
  226. <description>Wikipedia : Cycles
  227.  
  228. &lt; a h r e f=&quot; http: / / en.wikipedia.org/wiki/ Systems_art&quot; target=&quot;new&quot;&gt;
  229. </description>
  230. <pubDate>Fri, 25 Jul 2008 12:07:09 -0700</pubDate>
  231. </item>
  232. <item>
  233. <title>U R Meta4, 2008 :::: From Happening to Unmuseum to Open Museum(s)</title>
  234. <link>http://www.imaginify.org/post/Article138.html</link>
  235. <description>Unmuseum recommended reading: &quot;Possibilities for Transformational Conferences&quot; a paper by Sunrise Facilitation, a collective that met regularly in Eugene, Oregon from 2000-2006. While no longer active, the ideas and connections from it generated this paper. Formats include: appreciative inquiry, expert time vs. participatory time, fishbowls, kinetic spectrum, pause for pairs, small group sharing, speed geeking/dating, storytelling, open space, world café, and more. Published (CC) Attribution-Noncommercial-Share Alike 3.0.
  236. In addition, view the open exhibition catalog by Sterling Israel M.S. curating and archiving Eco-Art &amp; Artists titled, &quot;Creative Students and Artists in Eugene: New Visions for a Healthy Planet&quot; from March 2007, Arts &amp; Administration, University of Oregon. Published (CC) Attribution-Noncommercial-Share Alike 3.0.
  237.  
  238. &quot;Basic Open System Model&quot; by Anonymous, wikipedia, Public Domain
  239.  
  240. &gt;
  241. Digital Art Media Progam (DMAX)
  242. UC Berkeley Art Museum and Pacific Film Archive
  243. ...the first open-source museum collection - is a preservation repository
  244. and online database of born-digital art. This next-generation cultural works project,
  245. currently in the planning phase, also provides a testbed for developing innovative legal,
  246. economic, and cultural frameworks for the digital arts.
  247.  
  248. &gt;
  249. Department of Modern Culture and Media
  250. Brown University
  251. ...the museum is entirely in the public domain
  252. (add, modify, or remove art, likewise, elements of the building).
  253. Our goal is to reimagine definitions of art, artist,
  254. curator, museum, culture, and open source.  
  255. This project is underway in a virtual reality called Second Life.
  256.  
  257. &gt;
  258.  
  259. &quot;Galactic Trading Cards Installation&quot;
  260. Illuminated, by PodCollective
  261.  
  262. p.s. worth checking out when in a deeply reflective state...
  263. Molotov Alva and His Search for the Creator
  264.  
  265. Photo by John Swords via Flickr
  266. (CC) Attribution-Noncommercial-No Derivative Works 2.0 Generic
  267.  
  268. [Part I] [Part II]
  269.  
  270. ... more to come ... </description>
  271. <pubDate>Sat, 07 Jun 2008 00:00:00 -0700</pubDate>
  272. </item>
  273. <item>
  274. <title>Practical Ways to Foster Ecological Remediation</title>
  275. <link>http://www.imaginify.org/post/Article137.html</link>
  276. <description>&quot;WCI student isolates microbe that lunches on plastic bags&quot; (via The Record)
  277. Synopsis: Daniel Burd's stew contains ground-up plastic in a mix of landfill dirt, yeast and tap water. After experimenting with different temperatures and configurations, he isolated the microbial remediators. He discovered that it biodegrades over 40% of the weight of plastic bags in less than three months. The only waste is water and a bit of carbon dioxide.
  278.  
  279. &quot;This is a huge, huge step forward... We're using nature to solve a man-made problem.&quot;
  280. Daniel Burd, 16-yr-old junior, Waterloo Collegiate Institute &amp; Canada-Wide Science Fair winner
  281.  
  282. Additionally, in re-meditation, continuing to reduce our consumption
  283. of packaged goods and non-reusable baggage remains a high priority.
  284.  
  285. &quot;String is king&quot; by fixlr (via Flickr)
  286. (CC) Attribution-Noncommercial-Share Alike 2.0 Generic
  287.  
  288. How to help limit the ever-growing patch of garbage floating in the Pacific Ocean:
  289. \x95 Limit use of plastics when possible.
  290. \x95 Use a reusable bag when shopping.
  291. \x95 Take your trash with you when you leave the beach.
  292. \x95 Make sure trash bins are securely closed.</description>
  293. <pubDate>Fri, 23 May 2008 23:55:00 -0700</pubDate>
  294. </item>
  295. <item>
  296. <title>:: MOMA OPEN'D &amp; ELASTIC :: GRL &amp; SPOT :: DESIGN LABS EXTRAORDINAIRE ::</title>
  297. <link>http://www.imaginify.org/post/Article136.html</link>
  298. <description>FLEXIBILITY OF MIND!!! Two featured open source artisans on Imaginify, The Graffiti Research Lab and MM2+3 collaborator Scott Draves are now featured in the Museum of Modern Art's &quot;Design and the Elastic Mind&quot; (2008) curated by Paola Antonelli and Patricia Juncosa Vecchierini. &quot;Over the past twenty-five years, people have weathered dramatic changes in their experience of time, space, matter, and identity. Individuals cope daily with a multitude of changes in scale and pace... The exhibition highlights designers\x92 ability to grasp momentous changes in technology, science, and history...&quot;
  299.  
  300.  
  301. L.A.S.E.R. Tag Graffiti Projection System (The Mobile Broadcast Unit)
  302. PopRally presents Graffiti Research Lab: The Complete First Season (May 4, 2008&#032;&#064;&#032;MOMA)
  303. funded by the generous support of Katherine Farley &amp; Jerry I. Speyer [Trailer]
  304. Imaginify : ::::::::::::: EXPERIENTIAL GRAFFITI ::::::::::::::::::::::::: (April 2006)
  305. TORRENTURL : torrentz.com/d8153e785b737b8f355c7a0ce9864de21059661a  (April 2008)
  306.  
  307.  
  308. Electric Sheep (Spotworks) MOMA Online by Scott Draves
  309. Leonardo (cover) : Vol. 41, Issue 1 (January 2008)
  310. Discover Magazine : 14 Best Ways to Use Your Computer\x92s Spare Time (March 2008)
  311. Imaginify : Distributed Stimuli (October 2005)
  312. BLIP.TV : Dreams in in High Fidelity/Electric Sheep Sample (March 2007)
  313. </description>
  314. <pubDate>Tue, 29 Apr 2008 04:00:00 -0700</pubDate>
  315. </item>
  316. <item>
  317. <title>Online..... Ecology... Games... Innovation... Learning... Media...</title>
  318. <link>http://www.imaginify.org/post/Article135.html</link>
  319. <description>MIT Press Journals has recently published (under Creative Commons Attribution-Noncommercial-No Derivative Works Unported 3.0 license) a series on Digital Media &amp; Learning, definitely worth examining &quot;...the effect of digital media tools on how people learn, network, communicate, and play, and how growing up with these tools may affect peoples sense of self, how they express themselves, and their ability to learn, exercise judgment, and think systematically...&quot;
  320.  
  321. Read the complete creative commons'd, free &amp; open access editions . . .
  322. Digital Youth, Innovation, &amp; the Unexpected
  323. (cc) Edited by Tara McPherson, Associate Professor, School of Cinematic Arts, University of Southern California.
  324. How emergent practices and developments in young people's digital media can result in technological innovation or lead to unintended learning experiences and unanticipated social encounters.
  325.  
  326. Youth, Identity, &amp; Digital Media
  327. (cc) Edited by David Buckingham, Professor, Institute of Education, London University.
  328. Contributors discuss how growing up in a world saturated with digital media affects the development of young people's individual and social identities.</description>
  329. <pubDate>Mon, 31 Mar 2008 18:20:00 -0700</pubDate>
  330. </item>
  331. <item>
  332. <title>Merce Cunningham's &quot;Loops&quot; (Open Source Choreography), 2008</title>
  333. <link>http://www.imaginify.org/post/Article134.html</link>
  334. <description>&quot;Loops got its name from the circular movements Merce could do with his wrists . . .  sometimes Merce set the order of the Loops sections by chance operations . . . The 2008 version [an abstract digital portrait of Merce Cunningham that runs in real time and never repeats] is open source, part of the Loops Preservation Project. The project addresses cultural memory as endangered by the computer age \x97 an age that perhaps offers a solution . . .&quot; - The OpenEnded Group
  335.  
  336. &quot;. . . we\x92re trying to change the eco-system of digital art and performance . . . how digital art is taught and thought about . . . the very thing that we are trying to address in this \x93preservation project\x94: that is preservation itself . . . what if performance (or installation) of an artwork counted as distribution?&quot; - The OpenEnded Group
  337.  
  338.  
  339. &quot;loops-twenty-1202233329111-00002.jpg&quot;
  340.  
  341. &quot;Loops is opened up completely&quot;
  342. &quot;Loops&quot; by Merce Cunningham
  343. solo dance choreography : CC 3.0 license
  344. &quot;Loops&quot; by OpenEnded Group
  345. digital artwork : GPL license, v3
  346. &quot;FIELD&quot; by OpenEnded Group
  347. development environment : GPL license, v3</description>
  348. <pubDate>Fri, 29 Feb 2008 03:40:00 -0800</pubDate>
  349. </item>
  350. <item>
  351. <title>WIKISTRUCTION OF WIKITECTURE</title>
  352. <link>http://www.imaginify.org/post/Article133.html</link>
  353. <description>Wikitecture [wiki+architecture] &quot;...a diverse spectrum of individuals interested in exploring the potential of applying an Open Source paradigm to the design and production of both real and virtual architecture and urban planning... conducting \x91Wikitecture\x92 experiments to work out the exact procedures and protocols necessary to harness a group\x92s collective intelligence in designing architecture... in much the same way Wikipedia enables a loose, self-organizing network of contributors to collaborate on content creation, the Studio Wikitecture group has been using these experiments to work out the manner by which a group of geographical disperse individuals can come together to share ideas, edit the contributions of others, and to vote on the success or failure of proposed design iterations...&quot;
  354.  
  355.  
  356. &quot;OAN Nepal Challenge&quot; via Flickr (updated March 4, 2008)
  357.  
  358. &quot;Wikitecture Progress Machinima&quot; (video update February 10, 2008)
  359. the Open Architecture Challenge 3D Wiki interface, architectural collaboration,
  360. Building Information Model (BIM) technology. Music by DJ BLUE, via ccMixter.
  361.  
  362. &quot;Improving Architecture and City Planning by Harnessing the Ideas behind...
  363. Mass Collaboration, Social Networking, Wikis, Folksonomies, Open Source,
  364. Prosumers, Networked Intelligence, Crowd Sourcing, Crowd Wisdom,
  365. Smart Mobs, Peer Production, Lightweight Collaboration, Emergent Intelligence,
  366. Social Production, Self-Organized Communities... and the like.&quot;
  367. </description>
  368. <pubDate>Sun, 20 Jan 2008 00:00:00 -0800</pubDate>
  369. </item>
  370. <item>
  371. <title>Re-Re-Archiving Sundog &amp; Re-Remixing Crossroads of Hope</title>
  372. <link>http://www.imaginify.org/post/Article132.html</link>
  373. <description>&amp;quot; R E - R E M I X &amp;quot;
  374. Imaginify 'synchron'icity
  375. This happened by coincidence !
  376.  
  377. (0º) CLICK ABOVE IMAGINAL IMAGE
  378.  
  379. &amp;quot; R E - R E - A R C H I V E &amp;quot;
  380. Imaginify 'synchron'ization
  381. This simply happened !
  382.  
  383. &quot;Cowley-Vädersolstavlan-HaloSim-stockholm38&quot;
  384. A HaloSim ray tracing calculation of the sky over Stockholm on April 21, 1535
  385. Produced by Les Cowley, 25 February 2008, GNU Free Documentation license
  386.  
  387.  
  388. &quot;Vädersolstavlan&quot; (&quot;The Sun Dog Painting&quot;) by Urban målare, 1535
  389. Copy by Jacob Heinrich Elbfas at Storkyrkan in Stockholm, Sweden, 1636
  390. 1998-1999 restoration,  Public Domain
  391.  
  392. </description>
  393. <pubDate>Mon, 31 Dec 2007 00:00:00 -0800</pubDate>
  394. </item>
  395. <item>
  396. <title>The Present is a Gift</title>
  397. <link>http://www.imaginify.org/post/Article131.html</link>
  398. <description>&quot;When generativity, creativity, generosity, and the capacity to embrace life dry up, the Water of Life has gone underground. At such times, the earth becomes arid, life becomes devoid of meaning, the ground of culture cracks and splits, and gaps develop among peoples and between people and nature. Only water can bring the pieces back together, awaken seeds hidden in the ground, and enliven the parched Tree of Life.&quot;
  399. - Michael J. Meade, Men and the Water of Life: Initiation and the Tempering of Men (1994)
  400.  
  401. &quot;...the simplest, most direct answer to the question of how do we make our society stronger. Whether your working for the environment, health, or education, it doesn't matter so much as long as you're working at it. The great resource of any country is the energy and intelligence of its people. That's where the investment of money and thought ought to go...&quot;
  402. - Lewis H. Lapham, Editor &amp; Historian (&quot;if you're not in, you're out.&quot; ?)
  403.  
  404. &quot;The future is now.&quot; &quot;I make technology ridiculous.&quot;
  405. - Nam June Paik, Composer &amp; Video Artist (1932-2006) &amp; author of the phrase &quot;Information Superhighway&quot;
  406.  
  407.  
  408. &quot;The crime of difference is eclipsed by the power of self realization&quot;
  409. by Steven &quot;Frustr8&quot; Lopez, © used with permission by Imaginify
  410. </description>
  411. <pubDate>Sun, 25 Nov 2007 20:59:23 -0800</pubDate>
  412. </item>
  413. <item>
  414. <title>The Tetra-Questions : Metta-Quadrents</title>
  415. <link>http://www.imaginify.org/post/Article129.html</link>
  416. <description>&quot;Media Ecology is the study of media environments,
  417. the idea that technology (codes) and techniques (modes),
  418. affect human perception, understanding, feeling, and value;
  419. and how our interaction with media facilitates
  420. or impedes our chances of survival.&quot;
  421. - Integration of definitions by various Media Ecologists
  422.  
  423. * + ***
  424. &quot;the postindustrial and the postmodern,
  425. &amp; the preliterate and prehistoric.&quot;
  426. - Lance Strate, Professor, Communication &amp; Media Studies,
  427. &amp; Co-Founder, Media Ecology Association, Fordham University.
  428.  
  429. &quot;the medium (figure) operates through its context (ground)&quot;
  430.  
  431. **
  432. Enhancement (figure) :
  433. What does the (new) medium improve or enhance,
  434. amplify or accelerate?
  435.  
  436. Obsolescence (ground) :
  437. What is driven out of prominence, obsolesced,
  438. pushed aside by the (new) medium?
  439.  
  440. Retrieval (figure) :
  441. What earlier action or service is brought back into play
  442. or recovered by the (new) medium? What older, previously lost ground
  443. is brought back and becomes an essential part of the (new) medium?
  444.  
  445. Reversal (ground) :
  446. When pushed to its limits or extremes, of its potential,
  447. the (new) medium will reverse what was its original
  448. characteristics. What is the potential reversal of the new form?
  449.  
  450.  
  451. ****
  452.  
  453. * Image: &quot;Media Tetrad&quot; under GNU Free Documentation License, Version 1.2
  454. ** Image: &quot;The Resonating Interval: Exploring the Process of the Tetrad&quot;
  455. by Anthony Hempell, Communication 453, Simon Fraser University
  456. American Society for Information Science and Technology
  457. &quot;Parts of this web site may be reproduced freely if not for profit ©&quot;
  458. *** Video: &quot;A Vision of Students Today&quot; by Michael Wesch
  459. Digital Ethnography, Mediated Cultures, Kansas State University
  460. 2007 Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.
  461. **** Image: &quot;Tetrad&quot; is Public Domain. Recycle</description>
  462. <pubDate>Thu, 18 Oct 2007 10:29:51 -0700</pubDate>
  463. </item>
  464. <item>
  465. <title>: &quot;meta&quot;graffiti :</title>
  466. <link>http://www.imaginify.org/post/Article130.html</link>
  467. <description>&quot;More and more practitioners are seeing the past-present divide is not something that's absolutely critical to the definition of what archaeology is... Many are beginning to understand archaeology more as a wider sensibility about how humans live with their material environments.&quot;
  468. - Christopher Witmore, Landscape Archaeologist &amp; Post-doctoral Research Associate, Joukowsky Institute for Archaeology and the Ancient World, Brown University from &quot;Writing on the Walls&quot; by Samir S. Patel, Archeology [Magazine], July/August 2007
  469.  
  470.  
  471. &quot;Meta&quot; by Schröedinger's Cat  (São Paulo, São Paulo)
  472. (CC) 20 February 2007 Attribution-Noncommercial-Share Alike 2.0 Generic
  473.  
  474. &quot;A project devoted to the study of graffiti-covered walls as they change over time.&quot;
  475. - BY CASSIDY CURTIS, THE GRAFFITI ARCHEOLOGY PROJECT &amp; FLICKR SLIDESHOW POOL
  476.  
  477. &quot;Archaeological sensibility&quot; ? &quot;...it resonants with the notion... that foregoes defining the discipline upon subject matter criteria ('the remote past') and instead emphasizes what is unique to how archaeology understands our complex relationships to things. Attention to minutiae of the everyday; detailed documentation of change through time; the processes behind the accretion of an archaeological trace; the individual and creative acts of even 'marginalized' groups. This broader and bolder view of what is unique to archaeology takes action and practice over etymology and definition to contribute a specialized perspective to deep time and modern material practices.&quot;
  478. - Timothy Aaron Webmoor, Department of Anthropology, Interdisciplinary Archaeology Center, MetaMedia Laboratories,   Stanford University</description>
  479. <pubDate>Sat, 29 Sep 2007 00:00:00 -0700</pubDate>
  480. </item>
  481. <item>
  482. <title>PLEASE GIFT, SHARE . . .  AND HAVE A GREAT SUMMER ! ! !</title>
  483. <link>http://www.imaginify.org/post/Article127.html</link>
  484. <description>&quot;Net Art&quot; also known as &quot;Software Art&quot;
  485.  
  486. Image: &quot;Jackson_Pollock_by_Miltos_Manetas&quot; by Amalyah Keshet, 2006
  487. Software Remix: &quot;JacksonPollock.org&quot; by Miltos Manetas, 2003
  488. Software: &quot;Splatter&quot; by Michal Migurski &amp; re-elaborated by Iashido, 2003
  489. CC Atttribution Non-Commerical Share-Alike 2.5 License
  490.  
  491. &quot;Jackson Pollock painting &quot;One: Number 31, 1950&quot; at the Museum of Modern Art&quot;, 2007
  492. Image: &quot;Pollock31.jpg&quot; by Americasroof (wikipedia)
  493. CC Attribution Share-Alike License version 2.5</description>
  494. <pubDate>Wed, 22 Aug 2007 22:46:09 -0700</pubDate>
  495. </item>
  496. </channel>
  497. </rss>
  498.  

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