Video: Artist Cole Sternberg on His ‘The Content is Bleeding Through’ Installation

I interviewed Cole Sternberg (no relation) last weekend at the unveiling of his new installation. I love the theme and concept of the work, however, i can’t possibly imagine taking the time to rewrite such asinine content all over someone’s walls, ceilings and floors. Cole did it over the course of seven months at a back house on the residence of Normandie Keith in the Hollywood Hills. The 24-hour newscycle, gossip media, and technology such as Twitter has brought the future into our laps and shirt-pockets. Cole calls this a “vision for this apocalyptic moment when media and technology have pushed us so far that all the content blurs together.”

Video and interview below as well as photos from the event.

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Strategies for Curating Online Reading Sources

One of the rare non-Apple laptops seen in an otherwise cool park full of cool people How do you keep up with the blogs, news, and online publications you care about most?

This is a question that commonly comes up among friends and peers engaged in the business of content and discovery. And the answer changes as the web changes.

The algorithms, languages, and technology that enable users to curate an online experience that feels genuinely and uniquely personalized is fascinating. To me, it’s what the web is all about. I’ve long been hooked on RSS and its ability to deliver content of all kinds, from audio/video podcasts to earthquake alerts, almost immediately as published.

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Bono Bloody Bono – Ten for the Next Ten – NYTimes.com

Intellectual Property Developers

Caution! The only thing protecting the movie and TV industries from the fate that has befallen music and indeed the newspaper business is the size of the files. The immutable laws of bandwidth tell us we’re just a few years away from being able to download an entire season of “24” in 24 seconds. Many will expect to get it free.

A decade’s worth of music file-sharing and swiping has made clear that the people it hurts are the creators — in this case, the young, fledgling songwriters who can’t live off ticket and T-shirt sales like the least sympathetic among us — and the people this reverse Robin Hooding benefits are rich service providers, whose swollen profits perfectly mirror the lost receipts of the music business.

We’re the post office, they tell us; who knows what’s in the brown-paper packages? But we know from America’s noble effort to stop child pornography, not to mention China’s ignoble effort to suppress online dissent, that it’s perfectly possible to track content. Perhaps movie moguls will succeed where musicians and their moguls have failed so far, and rally America to defend the most creative economy in the world, where music, film, TV and video games help to account for nearly 4 percent of gross domestic product. Note to self: Don’t get over-rewarded rock stars on this bully pulpit, or famous actors; find the next Cole Porter, if he/she hasn’t already left to write jingles.

Bono’s insinuation that content must be tagged, tracked, and protected in the interest of the creator is an uneven (if not borderline fascist) suggestion.

The biggest problem with this is that bandwidth regulation affects not just entertainment (whether downloaded, streamed, for pay or for free) but everything else that operates in the digital space.

Which includes education, charity, government, and most ironically, the development, production, and broadcast of creative content itself.

Read up on Net Neutrality Bono. The movie industry is booming (in spite of a relative abundance of poor content). But the service providers aren’t just stuffing their pockets with profit, they’re limiting both consumers and creators by throttling bandwidth.

Don’t wage war on the Internet, Bono. Talk about putting your back up against the wall… please don’t go singing that song.

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