padfootl0ve
Dreaming Out Loud
Pure and unfiltered craziness of a college student trying to discover herself..
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I read all about your accident—that much gamma radiation should’ve killed you. But it didn’t.
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SOMETHING TO NOT FUCKING FORGET AND I DON’T THINK IT’S TOO EARLY TO REMIND ANYONE:
He was at the time the most dangerously incompetent oaf to ever win U.S. presidency in anyone’s memory, he did so despite losing the popular vote with the American people, he was a laughingstock and riddled with scandal from day one, he made other countries hate us, he caused cost of living to skyrocket, his vice president was an openly homophobic warmongering maniac, he harmed environmental policy, set back health care and education, violated human rights, divided the nation, fed into racism and xenophobia and everybody you can think of from Hollywood celebrities to world leaders stood united against him.
His name was George W. Bush, and after four years straight of all the above, he won another four year term by over 11 million more votes than the first one.
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New writing rule: Checkov’s friend
If you introduce a named character with a relationship to a protagonist, their character arc must be resolved in a way that feels reasonable and satisfying
Which is to say: they can’t just dissappear when they’re no longer a convenient plot device
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RDJ seeing that Sony and Disney are threatening to erase Tom Holland’s Spider-Man from the MCU:
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fuck area 51 let's raid sony instead for taking peter parker out of the mcu
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exclusive photographs of Sony Pictures Studios executives getting ready for work this morning, (August 20, 2019)
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Dude this fandoms never going to fully die. There are too many of us with parental issues that want that sweet sweet loving family dynamic with a dash of super heroes and sarcasm in our media
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Mood when SDCC over but also when Hemsworth insists on comparing muscles 💪😣 #Throwback
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My friend Ian Urbina of The New York Times just produced a pretty incredible book called The Outlaw Ocean about the fairly shocking array of environmental and human rights abuses that occur on the high seas globally. I cannot recommend it enough: https://urbina.io/2xgRUKA
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Artists Covertly Scan Bust of Nefertiti and Release the Data for Free Online
An Iraqi/German pair of artists just pulled off what might be one of the most digitally-enhanced art heists in recent time. They covertly scanned the Nefertiti bust (with an Xbox 360 Kinect sensor, no less) and released the 3D printing plans online. They did so as an act of defiance, as the bust was actually looted from an Egyptian site by German archaeologists.[x]
[article by Claire Voone /Hyperallergic]
Last October, two artists entered the Neues Museum in Berlin, where they clandestinely scanned the bust of Queen Nefertiti, the state museum’s prized gem. Three months later, they released the collected 3D dataset online as a torrent, providing completely free access under public domain to the one object in the museum’s collection off-limits to photographers. Anyone may download and remix the information now; the artists themselves used it to create a 3D-printed, one-to-one polymer resin model they claim is the most precise replica of the bust ever made, with just micrometer variations. That bust now resides permanently in the American University of Cairo as a stand-in for the original, 3,300-year-old work that was removed from its country of origin shortly after its discovery in 1912 by German archaeologists in Amarna.
Nora Al-Badri and Jan Nikolai Nelles with the 3D bust in Cairo
The project, called “The Other Nefertiti,” is the work of German-Iraqi artist Nora Al-Badri and German artist Jan Nikolai Nelles, who consider their actions an artistic intervention to make cultural objects publicly available to all. For years, Germany and Egypt have hotly disputed the rightful location of the stucco-coated, limestone Queen, with Egyptian officials claiming that she left the country illegally and demanding the Neues Museum return her. With this controversy of ownership in mind, Al-Badri and Nelles also want, more broadly, for museums to reassess their collections with a critical eye and consider how they present the narratives of objects from other cultures they own as a result of colonial histories.
The Neues Museum, which the artists believe knows about their project but has chosen not to respond, is particularly guarded towards accessibility to data concerning its collections. According to the pair, although the museum has scanned Nefertiti’s bust, it will not make the information public — a choice that increasingly seems backwards as more and more museums around the world are encouraging the public to access their collections, often through digitization projects. Notably, the British Museum has hosted a “scanathon” where visitors scanned objects on display with their smartphones to crowdsource the creation of a digital archive — an event that contrasts starkly with Al-Badri and Nelles’s covert deed.
3D rendering of the bust of Nefertiti
“We appeal to [the Neues Museum] and those in charge behind it to rethink their attitude,” Al-Badri told Hyperallergic. “It is very simple to achieve a great outreach by opening their archives to the public domain, where cultural heritage is really accessible for everybody and can’t be possessed.”
In a gesture of clear defiance to institutional order, Al-Badri and Nelles leaked the information at Europe’s largest hacker conference, the annual Chaos Communication Congress. Within 24 hours, at least 1,000 people had already downloaded the torrent from the original seed, and many of them became seeders as well. Since then, the pair has also received requests from Egyptian universities asking to use the information for academic purposes and even businesses wondering if they may use it to create souvenirs. Nefertiti’s bust is one of the most copied works from Ancient Egypt — aside from those with illicit intents, others have used photogrammetry to reconstruct it — and its allure and high-profile presence make it a particularly charged work to engage with in discussions of ownership and institutional representations of artifacts.
“The head of Nefertiti represents all the other millions of stolen and looted artifacts all over the world currently happening, for example, in Syria, Iraq, and in Egypt,” Al-Badri said. “Archaeological artifacts as a cultural memory originate for the most part from the Global South; however, a vast number of important objects can be found in Western museums and private collections. We should face the fact that the colonial structures continue to exist today and still produce their inherent symbolic struggles.”
Al-Badri and Nelles take issue, for instance, with the Neues Museum’s method of displaying the bust, which apparently does not provide viewers with any context of how it arrived at the museum — thus transforming it and creating a new history tantamount to fiction, they believe. Over the years, the bust has become a symbol of German identity, a status cemented by the fact that the museum is state-run, and many Egyptians have long condemned this shaping of identity with an object from their cultural heritage.
vimeo
The heist: museumshack from jnn on Vimeo
Ultimately, the artists hope their actions will place pressure on not only the Neues Museum but on all museums to repatriate objects to the communities and nations from which they came.
Rather than viewing such an idea as radical, they see it as pragmatic, as a logical update to cultural institutions in the digital era: especially given the technological possibilities of today, the pair believes museums who repatriate artifacts could then show copies or digital representatives of them. Many people have already created their own Nefertitis from the released data; the 3D statue in the American University in Cairo stands as such an example of Al-Badri and Nelles’s ideals for the future of museums, in addition to being one immediate solution that may arise from individual action.
“Luckily there are ways where we don’t even need any topdown effort from institutions or museums,” Al-Badri said, “but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivating the objects like we did.”
3D-printed bust of Nefertiti
[source: Hyperallergic, emphasis mine]
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