PUTINTIN, a new font

PUTINTIN font by Walter van Rijn

PUTINTIN_ПУТИНТИН font translates latin characters into cyrillic characters, showing both at the same time. If you type on a latin keyboard the latin letters appear on top and on a line underneath appears the cyrillic, creating two lines of text at the same time. Please double the font size to get a readable text. If you type on a cyrillic keyboard the cyrillic appears on top with the latin underneath.

PUTINTIN_ПУТИНТИН was created in response to the Russian annexation of the Crimea, which clearly breached UN resolutions and memoranda affirming Ukraine’s territorial integrity, which Russia signed as well. To be precise, Resolution 2625 of 24 October 1970 and the Budapest Memorandum of 5 December 1994 (the Memorandum on Security Assurances in Connection with Ukraine’s Accession to the Treaty on the Non-Proliferation of Nuclear Weapons).
OK now it is confirmed that the UN is dead, we need to re-establish East West communication, for which I propose this font. The font has an open font license: “The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves.” (OFL)

Pdf file with text example PUTINTIN_by_vvvr

Download font from the Open Font Library

The Telekommunist Manifesto | Telekommunisten

Telekommunist manifesto by Dmytri Kleiner

 

Now here is a fantastic project that reflects on the web and its potential for an “ongoing proliferation of free culture and free networks.” Self organisation is the key, so artists download and go for it. Download the Manifesto or get a printed copy from  The Institute of Network Cultures.

Source: The Telekommunist Manifesto | Telekommunisten.

In the age of international telecommunications, global migration and the emergence of the information economy, how can class conflict and property be understood? Drawing from political economy and concepts related to intellectual property, The Telekommunist Manifesto is a key contribution to commons-based, collaborative and shared forms of cultural production and economic distribution.

Venture communism: Proposing “venture communism” as a new model for workers’ self-organization, Kleiner spins Marx and Engels’ seminal Manifesto of the Communist Party into the age of the internet. As a peer-to-peer model, venture communism allocates capital that is critically needed to accomplish what capitalism cannot: the ongoing proliferation of free culture and free networks.

Copyfarleft: In developing the concept of venture communism, Kleiner provides a critique of copyright regimes, and current liberal views of free software and free culture which seek to trap culture within capitalism. Kleiner proposes copyfarleft, and provides a usable model of a Peer Production License.

Encouraging hackers and artists to embrace the revolutionary potential of the internet for a truly free society, The Telekommunist Manifesto is a political-conceptual call to arms in the fight against capitalism.

About the Author: Dmytri Kleiner is a software developer working on projects that investigate the political economy of the internet, and the ideal of workers’ self-organization of production as a form of class struggle. Born in the USSR, Dmytri grew up in Toronto and now lives in Berlin. He is a founder of the Telekommunisten Collective, which provides internet and telephone services, as well as undertakes artistic projects that explore the way communications technologies have social relations embedded within them, such as deadSwap (2009) and Thimbl (2010).

Chris Hables Gray. Cyborg Art: Prefigurative, Performative, Inhuman, Hybrid?

Global Futures Speaker Series

Administered by Winchester Centre for Global Futures in Art Design & Media

16:00 – 18:00, 20 March 2014

Cyborg Art: Prefigurative, Performative, Inhuman, Hybrid?

Culture, including art, is natural. Since humans are makers this means art is fundamentally a techno-social, hybrid system of the mental, the biological, the machinic and the inert. New understandings allow for new technosciences which produce new social conditions that lead to new understandings, all the while this dance means the creation of new artistic practices (artivism, maktivism, prefiguration, performing cyborg citizenship, sousveillance, hypernatural) and theoretical claims (cyborg art, hybrid art, bioart, eco art, infoart, inhuman art, symbiotic art, digital art, inorganic agency). What are we to make of this proliferation? Do we know what we like and does that make a difference? What can we know when we are the flawed instruments of knowing? Should (can?) art be part of helping the world through its current crisis or can it only be an escape from it?

Venue

MA Common Room, Room 3023, Level 3, Eastside Building, Winchester School of Art

video from space, watching earth go by

 

A new service is being launched with a near-life HD video feed from the International Space Station. It will allow you to see part of the earth, streamed over the internet to your phone or computer. How cool is that?

So what will happen when we all get access to a space station view of the world?

http://www.urthecast.com/features#live Website says:

“Join the UrtheCast community: UrtheCast is committed to fostering global education and relief efforts worldwide, using advanced Earth Observation technology. From helping students detect geographical changes, to providing crucial footage for aid organizations responding to a crisis, UrtheCast will soon provide a powerful tool for change.”

The blurb says it will have two resolutions: 1) “UrtheCast’s 5-metre resolution camera will capture any location that the ISS passes over, generating large strips of 40km-wide imagery, 365 days a year.” and 2) “UrtheCast’s one-metre resolution video camera will capture up to 150 videos of Earth in 4K-resolution — Ultra HD. Depending on flyover conditions, video length will generally be 60-seconds long. “

I can’t wait for the first film made with these images……

 

 

The hidden art you own…

Maori wearing hei-tiki. Source: http://www.maori.info/maori_tiki.htm

Maori wearing hei-tiki. Source: http://www.maori.info/maori_tiki.htm

Another list of artworks. This time a database from Revenue and Customs (HMRC) that contains, according to Mark Brown and Natalie Gil from the Guardian, 115000 artworks. These artworks are inherited by private owners, but deferred from inheritance tax as long as the public has access to view them (28 days per year). Apparently this little deal has cost the taxpayer over the last 10 years £1.15bn. What a waste. Lets cut this crap and invest it in contemporary art… If the owners love it so much let them pay tax, or sell it. If you look at the ‘miscellaneous’ category that is really a hilarious list, full of military crap, medals and spoils: “A German Guard Pickelhaube bearing the motto MIT GOTT FUR KOEINIG UND VATERLAND on the wings of the brass eagle on the brow, with, in the centre, a star containing the Latin motto SUUM CUIQUE.”

But my eye fell on an interesting item nr. 30: A Nephrite ‘Hei-tiki’ with mother-of-pearl eyes and original leather thong – 5in. high. A quick search in the database of the British Museum shows several of these items, so what is the exact nature of this ‘Hei-tiki’ that warrants tax deferral because they “are important to the cultural life of the UK”? As the Hei-tiki are a Maori cultural artifact, probably nicked a few centuries ago, should that not be returned to New-zealand?

To find out which artworks are included go to:

http://www.hmrc.gov.uk/heritage/visit.htm