CDH event: Animated Music Screening and Talk – May 30th

keefer-music-web1

Cindy Keefer, Archivist, Curator & Director . Center for Visual Music

Preserving Visual Music : The Archives of the Center for Visual Music

THURSDAY . May 30 . 4:30 PM . INTN 1113 . Refreshments served .

Cindy Keefer, Director of the Center for Visual Music Los Angeles, will discuss and screen work by pioneers of kinetic art, abstract animation and pre-digital cinema from CVM’s archives. CVM is a Los Angeles archive dedicated to visual music, experimental animation and abstract media.  CVM preserves and promotes films by Oskar Fischinger, Jordan Belson, Charles Dockum, Mary Ellen Bute, Jules Engel, Harry Smith and others, as well as contemporary artists. Keefer will screen work from CVM’s archives by Fischinger and Belson, plus Dockum’s Mobilcolor Projections, Bute’s Abstronics (an early oscilloscope film), a short Bute documentary, and more. She will also discuss Belson’s now legendary 1950s Vortex Concerts, CVM’s work with the Fischinger legacy, current preservation work, and Raumlichtkunst, the new HD 3-screen reconstruction of Fischinger’s 1920s multiple-projector performances, recently exhibited at the Whitney Museum, the Tate Modern, and scheduled for exhibition at the Palais de Tokyo in Paris in summer 2013.

This is the last event Critical Digital Humanities will host for the 2012-2013 season. Please join us for this exciting presentation. http://cdh.ucr.edu

The Quantum Cloud

Google Buys a Quantum Computer

Google did not say how it might deploy a quantum computer into its existing global network of computer-intensive data centers, which are among the world’s largest. D-Wave, however, intends eventually for its quantum machine to hook into cloud computing systems, doing the exceptionally hard problems that can then be finished off by regular servers.

It’s not very interesting on the exterior, just another black box – actually I wonder if there’s even a computer inside the black monolith in the image below. More pictures of the interior of the quantum “mainframe” would be great.

(via The Brief)

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Geographies of Detention at UCR Arts Block

UCR ARTSblock presents the exhibition:

Geographies of Detention: From Guantánamo to the Golden Gulag

June 1 – September 7, 2013*

California Museum of Photography, UCR ARTSblock

UCR ARTSblock presents Geographies of Detention: From Guantánamo to the Golden Gulag, on view at the California Museum of Photography from June 1 through September 7, 2013. The exhibition is guest curated by Catherine Gudis, Molly McGarry, and graduate students from the UCR Public History Program: Leann Do, Jay Hartzell, Kristen Hayashi, Corinne Knight, Sean Milanovich, Karen Raines, Carolyn Schutten, Megan Suster, Jennifer Thornton, David Wagner, and Jennifer Weed.

gdPresented on two floors of the California Museum of Photography, Geographies of Detention offers a nuanced investigation into incarceration and its architectures. One portion of the exhibition highlights work by artists Sandow Birk, Alyse Emdur, and Richard Ross, each of whom explores different aspects of imprisonment. Geographies of Detention also includes the traveling exhibit the “Guantánamo Public Memory Project,” an examination of the over 100-year history of the US naval station at Guantánamo Bay, Cuba.

The main gallery of the museum is devoted to the contemporary context and landscape of California’s own “golden gulag.” Prison populations in California have grown 500% in the last decades even as crime rates subside, and prison spending continues to outweigh state funding for public education. A selection of hauntingly evocative paintings by Sandow Birk from his series “Prisonation” (2001) reflects on the growth of California’s prison industrial complex by engaging its geographic context. Taking inspiration from pictorial genres of landscape painting, including those popularized by the Hudson River School in the 19th century, each of Birk’s paintings depicts one of California’s state prisons, from Pelican Bay in Northern California to Centinela State Prison at the US–Mexico border.

While Birk’s work shows the prisons from afar, Richard Ross and Alyse Emdur take the viewer inside these structures. In his series of photographs “Architecture of Authority” (2007), Ross explores the built environment of prisons, revealing the spatial logic used to exert power over the bodies incarcerated within. Emdur’s large-scale photographs of prison visiting rooms and collected letters and snapshots (some of which appear in her 2013 book, Prison Landscapes) offer a more intimate vision of inmates posing with their visitors against murals in fantasy landscapes of freedom. Presented together, the works of Birk, Ross, and Emdur meditate on the “carceral state” of California.

The “Guantánamo Public Memory Project” combines historical and contemporary photography, film, and first-person audio interviews to examine how the naval base has been “closed” and reopened for more than a century leading up to the attacks on September 11, 2001. These new perspectives on Guantánamo’s history as a “legal black hole” provoke discussions about the limits of democracy and the meaning of mass incarceration in a global present and future.

Collaboratively curated by eleven universities (including UCR), the “Guantánamo Public Memory Project” is comprised of a deeply researched traveling exhibit, as well as a website (www.gitmomemory.org), blog, and ongoing public conversation. The panel produced by graduate students in UCR’s Public History Program examines Guantánamo as an international symbol of America’s War on Terror and a lightning rod for debates about torture, detention, national security, and human rights.

Visit artsblock.ucr.edu for the schedule of related programs.

*The “Guantánamo Public Memory Project” will be on view as part of Geographies of Detention through August 10, 2013.


This exhibition was made possible in part by the generous support of Dean Stephen Cullenberg, UCR College of Humanities, Arts, and Social Sciences, and the UCR History Department’s Friends of Public History.


California Museum of Photography Sweeney Art Gallery
Culver Center of the Arts University of California, Riverside
3834 Main Street Riverside, CA 92501 951.827.3755

The “3000-pound spreadsheet machine”

If It Ain’t Broke, Don’t Fix It: Ancient Computers in Use Today

Companies traditionally used the 402 for accounting, since the machine could take a long list of numbers, add them up, and print a detailed written report. In a sense, you could consider it a 3000-pound spreadsheet machine. That’s exactly how Sparkler Filters uses its IBM 402, which could very well be the last fully operational 402 on the planet. As it has for over half a century, the firm still runs all of its accounting work (payroll, sales, and inventory) through the IBM 402. The machine prints out reports on wide, tractor-fed paper.

This is pretty amazing. I’ve seen older systems in use recently, like Windows 95, but this is just extraordinary.

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