Vibrant - Express Yourself (Michael & Levan Tech House Dub) from WEMIX 116 http://myspace.com/worldwideexclusiverecords Written by Cristian Paduraru. Published by The Remix Label. Licensed from WEMIX series. Available in your favourite retailer (ITunes, Amazon, Beatport, DJDownload, Juno, etc). You'll find the inspiring dj friendly blend between progressive electro house & tech house in all Worldwide Exclusive Records releases. Tracks are supported by many good dj's and sound like Sasha & Digweed, Deep Dish, Hernan Cattaneo, Timewriter, Jeff Bennett, Mark Knight, D Ramirez, Robbie Rivera, Thomas Gold, Axwell, Dirty South, Deadmau5, Pryda, Chris Lake, Cristian Paduraru, Booka Shade, Gui Boratto, Trentemoller, Dennis Ferrer, Kerri Chandler. Enjoy now! Thank you very much for playing! Hope you'll enjoy more and more the inspiring musical journey along with us for this life :) To get more info, artwork, free promo downloads, you can go now to http://theremixlabel.com

Author: wemixer Keywords: inspiring electronic progressive vocal house tech-house deephouse cristianpaduraru cr2cd wemixer yespiring theremixlabel Added: October 11, 2008

We are witnessing either an epic financial meltdown or a long overdue resetting of existing business practices and the hollow markets they create. Or, perhaps we’re experiencing both of these phenomena. Either way, it has the nation gripped with fear, uncertainty, and an unsettling eruption of questionable advice confusing everyone, everywhere.

While the floor is crumbling for many industries much in the same way it did for Silicon Valley during the dotbomb years, the sky isn’t necessarily falling on the startup industry – at least not for those with marketable technology or products, dedicated and capable teams, an executable business plan, and access to the resources necessary to help it reach users and customers.

For those startups that are building and marketing something of value for consumers or businesses, there is much work to do. While there is always a need to attract mainstream users, this isn’t the time to stretch or over-commit resources to hit everyone all at once. Branding is an expensive proposition, one that requires time, capital, diligence, dedicated teams, enthusiastic customers, and patience. As counter intuitive as it may seem, this is exactly the right time to market into the echo chamber to earn the support of influentials who will create significant, concentrated brand visibility and momentum to carry you forward.

Your business can grow with the groundswell and doesn’t necessarily require the instant adoption by the masses in order to succeed in the short term.

Usually, when the economy slides, the first natural reaction is to cut expenses, conserve cash, and hunker-down to weather the storm.  All good advice.  But don’t forget also that this could be your time to shine, albeit, in a strategic and intelligent way.

Great entrepreneurs build value and market-share in down markets. They go to work seven days a week and the(y) breakout when other folks check out. — Jason Calacanis

Now’s the time to get your head in the game and focus on what it is you do, and go do it better than anyone else. You’re either on the field or you’re on the sidelines.

Any company that intentionally pulls itself from the radar screen of their customers will be absent from customer decisions and referrals. In the process, you create a frictionless opportunity for your competitors to swoop in and fill the void.

There are always customers making decisions, so make sure that you’re part of the equation and process, wherever they go for information and insight.

Influence and adoption historically have migrated from the edge to the center. Or using a more common example, customers and word-of-mouth referrals travel from left to right along a bell curve that starts with Innovators and Early Adopters, peaks with the Early Majority and the Late Majority, and finally permeates with reaction from Laggards.

If you dissect the art and science of technology marketing using a car as a simple metaphor, your product serves as the chassis, your cash as the fuel, Social Media, Interactive/Web, Sales, SEO, and PR as the accelerator, marketing strategy and execution as the gears, RPMs as a market indicator for listening and responding, the speedometer to convey inertia, and you, as founding executive, sitting in the driver’s seat, steering and controlling the entire operation.

Marketing to the echo chamber, believe it or not, is how you get that car rolling, starting everything in first gear. Appealing to those who can help spark word of mouth is how you can accelerate, gain enough speed to shift into second, and subsequent higher gears, and attract new users and evangelists along the way, growing in distance and reach at every turn. It is the echo chamber that can help you efficiently gain velocity in order to progressively reach greater audiences and command additional financing and also revenue in the process. With its support and assistance, it is almost like starting with a colossal push.

You have to start by engaging those who’ll get it, and in turn, share it with their peers. It’s an ongoing process that strengthens with each cycle.

Hopefully you are building your business in a way that is independent of the stock market.
— Kevin Ryan

The world doesn’t flock to new things en masse. It takes a focused and progressive strategy that evolves and matures over time. In a down economy, this is non-negotiable.

Digg and Twitter are among some of the best examples of how alpha users can help promote a company or service by embracing these new solutions and religiously demonstrating why they are pervasive and useful. And, emphatic users also contribute to the community building process, assisting in the translation of the value proposition for different markets as well as enticing and compelling their peers to join them, which offsets and relieves the company from carrying the bulk of the responsibility for promotion and guerilla marketing.

But, where are Digg and Twitter in respect to the adoption cycle? They’re not as far along as you think judging by the buzz and permeation of your social graph. These companies still have oceans to swim until they become household brands. But, that’s OK. They’re building a business, cultivating legions of dedicated user communities, evolving and improving their product, and still conserving cash. Remember, it took brands such as eBay, Youtube, Google, and Amazon hundreds of millions of dollars and armies of enthusiasts and partners to achieve saturation – and many would argue that there’s still much work to be done.

I would bet on any company that earned the support of innovators and early adopters and took the time to listen to feedback in order to iterate based on real world needs, preferences, pains, and new ideas.

Without influence, you’re going to spend precious resources, more than you can afford, convincing people that they should pay attention. Peer-to-peer marketing is priceless and still your best bet for having a shot, and more importantly, making a long-term impact.

But you first need a spark, something to start that avalanche that grows as it races downhill.

The echo chamber is bigger than we think or give it credit for. In fact, think of the echo chamber as its own bell curve. Most of the blogs and users that naturally come to mind, may reside on the left side, leaving a wide array of technology enthusiasts to uncover and pursue.

Innovators and early adopters are global citizens and do not solely reside in Silicon Valley. Figure out who your market is today, tomorrow, next month, and set goals for user acquisition so that you can tweak your product and tailor your messages to those very people, as they’ll uniquely connect to your story, and also share it differently among their peers, as it traverses across the bell curve.

Remember, reporters, bloggers and online tastemakers (aka trendsetters) who spotlight innovation can send tens of thousands of new and loyal users to you almost instantly. I’m not just referring to unique visits of those who sign up, test things out, and then leave to try the next shiny service. When done right, the echo chamber can generate real world interest and support. It is these very users who tell you everything about what works, what doesn’t, and how to improve. These same individuals and networks also augment and complement your marketing efforts by legitimizing you’re products, associating credibility and providing pseudo endorsements, and in turn, giving you unprecedented access to their invaluable and highly connected networks of early adopter friends.

This is the time to focus on user acquisition. This is edgework. Everything starts with an intimate understanding of the markets you’re trying to reach and an even deeper connection to the peers, voices, and other channels that influence them. Most of you are not marketing iPhones, gaming consoles, premium spirits, or new music artists. At the very least, you are redefining how people communicate, collaborate, connect, and ultimately work.

There’s a prevailing necessity to educate your markets and introduce not just new products and services, but also change the daily routines of everyday people.

Therefore the goal to race from zero to 60 and hit mass penetration immediately is not necessarily the primary goal. If we look at business development and communications as a series of strategic stages, we realize that there are focused activities that we must pursue and smaller, reachable voices we must reach and convince to help us carry and adapt our story from stage to stage – each time, addressing the needs and pain points of the individual, respective groups.

Of course, as you learn, internalize feedback, change, adapt, and engage with your markets, the foundation for your business solidifies and begins to afford and beget expansion. It is at this point in time, when you can continue to expand your focus and reach to attract and inspire users residing outside of the echo chamber.

Nothing beats a killer product idea and an impressive, objective, and focused team to carry it forward. Expectations count and will determine how you channel information and progress. Think too big and you’ll miss your target and burn through resources before you can ever earn any significant market traction. Aim too low and the market will pass you by.

In this volatile economic climate, the echo chamber can be your direct connection to success, or at the very least, help to kickstart market adoption of your products. It is a global incubator designed to help you grow, gain momentum, and ultimately propel your business across the bell curve to appeal to and attract a wider, active base of customers.

We live in interesting times and it’s up to us, and only us, to define our future.

(Photo by Wetwebworks).

Crunch Network: CrunchBoard because it’s time for you to find a new Job2.0

div class="center"div class="image"a href="http://pixhost.ws/avaxhome/big_show.php?/avaxhome/b4/61/000961b4.png" target="_blank"img src="http://pixhost.ws/avaxhome/b4/61/000961b4_medium.png" id="external_img_614836"//a/div/divbr/ div class="center"bKIQ Dave Moulton Golden Ears Tutorial Vol 1 CD 2 | 365 MB/b/divbr/ Trains you to recognize boosts and cuts in all ten octaves of the frequency spectrum. Progressive drills build from simple boosts in music to more demanding single octave cuts in pink noise.

Societe : PROGRESSIVE - Lieu de travail : Paris Idf - Type de contrat : CDI - Salaire : Negotiable - Detail : ROLE PRINCIPAL Il spécifie, organise et planifie la mise en Å“uvre d'un projet ou d'un ensemble de projets, depuis sa phase de conception jusqu'à sa réalisation en s'appuyant sur des ressources internes ou externes. Missions/Tâches Définition du périmètre et des objectifs du projet Participer aux phases amont de chiffrage du projet, ainsi qu'à la définition des solutions technologiques. Participer à la définition et au cadrage des besoins fonctionnels : cette étape est réalisée en étroite collaboration avec la maîtrise d'ouvrage (marketing, service client, finance...). Rédiger les spécifications générales et détaillées du projet. Évaluer les risques pouvant intervenir au cours de la réalisation. Définir les besoins en termes de ressources humaines et de compétences techniques. Préparer en amont les éléments de chiffrage et/ou de coût. Pilotage, suivi et coordination du projet Mettre en place les structures du projet et ses règles de fonctionnement (méthodes, outils de pilotage, indicateurs...). Définir les délais de réalisation des livrables. Effectuer les choix et l'affectation des ressources, en fonction des contraintes techniques. Piloter et mesurer l'état d'avancement (création des tableaux de bord, choix des indicateurs, planification des comités de pilotage...). Superviser et coordonner le travail de l'ensemble des acteurs internes et/ou externes Valider les livrables. S'assurer que le travail des équipes techniques est conforme aux spécifications du cahier des charges. Gestion d’équipe Manager une équipe de développeurs. Gestion de la relation « client » Organiser et animer les comités de pilotage auprès des décideurs. Transférer de manière régulière au donneur d'ordre les tableaux de bord sur l'état d'avancement du projet. Veiller à maintenir une relation de confiance entre la maîtrise d'ouvrage et les équipes projet. Maintenance évolutive et corrective des outils Pilote la maintenance évolutive et corrective des solutions déployées. Profil requis #61623; Compétences métier = pré-requis en termes de formation, d’expériences, de compétences techniques nécessaires (y compris informatique et langue) - dispose d'une réelle expertise technologique, lui permettant de piloter de manière proactive des équipes - .NET, SQL (MS SQL Server et Oracle) - Bac+5, 5 ans d’expérience - Expérience en pilotage d’équipe nécessaire - Connaissance du Système d’Information d’un opérateur télécom un atout - Maîtrise de la langue anglaise #61623; Compétences personnelles = pré requis en termes d’attitudes et de savoir- être - Rigueur, autonomie, leadership et qualités managériales, bonne communication écrite et orale, créativité

At face value, "1080p high definition" means 1920×1080 pixels presented progressive scan (all at once). But if a clip is 1080p that alone doesn't necessitate that it will look good. Just as you can stretch a thumbnail in Photoshop to any gargantuan size you like, so too can content providers give you ugly 1080p.

More...

At face value, "1080p high definition" means 1920×1080 pixels presented progressive scan (all at once). But if a clip is 1080p that alone doesn't necessitate that it will look good. Just as you can stretch a thumbnail in Photoshop to any gargantuan size you like, so too can content providers give you ugly 1080p.
So when Dish Network announced premium 1080p VOD that they compared to Blu-ray quality, we were more than a little skeptical. Sound & Vision was as well, which is exactly why they sat down with a Dish and Blu-ray version of Speed Racer to compare: DISH 1080p immediately impressed me. Speed Racer's brilliant colors and intricate details looked fantastic whether I was watching the satellite or the disc. Flipping back and forth between the two sources while sitting at a normal viewing distance, I could detect only subtle differences. In fact, I couldn't be sure I was seeing any difference at all...From the way-too-intimate viewing distance of about 4 feet, I started to notice a subtle graininess in the DISH 1080p picture, especially in scenes of slow, steady motion...but the fact that there wasn't a substantial difference in picture quality between the satellite and the disc bodes well for DISH's new service.
So in other words, there's a difference between Blu-ray and Dish Network, but it's a pretty small one. So what's the catch? Only exclusive Dish VOD looks this good—most of their 1080p leaves a lot to be desired—and there won't be much of this premium content any time soon.
Still, it's good to see content providers step it up and provide 1080p content worthy of its reputation. [Sound & Vision]


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French progressive metallers GOJIRA will be the featured guests on next week's (October 13/14) installment of BBC Radio 1's Rock Show.

pimg src="http://cache.gawker.com/assets/images/gizmodo/2008/10/bluvsdish.jpg" align="left" hspace="4" vspace="2" style="display:block;" /At face value, "1080p high definition" means 1920×1080 pixels presented progressive scan (all at once). But if a clip is 1080p that alone doesn't necessitate that it will look good. Just as you can stretch a thumbnail in Photoshop to any gargantuan size you like, so too can content providers give you ugly 1080p./p pSo when Dish Network announced premium 1080p VOD that they compared to Blu-ray quality, we were a href="http://gizmodo.com/5031461/dish-network-will-broadcast-in-1080p-streaming-blu+ray-quality-video-now-possible-but-unlikely"more than a little skeptical/a. Sound Vision was as well, which is exactly why they sat down with a Dish and Blu-ray version of emSpeed Racer/em to compare:/p blockquote pDISH 1080p immediately impressed me. Speed Racer's brilliant colors and intricate details looked fantastic whether I was watching the satellite or the disc. Flipping back and forth between the two sources while sitting at a normal viewing distance, I could detect only subtle differences. In fact, I couldn't be sure I was seeing any difference at all...From the way-too-intimate viewing distance of about 4 feet, I started to notice a subtle graininess in the DISH 1080p picture, especially in scenes of slow, steady motion...but the fact that there wasn't a substantial difference in picture quality between the satellite and the disc bodes well for DISH's new service./p /blockquote pSo in other words, there's a difference between Blu-ray and Dish Network, but it's a pretty small one. So what's the catch? Only exclusive Dish VOD looks this goodmdash;most of their 1080p leaves a lot to be desiredmdash;and there won't be much of this premium content any time soon./p pStill, it's good to see content providers step it up and provide 1080p content worthy of its reputation. [a href="http://www.soundandvisionmag.com/features/3006/satellite-vs-blu-ray-dishing-up-1080p.html"Sound Vision/a]/p br style="clear: both;"/ a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.php?hfmm=v3:58ea219dc2025eded19ecd34b4faf4aa:pCcX9HYNVso3lJlB5NFKRfabT3ilQ%2Fi0tH2iNFcKnFrIK%2FG0atoMgrzd0T0UcWIJ%2FaRhsTUPDTTRSQ%3D%3D'img border='0' title='Poll' alt='Poll' src='http://www.pheedo.com/images/mm/poll_securityslow.png'//a br style="clear: both;"/ img alt="" style="border: 0; height:1px; width:1px;" border="0" src="http://www.pheedo.com/img.phdo?i=2ac4b97db7c9aed3d603873813fdecf3" height="1" width="1"/ img src="http://www.pheedo.com/feeds/tracker.php?i=2ac4b97db7c9aed3d603873813fdecf3" style="display: none;" border="0" height="1" width="1" alt=""/ pa href="http://feeds.gawker.com/~a/gizmodo/full?a=5TXHUF"img src="http://feeds.gawker.com/~a/gizmodo/full?i=5TXHUF" border="0"/img/a/pdiv class="feedflare" a href="http://feeds.gawker.com/~f/gizmodo/full?a=qeO9M"img src="http://feeds.gawker.com/~f/gizmodo/full?i=qeO9M" border="0"/img/a a href="http://feeds.gawker.com/~f/gizmodo/full?a=yJWWM"img src="http://feeds.gawker.com/~f/gizmodo/full?i=yJWWM" border="0"/img/a a href="http://feeds.gawker.com/~f/gizmodo/full?a=vNWkm"img src="http://feeds.gawker.com/~f/gizmodo/full?i=vNWkm" border="0"/img/a a href="http://feeds.gawker.com/~f/gizmodo/full?a=9Bybm"img src="http://feeds.gawker.com/~f/gizmodo/full?i=9Bybm" border="0"/img/a /divimg src="http://feeds.gawker.com/~r/gizmodo/full/~4/417181674" height="1" width="1"/

At face value, "1080p high definition" means 1920×1080 pixels presented progressive scan (all at once). But if a clip is 1080p that alone doesn't necessitate that it will look good. Just as you can...

Societe : PROGRESSIVE - Lieu de travail : IDF - Type de contrat : CDI - Salaire : Negotiable - Detail : Pour un opérateur telecom en pleine expansion je suis a la recherche d'un Architecte Service VOIX Le poste est a pourvoir en CDI en région parisienne en direct avec le client. Département du Val D'oise Mon client vous propose un salaire brut annuel de 60KE + Variable Un plan de formation et des certifications sur les produits Cisco . Une participation Des primes collectives équivalentes a un intéressement Un restaurant d'entreprise avec remboursement quasi intégral des repas. Rattaché au Directeur Ingénierie et Informatique, l’Architecte de Services est en charge de la Conception et de l’optimisation des services Voix, Data, Image dans le respect des critères délais, qualité, coûts en assurant la cohérence technique de bout en bout. Principales fonctions : Les Projets « Développement de Services » Services d’interconnexion opérateurs en IP et en signalisation N°7 Raccordements de solutions téléphoniques d’entreprise en mode RNIS ou IP (Offre Trunk IP) IP Centrex intégrant du selfcare Messagerie unifiée et services d’audio conférence Travail collaboratif entre les utilisateurs Centrex Vidéo Raccordements vers les serveurs LCS/OCS de Microsoft Support au Marketing pour l’expression de besoin du service et étude de faisabilité technique Ingénierie détaillée du service de bout en bout (ingénieries et paramétrages) Maquettage et Tests des fonctionnalités du service Formations des exploitants Gestion de cycle de vie des produits existants : réingénierie des services (optimisation, changement de plateformes, portage sur de nouvelles plateformes) Les Projets « Offres sur mesure » et à l’international « en zones aéroportuaire » Aide à la qualification du besoin en support des avant ventes Etude de faisabilité des solutions (validation, test, maquettage, spécifications des équipements) Ingénierie détaillée en phase après vente Compétences Techniques Maîtrise technique : SS7, RNIS, H.323, H.248, SIP, architecture, IPBX Constructeur : Cisco, Alcatel, Oneacess Profil Diplômé(e) d’une école d’ingénieurs ou équivalent avec une expérience professionnelle de 5 à 8 ans dans une direction Ingénierie chez un operateur télécom, intégrateur ou constructeur. Maitrise technique sur les services Voix. Rigueur, organisation et esprit d’équipe seront également appréciés.

centerimg id="image1464" src="http://rhizome.org/imagebase/article/1959/_MG_9094websmall.jpg" alt="_MG_9094websmall.jpg" //centerbr / piThis week I spoke with Aaron Levy, Executive Director and a Senior Curator of the Philadelphia-based interdisciplinary non-profit art space a href="http://slought.org/"Slought Foundation/a, about his participation in the U.S. Pavilion at a href="http://www.labiennale.org/en/architecture/"La Biennale di Venezia, 11th International Architecture Exhibition/a. Working in a team with William Menking and Andrew Strum, the exhibition, titled "a href="http://positioningpractice.us/"Into the Open: Positioning Practice/a," investigates contemporary socially-engaged architectural practice in the United States. Sixteen practitioners were selected for the exhibition, including The Center for Land Use Interpretation, the Center for Urban Pedagogy (CUP), Design Corps, Detroit Collaborative Design Center, Gans Studio, The Heidelberg Project, International Center for Urban Ecology, Jonathan Kirschenfeld Associates,Project Row Houses, Rebar, Rural Studio, Spatial Information Design Lab/Laura Kurgan, Studio 804, Smith and Others, The Edible Schoolyard/Yale Sustainable Food Project, and Estudio Teddy Cruz. Levy, along with William Menking and Andrew Strum, a href="http://www.arch.columbia.edu/index.php?pageData=1/12/5/"will discuss the exhibition at Columbia University on October 13th/a and downtown at a href="http://www.arch.columbia.edu/studiox/calendar.html"Studio-X on October 14th/a. - Ceci Moss/i/p bpCeci Moss: The title for the U.S. Pavilion is "Into the Open: Positioning Practice." Considering the wide range of approaches represented in this exhibition, I'm wondering if you can discuss why you selected this title, and how it speaks to the premise of community involvement through architectural practice./p/b pAaron Levy: What should our place be in this world, and how should architects help shape our sense of place? These are two of the questions that our exhibition gestures towards, through a new American taxonomy of conflict and urgency that takes visitors through some of the richest and the poorest neighborhoods of North America. The sixteen practices we have selected embody an expanded definition of architectural responsibility, whereby architects and designers become activists, developers, facilitators of a more inclusive urban policy, and producers of unique urban research. The exhibition explores not just what these architects and activists have built, but how they have built. In this sense, it is very much in keeping with the contemporary focus on process./p pI recently read Karsten Harries' iThe Ethical Function of Architecture/i, which follows Sigfried Giedion in arguing that the main task for architecture today is the interpretation of a way of life valid for our time. Harries argues that architecture is more than just an aesthetic approach, and that for some time now, architecture has been profoundly uncertain of its way. Can the problem of where architecture is going ever be thought separately from the larger problem of community and public forms of solidarity? Why must the ethical and the aesthetic always be in opposition? These questions are not just for philosophers; these are some of the questions that the field of architecture needs to consider today./p centerimg id="image1467" src="http://rhizome.org/imagebase/article/1959/Exhibit-Edible1small.jpg" alt="Exhibit-Edible1small.jpg" //centerbr / centeriImage: The Edible Schoolyard/Yale Sustainable Food Project, Model Schoolyard Garden (Installation Photograph) (Photo credit: Ryan Reitbauer/Duggal Visual Solutions)/i/centerbr / pbHow did you become involved with this exhibition? /b/p pIt's a really great question--although it doesn't have all that interesting an answer...There were a fair share of procedural and logistical headaches that are incredibly mundane though perhaps interesting to curators! /p pOur team (William Menking of iThe Architect's Newspaper/i, Andrew Sturm from PARC Foundation, and myself, in dialogue with architects Teddy Cruz and Deborah Gans) submitted a preliminary conceptualization to the U.S. Department of State's Bureau of Educational and Cultural Affairs (ECA), responding to a public call for proposals. Once our proposal was accepted, we only had about 90 days to actualize what was a fairly rough schematic and fundraise. The lack of easily available documentation for many of the community-oriented practices in our exhibition called into question a typical curatorial approach privileging the display of cultural artifact and encouraged us to highlight architectural process instead. We viewed limitations such as these productively, allowing them to organically determine our approach./p !--more-- pI can't even begin to describe how difficult it was to stage this exhibition in Venice! The biennale opens just days after Ferragosto, an Italian holiday which effectively shuts down Venice for the month of August. Additionally, everything in the exhibition -- from our shipping crates filled with cultural artifacts to the vegetables we planted in the courtyard of the pavilion for Alice Water's Edible Schoolyard -- arrived to the pavilion by barge (a rather curious process which you can view online on our blog). In hindsight, perhaps what was most difficult about curating the U.S. Pavilion was not the pressure to deliver, but rather the lack of time for extended deliberation -- an aspect that I think of as quite central to any curatorial process. The exhibition was ultimately installed on-site in less than two weeks, with the finishing touches made as the press conference began./p pIt is quite interesting that the different perspectives, tensions, and sensibilities that each member of our team brought to the table are still evident in the exhibition. What role should artifacts play? How should process be communicated without too heavily relying on text? What position should text and video occupy in the exhibition? In the end, we decided that visitors to the U.S. Pavilion should be able to interact and engage with the featured practices in a variety of ways, rather than through just one interface. There are models to interact with, video panoramas and slideshows to watch, but also books to read, blogs to contribute to, and even installations to walk through. The exhibition is less a site of formal instruction than one of participation and social critique. In this sense, the pavilion is decidedly unmonumental this year, intimate even, resisting spectacularity. /p pbHow did your work with Slought Foundation contribute to your position on the team? /b/p pAt Slought Foundation, we encourage sociability and activism through public programs that are purposely critical and provocative; we invite audiences to consider culture and critical exchange as a source of dynamism and enjoyment. As a young organization, we stand for a quintessentially American do-it-yourself culture that is intellectually entrepreneurial and newly resurgent. Our projects take place in Philadelphia against a backdrop of inequality, urban blight, and socioeconomic disparity, which is very much in keeping with the practices and sites of conflict represented in the U.S. Pavilion./p pIn Venice, we were specifically interested in exploring how architecture can go beyond building (director Aaron Betsky's overall theme for this year's biennale), but also how architecture can go beyond the biennale itself. We wanted to invite viewers to think of architecture not just as a physical infrastructure but also as a social practice. Is an exhibition more than the display of models or cultural artifact? What is possible, and what is placed at risk, when architects become developers, work as artists, curators, or even community activists, acting not just intellectually but also entrepreneurially? We hope that the exhibition catalyzes contemporary practice by prompting questions such as these. /p pMany of the artists, architects and theorists we work with in Philadelphia and in Venice consider research as a fundamental component of their work; they challenge us to reconsider the politics of exhibition display and prevailing curatorial approaches by evading clear distinctions between artist, architect, critic, and curator. In Venice we also departed from past convention by omitting celebrity practices from consideration, instead highlighting projects with a grassroots, community sensibility. These practices work primarily with communities through complex choreographies of collaboration that balance on the edge of the professional. The sixteen practices offer sixteen different models of community engagement--a diversity of approaches in place of one. /p bpWould you argue Slought's own place vis-a-vis the culture and community in Philadelphia provided you with a unique vantage point in which to think about civic engagement?/p/b pThe selection of Slought Foundation (in partnership with PARC Foundation) to represent the United States is an enormous honor for our small West Philadelphia non-profit, but also recognizes a new spirit of community activism and inclusiveness across the country. Our selection highlights how the local site and emergent practices are newly empowered today, despite the absence of major public and private support for grass-roots social and cultural organizations that challenge conventional wisdom. In preparing for Venice, we thought a great deal about how to scale intimacy and informality to the international level of a biennale. European audiences seem to have noticed and appreciated these gestures of curatorial humility in representing the United States./p bpThe curatorial statement describes how local initiatives, such as Project Row Houses and the Heidelberg Project, arose out of the lack of large-scale public infrastructure projects in the United States. While these organizations successfully and creatively navigated private, public, and non-profit sectors in order to support and stage their projects, their existence also speaks to the abandonment, in part, of the communities they serve by larger government. Given the potential overreaching effects of the economic downturn of the past few weeks, do you see local initiatives such as these becoming more central to the health and well being of our cities? Could you argue that this direction is potentially problematic?/p/b pI completely agree. In the absence of large-scale public infrastructure projects in the United States, local initiatives are necessarily becoming newly empowered and dynamic arenas for the exploration and generation of new forms of sociability and activism. Teddy Cruz has referred to this development as the "radicalization of the local;" by this he means that the unique complexity of the local urgently demands our attention today. Project Row Houses and the Heidelberg Project are two great examples of the way in which grassroots non-governmental organizations are reclaiming the ability to shape community and the built environment on the scale of the individual neighborhood. /p pbYou collaborated with architects Teddy Cruz and Deborah Gans for this exhibit. I wanted to touch on their work, because their individual projects take on issues of migration and national boundaries. Due to a continued growth of population displacement, movement, and migration, these in-between zones have become more prevalent. Can you tell us more about their practices? Within the nation-specific format of the biennial, how were their ideas in particular framed in the exhibition? /b/p pEstudio Teddy Cruz's contribution to the U.S. Pavilion is a photographic reproduction of the border fence that spans the U.S. border with Mexico at San Diego. It is at once a form of architectural research and a political practice of intervention. This visual representation of the border, together with its photographic montage illustrating the 30 miles north and south of the fence, take visitors through a landscape of conflict that courses through the affluence north of San Diego and the homelessness and neglect in Tijuana. Visitors to the pavilion literally and metaphorically pass through perforations in this porous border to enter the exhibition in the courtyard and inner galleries. These perforations, rather than taking the form of clear interruptions or breaks along the entire facade, instead take the form of small, vertical micro-incisions, thus encouraging on the part of the visitor a landscape of swerves and detours. With this small shift in perspective, the seemingly formal relationship between San Diego and its informal counterpart Tijuana, gives way to San Diego and Tijuana being understood as part of the same, larger urban system. /p centerimg id="image1465" src="http://rhizome.org/imagebase/article/1959/Exhibit-Border2small.jpg" alt="Exhibit-Border2small.jpg" //centerbr / centeriImage: Estudio Teddy Cruz (Installation Photograph), 60 linear mile section, San Diego/Tijuana, 2008 (Photo credit: Ryan Reitbauer/Duggal Visual Solutions)/i/centerbr / pGans Studio is devoted to rethinking how architecture can participate in the emergence of social forms. It focuses on extreme situations that also foretell the general. It has designed housing and infrastructure for populations displaced by environmental and political disaster in Kosovo, New Orleans, and New York City. The current universal solution to refugee housing is a tarp that cannot withstand extreme climate conditions; it does not provide for basic domestic needs such as bathing and cooking. Refugee camps lack many forms of urban infrastructure and also deplete natural resources, wreaking ecological havoc and disempowering the refugee population in their will to become self-sufficient./p pFor the biennale, Deborah Gans designed a "Roll Out House" prototype that responds to the extremely degraded conditions on Native American reservations, where a lack of infrastructure and endemic poverty calls for an urgent and easily deployable response. A house can be rebuilt around the deployed "roll out" house. One column holds a cistern, and the other a kitchen. Three hollow columns of various materials can support a roof or even a second floor. They also make possible a domestically-scaled infrastructure of waste, water, or heat. The "roll out" houses can also be assembled in larger formations to cultivate the structure of a town. A physical and social infrastructure emerges according to new principles of "roll out" housing./p centerimg id="image1466" src="http://rhizome.org/imagebase/article/1959/GANS-1small.jpg" alt="GANS-1small.jpg" //centerbr / centeriImage: Gans Studio, House with Roll Out Core, 2008/i/centerbr / pbThe theme for this year's biennial is "Out There: Beyond Architecture"- thus salient topics such as the implementation of emerging technologies with architectural practices, green design, and the intersection between contemporary art and architecture were elaborated in the exhibits. Clearly, there's an underlying progressive ethos at work here, and I'm wondering if there will be any effort to continue these dialogues and/or projects beyond the realm of the biennial./b/p pRight now our organization is working to realize a mixed-income, mixed-use community development near Lancaster Avenue here in Philadelphia. We are undertaking this project with People's Emergency Center, a social services and community development corporation, in partnership with PARC Foundation and Estudio Teddy Cruz./p pThe exhibition in Venice is therefore a sort of testing ground, a conceptual prelude to what we hope to actualize in the coming months in Philadelphia. Although we are still in the planning stages, we envision a series of social and cultural services being joined under one roof, including digital inclusion programs, employment offices, and a dedicated space for Slought Foundation. In so doing, we hope to mitigate the paucity of social and cultural organizations in neighborhoods of need. /pimg src="http://feeds.feedburner.com/~r/rhizome-fp/~4/417108114" height="1" width="1"/

Societe : PROGRESSIVE - Lieu de travail : ILE-DE FRANCE - Type de contrat : CDI - Salaire : Negotiable - Detail : Descriptif Dans le cadre de son développement international, un moteur de recherche recherche un ingénieur prêt à mettre ses talents au service de ses utilisateurs. De formation bac+5 en Informatique (Université, Grande Ecole), vous avez une excellente connaissance du développement Internet. Vous êtes curieux, porté vers l'innovation et l'expérimentation. Vous faites preuve d'un très bon sens relationnel et vous souhaitez prendre pleinement part à l'aventure d'une entreprise innovante soutenue par le ministère de la Recherche. Environnement Au sein d'une équipe d'un très haut niveau technique et bénéficiant de moyens importants, vous aurez l'occasion de développer vos compétences. Vous aurez de fortes possibilités d'évolution, tant sur le plan de l'expertise technique que sur celui des responsabilités. Compétences requises : Solide formation théorique en Informatique (bac+5) Programmation : Java et/ou C++, XML Bonne connaissance en environnement Unix Grande autonomie, rigueur, méthode et excellent relationnel Poste basé à Paris intramuros Débutant ou avec 1 an d'expérience Salaire : env. 35 K€ Contrat : CDI Contactez-moi rapidement.

pI think it's fair to say, at this point, indie rockers have chosen their candidate for next month's presidential election: a href="http://www.thatone08.com/" target="_blank"strongthat one/strong/a. br /br /The Senator from Illinois has already earned the support of, well, a lot of the music makers and dreamers of dreams, and with November 4 looming in the minds of just about everyone, even more artists are banding together in support of a href="http://www.barackobama.com/" target="_blank"strongBarack Obama/strong/a's bid for the White House.br /br /First up is a gig tomorrow (October 11) at Los Angeles' the Smell, which finds the Mae Shi, Bad Dudes, Bastidas, and the Widow Babies joining up for an Obama fundraiser. The event is being put on by a href="http://deathbombarc.com/noiseforobama/index.html" target="_blank"strongNoise From Obama/strong/a, that nifty website a href="/article/news/145434-noise-rockers-team-up-for-pro-obama-site" target="_blank"strongwe mentioned a while back/strong/a that gathers fans of Democrats and decibels alike.br /br /Sunday (October 12) at New York City's St. Raphael's church, Vampire Weekend, David Crosby, and known Brit Graham Nash will perform "intimate, short acoustic sets" at a benefit for a href="http://www.musicfordemocracy.org/" target="_blank"strongMusic for Democracy/strong/a's Be the Change GOTV (Get Out the Vote) campaign. That effort aims to boost the youth vote by support "progressive netroots technology." After all, nothing says youthful exuberance like, um, David Crosby.br /br /Back on the West Coast, These United States and a "surprise headliner" will take the stage at San Francisco's Independent October 15 as part of a href="http://baracknrollsf.com/" target="_blank"strongBarack 'n Roll/strong/a, a fundraising effort for a href="http://obamatravel.org/" target="_blank"strongobamatravel.org/strong/a. That particular organization aims to help shuttle Obama volunteers to key swing states. That's just a day before a href="/article/news/145883-national-breeders-play-free-obama-rally-in-cincinnati" target="_blank"strongthe Breeders and the National hit up Cincinnati/strong/a in support of the Obama/Biden campaign.br /br /The following day, the Black Keys will a href="/article/news/146271-jim-james-devo-anti-pop-play-obama-dem-benefits" target="_blank"strongjoin Devo at that October 17 show at Akron, Ohio's Civic Theatre/strong/a as a benefit for a href="http://www.summitdems.org/" target="_blank"strongSummit County Democrats/strong/a. And a little bit closer to the election, the Beastie Boys will bring a rotating cast of characters-- including Santogold, David Crosby, Graham Nash, and Tenacious D-- out for a brief tour of swing states. stronga href="http://www.rockthevote.com/" target="_blank"Rock the Vote/a/strong reps will be onhand as well; check the initial dates for that jaunt below.br /br /If you'd prefer to dance out your frustrations with the thought of a McCain/Palin regime, the fabulous DJ Z-Trip has crafted a free "Obama mix", a 54-minute mash-up of "uplifting and motivating calls to action in support of" the Illinois Senator that can be downloaded a href="http://www.djztrip.com/obama/" target="_blank"stronghere/strong/a. br /br /Or, should the pumping of fists be more your style, you can shake 'em in the general direction of Mr. McCain, who's been using the Foo Fighters' "My Hero" without their permission at his campaign rallies. The band is pissed, declaring in a statement that McCain's campaign has "appropriated [the tune] without our knowledge and used [it] in a manner that perverts the original sentiment of the lyric [and] just tarnishes the song." a href="/article/news/146172-meghan-mccain-and-stereolab-what-is-going-on-here" target="_blank"strongMaybe you wanna ask Meghan for a little advice on the matter?/strong/a Er, on second thought...br //ppa href="http://www.pitchforkmedia.com/node/146383" target="_blank"read more/a/p pa href="http://feedads.googleadservices.com/~a/envnovbzUwvnQkA_kvEssdmJb-I/a"img src="http://feedads.googleadservices.com/~a/envnovbzUwvnQkA_kvEssdmJb-I/i" border="0" ismap="true"/img/a/pimg src="http://feedproxy.google.com/~r/pitchfork/today/~4/1BO8zFndpe0" height="1" width="1"/

UK progressive metallers THRESHOLD have launched an official YouTube channel with high-quality videos, including professionally shot live footage of Pilot In The Sky Of Dreams and an exclusive live acoustic version of Ground Control.

NOVEMBRE's third album, Classica (1999), which is hailed as a masterpiece of atmospheric and progressive doom/death metal, is due to be re-released by the band's current label, Peaceville Records, on October 27.

pimg src="http://t37.net/files/categorie-revue-de-presse.png" alt="revue de presse du 10 octobre 2008" class="alignleft" /emLes revues de presse mettent chaque vendredi en lumière les 3 meilleurs articles sur lesquels a porté ma veille quotidienne. Ils peuvent être récents, ou particulièrement vieux, et rentrent dans cette catégorie pour leur qualité ou leur intérêt. N’hésitez-pas à proposer les vôtres./em/p pCette semaine, on va parle de design d#8217;applications, le vrai, celui qui pousse à l#8217;utilisation, pas celui pour faire joli, mais aussi d#8217;accessibilité, avant de terminer par un coup de gueule, parce que j#8217;ai une réputation à tenir, et que je sais que certains d#8217;entre-vous ne me lisent que pour ça./p h4a href="http://bokardo.com/archives/activity-centered-design/"Activity centered design/a, Joshua Porter/h4 pJoshua Porter est l#8217;auteur de l#8217;excellent a href="http://t37.net/design-for-a-social-web-le-livre"Designing for a social web/a, dont je dois toujours vous faire la critique, un livre où l#8217;on apprend à concevoir un site web en vue de favoriser les interactions entre utilisateurs. Il s#8217;attaque cette fois à un pan important de la conception, qui est le design conduit par l#8217;activité. /p pEn reprenant la principale activité supposée des utilisateurs de telle ou telle application, Joshua met en avant l#8217;importance d#8217;une conception de l#8217;application centrée non plus sur l#8217;utilisateur, mais sur l#8217;activité, et comment ce recentrage doit influer sur le wireframe./p h4a href="http://www.alistapart.com/articles/understandingprogressiveenhancement"Understanding progressive enhancement/a, Aaron Gustafson/h4 pConnaissez-vous le rapport entre l#8217;accessibilité et un Mamp;nM#8217;s cacahuète ? Si ce n#8217;est pas le cas, je vous recommande cet excellent article publié sur A List Apart, lequel pour ses 10 ans semble renoue avec ses fondamentaux que sont l#8217;accessibilité et les standards du web./p pComme revoir les bases ne fait jamais de mal, vous commencerez par réviser la différence entre emgraceful degradation/em et emprogressive enhancement/em, avant d#8217;apprendre comment mettre ce dernier en place à l#8217;aide d#8217;une parabole qui me parle tout à fait, celle de la fabrication d#8217;un Mamp;nM#8217;s cacahuète. /p h4a href="http://www.biologeek.com/2008/10/rions-un-peu-avec-le-magazine-advanced-web/"Rions un peu avec le magazine advanced web/a, David Larlet/h4 pJe me méfie toujours des experts autoproclamés aussi bien que de ceux qui s#8217;affirment professionnels de leur profession. J#8217;ai trop souvent perdus du temps avec ceux là, que ce soit en entretien d#8217;embauche ou en mission pour les croire encore sur parole ou sur leur bonne mine./p pDavid Larlet s#8217;est penché sur Advanced Web, qle premier magazine entièrement dédié au web/q, ou, pour reprendre leur couverture, qle magazine des professionnels du web/q, et les résultats ne sont pas tristes. Entre erreurs grossières et approximation, slogans dignes d#8217;une couverture d#8217;emInfos du monde/em ou de emL#8217;examineur/em, il démonte point par point un magazine qui n#8217;a d#8217;avancé que le nom./p pN#8217;ayant pas 7.90euro; à dépenser, je me suis contenté de faire un tour sur a href="http://www.advancedweb.fr" rel="external nofollow"leur site web/a, et ce que j#8217;y ai vu m#8217;a affligé. Code tellement invalide qu#8217;on ne pourrait même pas le soupçonner de sortir de Frontpage, pratiques de développement vieilles de 10 ans, à croire qu#8217;Advanced Web est un projet de la première bulle Internet soudainement ressorti des cartons. Les bonnes pratiques de développement ou de mise en place d#8217;un site web ont été totalement ignorées, et le résultat aurait été bien meilleur avec un Wordpress fraîchement installé./p pJe n#8217;aurais certainement pas pris la peine de rédiger un billet si je ne me sentais pas concernée par l#8217;image du développement web et de l#8217;expertise du web que ce magazine tente de véhiculer auprès du public, et dans laquelle aucune personne avec laquelle je suis amené à travailler ne saurait se reconnaître. Quand on se prétend le porte parole d#8217;une profession, messieurs, il faut se montrer totalement irréprochable. /phr /psmallArticle original écrit par Frédéric de Villamil et publié sur a href='http://t37.net'Ergonomie, Rails et Architecture de l'information web/a | a