Poem published in Snorkel
I have a new poem 'The Carnies' in the #9 issue of online journal Snorkel. Check it out.
I have a new poem 'The Carnies' in the #9 issue of online journal Snorkel. Check it out.
While in Paris (in October last year on our honeymoon) we stayed in an apartment in the district known as Opera, which is the home to many of France's financial institutions.
Each night we would sit in the window of our apartment having a wine, watching the street, and observing the workers in the Credit Lyonnais headquarters adjacent have meetings, talk on the phone, file documents, fiddle on their computers.
This fairly plain photo, taken on Friday night, Oct 14 shows one of those workers clearing her desk after being made redundant at the beginning of the financial crisis.
Hearing on twitter that Maurice Sendak's much-loved children's book Where the Wild Things Are is being produced as a movie creates excitement and anxiety in almost equal measures.
Excitement that a treasured story has been realised and extended, and anxiety that the production doesn't trample or dishonour the fondly-imagined world of the book. This trailer leaves me hopeful, at least.
Great vid featuring brain-popping facts about population, spread of technology and the not-so-distant future when our artificially intelligent masters introduce themselves.
Via infosthetics.
Which reminded me of an even more compelling TED video @verdantflaneur showed me last night about open-sourcing country data and visualising population growth, wealth and health outcomes: "Hans Rosling: Debunking third-world myths with the best stats you've ever seen".
Via TED.
Adam Aitken’s new collection of poetry Eighth Habitation (published by Giramondo) will be launched by Marcelle Freiman at Gleebooks in Sydney at 4pm on Sunday 5th April.
‘a lucid and finally lyrical voice… wholly original on the Australian scene’ - michael brennan
Via Pam Brown's blog the deletions.
Photo of Adam by Juno Gemes.
The first born's a nong and yet they give him
the hat and stick and jacket. Now golf's easier
than tennis, than anything I've tried, than all the ars
combined, and easier than memory - what colour
were your eyes, your hair - I speculate on your underwear.
You're vanishing, or the thought of you is less indelible,
the image of your form in the lab now a sunlit
shimmer - soon only a name, a half-remembered
gesture, my hand on your vulva between classes.
Still my brother's the better man - more domestic
than feral, suburban not dilettante - a glamourless,
blameless middle. Saturdays he carts the attack
all over the park; he shines as though all the shims
and wedges of the mighty were exerted at his whim;
how he wields the earth! And I'm laconic in the stands,
expectant as an aged passenger, static and seething,
where once I was unencumbered as a eucalypt. So we live
up here tethered at the whip-end of a steaming coil
of asphalt looped around the mountain - bachelor
captives on a hillside dairy where the buried forebears
set up a ceaseless chatter. Were I to go far from this place,
I'd miss the cows' gentle lowing, the town shopping strip
there below, the amateur theatrical society, Sunday mass,
the idiolect. In the manipulative sky, the implacable faces
of the angels decry my several murders, uncomposed, alone.
Written by the pseudonymous Flannery O'Malley, and first published in Cordite #23: Children of Malley, April 2005.
Taking candid shots of strangers in public involves a certain amount of surreptitious maneuvering, of seeming to be doing something other than what you're actually doing. Apparently admiring the cathedral's flying buttress while composing a shot of the family of five at your elbow and waiting for them to compose themselves is the sort of patient and yet contorted thing you find yourself doing.
The Nikon D80 I use isn't noted for being spy, which means I get busted, grimaced at plenty, and shouted at occasionally.
So I envy this fellow photographer her considered, in-the-background style and black Samsung (possibly this one) which is at the "silent running" end of compacts. Neither of us broke cover in spite of taking a minute or so for several shots each.
UPDATE: This shot was taken during a visit to the l'Orangerie.
More spy shots of strangers.
This tour-de-force mashup using 22 sources prompted an amusingly triumphal take from 43 Folders (in the now-familiar theme of "the future of music is ours"):
Unsolicited tip for media company c-levels: if your reaction to this crate of magic is “Hm. I wonder how we’d go about suing someone who ‘did this’ with our IP?” instead of, “Holy crap, clearly, this is the freaking future of entertainment,” it’s probably time to put some ramen on your Visa and start making stuff up for your LinkedIn page.
Great mashups demonstrate two timeless truths:
that deep talent will gleefully outwit, outflank and outrun the restrictive nature of copyright and IP law by funkin it up around the sprawling, fraying digital edges, and
that the infamous backward-looking C-levels (do they even exist in Australia?) are internets roadkill, and folks like Kutiman are creating the funeral music.
Via 43 folders.
A few weeks ago as part of some research into sustainability websites I encountered a new Australian sustainability community site called Change2.
I was initially excited and - to a certain extent - I still am that there is a social network for people interested in sustainability.
In Change2's own words: "The Change2 network is a free central resource on sustainability that brings together individuals, business, government and NGOs."
However Change2 is also a business that sells consultancy services to the sustainability community. See their identically branded business site. Indeed the call-to-action to become involved with their business is to join the social site. Until the last few days their business URL also pointed at the social site.
I was confused and so raised this with one of the founders Leon Young (see the thread). Whilst I acknowledge Leon’s response, the critical question remains for me: how successfully can Change2 function as a social site for its community stakeholders while it is so closely aligned to a single vendor in the industry?
The answer, I argue, is "not very successfully".
Commercial goals and social goals don't mix happily and there are two stakeholder groups in a gnarly spot:
Sustainability managers, particularly at large listed corporates, face the following questions:
Competing sustainability consultants would encounter some of the following complexities when considering activity in the site.
Taken together the above issues will discourage some industry stakeholders from any involvement at all, and I’d suggest result in a degree of reticence amongst some others that do join. Therefore the site is not delivering its aims.
For those joining there are some further problems around the implementation of the social site.
Whilst it's possible there are good answers to some of these questions, the fact they can be asked at all reveals a troubling ambiguity about the position of site, one which will see its social aims off to an under-achieving start.
Compare Change2 to the eminently more democratic, independent and vendor neutral sydneycyclist.com or the cancer support site i2yaustralia.ning.com. Both are built on the same free platform (Ning) as Change2 and are full of vibrant exchanges between engaged members. Notice there are no bike shops or cancer charities running these sites (although these organisations may be members).
If others agree with my case, then Change2 can be easily modified to address the problems.
Here's what I'd recommend:
I remain excited about the site, and its potential, and I’m looking forward to responses from the community of Change2.
This article is was originally posted on the Change2 site.