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Art Art — December 3, 2013, 8:00 am Smoke Painting #36, colored smoke and firework residue on paper, by Rosemarie Fiore, whose work was on view in October at Von Lintel Gallery, in New York City. Courtesy the artist and Von Lintel Gallery, New York City Smoke Painting #36, colored smoke and firework residue on paper, by Rosemarie Fiore, whose work was on view in October at Von Lintel Gallery, in New York City. Courtesy the artist and Von Lintel Gallery, New York City

SF Diggers (1966-68, beyond) What is the Digger Archives? First time here? The Overview page explains who the Diggers were (are) and the intent of this site. The What's New page highlights additions to this web so returning visitors might check there first. The old Digger Forum Discussion Group has morphed into a WordPress blog. Digital - News NYC Digital Releases Update to the Digital Roadmap with 100% of the Objectives Achieved, Digital Education Programs Have Impacted over One Million New Yorkers October 17, 2013 New York City Schools Chancellor Dennis M. Walcott, Media and Entertainment Commissioner Katherine Oliver and Chief Digital Officer Rachel Haot today announced Digital Ready, an intensive professional development and technology expansion program designed to help participating NYC public high schools use technology and student-centered learning to improve their students’ readiness for college and careers.

2013 World Poll – Part 1 Gravity (Alfonso Cuarón, 2013)Spring Breakers (Harmony Korine, 2012)Tian zhu ding (A Touch of Sin, Jia Zhang-ke, 2013)Inside Llewyn Davis (Joel Coen & Ethan Coen, 2013)12 Years a Slave (Steve McQueen, 2013)The World’s End (Edgar Wright, 2013)The Act of Killing (Joshua Oppenheimer, Christine Cynn & Anonymous, 2012)Upstream Color (Shane Carruth, 2013)La vie d’Adèle: chapitres 1 et 2 (Blue is the Warmest Colour, Abdellatif Kechiche, 2013)Stoker (Park Chan-wook, 2013)Du zhan (Drug War, Johnnie To, 2012)Frances Ha (Noah Baumbach, 2012)To the Wonder (Terrence Malick, 2012)Blue Jasmine (Woody Allen, 2013)The Counselor (Ridley Scott, 2013)Only God Forgives (Nicolas Winding Refn, 2013) Gravity My year’s ten best of 2013: And 20 more very enjoyable/impressive films in alphabetical order: All Is Lost (J.C.

Mothers News back issue collection May 2010 - July 2013 click the pictures to access these issues (read online or download) via PLEASE NOTE: Mothers News is not an online newspaper, and the following year's worth of issues will NOT be made available online. To read new issues you must subscribe, and have the physical paper mailed to you. Mothers News homepage THE HELD ESSAYS ON VISUAL ARTArt Placebo I don’t know whether it is true that a janitor at an art gallery was fired not so long ago for sweeping up the artwork the morning after the opening, but the story captures a certain skepticism about art: if art is whatever “we,” or the art cognoscenti, say it is, then there is no such thing as art. The worry that art is a sham is an old idea and it is one that art itself has cherished. The confounding of folk ideas about what is art and what it is not is one of 20th-century art’s most flamboyant gestures, and familiar clichés. But skepticism about art—as I’ll call it—takes more subtle and more interesting forms. Psychology and neuroscience give rise to such skepticism from a different angle. From the point of view of these fields, works of art trigger experience, and experience is a neurological effect.

The joy of literary destruction: Writers who broke all the rules There is a certain kind of writer who seems to feel that unless he is breaking apart everything that came before him, composing something that in his own view is astonishingly new, he is not writing great literature. Though he is sincere in his wish to be a great writer (and in that sense might seem almost naive), his preferred mode of public address is sarcasm or heavy irony, both of which are meant to suggest his sophistication, his superiority to banal questions about reality, authenticity, and truth. He has no interest in accurately representing human behavior, partly because he has no interest in accuracy and partly because he has very little interest in other people; what concerns him most is the working of his own mind. He hates with a passion the realist novelists and formalist poets who came just before him, and he is convinced that only he, among all the writers who ever lived, is producing work that will matter to the future. Writers like this have given novelty a bad name.

An Excerpt from McSweeney’s Next Issue, Josephine Rowe Illustration: Carson Murdach Do not adjust your set. What you see before you is an excerpt from the latest issue of McSweeney’s, our alluring, laid-back, westerly sister. Curiouser still, the McSweeney’s site has an excerpt from our new interview with Geoff Dyer. Have we gone mad? Relations In New York City, in the spring of 1999, a story hit the newspapers of a Long Island woman who had given birth to twins–one white and one black. The woman and her husband were white and the black baby was not theirs, at least not biologically. The embryo that became that baby had been accidentally implanted in the woman’s uterus with the embryo of her biological son, but it belonged to a black couple who were clients at the same fertility clinic, and they wanted their son back. After a DNA test, a custody battle, a state supreme court ruling, and an unsuccessful appeal, it was decided that the black baby was the child of the black couple, legally and entirely. The story had its peculiarities, like the fact that the fertility clinic had notified the black couple that some of their embryos had been mistakenly implanted in another woman, but did not tell them anything more, so they eventually learned of the birth of their son through a private investigator.