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...birth of the "Copyright Wars": According to Lessig, the war began during the fall of 1995, when members of the "content industry" (read: media giants) began to grasp the implications of digital technology on copyright enforcement. (An analog tape was difficult to copy and disseminate. An MP3 file, on the other hand, just required the click of a mouse). "What before was both impossible and illegal is now just illegal," Lessig explains. In September of that year, movie studios and record labels met with the Commerce Department to map out a new legal strategy. The wildly popular and ill-fated...
...doors, she seems to appreciate the underappreciated object. The most compelling piece, Cabinet XI, along with Whiteread’s paper collages, clarifies the conceptual basis for “Place (Village).” Cabinet XI is a metal cabinet, made of the same material as a gray file cabinet but resembling a medicine cabinet. It contains cast boxes of different sizes, in light yellow, light gray blue, and gray. The small boxes are stacked and fit into the cabinet, again so snugly that their geometry is comforting, even when the idea of using some gray plaster as soap...
...earned the respect of the rank and file, the officer on the street, the detectives." - retired Detective Linda Branchflower, wife of Troopergate special investigator Stephen Branchflower...
...point Michelle was pushing. This was also a pattern in their marriage - she playing the role of the industrious, paycheck-retrieving ant, he the role of the devil-may-car grasshopper. Unafraid of plastic, he had a habit of putting professional expenses on his credit card and neglecting to file for reimbursement...
...Lossless #1,” the first piece in the fall exhibition Lossless at the Carpenter Center’s Sert Gallery. Lossless is a collection of five deconstructed and digitally reworked films by artists Rebecca Baron and Douglas Goodwin. Inspired by the contemporary trend of file sharing, Baron and Goodwin altered the films by manipulating the technology behind them. Interruption of data streaming, the removal of basic information, and other digital methods allow the artists to dematerialize existing films into confusing and surprising visual commentaries. More than just a critique of file-sharing, “Lossless?...