- sudo-discuss - sudoroom.org

Video tour of Noisebridge

by Vicky Knox

Anyone want to do something like this for Sudo Room? http://youtu.be/2wGMjRJpLCA

13 years, 1 month

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Re: [sudo-discuss] sudo-discuss Digest, Vol 6, Issue 8

by Cyrus Farivar

As a dues-paying member—can/do I automatically have 24/7 access? -C -- Cyrus Farivar "suh-ROOS FAR-ih-var" Journalist and radio producer | cyrusfarivar.com (http://cyrusfarivar.com) Author, "The Internet of Elsewhere" | internetofelsewhere.com (http://internetofelsewhere.com) US: +1 510 394 5485 (m) | Twitter/Skype: cfarivar "Being a good writer is 3% talent, 97% not being distracted by the Internet." cfarivar(a)cfarivar.org (mailto:cfarivar@cfarivar.org) On Thursday, April 4, 2013 at 1:18 PM, sudo-discuss-request(a)lists.sudoroom.org wrote: > Send sudo-discuss mailing list submissions to > sudo-discuss(a)lists.sudoroom.org (mailto:sudo-discuss@lists.sudoroom.org) > > To subscribe or unsubscribe via the World Wide Web, visit > http://lists.sudoroom.org/listinfo/sudo-discuss > or, via email, send a message with subject or body 'help' to > sudo-discuss-request(a)lists.sudoroom.org (mailto:sudo-discuss-request@lists.sudoroom.org) > > You can reach the person managing the list at > sudo-discuss-owner(a)lists.sudoroom.org (mailto:sudo-discuss-owner@lists.sudoroom.org) > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of sudo-discuss digest..." > > > Today's Topics: > > 1. Re: TIL: Hacking Sexual Health (Rick Karnesky) > 2. new sudoroom dues survey: google forms edition (not reply to > list) (Max Klein) > 3. Fwd: [Noisebridge-discuss] Frontend Web Development, April > 15: FIRST CLASS of the new series! (Naomi Most) > 4. Re: new sudoroom dues survey: google forms edition (not reply > to list) (Marina Kukso) > 5. Re: TIL: Hacking Sexual Health: Resistant bugs generally. > (Anon195714) > 6. Re: new sudoroom dues survey: google forms edition (not reply > to list) (Anon195714) > 7. Re: TIL: Hacking Sexual Health (aestetix) > 8. Re: Survey on Money at the space(please reply to this) > (rusty lindgren) > 9. Instant 24/7 access? Do we allow for this? And how? > (rusty lindgren) > 10. Re: Instant 24/7 access? Do we allow for this? And how? > (Anon195714) > 11. Re: Instant 24/7 access? Do we allow for this? And how? > (Yardena Cohen) > 12. Re: Instant 24/7 access? Do we allow for this? And how? > (Sonja Trauss) > 13. Re: Instant 24/7 access? Do we allow for this? And how? > (Marina Kukso) > 14. Re: TIL: Hacking Sexual Health (Romy Ilano) > 15. Re: Help with dinner tonight? (WAS: Food and the absence > therein) (Hol Gaskill) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Thu, 04 Apr 2013 10:12:05 -0700 > From: Rick Karnesky <karnesky(a)gmail.com (mailto:karnesky@gmail.com)> > To: Vicky Knox <vknoxsironi(a)gmail.com (mailto:vknoxsironi@gmail.com)> > Cc: Sudo Room discuss <sudo-discuss(a)lists.sudoroom.org (mailto:sudo-discuss@lists.sudoroom.org)> > Subject: Re: [sudo-discuss] TIL: Hacking Sexual Health > Message-ID: <515DB465.4050806(a)gmail.com (mailto:515DB465.4050806@gmail.com)> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > A few leads on the topic, courtesy of Bart Bernhardt (who had answered a > call for ideas on a broader subject for Valentine's Day this year). Kyle > and people from AE did a show-and-tell for the Commonwealth Club > > --- > > "- Kyle Machulis is a whip-smart brash software engineer who, on the > side, blogs about teleldildonics (using haptic and telecommunications > technology to facilitate long-distance sex), DIY sex toys, and other > mash-ups of sex and tech. He's really fun. http://slashdong.org/ > > - Long, long ago, the Exploratorium Biology dept had an exhibit that was > something like "The Olfaction of Attraction" and had little squeeze > bottles with human pheromones in them. Depending on your genes and > gender, you may find the smell either repulsive or attractive. This > would make a great interactive station. It's fantastic seeing two > people, one with a look of disgust and the other with a pleased smile, > trying to reconcile their different perceptions. > > - The Archaeology of Vice. Kari Jones and Liz Clevinger work in the > archaeology programs at the Presidio of San Francisco. Among the things > unearthed? Well, the archeological record suggests that, shockingly, > soldiers stationed there liked sex, based on the wide range of vintage > porn, prophylactics, and medically-dubious STD cures dug up in the > Presidio." > > --Rick > > > ------------------------------ > > Message: 2 > Date: Thu, 4 Apr 2013 10:16:05 -0700 > From: Max Klein <isalix(a)gmail.com (mailto:isalix@gmail.com)> > To: sudo-discuss(a)lists.sudoroom.org (mailto:sudo-discuss@lists.sudoroom.org) > Subject: [sudo-discuss] new sudoroom dues survey: google forms edition > (not reply to list) > Message-ID: > <CAKbmofivqmzFQQJz3Hyf2Bwg_+1uO2iMif6z1bHjRnAHUJFXow(a)mail.gmail.com (mailto:CAKbmofivqmzFQQJz3Hyf2Bwg_+1uO2iMif6z1bHjRnAHUJFXow@mail.gmail.com)> > Content-Type: text/plain; charset="iso-8859-1" > > I know we all love Google like a relative (that won't leave us alone about > our private lives), but it seems like a good idea to use their "Forms" for > this survey > > IF you've already replied to list: > don't worry about refilling it out, I'll migrate responses > ELSE: > > https://docs.google.com/forms/d/1WmLrkg0tmFf3Ny66IyCmyMfqLc43MzhyQlgEs_dtaU… > > IF interested in revamping questions: > form is openly editable > > Max >

13 years, 1 month

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Re: [sudo-discuss] Help with dinner tonight? (WAS: Food and the absence therein)

by mattsenate＠gmail.com

Ive been making soups in the crockpot and can continue doing the same. I left miso and greens in the fridge, another stop at Koreana Plaza for rice noodles, oyster mushrooms, green onion, and tofu should do. Feel free to grab other things for a soup too. The trick is to heat up the crockpot with a bit of water or soup base, then use the water boiler above the sink for the boiling. Basically a simple hotspot, nothing needs more than a 10 minutes of hot water to cook. // Matt ----- Reply message ----- From: "Yardena Cohen" <yardenack(a)gmail.com> To: "sudo-discuss" <sudo-discuss(a)lists.sudoroom.org> Subject: [sudo-discuss] Help with dinner tonight? (WAS: Food and the absence therein) Date: Wed, Apr 3, 2013 3:41 PM On Wed, Apr 3, 2013 at 3:19 PM, Raymond Lai <raymond.wm.lai(a)gmail.com> wrote: > My fellow Sudoers, I am not feeling well and will not be able to make the > meeting tonight. I wish I could say there are leftovers in the fridge. :( Thanks so much for all your work Ray! If anybody else would like to collaborate on food tonight, I'd love to help! I can contribute time, car, buying ingredients, chopping skills, and following directions, in exchange for your contribution of leadership. :) :) :) _______________________________________________ sudo-discuss mailing list sudo-discuss(a)lists.sudoroom.org http://lists.sudoroom.org/listinfo/sudo-discuss

13 years, 1 month

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Re: [sudo-discuss] TIL: Hacking Sexual Health

by Romy Ilano

This is a great idea! In the 1990s I used to go to some punk rock feminist women's health talks. One session had us doing self-examinations using speculums with mirrors. I'd like to throw that into the "stone soup" of a mix! http://www.fwhc.org/health/selfcare.htm - I'm unsure how comfortable most women would be doing self-examinations in front of men. - Using speculums and mirrors was very informative! I never realized how most women are taught to think of their privates as dirty--so much so to the point that they didn't know how their lady parts worked!

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Re: [sudo-discuss] Instant 24/7 access? Do we allow for this? And how?

by Yardena Cohen

(Rusty: sorry for the double e-mail) On Thu, Apr 4, 2013 at 11:56 AM, rusty lindgren <rustylindgren(a)gmail.com> wrote: > Basically, it's easy for us to think "hey, we should let this person have > access, because they seem cool, and we want to remain open," but even I get > sketched out at night sometimes, and there are real safety issues at work > here, and we should discuss them in relation to cost/benefits for the space. > It's also entirely possible that we trust someone, and they just do > something bad anyway. We don't really spend a lot of time thinking about > this, but this is something we haven't had to really deal with yet, because > we've had really shitty access up until now. Honestly I'm not comfortable linking access to payment, for a lot of reasons, but I'll try to outline the most salient thing for me right now: * I don't think access means anything if a person can't feel safe here * I don't feel safe when I'm at the space all alone * I feel even better when I'm sharing the space with multiple people who I know and trust * Our goal should be for the space to be full of known & trusted people -- if not always, then as much as possible * It would be silly to turn anybody away at that point So my goal day in and day out is to look for ways to expand Sudoroom's web of trust - not just get people to the space, not just facilitate and encourage them giving money to the space, but helping them feel happy and comfortable and like they could be a part of a community, and that coming here will give them a chance to hack awesome things, work on their projects, get inspired for new projects. I'm open to solutions in the form of rules and algorithms, but I'm skeptical of any solutions that seem to close doors (literally & figuratively) because Sudoroom and hackerspaces in general are so new and experimental. The scepter of an untrusted person being alone in the space is important, but I honestly don't see a good reliable antidote other than "add more trusted people." Safety in numbers.

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Survey on Money at the space(please reply to this)

by rusty lindgren

Hey Everyone, I am writing because it was discussed at the meeting tonight that we don't really have an idea of how much people want to pay for the space ,and also if people think the current payment approach is good based on some alternatives that were brought up. I'd also like to ask about basic productizing to see if people would be interested in using some of our funds to get t-shirts and stickers, and maybe even decorated key-cards like hacker conferences do for hotel rooms. So, can everyone answer these questions(below)? I know it's not perfect research, but I think it covers most of what came up in the meeting. Questions: 1. How much would you pay for current membership, with access as planned? 2. How much would you pay for current membership with 24/7 access to the space(i.e. new door cards on next payment)? 3. Would you be okay with spending some money on re-branding of the space(even if it doesn't mean changing our logo), by getting more t-shirts and stickers? 4. Do you think it would it be more attractive to you to have a lower fixed price if you were joining the space, and you got 24/7 access at that moment with a keycard? 5. Would it be more attractive to you if you were joining the space, and you got a free t-shirt and cool looking keycard upon joining or giving some sort of donation "gift" like kickstarter projects give? This is only an attempt to get at some of what we talked about, and I'm hoping that it will kind of shine some light on the amount of money people want to pay et all. Please help out! -- Cheers, Rusty Lindgren **

13 years, 1 month

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Fwd: [Noisebridge-discuss] Frontend Web Development, April 15: FIRST CLASS of the new series!

by Naomi Most

This is a very good class, always full. Very good for beginners and doesn't stop at HTML/CSS/js. ---------- Forwarded message ---------- From: Jeffrey Carl Faden <jeffreyatw(a)gmail.com> Date: Tue, Apr 2, 2013 at 9:19 PM Subject: [Noisebridge-discuss] Frontend Web Development, April 15: FIRST CLASS of the new series! To: "noisebridge-discuss(a)lists.noisebridge.net" < noisebridge-discuss(a)lists.noisebridge.net>, noisebridge-announce(a)lists.noisebridge.net, webdev(a)lists.noisebridge.net I'm taking a week's break and returning April 15! Learn HTML, CSS and JavaScript - and put them to good use! This weekly lecture series, taught by Jeffrey Carl Faden, is aimed at complete beginners who are interested in making websites, as well as seasoned professionals looking to brush up on the latest and greatest. Frontend web development is all about making code that runs in the browser (versus code that runs on the server). There isn't a big focus on web design (creating wireframes and mockups), but we do cover best practices for turning these designs into beautiful code. This is the first class of a new series of classes. If you or your friends been waiting to jump in from the very beginning, this is the class to take - so spread the word. We'll cover the very basics: - Explaining "frontend" vs. "backend" - Discussing tools of the trade - Explaining the separation between structure, presentation, and behavior - Writing a basic HTML page - Styling the page with basic CSS - Explaining the role of frontend web development as a job and career The class starts on Monday, April 15 at 8pm, and goes until 10pm! Plan to arrive EARLY, as the class will probably fill up very fast. If you can't make it to this week's lecture, you can watch a live video stream of the class. Join this Google+ Event to be notified of when to hop on: *https://plus.google.com/events/cgs3kmasqdu7f7s7i644i5f7e9g* This video stream will also be available to watch after the class is complete. This class and the space in which it's taught are entirely free to attend. Please bring a laptop. Read all of the details here: https://noisebridge.net/wiki/Frontend_Web_Development Jeffrey _______________________________________________ Noisebridge-discuss mailing list Noisebridge-discuss(a)lists.noisebridge.net https://www.noisebridge.net/mailman/listinfo/noisebridge-discuss -- Naomi Theora Most naomi(a)nthmost.com +1-415-728-7490 skype: nthmost http://twitter.com/nthmost

13 years, 1 month

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Re: [sudo-discuss] TIL: Hacking Sexual Health

by Vicky Knox

WOW. OK, where to start? First off: https://sudoroom.org/wiki/page/Today_I_Learned#May_4 Table of Contents @Masturbation Lib and Teledildonics @Men @Gonorrhea @Sudo Room Donations @Community Infrastructure @Masturbation Liberation and Teledildonics: Anon195's ideas are amaaaazing! I've been fascinated by teledildonics ever since I heard of the existence of Ted Nelson. <http://en.wikipedia.org/wiki/Teledildonics> < http://en.wikipedia.org/wiki/Ted_Nelson> The closest thing to that that I've run into via the hackerspaces has been the Dongiverse, which is cool except that I wouldn't want a sharp, porous plastic dong up any of my orifices. <http://dongiverse.com/> Maybe a class field trip to Arse Elektronica 2013? (AE is an annual SF sex and technology event/conference/thingy.) Or how about getting in touch with their organizers to see if they'd like to collaborate on a workshop? Ooh ideas! <http://www.monochrom.at/arse-elektronika/> Masturbation liberation: Fuck yeah! I think this should be its own TIL and I'm ready to make it happen. Wanna chose a date, Anon195? Or would you like to wait on that until we talk more and/or contact our contacts (such as AE)? **So who's got the teledildonics connection? @Men: Would there be any interest in formulating a men's meetup to talk about, you know, stuff? @Gonorrhea: I think the greatest workshops I've ever been to have been variety hours. It's absolutely lovely and fascinating to have educational interludes, kind of like exploring Wikipedia's intertwingularity (see Ted Nelson article). May 4th is reserved! Does anyone else have an educational interlude they'd like to add to Hacking Menstruation? @Sudo Room Donations: These events are the perfect opportunity for us to pounce upon unsuspecting donors. Please reach far and wide into your networks to advertise this. I'll send a follow-up reminder! @Community infrastructure: A random hack of kindness will soon be making its way toward Sudo Room. 2013/4/4 Marina Kukso <marina.kukso(a)gmail.com> > excellent. > > i think this also presents an excellent opportunity for discussing what > kind of (light) infrastructure would facilitate reproductive and sexual > health at the space - very basic stuff, tampons etc., but also community > infrastructure - are we living up to our goal of being inclusive by > providing options in both the physical and community dimensions of the > space that allow everyone to feel at home. everyone should be a part of > this discussion and i would love to speak more with women, queer folks, > people of all stripes about it. > > - marina > > > On Thu, Apr 4, 2013 at 8:25 AM, Craig Rouskey <craigrouskey(a)gmail.com>wrote: > >> I would be down to talk about Gonorrhea and plug our program to eradicate >> the antibiotic resistant strains! May 4 th >> — >> Sent from Mailbox <https://bit.ly/SZvoJe> for iPhone >> >> >> On Thu, Apr 4, 2013 at 3:46 AM, Anon195714 <anon195714(a)sbcglobal.net>wrote: >> >>> >>> >>> Yo's- >>> >>> Re. "What does it mean to hack sexual health...?" >>> >>> Here's one example. For years I've had a slogan I tell people >>> (typically guys) whose sex drive is on overdrive to the point where it >>> warps their attitude toward others (typically gals): >>> >>> "Masturbate and keep your objectivity." >>> >>> 70% of guys "admit" that they play with themselves, and the other 30% >>> are lying. Yet the hypocrisy around this subject is just astounding, and >>> the result is that physical needs become conflated with social attitudes >>> and generate oppression of self and oppression of others. >>> >>> Envision a culture where relationships are based on partners feeding >>> each other (as in, holding the forks and spoons full of food up to each >>> others' mouths during a meal) instead of on people having sex with each >>> other. People would run around frantically seeking partners because >>> otherwise they'd either have to feed themselves (oh!, the embarrassment!) >>> or go hungry and die. >>> >>> That's where our culture is about sex. It's crazy. >>> >>> So I'd suggest "masturbation liberation" as a sexuality hacking topic. >>> >>> It even has major potential for cybernetic devices and interfaces and >>> online communication enhancements. >>> >>> "Did you try building the new Orgasmatron?" >>> >>> "Yeah. The interface works pretty well, but there's a bug in the code, >>> so I patched it. Wanna' download my version, see what you think?" >>> >>> Later.... "Hey, your version's a lot better than the original. Now I >>> was thinking, the interface could be improved. Here, I'll make one for you >>> on the 3D printer." >>> >>> "Oh, cool, yeah I like your CAD diagram, I think it'll work, so go ahead >>> and print one for me..." >>> >>> Here's another potential topic: >>> >>> Chastity belts for men in cultures that oppress women (for example by >>> making women wear oppressive shapeless garments from head to toe, that >>> barely leave enough of an opening for their eyes to see the world). >>> >>> Even one decent prototype would stir up a bunch of publicity about the >>> subject, and hopefully generate some embarrassment on the part of men whose >>> answer to their own weaknesses is to oppress women. "Stop the problem at >>> its source: the dirty minds of men!" >>> >>> OK, enough for one night;-) >>> >>> -G. >>> >>> >>> ===== >>> >>> >>> On 13-04-04-Thu 12:18 AM, Vicky Knox wrote: >>> >>> Tonight during the general meeting I proposed the Today I Learned event >>> "Hacking Sexual Health". I'd like to open up the floor to multiple >>> facilitators interested in this topic area to help me lead either one TIL >>> workshop, or a series of workshops if there is sufficient excitement. >>> Hacking Sexual Health is intended for sexual and asexual people alike. >>> >>> So what does it mean to hack sexual health? Ruminate on it. :] >>> >>> My personal interest is hacking menstruation. I'd like to lead a >>> workshop for creating cloth pads out of recycled clothing. The workshop is >>> intended both for people who menstruate and for people who have friends who >>> menstruate (and want to make them lovely presents!). We will go over >>> different lady product options and have fun cost-comparisons for different >>> products and unproducts. >>> >>> I will be reserving either April 27th or May 4th upon consulting my >>> secretary. :P >>> >>> Please contact me if you are interested in developing your own workshop >>> or helping me to facilitate menstruation hacking! >>> >>> ykciV >>> >>> PS: Clothing hackers, you know who you are! >>> >>> >>> _______________________________________________ >>> sudo-discuss mailing listsudo-discuss@lists.sudoroom.orghttp://lists.sudoroom.org/listinfo/sudo-discuss >>> >>> >>> >> >> _______________________________________________ >> sudo-discuss mailing list >> sudo-discuss(a)lists.sudoroom.org >> http://lists.sudoroom.org/listinfo/sudo-discuss >> >> >

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about the future (Alan Kay)

by J Clark

Wondered if some sudoers might be interested in this video, with awesome-smart guy Alan Kay and Vishal Sikka of SAP, hosted by futurist guy Paul Saffo. 3.26.13 Technology and Transformation: Vishal Sikka and Alan Kay in Conversation with Paul Saffo http://www.youtube.com/watch?v=IPsZyfGCaKs Ah, tropes, memes, symbols, and change. hurrah! Also on the Alan Kay theme, a written interview: An Interview with Computing Pioneer Alan Kay By David Greelish April 02 2013 <http://techland.time.com/2013/04/02/an-interview-with-computing-pioneer-ala…> Born in 1940, computer scientist Alan Curtis Kay is one of a handful of visionaries most responsible for the concepts which have propelled personal computing forward over the past thirty years — and surely the most quotable one. He’s the man who said that “The best way to predict the future is to invent it” and that “Technology is anything that wasn’t around when you were born” and that “If you don’t fail at least 90 percent of the time, you’re not aiming high enough.” And when I first saw Microsoft‘s Surface tablet last June, a Kay maxim helped me understand it: “People who are really serious about software should make their own hardware.” Above all, however, Kay is known for the Dynabook — his decades-old vision of a portable suite of hardware, software, programming tools and services which would add up to the ultimate creative environment for kids of all ages. Every modern portable computer reflects elements of the Dynabook concept — the One Laptop Per Child project’s XO above all others — and yet none of them have fully realized the concept which Kay was writing about in the early 1970s. Actually, Kay says that some gadgets with superficial Dynabook-like qualities, such as the iPad, have not only failed to realize the Dynabook dream, but have in some senses betrayed it. That’s one of the points he makes in this interview, conducted by computer historian David Greelish, proprietor of the Classic Computing Blog and organizer of this month’s Vintage Computer Festival Southeast in Atlanta. (The Festival will feature a pop-up Apple museum featuring Xerox’s groundbreaking Alto workstation, which Kay worked on, as well as devices which deeply reflected his influence, including the Lisa, the original Macintosh and the Newton.) Kay and Greelish also discuss Kay’s experiences at some of the big outfits where he’s worked, including Xerox’s fabled PARC labs, Apple, Disney and HP. Today, Kay continues his research about children and technology at his own organization, the Viewpoints Research Institute. –Harry McCracken David Greelish: Do you agree that we now essentially have the Dynabook, as expressed in the three tiers of modern personal computing; the notebook, tablet and smartphone? If not, what critical features do you see missing from these? Have they delivered on the promise of improving education? Alan Kay: I have been asked versions of this question for the last twenty years or so. Ninety-five percent of the Dynabook idea was a “service conception,” and five percent had to do with physical forms, of which only one — the slim notebook — is generally in the public view. (The other two were an extrapolated version of Ivan Sutherland’s head mounted display, and an extrapolated version of Nicholas Negroponte’s ideas about ubiquitous computers embedded and networked everywhere.) [snip]

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Help with dinner tonight? (WAS: Food and the absence therein)

by Yardena Cohen

On Wed, Apr 3, 2013 at 3:19 PM, Raymond Lai <raymond.wm.lai(a)gmail.com> wrote: > My fellow Sudoers, I am not feeling well and will not be able to make the > meeting tonight. I wish I could say there are leftovers in the fridge. :( Thanks so much for all your work Ray! If anybody else would like to collaborate on food tonight, I'd love to help! I can contribute time, car, buying ingredients, chopping skills, and following directions, in exchange for your contribution of leadership. :) :) :)

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Food and the absence therein

by Raymond Lai

My fellow Sudoers, I am not feeling well and will not be able to make the meeting tonight. I wish I could say there are leftovers in the fridge. :( Cheers, ray

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Fwd: [Sudo-radio] current set up of SUDORADIO

by Marina Kukso

hi everyone, in light of this saturday's audio production workshop, we wanted to share with everyone the current state of the radio, which is basically ready to use! you can listen to mostly silence at the moment at radio.sudoroom.org (HIT THE GREEN BUTTON). i'd be happy to show anyone who's interested how to use the dj software in there, just ask me anytime. i'll also be available before or after this saturday's workshop if people want to learn then. - marina Forwarded conversation Subject: current set up ------------------------ From: *Marina Kukso* <marina.kukso(a)gmail.com> Date: Tue, Apr 2, 2013 at 11:28 PM To: "sudo-radio(a)lists.sudoroom.org" <sudo-radio(a)lists.sudoroom.org> hi everyone, naomi, mark, and i worked on a couple items this evening. the current set up is as follows: 1. there is now a physical mixer that allows you to switch between two channels (so you can switch between 2 different songs, just like turntables :P). [image: Inline image 1] 2. there are 4 lines in in total. (this means we can potentially switch between 4 different sources, like a turntable with 4 RECORDS.) 3. 2 of the lines are currently connected 4. one of the lines goes to the computer set up in there (which means you can play music from the computer) 5. the other line goes to an unhooked mini jack that one can use to play from one's portable music device of choice! [image: Inline image 2] 6. the mixer runs to naomi's rpi which is streaming to her stream, currently accessible at radio.sudoroom.org. 7. the computer still works as it used to - the mic is connected to the computer and you can use mixxx to queue songs and speak on the mic. (the physical mixer also has a separate mic input, so there's that!) audacity is also on that computer, allowing one to record audio. addenda 1. the beast (aka "tiny") is no longer connected :( which means no more tapes :( BUT we can easily reconnect him as there are still 2 empty inputs on the mixer. the only reason we disconnected him was because it was returning crappy sound. [image: Inline image 3] 2. every time we listen to tapes in there, i get this song stuck in my head for the rest of the day: http://hypem.com/track/1e7xa/Blouse+-+Videotapes 3. here's what the room looks like! [image: Inline image 4][image: Inline image 5] so pretty! wow! :D ---------- From: *Naomi Most* <pnaomi(a)gmail.com> Date: Wed, Apr 3, 2013 at 12:11 AM To: Marina Kukso <marina.kukso(a)gmail.com> Cc: "sudo-radio(a)lists.sudoroom.org" <sudo-radio(a)lists.sudoroom.org> It must be noted, Rusty slid in at about 10:15 -- technically AFTER the meeting ended! -- and tried to get the cassette deck going again. Alas (TL;DR) to no avail. The Tape output of Tiny the Behemoth Mixer comes in all distorted on the little radio mixer (something about impedance). We must have spent 20 minutes on every-which-way combinations, and all we got was something that sounded like a live radio feed from an 80s dance party... ...which of course Rusty was totally into, so I think it's still hooked up. But please, don't use this... much.... also, I "installed" that laptop I brought so that people can play with liquidsoap. It's at 192.168.1.246 Anybody can have an account, just ask. --Naomi _______________________________________________ > Sudo-radio mailing list > Sudo-radio(a)lists.sudoroom.org > http://lists.sudoroom.org/listinfo/sudo-radio > >

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Fwd: for the purposes of this union, we're freelancers

by Marina Kukso

hi everyone, you may find the below event interesting. - marina ---------- Forwarded message ---------- From: Shani Aviram <shaniaviram(a)gmail.com> Date: Wed, Apr 3, 2013 at 10:24 AM Subject: Fwd: for the purposes of this union, we're freelancers To: Marina Kukso <marina.kukso(a)gmail.com> ---------- Forwarded message ---------- From: Lilah Crews-Pless <lcrewspless(a)gmail.com> Date: 2013/4/3 Subject: Fwd: for the purposes of this union, we're freelancers To: Kathryn Jackson <quite_the_contrary(a)yahoo.com>, Kyla Kelley < kylamoe(a)gmail.com>, sarah kersten <sarah.kersten(a)gmail.com>, Jesse Lefkowitz <Jesse.lefkowitz(a)gmail.com>, Shani Aviram <shaniaviram(a)gmail.com>, rIsrael74(a)gmail.com Wanna go with? My Friend Sonja invited me. She says: "As of now, the Freelancers Union can do nothing for us, because it is a New York organization. In NYC they mostly benefit members by providing a place to buy healthcare, and they run a health clinic, but they also sometimes lobby to change local laws that harm independent contractors. HOWEVER, it seems kind of crazy that there wouldn't/ couldn't be a branch in the Bay Area, which I guess is why the founder is coming to town. I like the idea of this union, their logo is pretty - I admire the founder, I'm going to this. u r invited." http://sanfranfreelancersdinner.eventbrite.com/ -- Shani Aviram Composer and Radio Producer 650-440-3700

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Fwd: This Thursday: David Graeber @ CIIS

by mattsenate＠gmail.com

// Matt ----- Forwarded message ----- From: "Shawn" <imagineaworld(a)gmail.com> To: "Matthew Senate" <mattsenate(a)gmail.com>, "Kevin DeWar" <kevin.dewar(a)gmail.com> Subject: This Thursday: David Graeber @ CIIS Date: Mon, Apr 1, 2013 10:55 PM Hey Matt and Kevin! Here's the most recent version of the announcement about Thursday. cheers =) --Shawn Finance is the art of passing money from hand to hand until it finally disappears. --Robert W. Sarnoff ----- Forwarded Message ----- From: Andrej Grubacic <agrubacic(a)ciis.edu> To: ANDREJ GRUBACIC <agrubacic(a)ciis.edu> Sent: Monday, April 1, 2013 2:08 PM Subject: This Thursday: David Graeber @ CIIS * * * * Austerity and its Discontents A Public Forum with David Graeber 7:00 PM Thursday April 4 Namaste Hall, CIIS 1453 Mission St. San Francisco Free and open to the public David Graeber is an anthropologist operating out of Goldsmiths, University of London. He emerged as the organic intellectual of the Occupy movement, and has made important contributions to the renovation of antinomian thought. Among his books are Fragments of an Anarchist Anthropology, and Debt: The First 5000 Years. Join us for a book launch of his new book, The Democracy Project. http://www.ciis.edu/Campus_Calendar/Austerity_and_its_Discontents_A_Public_… https://www.facebook.com/events/327639810672338/ * * * * International Roma Day Celebration with Voice of Roma! Tuesday, April 2nd 7-9pm Room 607 "Art, activism & politics of stereotypes: a "Gypsy Show'" with Sani Rifati Please join us for a talk that will focus on Roma history, music, and culture. Despite the recent attention, or even hype, surrounding the cultural production of the "Gypsies," vast majority of Roma artists can barely make a living, let alone enter the world music stage. Brands that we usually associate with this culture, "Gypsy Caravan" and "Gypsy Spirit", are more often then not far removed from the actual existing Roma culture and contexts of racist violence unfolding in Europe. Come and celebrate International Roma Day, in solidarity with Romani struggles for dignity and internationalism. ****************************************************** Anthro & Social Change Department sends out occasional messages regarding our public events. Please let us know if you do not wish to receive such announcements. *****************************************************

13 years, 1 month

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May 1st - Dance + LED performance at Bekreley Museum

by Romy Ilano

https://sudoroom.org/wiki/page/DanceSound Hey Sudoers *May 1st the choreographer/dancer teacher from the public school is having a performance at the Berkeley Museum of Art.* * * *Anyone interested???* - She is open to lights. Rachel would you be interested in showcasing your wearable electronics? We have to wear all white. - I would love to see Rochambeau do something creative and weird with video and music. - Anyone interested in doing lighting? How can sudo room people do things creatively that go outside of what is expected for such a performance? *For me, I'm focused more on the creativity of the members of sudo room. Showcasing private companies' work if they are not members of sudo room is less appealing than showcasing the work of a sudo room person.* Note also that this is the choregorapher's perforamnce. She is doing something with sound involving tonality rubbing a big metal bowl with a finger... Best, Romy

13 years, 1 month

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Kickstarter for Patrick's Collaborative Art/Hackerspace in Berkeley!

by Marina Kukso

hi everyone, a few of us recently attended the launch and opening for sudoer patrick schmidt's brand new & awesome collaborative art/hackerspace in berkeley! ( http://hackthegallery.net/) he is now running a kickstarter to support the space: http://www.kickstarter.com/projects/1728264969/how-to-make-your-dreams-come… please support this new space if you can - it is a fantastic space and patrick was directly inspired to open it by his experiences at sudo room! - marina

13 years, 1 month

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Sudo Room is Open + New Sudo Room Title: Keymaster

by Andrew

Hi All, Sudo Room is open. I'll be here until someone joins me to hold open the fort. Also I'd like to propose (and immediately implement) the title of "Keymaster": *A "Keymaster" at Sudo Room is dedicated to the open and public access of Sudo Room. A Keymaster will make it their mission to understand, maintain and utilize the tools needed to open Sudo Room and keep it open for members and soon to be members. A Keymaster will distribute access in accordance with the values of Sudo Room.* I would like to anoint my self a Keymaster. If you'd like to get in to the space and you don't know how, come see me. or call/text me 831-332-2507 . I am one human solution to the technical issue of access to Sudo Room. PS. I tested RFID and Sudo Door wifi, both are working. --Andrew -- ------- Andrew Lowe Cell: 831-332-2507 http://roshambomedia.com

13 years, 1 month

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Homeric epic hymn to sudo room

by Romy Ilano

We must now start penning our epic hymn The ode to sudo room and the brave battles The soldering soul jahs who strove to striate The block functions and doors of dongles .. ;) Anthony made me laugh! Happy Tuesday! --- Romy Ilano Founder of Snowyla http://www.snowyla.com romy(a)snowyla.com

13 years, 1 month

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Re: [sudo-discuss] Birds trapped in sudoroom

by Yardena Cohen

The birds are now "safely" outside. I cleared a very obvious path to the window and Matt laid bread crumbs on the floor. Then we closed all the doors and left them alone for a while. When I came back in, they were already close to the window, and I saw them fly out. I think they were fleeing from me. Good luck, little birds!

13 years, 1 month

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ladies of sudo at a women in tech event for a cool danish company that's into communal DIY?

by Romy Ilano

Hey ladies, Someone slap my wrist if this is too commercial-(i'm sure i'll get spanked)-but I'd love to have any technical women who code and hack stuff like Jordan or Vicki (google glasses) meister be my dates for a Women in Tech event held by a Danish b2b company Tradeshift. They're all into hackerspaces and communes. Their CEO was all over the Danish BBS scene and is a hacker himself! This is this Wednesday evening -- if you code and are into international networks, it would be so interested. My selfish motivation is that I'd just love to see more women who actually code and aren't afraid to get their hands dirty with embedded systems at these internatinoal events, not just marketing babes who look sexy in heels. Best, Romy

13 years, 1 month

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posting to sudo-announce

by Matthew Senate

Hey all, I've set full moderation on sudo-announce, so if you'd like to post, please say so on sudo-discuss first, then a moderator can approve your message to sudo announce. This way we won't have accidental multi-message threads spamming the announce list. Over time, we'll grow the number of moderators, and ensure we send Announce messages only when we mean to--and not accidentally. Read more about this practice here: http://wiki.list.org/pages/viewpage.action?pageId=4030685 // Matt

13 years, 1 month

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Sudoroom welcomes Noisebridge to their new Oakland location!

by Yardena Cohen

Sudoroom would like to formally welcome Noisebridge to their new location in downtown Oakland, across the hall from Sudoroom! We think it was a wise choice to save on rent by moving to the east bay, and look forward to exciting future hacker collaboration. As you might know, Noisebridge has struggled with rising rents, at the same time that Sudoroom's landlord has struggled to find tenants. This was the perfect fit! Noisebridge is still only 1.5 blocks from BART, just as it was in San Francisco, so the extra commute should not be much trouble for anyone. https://sudoroom.org/sudobridge-a-financial-imperative/ https://sudoroom.org/wiki/page/Noisebridge

13 years, 1 month

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The [physical] finance dropbox...

by Tommy York

Is complete - ish. I'd love some sudoroom stickers /other recommended decoration. On a practical level, the whole transparency thing is difficult to see against a white wall. Maybe I'll create some kind of LED solution above it. ----------------- Thomas Riley York (杨德民) 510.926.0510 http://www.linkedin.com/in/tommyyork

13 years, 1 month

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Birds trapped in sudoroom

by rusty lindgren

OMFG, Birds are in Sudo... 2 little ones, and they are trying to escape through the skylight. Can anyone help me get these birds out???? I'm trying to work, and can't really deal with this right now. -- Cheers, Rusty Lindgren **

13 years, 1 month

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Fwd: 4/2013 Statement, 2141 Broadway

by Matthew Senate

---------- Forwarded message ---------- From: Laurie Cooperman Rosen <Lscoop(a)comcast.net> Date: Sun, Mar 31, 2013 at 1:53 PM Subject: 4/2013 Statement, 2141 Broadway To: exchequer(a)sudoroom.org Cc: eddan(a)eddan.com, mattsenate(a)gmail.com Hi All- Here's the 4/2013 Statement for The Sudo Room. Utilities were the lowest I've ever seen them this month. Congrats! Thank you! Laurie & George

13 years, 1 month

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Wifi door access and label printing working again

by Marc Juul

Hi sudoers! = wifi door access = Yardena recently fixed one of the issues with the door access (ram usage), and I just fixed the issue related to the wifi door access sometimes failing. If the web page doesn't come up automatically when you connect to the sudodoor access point, then go to your web browser and try to load any HTTP web site. If you try to load an HTTPS website, then it won't work. = label printer = The label printer has been re-loaded with new paper (thanks to tunabananas for buying!) and the software has been configured to hopefully be more stable and automatically start if the computer is rebooted. -- Marc Juul

13 years, 1 month

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Fwd: Re: robotics: 2-axis pointing

by hol＠gaskill.com

didn't get much of a rise out of sudo-doscuss... steve i have a 2-axis compass chip that is earmarked for rover use. excellent point about the cloudy day problem - i gave derek my paired arduino/processing utility for passing servo instructions from PC to microcontroller and my understanding is that he is going to port the PC side to python using the GPIO pins of a raspberry pi for serial connection with arduino to do the low-level actuation since it runs at 5V like servos and some ICs, with the end goal of pointing a webcam. I will take a look at your code when i get back to town and try to find a schematic for driving those HVAC servos. we can fabricate whatever mount we need, but for starters it looks like we could get away with some 1/2" or 5/8" square tube through the servo, with holes drilled for attaching plywood to which we could duct tape some small panels (i have 2 5-watt car charging panels for testing purposes). any interest in sensing the battery voltage and having the computer enter sleep mode during the night? Not sure how to do that on the rpi but there's some documentation for the arduino. The whole rpi could be turned off and on with a single power transistor, as could individual transmitters ------------Forwarded message------------ From: steveberl(a)gmail.com Date: Mar 31, 2013 09:29:23 AM Subject: Re: robotics: 2-axis pointing To: hol(a)gaskill.com Cc: patrikd(a)gmail.com, sudo-doscuss(a)lists.sudoroom.org On Sun, Mar 31, 2013 at 9:07 AM, Steve Berl steveberl(a)gmail.com> wrote: I've already got the "calculating the daytime paths" part. I have python code using pyephem that given a latitude, longitude, and time, gives back the altitude and azimuth of the sun. For a fixed platform, that you can align once, that should be all you need. For a portable or moving, rotating platform, you need a way to know the orientation of the platform, which might be a magentometer, or even better, a 9DOF IMU like https://www.sparkfun.com/products/11486 Dithering around the sun would probably be OK for solar panels, but on cloudy days, it might spend a lot of time hunting for a peak that doesn't exist. For radio astronomy, it would add noise to the system which you would need to figure out how to filter out somehow. -steve On Sat, Mar 30, 2013 at 9:13 PM, hol(a)gaskill.com> wrote: +1 on using a geared DC motor with encoder. we will basically wind up with a custom servo. i have some IR sensors that i got with the intention of making a photo interrupt type encoder - just need to print some dartboard-esqe patterns on transparency sheet and center it on the shaft or a coupler. steve i am very interested in building a sun-tracking mount for solar panels and those servos we have at sudo room would work for that application...i think there are also a few boxes that have geared stepper motors too, from the same batch of parts which i think was an overflow from AMT. two main options fro pointing as i see it are calculating the daytime paths geometrically, or using closed loop control to dither the panels around the sun like the thermopile on a sidewinder missile. also would be interested in one where the yaw axis of the panels is actuated by virtue of being mounted on a rover chassis (roomba???) with 2-axis magnetometer as feedback on pointing. Mar 29, 2013 04:44:09 PM, patrikd(a)gmail.com wrote: If you want something precise and slow, you probably want to go with a >high gear ratio and a stepper motor. The load on this system should be >fairly uniform (unless you accidentally start yanking on it, of >course), so if it's well designed you shouldn't see too much trouble >with steps getting skipped. You could always zero out the positioning >using endstops. > >A good alternative would be to use a DC motor with an optical encoder. >If you use a worm gear with a 360:1 gear reduction, and you attach a >black/white crosshatch on the fast moving worm, you can measure the >position of the slow moving worm wheel to within 1/4 of a degree, >which is plenty for your purpose. > >Patrik > >On Fri, Mar 29, 2013 at 3:53 PM, Steve Berl steveberl(a)gmail.com> wrote: >> Just to clarify MY requirements a bit, the DirecTV radio telescope >> (http://www.gb.nrao.edu/epo/ambassadors/ibtmanualshort.pdf) has a beamwidth >> of about 3-5 degrees, so getting to within 1 degree would be great. I have >> thought that the pan/tilt mounts used for larger traffic and surveillance >> cameras would be perfect for this. >> It also doesn't need to be fast. The first application is tracking the sun. >> It needs to move at about 15 degrees/hour during the day. Overnight it has >> to be able to swing back from the sunset position to the sunrise position, >> but it's got all night to get there. Of course later on, or at night, we >> might want to look at other things, and move from one celestial object to >> another much more quickly. >> >> Optical telescopes (and big radio telescopes) generally have much smaller >> beamwidths/field of view, so pointing accuracy and smooth motion (to track >> the apparent move across the sky for long exposure photography,etc) are >> critical. For more info on telescope drive mechanisms check out >> http://www.dfmengineering.com/news_telescope_gearing.html. Theres a lot of >> good info there about precise pointing control of big heavy things. These >> are the guys who made the control system for Nellie, the 36" reflector >> telescope at Chabot Space & Science Center (www.chabotspace.org). >> >> -steve >> >> >> >> On Fri, Mar 29, 2013 at 3:13 PM, Scott Garrison >> scottrobertgarrison(a)gmail.com> wrote: >>> >>> I'd have to disagree on this one. Servos have an encoder that allows the >>> motor to know it's exact position. Stepper motors will miss steps and won't >>> be able to catch itself. I guess this is an accuracy vs precision argument >>> as at least the stepper motor is stable in it's adjusted position. >>> >>> If you are getting oscillations or wobbles in your position with a servo >>> then most of the time you are sending it a corrupted signal. This happens >>> with microcontroller code whose servo libraries are not interrupt driven as >>> the PWM signal gets corrupted by other processes. Or with unshielded cables >>> that are experiencing crosstalk from other wiring. >>> >>> As with all things the hardware has to be matched with the job though. If >>> your servo gears have lots of slop or aren't up to the job of positioning >>> something heavy they will struggle. It's possible to use a potentiometer as >>> a secondary encoder of position to help if your gearing is introducing extra >>> error. >>> >>> -=[Scott]=- >>> >>> >>> On Fri, Mar 29, 2013 at 2:37 PM, David Rorex drorex(a)gmail.com> wrote: >>>> >>>> If you want ultra precise control, you need stepper motors. Or maybe >>>> really expensive servos would work, but the cheap servo's I've used are only >>>> accurate to a couple degrees and can wobble a little. >>>> >>>> >>>> On Thu, Mar 28, 2013 at 3:13 PM, Scott Garrison >>>> scottrobertgarrison(a)gmail.com> wrote: >>>>> >>>>> I'd be interested in doing something similar for controlling a camera. >>>>> I also have an extra house satellite dish that I would love to put to use. >>>>> I have experience controlling servos with microcontrollers. >>>>> >>>>> -Scott >>>>> >>>>> >>>>> On Wed, Mar 27, 2013 at 3:07 PM, Steve Berl steveberl(a)gmail.com> wrote: >>>>>> >>>>>> I notice on the etherpad that someone is interested in a 2 axis control >>>>>> for a radio dish. I'm interested in that also. In particular I want to mount >>>>>> a house satellite TV dish sized antenna on a 2 axis mount for radio >>>>>> astronomy use. It requires smooth and precise, but slow movement. >>>>>> >>>>>> Who is it that is interested in this project? Can you get in contact >>>>>> with me? >>>>>> >>>>>> -steve >>>>>> >>>>>> >>>>>> On Sun, Mar 24, 2013 at 5:43 PM, hol(a)gaskill.com> wrote: >>>>>>> >>>>>>> Howdy folks, >>>>>>> >>>>>>> We are two days away from the beginning of the second microcontroller >>>>>>> project hacking night at sudo room. As someone suggested, I created a >>>>>>> facebookpage for the event. Please invite people you think might be >>>>>>> interested! I previously ordered 10 ATMega328p chips and crystals, and will >>>>>>> have them available at cost ($5) for those just starting out who want a >>>>>>> basic controller. >>>>>>> >>>>>>> Event Link: >>>>>>> https://www.facebook.com/events/502675869769339/ >>>>>>> >>>>>>> Also, there is an etherpad to jot down projects you intend to work on >>>>>>> in case anyone out there is interested in collaborating: >>>>>>> https://pad.riseup.net/p/microbotics >>>>>>> This will be an ongoing document, and is intended to provide a >>>>>>> subsystem-level view of project elements in order to encourage people to >>>>>>> join together to work on individual elements or principles where interests >>>>>>> overlap in a way that permits a limited scope of collaboration, without >>>>>>> having to commit to recurring work on an entire project. >>>>>>> >>>>>>> We had some interesting projects last time and I expect even more this >>>>>>> time, hopefully with a few people from the last event returning to show what >>>>>>> they've done with their projects since then. Personally I will try to go >>>>>>> back and forth between 50% working on 2-3 projects, 30% getting newbies >>>>>>> started on their controller builds, and 20% snacking/shooting the shit. >>>>>>> Looking forward to seeing y'all! >>>>>>> >>>>>>> Cheers, >>>>>>> Hol >>>>>>> _______________________________________________ >>>>>>> sudo-announce mailing list >>>>>>> sudo-announce(a)lists.sudoroom.org >>>>>>> http://lists.sudoroom.org/listinfo/sudo-announce >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> -steve >>>>>> >>>>>> _______________________________________________ >>>>>> sudo-announce mailing list >>>>>> sudo-announce(a)lists.sudoroom.org >>>>>> http://lists.sudoroom.org/listinfo/sudo-announce >>>>>> >>>>> >>>>> >>>>> _______________________________________________ >>>>> sudo-announce mailing list >>>>> sudo-announce(a)lists.sudoroom.org >>>>> http://lists.sudoroom.org/listinfo/sudo-announce >>>>> >>>> >>> >> >> >> >> -- >> -steve >> >> _______________________________________________ >> sudo-announce mailing list >> sudo-announce(a)lists.sudoroom.org >> http://lists.sudoroom.org/listinfo/sudo-announce >> >_______________________________________________ >sudo-announce mailing list >sudo-announce(a)lists.sudoroom.org >http://lists.sudoroom.org/listinfo/sudo-announce > -- -steve -- -steve

13 years, 1 month

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Sudo is at Noisebridge!

by Vicky Knox

Come out and see the illustrious Ray as he ensnares the crowd in his espresso and edible gold flake cotton candy! Join Yardena and I at the Sudo Room table and see what goodies we have both brought and created to lure future members in our direction.... 16th St Mission BART. Noisebridge is on Mission, between 17th and 18th street.

13 years, 1 month

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artists?

by Lit JC

Sudoers, Are there any of you who consider yourself an artist of a high-tech variety? I'm not exactly sure what that means, open to interpretation and learning. Thanks, j.

13 years, 1 month

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rps has math nerd zines -- should sudo room make one too?

by Romy Ilano

maybe you can silkscreen the math nerd zine using the rps collective silkscreen printer? here's a photo of the math nerd zine i took a few years ago http://www.flickr.com/photos/35468138525@N01/3499107666 [image: Inline image 1]

13 years, 1 month

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does anyone hack a native mobile OS that isn't android or iOS or html5?

by Romy Ilano

I saw some guy show me the linux/maemo(?) OS that flamed out and died that Nokia uses. It looks nice though.

13 years, 1 month

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Sudo Room at Noisebridge TOMORROW

by Vicky Knox

Hellooooooo! Sudo Room has been offered a table at tomorrow's 4-11p fundraiser upon which we may spew out upon the world our creative pursuits. (In other words, there will be a Sudo Booth!) \-\-\-\-\-Would you like to bring your project or have it represented?-/-/-/-/-/ I'm going to be arriving a little early. Please let me know if you'd like to join me or have me set something up for you early-on or be your representative. I will be stopping by Sudo Room beforehand. Maybe like..noon-thirtyish? PS: I neeeeed stickers. Who has 'em?

13 years, 1 month

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TONIGHT: Noisebridge 5-Year Party!

by Mitch Altman

TONIGHT!Noisebridge hackerspace in San Francisco iscelebrating 5 years of eminent excellence! Saturday, 30-March, 4pm - 11pm People, geeks, dorks, hipsters, punks, anarchists around the world are converging on the world's premier hackerspace. Geeky music performance! Art! Food! Drink! Demos! Presentations!Workshops! Talks! Zines! Raffle! Silent Auction! Surprises! Fun! All ages! All welcome! More info, and complete live-music line-up:https://www.noisebridge.net/wiki/Art

13 years, 1 month

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rpscollective youth high school interns... would they want to take the 3d printing or tech classes at sudo room?

by Romy Ilano

max! i'm so happy you're linking sudo room to rpscollective they also have youth classes and high school interns. wouldn't it be cool if the high school kids could come to the google 3d sketchup class??? i'd be so into showing them sneaker 3d models i downloaded... i think a lot of oakland high school kids might be like me! they'd be into urban vinyl toys and sneaker spures. http://www.thingiverse.com/search?q=sneakers&sa= === http://rpscollective.org/youth/ questions -[at]- rpscollective -[dot]- org 510.238.9171 2278 Telegraph ave., Oakland, CA 94612 Hours: 12 - 7pm, Wednesday - Sunday. Closed Monday and Tuesday. Rock Paper Scissors Collective <http://rpscollective.org> A community arts space 06.17.2009 Youth To promote youth involvement in all of our programming, RPSC offers youth internships to high school aged teenagers. There are two types of internship programs: one, High School Aged (current partnerships exist with Metwest High school, Lighthouse Community Charter and we are open to more High Schools), and the other, under the guidance of an RPSC member working in the intern’s area of interest. All programs are volunteer run and would love your support! RPSC partners with High Schools to offer 1419 year old students student-initiated, project-driven internships. Internships run throughout the school year. Projects have included: entrepreneurial airbrushing business, fashion design, gallery curation, and teaching teen fashion classes. We also reserve one month of gallery programming a year to feature our interns art work, giving students the opportunity to have their work shown in a gallery space that reaches over 1,000 people every month.RPSC

13 years, 1 month

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Hacker Joe Black is seeking floorspace until his next check April 1st...

by Romy Ilano

Hey, Hacker and computer programmer/musician and good guy Joe Black is looking for floorspace or rental space. He doesn't have a lot of money, and is waiting on his next check April1st. - He is really great and handy with electronics. He can help you secure your workspace or home in return. - He programs in rails, python as well He has had some bad luck--his phone and other important items were stolen at another open hackerspace. If you know anyone who can help him please email him asap - joeblackwaslike (attt) me.com

13 years, 1 month

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Filter bubble book && possible panel talks

by Romy Ilano

My college roommate boyfriend wrote the filter bubble so I thought if they are next on the Bay Area we could ask Eli Pariser to speak woth the sudo room folks. Giorgio might be so fun but after a little coaching and I'm too ADHD and busy right now ;) It'd be rad to have a round table :: the minds of sudo room! --- Romy Ilano Founder of Snowyla http://www.snowyla.com romy(a)snowyla.com

13 years, 1 month

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questions re setting up a localwiki

by Lit JC

Hi Sudoers, Wondering if there's someone I can ask questions of re: setting up a localwiki for San Leandro. I don't have a local unix server set up yet, but I do have some interest in helping with updates. localwiki advises to look local first. Anyone please? judi

13 years, 1 month

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trade showcasing educational games

by Romy Ilano

this sort of thing interests me little as personally I come to sudo room to be creative if i were to showcase someone educational games company i guess i could do it at a traditional silicon valley trade show. But different strokes for different folks!

13 years, 1 month

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Consent to Amendment to Articles of Association for Conflict Steward

by Matthew Senate

Hey all, This email goes above and beyond to ensure our consensus process is transparent and far-reaching. We want to ensure YOU know that over several meetings, and many emails, have changed the Articles of Association: https://sudoroom.org/wiki/Articles_of_Association (see the changes here https://sudoroom.org/mediawiki/index.php?title=Articles_of_Association&diff…) but we still want to know if you have a major major concern, please share your voice: https://docs.google.com/forms/d/1cQNKrBmuD3RskXRYhC44YoVQXpiTkltveypw5UeYQw…

13 years, 1 month

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artists?

by Romy Ilano

Hell yeah! I've done art and helped organize art groups for many years. > sudo room now has a wacom bamboo tablet for drawing! we have to figure out a way so it doesn't get stolen >I'm airlifting some of my spare art supplies from storage this weekend. ==== Do you have art? we should feature a page on the wiki with the art of various sudo room artists! >>> http://www.miromi.com Message: 3 Date: Thu, 28 Mar 2013 15:50:34 -0700 From: Lit JC <litsl(a)manymedia.com> To: "sudo-discuss(a)lists.sudoroom.org" <sudo-discuss(a)lists.sudoroom.org> Subject: [sudo-discuss] artists? Message-ID: <56AB2EDD-BCDF-4E74-BA80-72997961F45F(a)manymedia.com> Content-Type: text/plain; charset=us-ascii Sudoers, Are there any of you who consider yourself an artist of a high-tech variety? I'm not exactly sure what that means, open to interpretation and learning. Thanks, j.

13 years, 1 month

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A computer Rock Paper Scissors Collective?

by Max Klein

I am hanging out and volunteering at Rock Paper Scissors Collective right now. They need a new computer for the gallery. We could easily assemble one from our spare parts graveyard, but I perhaps someone has a more complete better alternative? They will trade some of their comparative advantage for it, they say. Max

13 years, 1 month

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Fwd: Arts Funding: A comparison of American and European Models

by Romy Ilano

[low priority] nice Friday evening reading for you! http://www.osborne-conant.org/arts_funding.htm Arts Funding: A comparison of American and European Models As an American who has lived in Europe for the last 24 years, I see on a daily basis how different the American and European economic systems are, and how deeply this affects the ways they produce, market and perceive art. America advocates supply-side economics, small government and free trade – all reflecting a belief that societies should minimize government expenditure and maximize deregulated, privatized global capitalism. Corporate freedom is considered a direct and analogous extension of personal freedom. Europeans, by contrast, hold to mixed economies with large social and cultural programs. Governmental spending often equals about half the GNP. Europeans argue that an unmitigated capitalism creates an isomorphic, corporate-dominated society with reduced individual and social options. Americans insist that privatization and the marketplace provide greater efficiency than governments. These two economic systems have created something of a cultural divide between Europeans and Americans. Germany’s public arts funding, for example, allows the country to have 23 times more full-time symphony orchestras per capita than the United States, and approximately 28 times more full-time opera houses. *[1]* In Europe, publicly funded cultural institutions are used to educate young people and this helps to maintain a high level of interest in the arts. In America, arts education faces constant cutbacks, which helps reduce interest. *The Rise of Neo-Liberalism As a Cultural Paradigm* The divisions between American and European arts-funding models are best understood if one briefly considers the changes that have evolved in U.S. economic policy over the last 30 years. Except for the military, there has been continual political pressure to reduce government. Even though the government’s budgets have continued to increase, arts funding has been particularly vulnerable to cuts. By 1997, the NEA’s funding was close to half its former high, and has only slowly regained some of its lost ground. University of Chicago economist Milton Friedman stressed the value of limited taxation and unregulated global markets in the 1970s. Many influential members of the political and economic elite embraced his views. With Ronald Reagan’s election, Friedman’s proposals became established U.S. policy. Friedman’s philosophy of limited government and free trade was seen as an extension of Adam Smith’s 18th century market-liberalism, and is technically referred to by many economists as neo-liberalism. ** Some of neo-liberalism’s most important tenets are cutting public expenditure for social services such as health insurance, education and cultural programs. This is consistent with its other policies, such as the deregulation of the market to allow the free flow of capital and limit restrictions caused by issues such as environmentalism and job safety; privatization of state-owned enterprises such as schools, parks, toll highways, hospitals, utilities, and water supplies; and the replacement of traditional concepts such as “the public good” or “community” with values emphasizing “individual responsibility.” (We thus see that in its technical economic meanings, neo-liberalism differs from the common American political usage of the term “liberal.” Neo-liberalism refers instead to the historical meanings of market-liberalism as freed from government intervention or involvement.) In its purest form, America’s neo-liberalism would suggest that cultural expression that doesn't fit in the marketplace doesn't belong at all. For the arts, the alternative has been to maintain a relatively marginalized existence supported by gifts from corporations, foundations and the wealthy. A system similar to a marginal and elitist cultural plutocracy evolves. This philosophy is almost diametrically opposed to the tradition of large public cultural funding found in most of Europe’s social democracies. *The Hip-Con Argument* Through the influence of neo-liberalism, it is becoming increasingly common in America to suggest that classical music must enter the market place in order to survive. One of the most interesting and nuanced proponents of this view is Greg Sandow, who writes for *The Wall Street Journal*. He argues that classical music must creatively accept the structures of the marketplace. He notes that even the fringes of the mass market are enormous. If artists can't fit into America’s relatively unmitigated capitalist system, they are to be blamed, at least in part, for their lack of imagination and relevance. Alternatives, such as public funding for the arts, are left largely unmentioned. *[3]* The general correlations between Mr. Sandow’s ideas and neo-liberalism are fairly obvious. Government is to be reduced and an unregulated market furthered. His view could also stem from his musical background. He worked as a pop music critic for *Entertainment Weekly* before moving to *The Wall Street Journal*. In his writings, he moves freely between pop and classical. The approach of leveling pop and classical into the marketplace is both aesthetically hip and financially conservative. The younger Wall Street might even define business as an extension of the freewheeling, libertarian ethos of rock and roll. In this sense, they might be referred to as hip-cons. Rock and roll and its many pop variants are the mainstay of the corporate music industry’s income. Rock also accurately reflects something of the American business spirit of enterprise and freedom. *The Danger of Conformity in Mass Markets* >From its beginnings, rock revolted against stifling convention and hypocrisy. Rock, however, is a form of rebellion carried by the mass media, which leaves it characterized by internal conflicts. Up front we might have a socially rebellious Bruce Springsteen, but behind him stands a massive music industry deeply rooted in the Wall Street establishment, whose purpose is not to formulate social criticism but to make money. Mass media pop is thus distinguished by its ability to create a ready, packaged (and often benign) form of social criticism that raises protest only within the strictures the mass market will accept. This characteristic, however, must be carefully disguised or the impression of hipness is weakened. Big business is the dirty secret in the background. The current crisis with file sharing is an example of the troubles the music industry can have when its business side becomes too visible. The best argument for pop music actually leading a social rebellion would probably be found in the '60s, but even then elements of conformity were apparent. The massive criticism of John Lennon’s comment that the Beatles were more popular than Jesus Christ was a clear illustration. Antiwar songs and drugs were socially acceptable, but presumed insults to Christianity were not. Some recent examples of how pop must conform to the strictures of the mass market are Springsteen’s backdown from his criticisms of the New York police for brutality, the attacks on Sinead O’Conner after her criticisms of the Pope (which contributed to the end of her career), the delayed release of Madonna’s antiwar album in spite of her carefully parsed image as a fearless rebel, and the boycott and burning of the Dixie Chicks’ CDs after their criticisms of Bush and the Iraq war. Mass pop thrives on controversy, but it must be carefully gauged to create notoriety and not shut down the show. More variation exists on the market’s fringes, but the degree is generally proportional to the size of the audience. The more unusual the stance or music, the smaller the market. The financial viability of the fringe markets thus depends on having a limited supply of artists and a specialized public for a particular view or aesthetic. The dangers of artists being forced into conformity are apparent. Given the volatility of mass markets, Wall Street has a very particular ethos. This was clearly summarized by Ray Kroc, one of the founders of McDonald's, who was angered by some of his franchises: “We have found out ... that we cannot trust some people who are nonconformists. We will make conformists out of them in a hurry. ... The organization cannot trust the individual; the individual must trust the organization.” The very nature of a mass market is conformity in both product and customer. ** Mr. Sandow’s suggestion that classical composers should tap into the fringes of the pop market is thus interesting, but of limited value. The fringes are indeed larger than the usual audience for classical music, but they could still only support a limited amount of experimental music. The industry is not in a stable condition, the audiences would be splintered, and the reactions of the public fickle and highly unpredictable, especially for kinds of avant-garde classical music they had never even heard before. Tapping into even the fringes of the pop industry would likely require elements of conformity that might not suit the wildly varied and experimental nature of modern classical music. Even traditional types of classical music that have tried to be more commercial are often criticized for their bad taste. David Lister, Media and Culture Editor for *The Guardian*, created an interesting summary of some examples: "The members of the string quartet Bond, who were trained classically, perform in skimpy tops, tight trousers and stilettos. Sometimes they are accompanied on stage by nubile dancers and a rock band, and play music with a dance beat. British chart compilers said their debut album was pop music and banned it from their classical chart but it went to the top of the American version." "The 23-year-old violinist Vanessa-Mae can probably claim first rights on emerging from the sea in a suitably dripping outfit to promote her skills in performing a concerto. When still a teenager she used the wet look in one of her early promotional videos." "One critic said of Russell Watson [a singer]: ‘His ability is reliant on massive amplification, and I very much doubt whether he has the stamina (or the desire) to sing an entire role in an opera.’" "The 'Gregorian Babes' [to] whom Sir Thomas refers to [are] a desperate attempt to manufacture a classical version of the Spice Girls. The group went to the top of the classical charts, but their medieval madrigals were described by one critic as ‘estuary Latin’." In America, the neo-liberal paradigm has already given a corporate atmosphere to our culture that is stronger than ever before in history, and stronger than in any other country in the world. So why are we being asked to go even farther in this direction? Generally speaking, if any one system of support for artists becomes isomorphic, artistic freedom suffers. Varied systems help guarantee freedom of artistic expression. This is why Europeans have a vibrant and healthy system of decentralized public funding to provide an alternative to the commercialization of culture. *The Rise of Crossover and Its Hip-Con Public* Even though the yuppies of the late '70s and '80 never represented a clearly defined movement, they might be seen as interesting examples of the hip-con spirit. They were regarded as politically conservative and preoccupied with moving toward the centers of power – often with little regard for the implications. They were a counter-reaction to the far more extreme “tune-in, turn-on, drop-out” philosophy of the '60s. The yuppies of Manhattan were often well educated, ambitious and intelligent. The “downtown” classical music scene became one of the chic places for the more sophisticated to be seen. The stiff, incestual establishment serialism of the uptown may have been square and alien to many hip-cons, but some of the downtowners were incorporating elements of popular music that they could relate to as cool. For the most part, the downtown artists who incorporated elements of pop were not anything like hip-cons. They were (and still are) solidly on the political left. They knew they had been able to take advantage of the fringes of the mass market, but given the diversity of avant-garde musical expression, they generally recognized that this model was limited and suited to only a narrow spectrum of modern classical music. It was only much later, after neo-liberalism had become more established, that their work was used to support an argument that classical music should be moved to a stronger market paradigm. Some of the most notable crossover artists were the Bang-On-A-Can All Stars, who rose to prominence with programs that included works emulating elements of the tasteful, semi-popular new-age music of Brian Eno. Programs by Laurie Anderson, such as “Home of the Brave,” were modeled on the format of rock concerts. Her song “O Superman” reached No. 2 on the British pop charts. John Zorn created collages using television cartoon music that was almost iconographic to a generation of young Americans. And the repetitive, rhythmic qualities of minimalist composers such as Reich and Glass attracted a generation brought up on rock. ** During the '50s and '60s, pop music had developed a central place in the American psyche. For the young people of the late '70s and '80s, a crossover with experimental forms of classical music was simply part of a quintessentially American milieu they did not even have to think about. And even though it was not a very conscious idea for the young hip-con public, the idea of widening the cultural influence of the marketplace fit the neo-liberal spirit that was a growing hallmark of the Reagan era. The musicians also seemed to be influenced. One of the most important aspects of cultural isomorphism is that artists often unconsciously adapt to and employ the larger social forces surrounding them. One of the first writers to note the crossover forms being developed by the downtown composers was *The New York Times* music critic John Rockwell, who described some of the work in his 1983 book *All American Music: Composition in the Late Twentieth Century*. He later became a program director for Lincoln Center’s summer festival. Partially through his influence, some members of the downtown began reaching more established midtown publics and a wider international audience. Rockwell noted that once again the desire and ability to merge the aesthetic structures of classical and commercial was something distinctly American. What neither he nor anyone else anticipated, was that the crossover would eventually be used to support a claim that classical music and its modern composers should be more strongly shifted to the marketplace. Few understood the aesthetic, social, and economic implications of the evolving neo-liberal paradigm that was making American society and culture more isomorphic than ever. ** Europeans rejected most attempts in their own societies to merge commercial and classical music. Their cultures are not dominated by the mass media as in America, and they do not have the same innate relationship to pop. Given their more extensive cultural history and public arts funding, it is not surprising that Europeans hung on to (and were burdened by) more complex and historically continuous ideas of classical music. And above all, they continued to view forms of culture associated with the American mass media and corporatism as hegemonistic and potentially isomorphic, regardless of how hip they might seem. *The Increasing Political Division of Europe and America* In many respects, neo-liberalism is a manifestation of the suspicion toward government traditionally held by the American right – an ethos that contrasts strongly with Europe’s tradition of social democracies. During the '60s and '70s, however, a number of Republicans were still relatively strong supporters of the newly founded NEA. Support for the arts was still considered a part of traditional, conservative values. As the Republican Party moved increasingly to the right, the old cultured libertarian conservatives like Nelson Rockefeller or William F. Buckley moved to the background. By the '90s, mainstream libertarian conservatism seemed far less sophisticated. A new populist version with an openly bigoted crudeness along the lines of Rush Limbaugh had evolved. Rock, country western, and a kind of neo-liberal cowboy social Darwinism replaced Vivaldi’s “Four Seasons.” Populist rightwing attacks on controversial artists such as Karen Finley, Andres Serrano and Robert Mapplethorpe were used to rationalize funding reductions for the NEA. Between 1992 and 1996 the agency’s budget was reduced by almost half – from $170 million to $97 million. Twenty categories of grants were abolished between 1990 and 1995. The Contemporary Arts Center of Cincinnati was indicted for pandering obscenity hours after the opening of the photography exhibit, *Robert Mapplethorpe: The Perfect Moment.* In question were seven portraits, mostly of sadomasochistic acts. The partisan rhetoric of conservative politicians such as North Carolina Senator Jesse Helms raised suspicions of intimidation and censorship. And perhaps more important, the elimination of entire government agencies was a continuing theme of congressional rhetoric under Republican Speaker of the House Newt Gingrich. The neo-liberal agenda of reducing government became part of the rationale for shutting down Mozart and Shakespeare along with Serrano. Popular music also moved to meet the demands of a newly forming market on the right. Following on types of punk that incorporated a kind of tribal masculinism, by the 2000’s Eminem even metastasized black male anger into a hip-con white male anger. He endorsed, for example, extreme violence against women, but given the backlash of the '90s, this was within the strictures of the mass media’s pre-packaged forms of protest. These social statements were embraced by the music industry because the swing to a crude and somewhat bigoted form of libertarianism had made them widely accepted and provided the basis for a mass market. The racist implications in some of Eminem’s most recently revealed statements, however, are not widely accepted. We thus saw the industry that supports him quickly backpedaling. Due to its internal tensions, being a hip-con became an increasingly difficult balancing act. White racial resentment, for example, is still difficult to define as hip. The hip-cons seemed to divide into two groups, one along the older yuppie model, and the newer along Eminem’s mean-right pattern. As early as 1992, many hip-cons had moved toward the saxophone-playing Bill Clinton and his more moderate conservatism, which included a crack down on crime. By the end of Clinton’s second term, 13% of all African-American men could not vote because they were in prison or had criminal records. The people whose music had laid the original foundations for hippness were still strongly disenfranchised and vast numbers were still living in poverty and degradation. After twenty years of neo-liberal Reaganomics, the political and cultural landscapes of Europe and America were farther apart than ever. The long-term forms of social democracy that Europeans might have used to approach the problems of massive racial ghettos could not even be considered. Hillary Clinton’s campaign for national health insurance -- which is a mainstay of European social policy -- failed miserably. George W. Bush was elected, and the dot.com economy collapsed. Fueled by recession, state governments began to slash or entirely eliminate arts budgets. America’s cultural institutions struggled to survive, many of them running up large deficits. The new American administration, which embraced neo-liberalism to an unprecedented degree, jeered at its traditional allies as “old Europe.” *An American Culture of Rationalization* With subtle psychological shifts that are almost impossible to deconstruct, the conflicted hip-con ethos of America became an increasingly complex network of rationalizations. The Prez plays the sax, so we’re still hip, aren’t we? If we listen to both Springsteen and Schönberg we must be egalitarian, right? Even white guys can rap, can’t they? Inside of 20 years we went from Miles Davis making obscene gestures to his white public, to a buttoned-down Wynton Marsalis playing in Lincoln Center. Many of jazz’s greats earlier in the century were firmly embraced by the white establishment, and not all jazz comes out of a spirit of protest. Nevertheless, some critics seemed to feel that the presentation of notably conservative jazz in Lincoln Center was another example of the white establishment conveniently presenting and appropriating only a specific spectrum of black culture. Both pop and jazz seemed to find a place in America’s culture of rationalization. In many respects, hip-cons have come to represent the latest incarnation of the classic American ethos of being rebels without a cause. Listening to rock gives them a sense of breaking from the bourgeois middle and rejecting conformity to a system that is often vacuous and morally conflicted. The irony that the mass media is one of the largest manifestations of cultural isomorphism in the history of humanity is not considered. In culturally isomorphic societies, thought is less and less likely to move outside a pre-configured set of paradigms. In the 20th century, for example, we saw a culturally isomorphic essentialization of art in the "Gleichschaltung” of the Third Reich, in the Social Realism of the East Block, in the “Cultural Revolution” of Maoist China, and to an increasing extent in the mass media commercialization of culture in America. *[7] *Like the political divisions of the 20th century, these aesthetic orthodoxies reduced human expression to systemic concepts that tend toward the formulaic and reductionist. Since narrowed perspectives make it difficult to confront aspects of reality, a culture of self-referential rationalization evolves. *The European’s Defense of Communal Identity* So where does this leave the European view of America and its arts funding models today? To answer, it is important to note that continental Europeans often regard American music as a type of exotica – an art that embodies a radical departure from their own traditions. In Germany, for example, Ives, Bernstein, Cage, Reich, and laptop improvisers fit their desired image of the American spirit. Composers more in line with Germany’s still dominant forms of complex modernism, like Carter and Babbit, remain much less appreciated and performed. Europeans thus especially appreciate the crossover forms that have become an American specialty, but they reject the argument that a commercial paradigm is an appropriate funding model for classical music. They question the breezily hip tones that tell us classical music must become commercially viable or go extinct. Rock or die? Is that the only real alternative? What does that mean for artistic integrity and the autonomy of human expression? In the spirit of their mixed economies, Europeans would argue that many forms of artistic expression cannot be positioned or relativised within the mass market or its fringes. For them, culture must be communal and autonomous. They often see American culture as hegemonistic -- a totalizing and destructive assault on the humanistic, cultural and social structures they have worked so long and hard to create. A general sense of the different perspectives concerning communal identity can be illustrated with an example now widely discussed in the States. Many Americans have seen how corporate-owned strip malls and Wal-Marts have deeply affected their cities and towns. The old downtown areas are abandoned as customers move to corporate businesses on the edge of town. Communal identity and autonomy, which are an important part of cultural expression, are replaced with a relatively isomorphic corporatism. Europeans struggle to maintain a different model. Most cities and towns have thousand year histories that are reflected in the architectural and other cultural treasures of their various municipal centers. They employ zoning laws and other regulations, as well as public education, to protect their cities from the Wal-Martization that would be caused by embracing American-styled neo-liberalism. Europeans have large department stores and the occasional K-Mart, but their influence is kept within balance. They would consider the losses to their cultural identity caused by corporate uniformity to be too great. Europeans see Hollywood and America’s massive music industry in a similar way. They feel these institutions standardize culture into mass markets that reduce communal identity. Far from making music even more commercial, the European response has been to create a balance with public arts funding. In Germany, for example, cities with more than about 100,000 people often have a full-time orchestra, opera house, and theater company that are state- and municipally owned. A good deal of funding for these groups is set aside for new music. Europeans also administer this arts funding locally, and not from a remote Federal organization such as the NEA. *[8]* They are not only the recipients of mass culture; they express themselves according to their autonomous, local needs and prerogatives. As a result, the European view is likely to reject a superficial form of postmodernism that presumes to flow with an exaggerated ease from rock to Brahms, as if distinctions between the production, marketing, and reception of commercial and classical music could be brushed aside. They know that the production costs for recording a five-piece rock band are far smaller and the audience vastly larger than for a recording of an opera that would require 200 to 400 people and reach an audience not even a tenth the size. They know that a festival for new orchestral music such as at Donaueschingen might have standing-room-only crowds year after year, but that such endeavors cannot be designed to make a profit. *[9]* In Germany, classical recordings compete strongly against pop. This is not merely a matter of history or coincidence. Europeans use their local public cultural institutions to educate their children and this creates a wide appreciation for classical music. The popularity is also based on a sense of communal pride. They support their local cultural institutions almost like they were sports teams. European society illustrates that music education leads to forms of creativity and autonomy that are often antithetic to mass media. The European view is not based on elitism or a dismissal of popular culture, but on an understanding that an unmitigated capitalism is not a seamless, all-encompassing paradigm - particularly when it comes to cultural expression. *The Loss of Cultural Discourse in Isomorphic Systems* Proponents of America’s neo-liberalism claim that alternatives to a singular cultural paradigm exist. In reality, the large majority of cultural offerings come from Manhattan and a few other cities, even though the country has 280 million people. Even the other boroughs of New York City, such as the Bronx, Queens, and Staten Island would seem short of cultural offerings. And the situation is similar in many of our heartland cities. International comparisons might illustrate this point. Germany, for example, has one full-time, year-round orchestra for every 590,000 people, while the United States has one for every 14 million (or 23 times less per capita.) Germany has about 80 year-round opera houses, while the U.S., with more than three times the population, does not have any. Even the Met only has a seven-month season. These numbers mean that larger German cities often have several orchestras. Munich has seven full-time, year-round professional orchestras, two full-time, year-round opera houses (one with a large resident ballet troupe,) as well as two full-time, large, spoken-word theaters for a population of only 1.2 million. Berlin has three full-time, year-round opera houses, though they may eventually have to close one due to the costs of rebuilding the city after reunification. If America averaged the same ratios per capita as Germany, it would have 485 full-time, year-round orchestras instead of about 20. If New York City had the same number of orchestras per capita as Munich it would have about 45. If New York City had the same number of full-time operas as Berlin per capita it would have six. Areas such as Queens, Staten Island, and the Bronx would be nationally and internationally important cultural centers. The reality is somewhat different. If America’s Northeastern seaboard had the same sort of orchestral landscape as Germany, there would be full-time, year-round professional orchestras (often in conjunction with opera houses) in Long Island, Newark, Jersey City, Trenton, Camden, Philadelphia, Wilmington, Baltimore, New Haven, Hartford, Springfield, Providence, and Boston. California would have about 60 full-time, year-round professional orchestras. Like Germany, the U.S. would suffer from a shortage of good classical musicians. There would be little unemployment for these artists. With that much creativity, it is unlikely Americans would stick to European repertoire and models. Even with half the German ratios, a starkly American musical culture would evolve that would likely change history. It is also essential and informative to place these numbers in the context of the dismal social conditions in almost all major American cities, since these are areas where classical music would normally thrive. A recent article in *The New York Times*, for example, notes that Philadelphia has 14,000 abandoned buildings in a dangerous state of collapse, 31,000 trash-strewn vacant lots, 60,000 abandoned autos, and has lost 75,000 citizens in recent years. ** Regions such as the south Bronx, Watts, East St. Louis and Detroit, just to name a few, show that Philadelphia is hardly an exception. The populations living in our dehumanizing ghettos are measured in the tens of millions. It seems very likely that the problems with arts funding in America are closely related to the same social forces that have caused the country to neglect its urban environments. This naturally leaves many Europeans wondering why America is so intent on exporting its economic and cultural models. The problems of arts funding are seldom the topic of genuinely serious and sustained political discussion. The cultural and political system has become so isomorphic that most Americans do not even consider that alternatives could be created to institutions such as network television and Hollywood. With only one percent of the military’s $396 billion budget, we could have 132 opera houses lavishly funded at $30 million apiece. (That much funding would put them on par with the best opera houses in the world, and as noted, likely lead to forms of expression more distinctly American.) The same sum could support 264 spoken-word theaters at $15 million each. It could subsidize 198 full-time, year round world-class symphony orchestras at $20 million each. Or it could give 79,200 composers, painters and sculptors a yearly salary of $50,000 each. Remember, that’s only one percent of the military budget. Imagine what five percent would do. These examples awaken us to the Orwellian realities of our country and how different it could be. Given our wealth, talent, and educational resources, we are losing our chance to be the Athens of the modern world. We also see that cultural isomorphism leads to the suppression of political, social and cultural discourse. Discussions outside the neo-liberal paradigm are becoming increasingly rare. How astounding, for example, that a U.S. Senator recently gave a long interview for the American Music Center’s webzine, New Music Box, and not one question was asked or comment made about the NEA or any other form of public funding for the arts. Europeans would find this incomprehensible. Another example of the loss of intelligent discourse is the discussion surrounding the current proposed $18 million increase for the NEA. This sum represents only seven-thousandths of one percent of the proposed 2005 U.S. budget, a number almost too infinitesimal to comprehend. And yet the topic is once again being opportunistically exploited as a political battering ram. In Europe, by contrast, funding for the arts is a central platform of every major political party. Lively and varied artistic expression is considered one of the most important forums for national discourse. Politicians literally search for opportunities to speak about the arts because it is politically advantageous. The dialog is generally intelligent, meaningful, and carefully considered. *Summary and Conclusion* In review, we see that Europe’s funding traditions and models suggest several policies and administrative practices Americans might consider: 1. Europeans use public funding to provide alternatives to the marketplace for cultural expression. This reinforces freedom of artistic expression and deeply enriches their societies. America’s heavy reliance on the market as an arbiter of culture sometimes limits our options. Our government spends billions on other intellectual spheres, such as education, space exploration and scientific research, but we have seriously limited our cultural lives through a suspicion toward public arts funding. 2. European politicians avoid attacking the arts for populist and opportunistic political gains. This is a taboo that is seldom, if ever, broken and the perpetrators generally only discredit themselves. Few mainstream European politicians would make remarks such as North Carolina Senator Jesse Helms, who said, “The artists and the homosexuals ain’t seen nothing yet.” Europeans would find it absurd to eliminate almost half of a nation’s arts funding because of two or three marginalized avant-garde artists. After the traumas of both fascism and communism, Europeans realize how destructive the intimidation of artists is to the dignity and cultural identity of society. This no longer happens in Europe, and need not happen in America. 3. European arts funding is generally decentralized and administered mostly on the state and municipals levels. The NEA’s centralized funding makes it an easy target for populist political attacks. Europeans would also find it strange for a federal government to fund the arts in any specific way because it is so difficult at that level to have direct contact with the lives and work of artists and the communities they serve. The NEA and the states must continue to develop arts-funding models directly connected to cities, towns and regional communities. 4. Europeans use their cultural legacies to establish and assert their place in the world, often through extensive cultural diplomacy. American politicians should be reminded that Ella Fitzgerald, Leonard Bernstein and Louis Armstrong can often accomplish far more than an F-16, and for a tiny fraction of the costs, both economic and human. Given our talent, educational system, and wealth, we must renew our vision of how brightly our cultural light could shine. 5. Europeans combine arts education with the living presence of the performing arts within their communities. Classical music is far more relevant to young people when performing arts organizations are a highly present and esteemed part of their city or region. In America, the nearest genuinely professional full-time performing arts organization is often hundreds of miles away. America’s children should perceive the arts as part of their communities. And our more talented children should be able to think of the arts as a realistic career option, just as children in Europe do. 6. Even though Europeans often celebrate the lighter classics, they still stress classical musical for its inherent strengths. As the American Symphony Orchestra League has noted, America has been trying to build publics by emphasizing pops (and cross-over) concerts since the 1960s. This has had a partially adverse effect through lowering the public’s expectations. Superficial programming is also increasingly influencing classical music radio stations. Through confidence in classical music’s inherent strengths, higher standards and expectations could be awakened. 7. Europeans view the city itself as the greatest and most complete expression of the human mind and spirit. Venice, Florence, Rome, Prague, Amsterdam, Dresden, Barcelona and Paris, just to name a few, are all embued with this ideal. Americans, by contrast, behave almost as if they have lost hope in their cities, as if they were dangerous and inhuman urban wastelands to be abandoned for the suburbs. This tacit assumption has had a profound but largely unrecognized effect on American political and cultural discourse. Classical music is one of the most urban of art forms. Its status will always be measured by the health and vibrancy of our cities. Ultimately, questions of arts funding will only be fully resolved when we recognize that the well-being of our cultural and urban environments are deeply interdependent. Over the long term, these general understandings that Europeans have gained over centuries of experience could beneficially influence the political and cultural climate in America. It is not enough that people have freedom of speech; they must also have mechanisms for meaningfully expressing and debating it. Public arts funding is deeply valuable because it encourages societies to be diverse, intellectually alive, inquisitive and realistic. It furthers the discourse societies need to fully express their communal and national identity and place it in the rest of the world. It furthers our ability to heal and help. It furthers our well-being, freedom of expression, and pursuit of happiness. Public arts funding represents the deepest American ideals. *ENDNOTES* 1. As I note later, the U.S. does not have any year round opera houses. Even the Met only has a seven month season, but one can add up the partial seasons of the country’s few scattered companies in order to make a comparison. I gave the US a very generous estimate. 2. The philosopher, John Locke, first proposed the origins of liberalism in the 17th century. He argued that the purpose of law was to insure human rights through limiting the powers of monarchies. In his book, The Wealth of Nations, written in 1776, Adam Smith argued for a similar abolition of government intervention in the market place. Two forms of liberalism evolved: social-liberalism focusing on the protection of human rights, and market-liberalism emphasizing laissez-faire capitalism. Liberalism flourished in America since it did not have a monarchy to suppress it. Among the country’s founders, Thomas Jefferson stressed social-liberalism while James Madison stressed market-liberalism. In many respects, Madison’s vision prevailed. By the end of the 19th century, America was a major industrial power whose economy was largely dominated by unregulated monopolies. Huge dichotomies existed in the distribution of wealth, unions were suppressed, and issues such as job safety and public welfare were almost non-existent. After the economic collapse of the 1930s, the theories of John Maynard Keynes replaced America’s extreme market-liberalism. He argued that full employment is necessary for capitalism to grow, and that regulations are necessary to curtail abuses of the market. Governments and central banks intervened to implement his policies. Roosevelt’s social-liberalism was quickly dismantled in the anti-communist atmosphere after the Second World War, but social democracy continued in Europe and became a deeply embedded aspect of their societies. A brief attempt was made to revive social-liberalism under John F. Kennedy, but failed. By the 1980s neo-liberalism was accepted policy in the United States. Even though the social democracies of Europe have been slow to embrace neo-liberalism, it is difficult for them to resist due to the integration of markets in global capitalism. 3. Mr. Sandow’s views are somewhat anti-modernist and reach instead for an aesthetic derived from his background in popular music. In his article “Access: Denied”, (Symphony, September-October 2003), he criticizes modernist music for its lack of accessibility, “Some modernist music seems really strange. Twelve-tone music, for example, inevitably […] comes off as abstract, creepy, and mechanical. What was Schoenberg doing, putting all the notes in arbitrary rows?” In “Why Classical Music Needs Rock & Roll” (published on his website), he writes, “Today, the musical roots of our culture aren't in folk songs. They're in rock, country, rhythm and blues -- the entire range of musical styles that typify pop music in the rock & roll era (even rap). Classical music won't seem natural in America until both composition and performance reflect that obvious fact.” In “Noise in New York” (Wall Street Journal, October 30, 2003), he praises the Bang On A Can All-Stars who employ crossover elements from pop music. He describes the music of Michael Gordon and suggests, “A lot of people who've never heard this music would surely love it -- people, to start with, who listen to alternative pop. But how can they be reached? The future of classical composition might hang, at least in part, on the answer.” And in his article, “I’m Wolfgang, And I’ll Be Your Composer” (Wall Street Journal, August 27, 2002) he even suggests restaurants might hire classical composers to write background dinner music. 4. This does not mean that the music industry is alone in forcing artists to compromise their integrity. Academic composers often face an oppressive tenure system that is just as bad. And the European system of public funding is laden with officials who often exercise very narrow biases and insiderism in their tastes and opinions. 5. The uptown response, which came to fruition a little later, was in some sense a kind of neo-romantic music. By the mid 70s, George Rochberg championed a return to an early Schoenbergian chromatic tonality. John Corgliano was already gaining recognition, but was still held in strong contempt by the deeply established serial community. It wasn’t until the late 80s that representatives of these trends began to take the composition chairs at institutions such as Juilliard and win the uptown oriented Pulitzer Prize. Though they embraced a newfound relationship with the public, these composers did not aspire to the same kind of commercial crossover as many of the downtown composers. 6. These arguments were analogous with the way postmodern theory was later exploited. Some of the French theorists who developed postmodernism ultimately rejected many of its manifestations in America. From the outset, they felt America is deconstructive by its very nature. They felt the conscious and faddish use of postmodernism in the States sometimes led to simplistic rationalizations of superficial, provincial eclecticism. Perhaps it also contributed to neo-liberal justifications of placing art more exclusively in the marketplace. 7. In an earlier article, “Symphony Orchestras and Artist-Prophets: Cultural Isomorphism and the Allocation of Power in Music.” Leonardo Music Journal 9 (1999): 69-76, I have defined cultural isomorphism as a social order where artistic expression is strongly shaped by conditions such as a totalizing economic system, religious fundamentalism, hyper-nationalism, or a dominating state of affairs such as long term war. 8. This is not to say that a federal arts funding system is unnecessary, especially in America where a consensus for supporting the arts still needs to be built. As Dana Gioa, the director of the NEA has said, "On a broader and less pecuniary basis, the importance of the arts endowment is to articulate from a national perspective a compelling and inclusive message of the importance of arts funding. The most effective way to build a case really comes from the national level. Otherwise, the individual states really are left without an umbrella of support." The funding, however, will become most meaningful when people learn to administer it mostly on municipal and state levels. 9. Germany has been able to maintain its public arts funding even though unification expanded its population by 25 percent, and with people who had virtually no economic infrastructure left. 10. "Philadelphia's Mayor Seeks to Expand City's Revival," New York Times_, April 30, 2001. *Back to Page I, <http://www.artsjournal.com/artswatch/20040218-11320.shtml> II <http://www.artsjournal.com/artswatch/osborne2.shtml>* *SOME ADDITIONAL READING* *Website of the National Endowment for the Arts.* http://www.nea.gov/ *Website of the National Assembly of State Arts Agencies.* http://www.nasaa-arts.org/ *Melinda Whiting, “Renaissance Man Dana Gioia Brings Broad Interests and a Business Background to the NEA” **Symphony* (July/August 2003) [An excellent interview with the director of the NEA in the journal of the American Symphony Orchestra League. Among other things, he discusses the Europeans’ sense of cultural patrimony.] http://www.symphony.org/news/room/03ja_greenroom.shtml *Roger Armbrust and Leonard Jacobs, “Arts' 2003 Funding Struggles Shift: States Replace NEA in Cutting Monies for Culture;* DCA Funds Fall” [Useful statistical information about the loss of state arts funding.] *Backstage* (December 30, 2003). http://www.backstage.com/backstage/news/article_display.jsp?vnu_content_id=… *Jackie Demaline, “Mapplethorpe battle changed art world” **The Cincinnati Enquirer* (May 21, 2000). [A good discussion of the scandal and its affect on the NEA.] http://www.enquirer.com/editions/2000/05/21/loc_mapplethorpe_battle.html *“The Future of Arts Funding”* [Transcription of a distinguished panel discussion hosted by the National Arts Journalism Program at Columbia University.] http://www.najp.org/publications/occasional/or1.pdf *Bang On A Can.* [Members of the group interviewed by the American Music center discuss their marketing strategies and concepts of hippness.] http://www.newmusicbox.org/page.nmbx?id=01fp00 *Benjamin R. Barber, “Jihad vs. McWorld” **The Atlantic Monthly* (March 1992). [Discusses the cultural and political dangers when both regionalism and globalism become excessive.] http://www.theatlantic.com/politics/foreign/barberf.htm *“Arts and Minds.” *[A conference on cultural diplomacy amid global tensions hosted by the National Arts Journalism Program at Columbia University. The site contains several excellent articles that discuss the European view of culture and its role in society.] http://www.najp.org/conferences/artsminds/index.htm *Elizabeth Martinez and Arnoldo Garcia, “What is Neoliberalism? A Brief Definition for Activists” *National Network for Immigrant and Refugee Rights (January 1, 1997). [A critical discussion of neoliberalism.] http://www.corpwatch.org/issues/PID.jsp?articleid=376 *Nick Gillespie, “Poor Man’s Hero”* *Reason* (December 2003). [An interview with economist Johan Norberg who champions globalization as the best hope for the developing world.] http://www.reason.com/0312/fe.ng.poor.shtml *J. Bradford DeLong, “Globalization and Neoliberalism”* [UC Berkeley professor of economics provides a balanced discussion of positive and negative aspects of neoliberlism.] http://www.j-bradford-delong.net/Econ_Articles/Reviews/alexkafka.html *Francis Fukuyama, “The End of History?” **The National Interest* (Summer 1989). [A highly influential discussion of the victory of western market-liberalism and its effects.] http://www.viet-studies.org/EndofHistory.htm *Stephan Sartarelli, “Where Did Our Love Go? France and 'Un-Americanism'”* *The Nation *(December 24, 2003). [Provides additional perspectives on the growing division between Europe and America.] http://www.thenation.com/doc.mhtml?i=20040112&s=sartarelli *Richard Florida, “Bohemia and Economic Geography”* *Journal of Economic Geography* (2002). [The underlying hypothesis is that the concentration of bohemians in an area creates an environment that attracts other types of talented or “high human capital” individuals.] http://ideas.repec.org/a/oup/jecgeo/v2y2002i1p55-71.html **** --- Romy Ilano Founder of Snowyla http://www.snowyla.com romy(a)snowyla.com

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Re: [sudo-discuss] A computer Rock Paper Scissors Collective?

by mattsenate＠gmail.com

How's a laptop? Or is a desktop preferred? // Matt ----- Reply message ----- From: "Max Klein" <isalix(a)gmail.com> To: <sudo-discuss(a)lists.sudoroom.org> Subject: [sudo-discuss] A computer Rock Paper Scissors Collective? Date: Thu, Mar 28, 2013 6:59 PM I am hanging out and volunteering at Rock Paper Scissors Collective right now. They need a new computer for the gallery. We could easily assemble one from our spare parts graveyard, but I perhaps someone has a more complete better alternative? They will trade some of their comparative advantage for it, they say. Max

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bank statement

by Matthew Senate

attached

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We're solvent...

by Tommy York

We may be having issues with the listserv - Matt said he emailed out information about the balance at the Community Bank of the Bay, but I've yet to see the email - but we're solvent, we have about $2200 in e account and need to pay out $1750 in fixed expenses. Note that we fall below the $500 minimum in doing so, something I intend to fix for next month.

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Homepage hacking

by Vicky Knox

Ken makes some really good points as to the practical importance of creating a user-friendly and attractive web presence for Noisebridge. This topic/event may be of interest not only to people who want to help out Noisebridge, but people interested in working on sudoroom dot org and the wiki. If you ever need wiki help, I am available. ---------- Forwarded message ---------- From: Ken M. Haggerty <kenmhaggerty(a)gmail.com> Date: 2013/3/28 Subject: [Noisebridge-discuss] [8:00pm in Turing] Noisebridge Homepage Hacking! Web development! To: noisebridge-discuss(a)lists.noisebridge.net *Interested in ...* • Making it *easier* to *donate* to Noisebridge?! • *Web* development? • A more *usable* and *attractive* homepage for Noisebridge? *NOISEBRIDGE HOMEPAGE HACKING!* Stop by at *8:00p**m** tonight* in *Turing* (classroom) if interested in helping or providing feedback Ken Haggerty is organizing :D I will bring some cookies? Oreos? * * * * * A group of us will begin hacking out an alternative homepage design, and * IFF* enough people like it, we can use it on Noisebridge.net. (DON'T WORRY, the wiki **isn't** going anywhere. ...also, if it sucks, it'll just be good web-dev practice) But *why*, you ask, should Noisebridge have a new homepage, when our current one is perfectly fine? • A wiki is pretty *intimidating* to look at if you are not already a technically-oriented person. • Noisebridge is awesome because it's *welcoming* to everyone, and our homepage should welcome all hackers, from our computer scientists to our architects, fashion, and food hackers! • A clear and clean homepage will make it easier to *solicit donations* to keep Noisebridge running! (where is the donate button??) • A better homepage with a clear message can *attract non-members* who are interested in learning more about Noisebridge. This is the same time/place as the usual weekly Frontend Web Development lab, so others present will also be working on other cool things too. Cool beans, show up or shoot me a message at kenmhaggerty(a)gmail.com if interested, -Ken _______________________________________________ Noisebridge-discuss mailing list Noisebridge-discuss(a)lists.noisebridge.net https://www.noisebridge.net/mailman/listinfo/noisebridge-discuss

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This Sat 3/30: Today I Learned: Intro to Bicycle Repair and Maintenance

by Marina Kukso

Hi everyone, Please join us at *2PM this Saturday* (3/30) for the "Today I Learned" workshop "*Intro to Bicycle Repair and Maintenance.*" Come learn how your bike works and how to do basic bicycle maintenance and repair. Feel free to bring your bike! Also, if you have them available, bring *tools*, *materials*, *parts*, and other *useful supplies* as a drive to fill our space with more bike essentials! Location: Sudo Room: 2141 Broadway, entrance on 22nd St., take the elevator upstairs Date & Time: Saturday 3/30 at 2PM Supplies: Yourself (optional: your bike!) Cost: Free *This workshop is part of the series “Today I Learned,” a series of free workshops that take place every Saturday at 2PM at Sudo Room, a creative community and hackerspace in downtown Oakland. Check out the full schedule at sudoroom.org <http://sudoroom.org/wiki/Today_I_Learned> and please forward widely.*

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Re: [sudo-discuss] Find 3D printers near you

by hol＠gaskill.com

So from below I read $0.25/cm3 material cost Based on rough properties i get these: @ 1.25g/cm3*($40/1000g filament) = 5 cents/cm3 material cost @ 1.25g/cm3*((180C-20C)*2J/gK*$.2/kWh*0.00027kWh/J) = 1.7 cents/cm3 heating energy cost...maybe we should try printing through a kill-a-watt to see how it adds up with motors, controller, PC too if we want the whole energy component of unit cost. So the big question is really of labor, of who is going to do the manifold checking, slicing, setup, babysitting while it prints, and verification of the complete part, and how much is their time worth. Volunteers? Do we put that responsibility on the customer and offer accordingly lower prices? If we go with that model, how do we foolproof the interface for the machines? If there's interest, we could put together a proposal for crowdfunding a bank of 3D printers and staffing the operation. This isn't the first time it's been brought up so maybe it's worth taking a closer look. For metal, it's $8/cm3 +$6 handling at shapeways (http://www.shapeways.com/materials/steel)...anyone interested in joining that 3D printed rocket engine design competition? :) Mar 15, 2013 09:50:47 AM, drorex(a)gmail.com wrote: Just a note, I recently "reverse engineered" their pricing uploaded several objects of a known size and put their prices into a spreadsheet), they dont actually tell you how they calculate it. It's: >$6 + $0.25/cm^3, with a minimum price of $9.50 -- so it's definitely to your advantage to combine multiple parts into a single upload. > > On Fri, Mar 15, 2013 at 9:31 AM, Adam Stiles adam.d.stiles(a)gmail.com> wrote: > > For some reason it doesn't rank the printers by proximity -- there are actually many in SF and Oakland that don't appear on Page 1, so click through ... and maybe list the sudoroom printer to make a few bucks on the side? Find a 3D printer near you.http://www.makexyz.com/ >_______________________________________________ > sudo-announce mailing list > sudo-announce(a)lists.sudoroom.org > http://lists.sudoroom.org/listinfo/sudo-announce > > > > >_______________________________________________ >sudo-announce mailing list >sudo-announce(a)lists.sudoroom.org >http://lists.sudoroom.org/listinfo/sudo-announce >

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Sudo room should be about creating

by Romy Ilano

I like that statement made last week It's not interesting to be constantly promoting products from private companies I mean you can be polite about it and appreciate the love but you are all right: what's the point of a creative space if the members ideas are getting hijacked to do free pr for companies with business plans ? Why buy food from local take out? Isn't it better to make your own food? --- Romy Ilano Founder of Snowyla http://www.snowyla.com romy(a)snowyla.com

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More ideas on solvency, this time from Noisebridge...

by Tommy York

Who seems to be having a somewhat similar problem in this bleak, bleak month of March (there's a lot of interesting information about their scale and reserves here): https://www.noisebridge.net/pipermail/noisebridge-discuss/2013-March/035494… You know what? I too am more than willing to bike around in the next couple of days, collecting donations if you can't make tonight or any evening later this week. I'm not working until Monday. Send me an email and I'll figure something out. I love exercise anyway. ----------------- Thomas Riley York (杨德民) 510.926.0510 http://www.linkedin.com/in/tommyyork

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