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Thursday, September 11, 2008
Don't Do It, Billy!
Thursday, September 11, 2008
Disaster was narrowly avoided at the Smith household today, when 3-year-old Billy took the instructions on his birthday cake a little too literally.
"You could tell he was aiming for the giant '3' candle," said a local relative on the scene, "but fortunately his mom caught him just in time!"
Gee whiz, Dora T., that was a close one.
UPDATE: To the many readers helpfully pointing out that "your" is a misspelling: uh, that's kind of the point, guys. See, he was going to "wee" on his 3, 'cuz that's what the cake said to do - get it? [shaking head]
81 comments | Post a Comment
- The Creeper said...
Bwahahaha! There should be a required course for all new cake decorators.... "Your and You're 101: The difference between the two."
- September 11, 2008 at 8:00 AM
- Jade said...
Oh wow, that took me a second! lol Just goes to show that even the most common mistakes COULD have hazardous results.
- September 11, 2008 at 8:12 AM
Shouldn't that be "whee" not "wee"? Just Sayin'
- September 11, 2008 at 8:26 AM
This cake is a hot mess. "Whee, You're Three!", right?
Wee Your 3. OMG.
Classic. - September 11, 2008 at 8:29 AM
- StephanieCS said...
- This comment has been removed by the author.
- September 11, 2008 at 8:32 AM
- Michelle said...
- September 11, 2008 at 8:34 AM
- Unknown said...
Way to teach a 3 year old the wrong use of your/you're. I'll bet you his teachers will never be able to undo this. He will be the 30-year-old writing the same thing on his child's cake...
- September 11, 2008 at 8:39 AM
why are there so many candles for a 3-year old?
- September 11, 2008 at 8:42 AM
- Angie said...
The thing that really drives it home on this one is the improper use of "your". In days of yore, your teacher taught you when you're to use "your".
- September 11, 2008 at 8:45 AM
Shouldn't it read "wee you're 3" not "wee your 3"??? Unless they are celebrating a 3 that Billy has possession of. Hmmmm....
- September 11, 2008 at 8:56 AM
And there was a misspelling!
- September 11, 2008 at 8:59 AM
- Ruth said...
The text brings toilet training to mind.
- September 11, 2008 at 9:01 AM
- The Queen of Fifty Cents said...
Tee hee! After yesterday's bizarro image I was almost afraid to see what you had for us today...
- September 11, 2008 at 9:04 AM
Did we completely miss the fact that "your" is incorrect usage here??
-Ami - September 11, 2008 at 9:05 AM
- The Courteous Chihuahua said...
Interestingly enough, my last cake was inscribed, "Sh*t! You're old!"
- September 11, 2008 at 9:08 AM
- Taking Heart said...
I've heard of some great potty training tecniques, but this one really takes the cake... he he.
takingheart.blogspot.com - September 11, 2008 at 9:10 AM
I especially love the "your" instead of "you're". Makes the message all the more funny.
- September 11, 2008 at 9:11 AM
LOL....I'm guessing they meant "Wheee...you're 3!" Although the implications of this are much more amusing.
- September 11, 2008 at 9:12 AM
- joyce said...
All that red---yuck ! Poor Billy. And what super hero are we featuring?
- September 11, 2008 at 9:12 AM
- Kat said...
Too funny! First the "Wee" and then the "Your." I chuckled out loud on this one.
I wonder whose fault this really is- the decorator's or was this a written request, where Mom & Dad were also clueless grammarians? - September 11, 2008 at 9:16 AM
They could have at least used the correct "your, you're".
- September 11, 2008 at 9:16 AM
Laughed so hard I nearly pee'd my pants!! Wait...
- September 11, 2008 at 9:18 AM
- Overmatter said...
Does one of the plastic things on the cake say "BLOOD?" Wee your three and watch your back, kid. Yikes.
- September 11, 2008 at 9:21 AM
- Ethan Doubleday said...
Aw Billy, "you're" getting an early start on bad grammar!
- September 11, 2008 at 9:32 AM
- StephanieCS said...
- This comment has been removed by the author.
- September 11, 2008 at 9:35 AM
- *Amber* aka Suzy SINsation said...
Not only the "Wee", but they got "you're" wrong too! Cake decorators should have a spelling cheat sheet or something.
- September 11, 2008 at 9:37 AM
- Unknown said...
I'm guessing that this was an "Incredibles" cake, based on the little I can see from this angle. I'd also argue that this might be filed under "Poor Punctuation" as an exclamation point and different spacing might have helped separate the text.
Remember in grade school, if you finished the test early, the teacher would tell you to use the time to go back and check your work? (Okay, she NEVER said this to me, but I heard her tell the smart kids) Why don't these people check their work? Or at least show it to a coworker? - September 11, 2008 at 9:37 AM
I get it, that it's an "Incredibles" cake, with Mr. and Dash there in the middle (uh, off to the left of the middle?). But why the freaky candles with the black stars on top?? I thought at first they might be street lamps, until I enlarged the photo...
- September 11, 2008 at 9:38 AM
Ugh! You get what you pay for I guess.
But...but, why not add a few "eeeee"s to the "whee?" Why not have the plastic road piece with yellow lines on it line up with the rest of the yellow lines on the road? Why not use blue rather than pink on a boys cake? Why not just check whether "you are" is contracted as "your" before etching it in stone?
No, you know what, if you want a cake done right don't go to the Piggly Wiggly. Otherwise, if it comes out like this don't complain. - September 11, 2008 at 9:52 AM
"your" is spelled wrong... unless the instructions are to wee on your three. But I'm reading it as wee, you are three, so it should be spelled "you're".
Rebecca - September 11, 2008 at 9:55 AM
- Alyson said...
How else was Billy supposed to get the fire out on the candle so the cake could be consumed? Oh..blow out your three....I guess. That sounds kinda dirty though, so wee (although actually is very dirty) would be the pc choice.
- September 11, 2008 at 9:55 AM
- Chezza said...
Even without the double meaning of WEE, what does that 'cutesy' statement have to do with BATMAN? So confused
- September 11, 2008 at 10:00 AM
A+ for effort <3
- September 11, 2008 at 10:13 AM
- rhymeswithcori said...
oh no! not only is the directive on the cake a little odd, but they used the wrong form of "your"... i mean "you're". - September 11, 2008 at 10:13 AM
- FamiLee said...
That was hilarious! Thanks for your humor!
- September 11, 2008 at 10:23 AM
- Becky said...
Ah, the classic your/you're confusion. I might have to steal this one for Apostrophe Catastrophes at some point. Hilarious!!
- September 11, 2008 at 10:28 AM
Maybe they should've done yellow icing???
~Amy - September 11, 2008 at 10:29 AM
- C. Beth said...
I think he was aiming for the misspelled "Your". Little Billy is boy after my own heart.
- September 11, 2008 at 10:36 AM
I'm just wondering why there are 7 small candles in addition to the big #3 candle. Isn't that going to confuse the kid?
This cake is another maddening example of how way too many people do not know the difference between "your" and "you're". Big pet peeve of mine. Love the "wee" though. - September 11, 2008 at 10:38 AM
Too funny!
- September 11, 2008 at 10:39 AM
- Jane said...
Too funny...and of course there's that maddening your/you're debacle. Really folks, it's not that hard! I think that when applying for a cake decorator job, one should have to take one of those multiple choice #2 pencil tests like we all had to do in school. "Which one is the correct sentence?" That would clear up a lot of these wrecks.
- September 11, 2008 at 10:43 AM
Your? I think they mean you're, the contraction for you are three.
Lots of problems with that one. - September 11, 2008 at 10:47 AM
- *Michelle said...
Maybe his nickname is Wee. But otherwise, its a bit Captain Obvious! Its his birthday cake for crying out loud! I hope he know how old he is!
- September 11, 2008 at 10:47 AM
The action figure left of center looks like an Incredibles toy, and I can dig that, but...apostrophe, anybody? I'm not gonna touch the ridiculousness of that misspelling.
- September 11, 2008 at 10:53 AM
- sheri said...
not to mention that "your" isn't even spelled correctly. - September 11, 2008 at 10:54 AM
- Meichelle said...
- September 11, 2008 at 11:00 AM
I think the grammatical error really does it for me.
- September 11, 2008 at 11:00 AM
Not even a mention of the incorrect grammar!
- September 11, 2008 at 11:05 AM
- J. Barrack Schofield said...
Can the lil guy read? Will he know how to "wee" his "3"?
- September 11, 2008 at 11:07 AM
Wait, does that sign on the far right actually say 'BLOOD'?
- September 11, 2008 at 11:18 AM
Ok, so I only left this as an attempt at the first comment. :) - September 11, 2008 at 11:19 AM
- Kim said...
The decorator needs remedial grammar too. It needs to be "You're" not "Your".
- September 11, 2008 at 11:22 AM
- Melissa said...
I couldn't help but notice that they used the spelling your instead of you're...since you're so into correct spelling on cakes that is...
- September 11, 2008 at 11:29 AM
- Unknown said...
And of course, "your" should be "you're."
- September 11, 2008 at 11:31 AM
- Me said...
not only is the "wee" funny, but shouldn't it be "you're" not "your"?
- September 11, 2008 at 11:32 AM
No props for the "your" usage????
- September 11, 2008 at 11:35 AM
Um, not to mention that has to be the *least* enthusiastic birthday greeting ever- oh, hey. Wee you're three. Eat some cake so we can get on with our lives. Sheesh.
- September 11, 2008 at 11:38 AM
- GumballGrenade said...
Your blog is too funny. Now off to bake a distaster.
- September 11, 2008 at 11:47 AM
- Another Whiner said...
Besides the lack of some punctuation, what the hell is going on wit this cake? It sorta looks like it may be Batman (classic Batman, what with the "KAPOW!" and such) but why is part of the street torn up? And what are those things climbing down the buildings of Gotham?
- September 11, 2008 at 12:01 PM
Another child destined to be left behind...thanks to an evil conspiracy of terrorist bakers, he'll never be able to properly use the words "your" and "you're" for the rest of his life.
- September 11, 2008 at 12:04 PM
- Donna said...
Last year's cake said "Woo your 2" leading to a somewhat disturbing relationship between the child and the number 2.
- September 11, 2008 at 12:22 PM
is there a new poster here? the daily posts just seem different...like they're trying too hard...
:( - September 11, 2008 at 12:23 PM
- Holly said...
I think the sign on the right says "blooee" (or something to that effect), not blood.
- September 11, 2008 at 12:36 PM
all of the cakes you post are funny, but I had a really hard time containing my laughter at this one (laughing out loud at messed up cakes in my office isn't exactly the best choice)
- September 11, 2008 at 12:38 PM
- Eric said...
Wow, this cake is one hot mess. Hopefully, he won't remember his third birthday!
goinggreenaccidently.blogspot.com - September 11, 2008 at 12:50 PM
- Nakia said...
Anon, are you the same one who keeps posting lately that the blogger is trying too hard and the posts aren't good? If you read the other comments you might see a lot of us are still enjoying it. I suppose if Jen did the same type of cakes and same type of jokes every time, the comments would be "can't you come up with anything different?" ;-) There's a perfect fable for this situation: http://etext.virginia.edu/etcbin/toccer-new2?id=AesFabl.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=283&division=div1
- September 11, 2008 at 12:50 PM
Another thought...some of us refer to a certain male creation as "number 3." (There's #1, #2, and men have #3.) So telling someone to "wee out" their "3" could become very awkward!
- September 11, 2008 at 12:57 PM
- Faith said...
This might be why Dooce closed her comments for such a long time, and even now only opens them now and then for certain posts. Good blogs attract all kinds, Jen. Even the fabulous "geniuses" that want to be ever so helpful to your craft...::shakes head along with Jen::
- September 11, 2008 at 1:00 PM
- Momof4 said...
It's a good thing most 3 year olds can't read. I guess that's why the disaster was averted.
- September 11, 2008 at 1:42 PM
- Hyla said...
Gross, but thankfully most 3 year olds can not read! Haha!
http://earthyfinds.blogspot.com - September 11, 2008 at 3:44 PM
- Susanna said...
Glad you pointed out that there was a your/you're misspelling or else I never would've figured out what the cake was supposed to say ('Whee, you're 3!').
It really doesn't help that 'Wee your 3' is written in yellow icing, either. I wondered if maybe the kid's parents were the sort of Dale Earnhardt fans I've heard about who like to make their mark on the infield during NASCAR races. - September 11, 2008 at 4:21 PM
- Wild Child said...
What a good laugh! I didn't even have to read the description, just looked at the picture and nearly got to tears. Thanks for that!
- September 11, 2008 at 4:25 PM
Seriously, I don't know how many people are necessary to point out the your/you're mistake. Reading through this comment section is like listening to a broken record...
- September 11, 2008 at 5:36 PM
Well, I finally figured out why the comments are so repetitious. They are held up a long time for review! I came here early this morning and left a comment (using my Google/Blogger identity). I appeared to be the first commenter. I came back tonight to read the comments left by everyone else, and saw that my comment didn't show up first at all. It wasn't even close! Maybe you should drop the comment moderation for commenters who are not anonymous, at least, to speed things up.
The Tiffany-box wedding cake debacle comments suffered from the same problem...hundreds of comments about marshmallow fondant. - September 11, 2008 at 10:27 PM
- Jen said...
@ anon 10:27 - It's true there is a delay due to comment moderation (especially early morning; I don't claim to be up and about when the post is initially published), but more of the repetition is due to folks just not reading the prior comments. This was especially true of the wedding cake post you mentioned. After 50 comments or so are posted, I can't really blame y'all for not wanting to read every single one before making your own comment.
Unfortunately I don't have the option of selecting some comments to go through automatically; it's either all moderated or none. Maybe some day I'll be fabulously wealthy and be able to pay someone to sit and do nothing but moderate comments all day, but 'til then I'm afraid you'll all continue to be at my schedule's mercy. ;) - September 11, 2008 at 11:26 PM
- Around My Kitchen Table said...
Just came across your blog by accident - it's hilarious! Whether the 'your' was deliberate or not on this cake, it reminded me of the worst sign I've ever seen in a baker's. I wish I'd had the foresight to take a picture. The sign said: "GATEAUX'S MAID HEAR."
- September 12, 2008 at 5:31 AM
- Dea said...
WHY can people not get through their heads that YOUR is not YOU'RE??? Blegh - I'm depressed, this is evidence of NCLB in action....
- September 12, 2008 at 12:19 PM
- Mammatalk said...
- September 12, 2008 at 4:59 PM
- fug estate said...
Don't worry about the memories. Billy will probably receive another "wee your" cake when he turns 83. Won't remember either one.
- September 12, 2008 at 11:20 PM
- Katie Alender said...
I love all the cakes on this blog, but every once in a while, one makes me snort the millisecond the image finishes loading. This one definitely falls into that category!
- September 15, 2008 at 11:53 PM
it looks like the sky is on fire D=
- December 19, 2009 at 2:40 AM
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In 2003, we met a family from Laos while they were visiting relatives in the States. We hit it off right away as they're very likeable sort of people. They introduced us to many authentic Lao foods all of which we immediately fell in love with (Pho is one of our favorites). Among other fun Lao things, they introduced us to handmade 100% silk scarves, and asked if we would be willing to offer them to our customers.
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Music fans and critics know that the music of the Beatles underwent a dramatic transformation in just a few years, but until now there hasn't been a scientific way to measure the progression. That could change now that computer scientists at Lawrence Technological University have developed an artificial intelligence algorithm that can analyze and compare musical styles, enabling research into the musical progression of the Beatles.
Assistant Professor Lior Shamir and graduate student Joe George had previously developed audio analysis technology to study the vocal communication of whales, and they expanded the algorithm to analyze the albums of the Beatles and other well-known bands such as Queen, U2, ABBA and Tears for Fears. The study, published in the August issue of the journal Pattern Recognition Letters, demonstrates scientifically that the structure of the Beatles music changes progressively from one album to the next.
The algorithm works by first converting each song to a spectrogram – a visual representation of the audio content. That turns an audio analysis task into an image analysis problem, which is solved by applying comprehensive algorithms that turn each music spectrogram into a set of almost 3,000 numeric descriptors reflecting visual aspects such as textures, shapes and the statistical distribution of the pixels. Pattern recognition and statistical methods are then used to detect and quantify the similarities between different pieces of music.
In popular music, albums are widely considered milestones in the stylistic development of music artists, and these collections of songs provide a convenient unit for establishing measurements to quantify a band's progression.
LTU's study analyzed 11 songs from each of the 13 Beatles studio albums released in Great Britain, and quantified the similarities between each song and all the others in the study. The results for the individual songs were then used to compare the similarities between the albums.
The automatic placement of the albums by the algorithm was in agreement with the chronological order of the recording of each album, starting with the Beatles' first album, "Please, Please Me," and followed by the subsequent early albums, "With the Beatles," "Beatles for Sale" and "A Hard Day's Night."
The automatic association of these albums demonstrated that the computer algorithm determined that the songs on the first album, "Please, Please Me," were most like the group of songs on the second album, "With the Beatles," and least like the songs on the last album recorded, "Abbey Road."
The algorithm then placed the albums "Help!," and "Rubber Soul," followed by "Revolver," "Sergeant Pepper's Lonely Hearts Club Band," "Magical Mystery Tour," "Yellow Submarine," and "The Beatles" (The White Album).
"Let It Be" was the last album released by the Beatles, but the algorithm correctly identified those songs as having been recorded earlier than the songs on "Abbey Road."
"People who are not Beatles fans normally can't tell that 'Help!' was recorded before 'Rubber Soul,' but the algorithm can," Shamir said. "This experiment demonstrates that artificial intelligence can identify the changes and progression in musical styles by 'listening' to popular music albums in a completely new way."
The computer algorithm was able to deduce the chronological order of the albums of the other groups in the study by analyzing the audio data alone – with one notable exception. Strong similarities were identified between two Tears for Fears albums released 15 years apart. That makes sense because "Seeds of Love," released in 1989, was the last album before the band's breakup, and "Everybody Loves a Happy Ending," released in 2004, was recorded after the band reunited. Those two albums had less in common with two solo albums released by Roland Orzabal, the group's principal songwriter, after the band split up in 1991.
In the case of "Queen," the computer not only sorted the albums by their chronological order, but also distinguished between albums before and after the album "Hot Space," which represented a major shift in Queen's musical style.
In this era of big data, such algorithms can assist in searching, browsing, and organizing large music databases, as well as identifying music that matches an individual listener's musical preferences.
In the case of the Beatles, Shamir believes this type of research will have historical significance. "The baby boomers loved the music of the Beatles, I love the Beatles, and now my daughters and their friends love the Beatles. Their music will live on for a very long time," Shamir said. "It is worthwhile to study what makes their music so distinctive, and computer science and big data can help."


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Interviewer: > Beryl Graham & Verina Gfader Interviewee: > Laura Fernández & Marcos García
Beryl Graham: The first set of questions are about the way that you produce media art at Medialab-Prado. When you were first setting up the lab did you base the structure of how it worked on any other examples that you have seen, for example a university or an artist lab or any other platforms? Marcos García: We started working at what was called then MediaLabMadrid at the Centro Cultural Conde Duque. We started running the educational programme there, and there were exhibitions, big exhibitions on media art, workshops, seminars, and there was also a lab where artists could come and develop projects. Laura Fernández: We didn't start the programme there, but we did start the educational programme, focusing on workshops, on educational issues and learning environments. MG: After organising some workshops which were three or four days long, we thought that it would be a good idea to make longer ones more oriented towards production. One was Making Things Move by Zachary Lieberman, and the other one was "Arduino: open hardware tools by David Cuartielles. We thought it would be a good idea to try to connect physical computing, computer vision, and, under the philosophy of Free Software, develop some projects in the workshops. These workshops were two weeks long, which is much longer than the usual workshops. LF: So there wasn't one model, it was more based on our experience of the previous workshops and things that we had been doing. And it was through this experience that we started to configure this model even if of course we took some ideas from the labs at other institutions. BG: Were there any particular examples? LF: Maybe the hack labs independent places where people who are interested in social uses of technology gather and test their things and share knowledge. They are open spaces where everyone can go in, and they are also collective learning environments. So maybe that was one of the main models. MG: At hack meetings, the programme is not fixed. It's all made by the contributions of the participants. So the great inspiration came from these free software processes production processes where participants create the contents. And everyone can join in as a collaborator. That was something very important, that it's not only the promoters of the project that develop the projects, it's everyone that wants to join. LF: So the idea is not a very structured model, as in the university or in a scientific lab, or as in research and development where everyone has a very specific role and everything is very structured from the beginning and is a closed space. It is more this kind of chaotic environment where things get organised, self-organised in a way, and people find their role in the whole structure. BG: This brings me on to my next question, which is about collaboration. You state on your web site that the workshops are collaborative. There are lots of different kinds of collaboration, however, and I wondered if you'd identified what different kinds of collaboration are working in your context? MG: One of the first ideas was that normally one person doesn't gather all the skills or knowledge to develop a new media art project, because these projects usually require different skills: electronics, programming, the conceptual part, or even the setting up. Different skills are needed. So in a way new media art requires collaboration. LF: [We understand] collaboration in the sense that everyone is getting something of the experience. Someone is presenting a project and other people are helping him or her to develop it. But the collaborators are also gaining experience and learning lots of things through the exchange. We try to offer a system where a weak participation is also possible. BG: And does it always work in the same way? Do your collaborations sometimes not work? LF: Yes, it can happen. There are always conflicts like in every structure with many people participating. But in our experience, in the workshops that we have organised, these conflicts have been over small things. And of course there is always negotiation inside each group in which we try not to impose anything, except for some basic things, for example, that the collaborators have to be acknowledged. Sometimes there are negotiations. For example, in one group, collaborators might become co-authors of the project. In other cases they have different levels of acknowledgment. Some of them just say "Thank you" because they [the collaborators] collaborated just on one idea or participated just for one day. But in other cases they might have a bigger role, such as they developed all the programming, or they had a key role in the conceptual ideas of the project. There are always these negotiations inside a group that sometimes can create conflict. But it always gets to an agreement, more or less. BG: You also mention a specific role of cultural mediators in your projects. Could you tell us a bit more about what exactly that role is and what they are mediating between? MG: This has to do with the openness of the project. Because sometimes we say certain processes are open but it doesn't mean that they are effectively open. LF: Or accessible, no? MG: Yes. So we have to find strategies to make this openness effective. One strategy is the cultural mediator, who is very important, a crucial figure in this idea of openness. They are the people that welcome visitors or anyone that enters into the working space and introduces them to what's going on, and how they can get involved. LF: In the Medialab-Prado the cultural mediators are there not only during the production workshops or during the exhibitions, but always. The space is open six days a week, the whole day, and they are always in this activity space because we always have things to show, and documentation and books. They are there to orient visitors who might be very different [from one another]. There are all kinds of visitors, not just people coming from the artistic world, or those who are very skilled with technology, there are also old people, families, anyone. The idea is to try to present to them what's going on, to listen to them, their suggestions, their ideas, and if possible, incorporate them to the production and documentation processes. So they have this dialogue with the visitors. MG: This is important. The research and the content, they talk about them, but the most important thing is that they listen to the people that come. LF: The cultural mediators are really fundamental in the functioning of the Medialab-Prado. They are not just transmitting discourse that is already set or closed, but they are researching and incorporating their own research and ideas into the whole workshop/project/environment. BG: So the mediators will directly influence the artistic production and the artists' presentations? LF: Yes, during the production workshops they help with the documentation, they talk to each group, they help to organise the groups. And when someone comes from outside the workshop they welcome them, they talk to them, they orient them in this chaotic space and explain what's going on, what are the main ideas in the workshop, in the format, in the different projects that are being developed. So it's this connection between the things inside the space, and things happening outside, more or less. That's the mediation. BG: Is all of the artist's process or the collaborator's process public? People can walk in at any time? LF: Yes, any time. From the beginning the space is open, when the workshop is taking place it's more disorganised, many things are happening at the same time, and then the role of the cultural mediators is crucial. And when the exhibition is taking place after the workshop is finished, this connection to the public takes place to explain that what is being exhibited is the result of this whole process, not just art pieces that are assembled in the space, but all the things that led to these results. MG: I would like to add that saying that the whole process is open doesn't mean that the working part is an exhibition. So the working space is an open working space but it's not an exhibition. It's not people working that are exhibited. BG: I've got questions more about the Interactivos? project in particular. I was wondering why it is a particular structure: it's two weeks, and it's collaborative. Is that a structure that has been built on your previous experience? And why that time structure? MG: We thought of two weeks because two weeks is long enough to develop a project or a prototype, and it's not that much time if people cannot stay away from their work or their daily life for long. It just works out that way. Maybe we could try to experiment with longer timeframes, one month or so. Our intention is to develop the same structure, this collaborative structure, but during the whole year. That would happen more with local people. We already gather in this way we have Fridays OpenLab", and a group called Light, Space and Perception, and they gather once a week or once a month depending, in order to develop projects. LF: The idea of the two weeks is mainly that people from outside Madrid, or outside Spain, can come and this mix of different people from different origins is very interesting and can be a very vivid experience. So it's this middle point sometimes it's too short to finish projects but its the maximum that people can take out of their daily duties. BG: Moving from time to scale, do you suggest the numbers of people who might collaborate in each project? MG: Normally we try to accept all collaborators. There is a limitation in the number of collaborators coming from outside Madrid to whom Medialab-Prado can offer accommodation, which is a maximum of 25. LF: because of the budget. But then we try to leave it as open as possible. People go to one project or another depending on their interest, or maybe they collaborate on two or three projects if they have time. MG: Until now we haven't had problems with too many collaborators coming. LF: We try to interfere as little as possible, and when things need to be organised, we try to have the forum or a presentation in the middle, so that people can ask for help if they need more collaborators. We try to leave it as self-organised as possible but be supportive when some help is needed, or things are not going so well. BG: The structure of the Interactivos? workshop is a touring structure: it started in Madrid and now it's in New York and next its in Peru, and I wonder, although this is only the second workshop, are you noticing working differences between the locations and the contexts - certain differences about New York? LF: I think there are some differences between Eyebeam and Medialab-Prado. Maybe not just the geographic location, but also the kind of institution where the workshop takes place, and the specific location inside the city. For example, the Medialab is at the very centre of Madrid, it's the place where many people pass by because it's in the middle of all the museums. And it's an institution which is dependent on the city council so it's a public institution. It's not very focused on art, specifically, but is very wide ranging - so that makes a difference I think. MG: I suppose we should wait and see. I feel here in New York it's a bit different and we also want to know more about Eyebeam and how it's structured. LF: Maybe the other difference is that in Madrid all the people were staying at the same place more or less, and that also makes a difference. Small things in the organization [of the workshop] change the general atmosphere. Also, New York is a much bigger city, so it can be more dispersed - so each one goes out to a different place for dinner or to have a drink after the workshop finishes each day. In Madrid everyone hangs out together. BG: Because Interactivos? is about interactive works in particular, I was wondering, were there particular challenges for production, for working in collaborative groups, that were specific to interactive works rather than, say, visualisation projects? MG: When we put the name to this workshop a couple of years ago, we added a question mark, in a way questioning the kind of participation that usually the so-called interactive art offers the recipient, user or public. We wanted to focus on the interaction within the production processes. LF: Interaction between people. MG: Interaction between people working together and exchanging knowledge. At the same time, the production, the outcomes of these kind of workshops are also interactive projects. I think new media offer new possibilities to experiment with how we create images, and how the users can interact with these images or with these installations, sound installations also it's not only images. And how the user can get involved with the outcome that's also very challenging and might create a lot of wonder and knowledge. Interaction is not something good in itself, it depends on how meaningful the projects are, and the experiences that these projects generate. But the interaction that we were thinking of was the interaction in the production processes. BG: My final set of questions is about the relationship between the production and the dissemination of the work. You have already identified that the process is not an exhibition in itself, but I am wondering if you can describe how the works are exhibited at Medialab-Prado, and then with this Interactivos? in particular here at Eyebeam; what might happen to the works after they are produced? MG: This is really challenging, how to make an exhibition out of what has happened during two weeks. It's interesting how we make decisions all together the leading tutors, the staff, the collaborators concerning how to figure out how to organise the space; how to set up a lab. This is something I think we have to work on in the future more. I think here at Eyebeam it's going to be a great opportunity to do that because there are a lot of people, like you from CRUMB, here who have been working on curating new media art. LF: In the exhibitions that come out of these production workshops, everything is discussed within the groups, together with the instructors of the workshop and the Medialab staff: how to put things into space and what's the best way to show the results of the workshop. But we make very clear from the beginning that we are just showing some prototypes from first results of a process that can go further for a long time. So it is trying to show in the best way what has been done. Then the role of the cultural mediator is really important, and also the documentation that we try to gather during the workshop. Because this idea of openness is not just manifest in the physical space and in the specific times when the workshop is taking place, but is also in the opening up of the process itself and making it continuously transparent. For example, by having online documentation of the concepts that have been discussed, and maybe also the code of the software with which the project has been made. Trying to have all this online documentation of the project makes it easier to disseminate and also to show [the work]. The other thing is that as we are not specialising in exhibition and we don't have a proper space for exhibitions in Madrid. So we try to connect the different groups and the projects with other institutions that are more focused on exhibitions. We have, for example, some agreements for collaborations with other institutions, one of them with the Sonar Festival in Barcelona. Last year and this year they have had some of the interactive installations developed in the Interactivos? Workshop presented there in a more formal way, an exhibition way. We also have an agreement with a production centre in Barcelona, Hangar, which has residencies for artists. They will select one of the projects and they will offer a residency to keep developing this prototype, this first result of the two-week workshop. So with these two relationships for example, we try to make the connections to support the projects. BG: Has there been any interest from museums or galleries in Madrid? MG: Yes, for example one of the results of last year's Interactivos? Magic and Technology, a work by Daniel Canogar (with Jordi Puig, Javier Lloret, Paola Rodríguez, Domingo Martínez, Patricia Casado and Yolanda Spinola) who was one of the leading tutors, is now exhibited in the Reina Sofia museum in an exhibition called Machines and Souls. LF: And then another one, a project developed during the first edition of Interactivos? In 2006 called The Magic Torch, by Alberto García Pi, Julio Obellerio, Martín Nadal and Alberto Cortés is exhibited in a permanent collection of a science museum in Madrid, the Cosmo Caixa Madrid. MG: Two of the works also have been selected for a Prix Ars Electronica: LevelHead by Julian Oliver and Augmented Sculpture Series Julian Oliver and Augmented Sculpture Series by Pablo Valbuena. LF: Those are, for example, projects that have continued their development. So after one year of more development they are even better projects. BG: Concerning projects rather than objects: often these experiments don't actually come up with an object to exhibit, so are there also tactics using websites, documentation or other means, for how those non-object projects might get exhibited? LF: Particularly in the Interactivos? project they are mostly installations, so they are kind of objects. But, for example in this last edition in Madrid there was one project, Immodesty by Karolina Sobecka that was more like a platform to connect different digital cameras to create a record of a space from different points of view, like controlling the relation between time and space. This was more about creating the structure, so the object (the cameras, etc.) were not the important thing to exhibit, but part of the process. So what they are showing is a video, a result of the experiments that they were doing. And then we have some pieces of the structure to show and to explain to people how it was made, but that's not the main feature. MG: There are also projects that are software applications, and for example, some of them have been presented in the Science Fair in Madrid, as well as being presented in articles, in the newspapers, or on the internet. But mostly, at the Medialab-Prado space we have the computers with those projects on, so people can use the applications or visit these sites with the orientation of the cultural mediators. LF: If the project is a web-based project, then what we usually have is the computer with the website, and then the textual documentation about the project, and also usually in the workshops, each group designs a poster with some pictures and diagrams of the projects. Then the cultural mediators can show on the computer all the documentation. That's the way we do it. But they are online anyway. MG: There is something more about the outcomes in relation to documentation how the projects are exhibited and how they can continue to evolve. We consider that the outcomes are not the art pieces and we think of them more as prototypes. So then these prototypes can be exhibited in an art context or maybe another educational context, like a science fair for example, or they could even have a commercial development. But we like to think of them as prototypes so it's not closed to one field from the beginning. LF: Because there is this idea of supporting production and trying to fill this gap; at least in Spain, there are lots of places that are focused on exhibition and lots of museums new contemporary art museums which have been opened recently but there is a lack of production spaces. So we are trying to support production even if it's in this first stage of producing lots of prototypes and then trying to connect them to other institutions. MG: Also we try to ensure that the call is not only addressed to artists, so that other people with ideas might come. The goal is to connect people that have a specific proposal, with people that want to help in the development of this proposal, so they might have a more technical background, or more artistic background, or whatever. That's really important: that the group is composed of people with very different backgrounds. Verina Gfader: I have one last question. You talk very positively about your activities and what happens, but I am interested in what are the difficulties that occur, what are the risks you take as organisers, and the unknown quality inherent to your work that you really don't know what's happening! I am quite interested in how you deal with things that don't work out where are the limits of this kind of openness? To what degree is it really open? MG: I think sometimes the weakness of the project could be the lack of solid theoretical research - because we are too engaged in the structures, the models and the formats. But maybe that could be solved with longer-term research including on the curatorial side. Although there is theory, [during the workshops] there are always seminars, there are talks by people whose theoretical research is involved. LF: Yes, and [we also organise] critical sessions to discuss each of the projects with the leading tutors and all the people who are involved. MG: I think that's the next step [ ] to go beyond the event. Because this is still like a festival, a two week festival, a two week production festival. LF: A concentrated event. MG: But still an event. This is something we are considering because if we intend to generate communities of producers, of people that participate in theory or media art production, or more in general cultural production, then these kind of events are good - like an impulse. However, they are still one-off, time-limited, international events, and after they finish the room is empty again. It's the local people with whom we are working more continuously. This is a very slow process. LF: Sometimes this two week process is too fast. Sometimes it can be too chaotic. From the chaos lots of good things result, but there are negative things, of course. Some of the projects maybe stop when they really needed more time because people have to leave. And maybe they can't continue with the project because they just go to other things and the project ends there when it could have been more deeply developed. Medialab-Prado has a much smaller space than Eyebeam has, the space can be very noisy sometimes and it can be difficult to concentrate, and maybe visitors come from outside and they would like to get involved but the projects are already too developed and it's not so easy to enter or access. VG: It's probably because it's always changing anyway, in each location, from people to place, you can't really set up a fixed structure? LF: Yes. MG: I think the model is working alright. I don't find it so chaotic. I would say that it's a very meaningful experience for the participants because the context for learning is great. And then also the social part is very important for that going out together. Participants are all living together in the same place and that's very good. So it's not only the temporary projects that are developed during the workshop, it's the projects that come out from these new relationships and so on. LF: Yes, it's also a meeting point. MG: I think what is really important in terms of cultural management is to think of how we can optimise resources. And we think this is a very good way to optimise resources in terms of how funds are expended on the people's projects, on this really open model. LF: I wanted to add, when I say chaotic I don't mean it in a negative way. Someone participating in the last Interactivos? was talking about 'functional chaos'. In a way it works. Of course, that means that in the small things there are lots of conflicts and negotiations but things work! It doesn't mean that there are not things that can be done in a better way, (and this chaos then changes). And we learn through the experience, for each workshop we try to improve things and to adjust details.
installation media art design time space interaction software video participation collaboration education museums technical touring
Beryl Graham Verina Gfader Marcos García Laura Fernández


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Candle Lighting Times on Your Website
Syndicated Local Candle Lighting Times for your website
Easily Include a Shabbat Times Widget on your Own Web Site
Easily include local Shabbat candle lighting times for your city right on your site. Keep your site's visitors informed of the correct candle lighting times. This feature also includes times for Jewish holidays. Follow these simple steps to generate the HTML code that will enable you to include your local candle lighting times on your website.
1. Set Your Location
Click here to set your location. You will be able to choose from a list of cities, a US Zip Code or enter any longitude and latitude in the world.
2. Copy the HTML Code to Your Site
Copy all of the following HTML code to your site in the location you want the Candle Lighting times to appear. The Candle Lighting times will appear as it does above.
3. Customizing the Appearance (Optional)
You can customize the design of the candle lighting times by modifying the CSS Styles that appear in the beginning of the HTML code below.
Terms of Use:
Use of the above code indicates your agreement to include all of the above code without modification on your site.


text:
ChangeLog (brief summary of your edit for later reference):
No HTML.
A line begins with ";;" doesn't appear in the output (comment).
A line begins with "~" is treated as if it is continued from the previous line, except comments. (line continuation).
Empty line to separating paragraphs (
)
"- ", "-- " and "--- " ... at the beginning of a line for an item of unordered list (
). Put a space after dash(es).
"# ", "## ", "### " ... at the beginning of a line for an item of ordered list (
). Put a space after #'s.
A line with only "----" is
.
":item:description" at the beginning of a line is
. The item includes all colons but the last one. If you want to include a colon in the description, put it in the next line.
[[Name]] to make "Name" a WikiName. Note that a simple mixed-case word doesn't become a WikiName. "Name" beginning with "$" has special meanings (e.g. "[[$date]]" is replaced for the time at the editing.)
A URL-like string beginning with "http:" becomes a link. "[URL name]" becomes a name that linked to URL.
Surround words by two single quotes (''foo'') to emphasize.
Surround words by three single quotes ('''foo''') to emphasize more.
Surround words by three double quotes ("""foo""") for fixed-length typesetting.
Surround words by three tildes (~~~foo~~~) for strikeout.
"*", "**" and "***"' ... at the beginning of a line is a header. Put a space after the asterisk(s).
Whitespace(s) at the beginning of line for preformatted text.
A line of "{{{" starts verbatim text, which ends with a line of "}}}". No formatting is done in verbatim text. Even comments and line continuation don't have effect.
A line begins with "||" and also ends with "||" becomes a row of a table. Consecutive rows forms a table. Inside a row, "||" delimits columns.
"~%" is replaced for "
".
If you want to use special characters at the beginning of line, put six consecutive single quotes. It emphasizes a null string, so it's effectively nothing.