Created with NYPL’s new Stereogranimator, which lets users create .gifs out of the library’s archive of over 40,000 19th century stereoscopic images. “Photographers around the world produced millions of stereoscopic views between 1850 and 1930…Around the world, independent and entrepreneurial photographers broke into the growing market for illustrations of all types of subjects: local history and events, grand landscapes, foreign monuments, charming genre scenes, portraits of notables and urban architecture. War and disasters such as floods, fires, train-wrecks, and earthquakes were enormously popular subjects.”—NYPL
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Created with NYPL’s new Stereogranimator, which lets users create .gifs out of the library’s archive of over 40,000 19th century stereoscopic images.

“Photographers around the world produced millions of stereoscopic views between 1850 and 1930…Around the world, independent and entrepreneurial photographers broke into the growing market for illustrations of all types of subjects: local history and events, grand landscapes, foreign monuments, charming genre scenes, portraits of notables and urban architecture. War and disasters such as floods, fires, train-wrecks, and earthquakes were enormously popular subjects.”—NYPL

Source: stereo.nypl.org

“The Mundaneum, created in 1910 by Paul Otlet and Henri La Fontaine, was a vast archive of more than twelve million bibliographic three-by-five-inch index cards, which attempted to catalog and cross-reference the relationships among all the world’s published information…. Paul Otlet was the first to imagine all the world’s knowledge as one vast “web,” connected by “links” and accessed remotely through desktop screens, and because of this he can be seen as the kooky grandfather of the Internet.”—Molly Springfield, on Snail-mail Google and a card-catalog Web, in “Inside the Mundaneum,” in Triple Canopy.
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“The Mundaneum, created in 1910 by Paul Otlet and Henri La Fontaine, was a vast archive of more than twelve million bibliographic three-by-five-inch index cards, which attempted to catalog and cross-reference the relationships among all the world’s published information…. Paul Otlet was the first to imagine all the world’s knowledge as one vast “web,” connected by “links” and accessed remotely through desktop screens, and because of this he can be seen as the kooky grandfather of the Internet.”—Molly Springfield, on Snail-mail Google and a card-catalog Web, in “Inside the Mundaneum,” in Triple Canopy.

(via lookhigh)

Source: canopycanopycanopy.com

Illustrations from France in 1920 show us the robot-filled year 2000. Are the lampshades suctioning the students’ heads evidence of a proto-Internet? A networked brain?

(via an-itinerant-poet)

Source:

“This card shows parents in France speaking to their son in an unspecified Asian country via picturephone. They assure their son that they’ll send him Lombart chocolates by way of aircraft soon.” (via paleofuture)
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“This card shows parents in France speaking to their son in an unspecified Asian country via picturephone. They assure their son that they’ll send him Lombart chocolates by way of aircraft soon.” (via paleofuture)

(via mariposima)

Source: bashford

“Hello citizens of the Internet. We are Anonymous.”—Anonymous, 2011 “Six months after being labeled ‘the Internet hate machine,’ Anonymous had legions of followers in the real world—not just geeks and hackers hammering at their keyboards—who were seizing on the group’s name, on its ethic of anonymity and concomitant iconography. That evening, men in Guy Fawkes masks and black suits with signs announcing ‘We Are the Internet’ could be seen on cable-news shows around the world.”—Gabriella Coleman, from “Our Weirdness is Free“ published in Issue 15 of Triple Canopy. Coleman tackles the logic of Anonymous—online army, agent of chaos, seeker of justice—and explains the ways of the mask. 
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“Hello citizens of the Internet. We are Anonymous.”—Anonymous, 2011

“Six months after being labeled ‘the Internet hate machine,’ Anonymous had legions of followers in the real world—not just geeks and hackers hammering at their keyboards—who were seizing on the group’s name, on its ethic of anonymity and concomitant iconography. That evening, men in Guy Fawkes masks and black suits with signs announcing ‘We Are the Internet’ could be seen on cable-news shows around the world.”—Gabriella Coleman, from “Our Weirdness is Free“ published in Issue 15 of Triple Canopy. Coleman tackles the logic of Anonymous—online army, agent of chaos, seeker of justice—and explains the ways of the mask. 

Source: canopycanopycanopy.com

“Because I didn’t say good night…”—a love note from Gertrude Stein to Alice Toklas. What will we do this weekend without 50+ hours of The Making of Americans to read together? See the full list of last weekend’s readers at Triple Canopy’s opening at 155 Freeman. 
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“Because I didn’t say good night…”—a love note from Gertrude Stein to Alice Toklas.

What will we do this weekend without 50+ hours of The Making of Americans to read together? See the full list of last weekend’s readers at Triple Canopy’s opening at 155 Freeman. 

(via adamewhite)

Source: canopycanopycanopy.com

“I enjoy Stein most as a theorist: her ideas startle me, in whatever form they appear. (I call myself an inexpert.) One of those ideas was that becoming a classic could kill a work of art. … If Stein becomes an endpoint for literary invention — a classic — her work can’t be read in the present tense. Literature can’t rest on its laurels. I figure that if Stein were alive now, she’d be rambunctious differently. And she wouldn’t be writing like Gertrude Stein.”—novelist (and Triple Canopy board member) Lynne Tillman reconsiders the genius of Gertrude Stein, in the NY Times. Illustration by Joe Ciardiello.
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“I enjoy Stein most as a theorist: her ideas startle me, in whatever form they appear. (I call myself an inexpert.) One of those ideas was that becoming a classic could kill a work of art. … If Stein becomes an endpoint for literary invention — a classic — her work can’t be read in the present tense. Literature can’t rest on its laurels. I figure that if Stein were alive now, she’d be rambunctious differently. And she wouldn’t be writing like Gertrude Stein.”—novelist (and Triple Canopy board member) Lynne Tillman reconsiders the genius of Gertrude Stein, in the NY Times. Illustration by Joe Ciardiello.

Source: lb.vg

A demonstration of Julian Palacz’s “instant movie mashup generator,” Algorithmic Search for Love. 

Viewers can search Palacz’s search engine for a spoken phrase in a database of English subtitle tracks from over 500 films, which then generates a montage of clips of scenes containing that phrase. Demonstrated here are the examples “Where are you?” and “Holy shit!”

Source: theatlanticvideo

The Historic New Orleans Collection currently is showing “The Eighteenth Star: Treasures from 200 Years of Louisiana Statehood.” The show contains stories that have defined Louisiana since its entry into the Union on April 30, 1812, as the eighteenth state.The show will stay up until January 29th. (via: Constance, New Orleans & Beyond) Image: Drinking water donated after Hurricane Katrina by Anheuser-Busch, Inc., 2005. Read also, Triple Canopy issue 3, NOLA, for how we see New Orleans, how we have seen it, and how we might see it still.
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The Historic New Orleans Collection currently is showing “The Eighteenth Star: Treasures from 200 Years of Louisiana Statehood.” The show contains stories that have defined Louisiana since its entry into the Union on April 30, 1812, as the eighteenth state.The show will stay up until January 29th. (via: Constance, New Orleans & Beyond)

Image: Drinking water donated after Hurricane Katrina by Anheuser-Busch, Inc., 2005.

Read also, Triple Canopy issue 3, NOLA, for how we see New Orleans, how we have seen it, and how we might see it still.

Source: weareconstance

“You look at the outside of what’s meant to represent the celestial sphere, which is actually the opposite of its form. Our position in relation to it is inverted; in fact, we are inside the sphere looking out, not on the outside looking at this globe. But we’ve learned to read it, even though it shouldn’t make sense.”—Matt Mulican on “Planetarium,” his interactive scale model of the solar system, a project for Triple Canopy programmed by Patrick Smith. Above image: the print companion of the project, From Me (in Space).
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“You look at the outside of what’s meant to represent the celestial sphere, which is actually the opposite of its form. Our position in relation to it is inverted; in fact, we are inside the sphere looking out, not on the outside looking at this globe. But we’ve learned to read it, even though it shouldn’t make sense.”—Matt Mulican on “Planetarium,” his interactive scale model of the solar system, a project for Triple Canopy programmed by Patrick Smith. Above image: the print companion of the project, From Me (in Space).

Source: canopycanopycanopy.com