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   Occupy All Streets: D0x on Lamar Seeligson Smith, the founder of SOPA. »

You can tweet Lamar on twitter and tell him what your think about SOPA

Lamar Seeligson Smith

U.S. Representative for Texas’s 21st congressional district, serving since 1987, and the founder of the Stop Online Piracy Act, better known as SOPA.

Birthplace: San Antonio, Texas
Date of Birth: Nov…

Texas tells springbreakers to avoid all of Mexico

univisionnews:

Too dangerous? In a recent travel warning the Texas Deparment of Public Safety said that spring-breakers should stay clear of Mexico, even from Cancun. (Flickr:Kaysha)

By MANUEL RUEDA
Channel: Latin American Affairs, Travel

As the spring break season begins, Texas is telling its students to avoid traveling anywhere in Mexico during the holidays, angering Mexican officials who claimed the travel warning has “political motivations.”

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BUDS IN ACTION - DALLAS, TX

autobuds:

Triple royal blue Toyota FJ Cruisers? On the road? This is like seeing three Wilt Chamberlains at the same time. One’s dunking, one’s blocking a shot, and one’s fucking over 20,000 women. Thanks to Matthew from Dallas for sending us our first non-parked Auto Buds. But safety first, guys, wait for the red light before snapping a pic. Drive an hour out of your way if you have to.

manufacturisation:

Bird house for mintgreenlovers.

Spotify=Amazing

die-wirkliche-tam:

Download it now.

Probably the coolest thing ever invented.

Recent Articles in the Creek: A Guilty Agent: The Shadowy Role of Timothy McVeigh »

On the left, McVeigh in Waco in 1993. On the right, an alleged McVeigh from recently surfaced video at Camp Grafton, North Dakota fi lmed in August 1993— well after McVeigh was honorably discharged from service in May 1992. Was McVeigh being secretly trained, as he told his sister, to be a…

*: AWP 2012: LIVEBLOG »

muumuuhouse:

Mallory Whitten, Jordan Castro, Sam Pink, Andrew Weatherhead, Lily Dawn, Noah Cicero, Brittany Wallace, Ben Brooks are liveblogging AWP 2012 in this post. The format is “[liveblog] ([person who liveblogged], [time of liveblog])” chronologically.

THURSDAY (PRE-PARTY IN…

Univision Radio’s first bilingual music fest boasts performances by Paulina Rubio, Juanes and … Snoop Dogg!

univisionnews:

By AMARIS CASTILLO
Channel: Entertainment

Juanes and Snoop Dogg have more in common than some may think.

Read More

stanleykorshak:

MONIQUE PÉAN TRUNK SHOW

“We continually work around the natural rock formations we find—it’s fascinating to see what nature creates,” Monique Péan on Vogue.com.

Jewelry designer Monique Pean is at Stanley Korshak this weekend, February 3rd & 4th, to provide a sneak peek of her INTI collection of exquisite eco-friendly pieces that will be exclusively available to our clients.

Monique Pean’s career has sky rocketed in recent years (hello, September Vogue feature!) due to her unique designs, bold colors, exquisite details, and sustainable materials. And, what’s new for spring 2012? “There’s a lot more color than I’ve used before,” Monique said to Vogue magazine of “the ombré tourmaline, sliced emerald, and opal discoveries from the region (Peru), which have been expertly converted into shimmering adornments such as drop earrings, necklaces, and those signature diamond pavé rings.”

I had the pleasure of sitting next to Monique at the Tutu Chic event in December, and she truly is beautiful, interesting, and incredibly creative. Come meet Monique for yourself and see her stunning pieces this weekend!

Can’t make it in? Shop Monique Pean online.

$linemagazine: Solar Pavilion: Karen Forbes ‘Pavilion’ is the catchword of our over-biennialised artistic moment. As a term, it is thickly suffused with the complex, contradictory ethos that seemingly underpins international art exchanges in the twenty-first century: at Venice, pavilions are jingoistically-clad stations for a sort of artworld free trade that is itself riven between the bohemian and the neoliberal. The Giardini is a place of concrete anachronism: its multiple architectural outcrops speak of the need, in an artworld that is ostensibly more diverse, more pluralist and more horizontally-structured than ever before, to continue in creating stages for representatives who objectively outshine all others. The pavilion is the most profuse and publically-accessible structure known to the gallery world, and simultaneously one of the most problematic. In creating her ‘Solar Pavilion’ for the 2011 Edinburgh Art Festival, Karen Forbes offers a revised version of this structure. The Pavilion, based at the foot of the Melville Monument on St. Andrew’s Square, will offer a multi-faceted and ever-shifting programme of events which speaks to all levels of the Festival – 26 institutions, from the National Gallery to Sierra Metro, have applied to make use of the pavilion to extend their respective programmes into this key patch of city-centre real-estate. The success of this venture is, as Line goes to print, yet to be gauged, though in conception at least it certainly fleshes out the other raison d’etre for Forbes’s commission: architectural statement. Commissioned by Edinburgh Art Festival and supported by the Scottish Government Edinburgh Festivals Expo Fund, the Solar Pavilion belongs very much to the realm of the Showpiece architecture that is the twenty-first century artworld’s other great problematic structure. Forbes, who works primarily in Europe and for whom this first major project in her native land represents a significant career milestone, has designed a building of great novelty for the New Town site. The scallop-shell shaped pavilion is clad entirely in glass, and will thus play host to all sorts of carefully calibrated reflections and refractions. What’s more, the structure’s specific location will channel the shadow of the great column under which it bunkers, turning the whole edifice into a gigantic sundial. An exercise in transparent construction, the pavilion will nonetheless be ‘opaque’ in one very important aspect: what emerges in talking briefly to Forbes is the extent to which she sees her structure as an artwork in itself, a mechanism for ‘drawing with light’, a ‘futuristic representation of time’, to which the label of ‘pavilion’ is attached for public convenience and nothing more. Similar props have been awarded to ‘iconic’ artworld structures such as Frank Gehry’s Guggenheim Museum in Bilbao, and yet you’d be hard-pressed to find an advocate to argue that this form of architecture fosters a healthy and productive attitude to either the culture of display or to the cultural politics of arts funding: rather, such examples seem often to pave the way for a politics which gives prestige to ‘iconic’ international outreach over integration at the level of local, grass-roots institutions. Forbes’s effort seems different, however. Her conception of the pavilion reveals a distinctly harmonic relationship between the architectural experimentation it embodies and the significant artistic dialogue it is set to contain. Forbes sees her project as part of a burgeoning ‘raft of commissions’ (this year’s other big commission is Martin Creed’s long-awaited marble re-fit of the Old Town’s Scotsman Steps) that will hopefully come to define not just the unique outlook of the newly re-invigorate Edinburgh Arts Festival, but also the uniquely pro-active (within Coalition-era Britain at least) approach of Creative Scotland as a whole. By supporting projects such as the Solar Pavilion, Scotland’s powers-that-be look prepared to pursue a growth model in the arts. One can only hope that a rise in productivity will be accompanied by an attendant rise in intelligence and integrity, the entrance of a genuine dialogue with the city’s smaller institutions that leaves behind more than an empty shell. ____ Luke Healey$

linemagazine:

Solar Pavilion: Karen Forbes

‘Pavilion’ is the catchword of our over-biennialised artistic moment. As a term, it is thickly suffused with the complex, contradictory ethos that seemingly underpins international art exchanges in the twenty-first century: at Venice, pavilions are jingoistically-clad stations for a sort of artworld free trade that is itself riven between the bohemian and the neoliberal. The Giardini is a place of concrete anachronism: its multiple architectural outcrops speak of the need, in an artworld that is ostensibly more diverse, more pluralist and more horizontally-structured than ever before, to continue in creating stages for representatives who objectively outshine all others. The pavilion is the most profuse and publically-accessible structure known to the gallery world, and simultaneously one of the most problematic.

In creating her ‘Solar Pavilion’ for the 2011 Edinburgh Art Festival, Karen Forbes offers a revised version of this structure. The Pavilion, based at the foot of the Melville Monument on St. Andrew’s Square, will offer a multi-faceted and ever-shifting programme of events which speaks to all levels of the Festival – 26 institutions, from the National Gallery to Sierra Metro, have applied to make use of the pavilion to extend their respective programmes into this key patch of city-centre real-estate. The success of this venture is, as Line goes to print, yet to be gauged, though in conception at least it certainly fleshes out the other raison d’etre for Forbes’s commission: architectural statement. Commissioned by Edinburgh Art Festival and supported by the Scottish Government Edinburgh Festivals Expo Fund, the Solar Pavilion belongs very much to the realm of the Showpiece architecture that is the twenty-first century artworld’s other great problematic structure. Forbes, who works primarily in Europe and for whom this first major project in her native land represents a significant career milestone, has designed a building of great novelty for the New Town site. The scallop-shell shaped pavilion is clad entirely in glass, and will thus play host to all sorts of carefully calibrated reflections and refractions. What’s more, the structure’s specific location will channel the shadow of the great column under which it bunkers, turning the whole edifice into a gigantic sundial.

An exercise in transparent construction, the pavilion will nonetheless be ‘opaque’ in one very important aspect: what emerges in talking briefly to Forbes is the extent to which she sees her structure as an artwork in itself, a mechanism for ‘drawing with light’, a ‘futuristic representation of time’, to which the label of ‘pavilion’ is attached for public convenience and nothing more. Similar props have been awarded to ‘iconic’ artworld structures such as Frank Gehry’s Guggenheim Museum in Bilbao, and yet you’d be hard-pressed to find an advocate to argue that this form of architecture fosters a healthy and productive attitude to either the culture of display or to the cultural politics of arts funding: rather, such examples seem often to pave the way for a politics which gives prestige to ‘iconic’ international outreach over integration at the level of local, grass-roots institutions. Forbes’s effort seems different, however. Her conception of the pavilion reveals a distinctly harmonic relationship between the architectural experimentation it embodies and the significant artistic dialogue it is set to contain. Forbes sees her project as part of a burgeoning ‘raft of commissions’ (this year’s other big commission is Martin Creed’s long-awaited marble re-fit of the Old Town’s Scotsman Steps) that will hopefully come to define not just the unique outlook of the newly re-invigorate Edinburgh Arts Festival, but also the uniquely pro-active (within Coalition-era Britain at least) approach of Creative Scotland as a whole. By supporting projects such as the Solar Pavilion, Scotland’s powers-that-be look prepared to pursue a growth model in the arts. One can only hope that a rise in productivity will be accompanied by an attendant rise in intelligence and integrity, the entrance of a genuine dialogue with the city’s smaller institutions that leaves behind more than an empty shell.

____

Luke Healey