"Rappers" on the roof of the electrostatic precipitator knock the accumulated dust free, letting it fall into the storage hopper. Each rapper is the size and shape of a baseball bat. Inside is an electromagnet that pulls a steel plunger upward, then allows it to fall again, producing a sharp knock. The rappers are energized at seemingly random intervals, producing a haunting, syncopated music. (The rhythm seemed more modern jazz than rap.)
Today population forecasts are based on extensive and reliable data. However, no such demographic base exists for the world's growing population of machines and devices. Now may be the time to take machine demography seriously and enter into real discussions about machine population control.
The couple of years in question here saw one of the largest bureaucracies anywhere undergo a convulsion in which it tried to reconceive itself as a non- or even anti-bureaucracy, which at first might sound like nothing more than an amusing bit of bureaucratic folly. In fact, it was frightening; it was a little like watching an enormous machine come to consciousness and start trying to think and feel like a real human.
Both a book and a MoMA exhibition of the same name by Bernard Rudofsky originally published in 1964. It provides a demonstration of the artistic, functional, and cultural richness of vernacular architecture.
In 200 enlarged black-and-white-photographs, he showed various kinds of architectures, landscapes, and people living with or within architectures. Shown without texts or explanations, the visitors were just confronted with imagery that showed indigenous building traditions, which were very much at odds with the ideas of architectural modernism which had been promoted through NYC MoMA's Philip Johnson in his famous 1932 exhibition "Modern Architecture. International Exhibition".