TY to David for this;
Wednesday, October 24, 2018
Research Guides: Art 240/340/540: New Media in Art: Home
Sunday, October 14, 2018
This guy has alotta videos on a very easy to follow, basic level.
Found this helpful myself as mastering isn't so straightforward as it once was.
The volume automation has become pretty hidden too, and for me this is the most important tool in digital recording.
Sunday, October 7, 2018
Tuesday, September 11, 2018
Trailer For a new documentary.
Douglas Engelbart (1925-2013), whose vision of collaboration using computer technology to help solve the urgent and complex problems of all of humanity, died on July 2, 2013. His comrades believed that his ideas were never fully realized due to his ideals and generosity of spirit. For example, he resisted patenting the "mouse" he'd invented and it eventually fell into the public domain. The robotic rigidity of institutions is also to blame -- most powerful technology companies in American relegated him to R&D. Ted Nelson, professor and inventor of the first hypertext project, delivered Engelbart's eulogy on December 9, 2013. In his tearful delivery, he said the "...real ashes to be mourned are the ashes of Doug’s great dreams and vision, that we dance around in the costume party of fonts that swept aside his ideas of structure and collaboration...Perhaps his notion of accelerating collaboration and cooperation was a pipe dream in this dirty world of organizational politics, jockeying and backstabbing and euphemizing evil." Engelbart articulated his ideas for collaboration publicly in what is known as The Mother of all Demos delivered on December 9, 1968, nearly half a century ago. Some of what he described is still in the process of being realized in commercial forms such as Skype, Google Docs, and more.
Monday, April 23, 2018
|The Loud Family for the PBS documentary An American Family,|
which "devastated" them when media called them "affluent zombies"
while accusing gay son Lance Loud (upper left) of
"camping and queening about like a pathetic court jester".
"We all become living specimens under the spectral light of ethnology, or of anti-ethnology which is only the pure form of triumphal ethnology, under the sign of dead differences, and of the resurrection of differences."
-- Jean Baudrillard, Simulations (p. 16)
With the mission of chronicling the "daily life of the Louds - an upper-middle class family from May 30 to December 31, 1971, PBS museumized the family as it fetishized their interactions and relationships in the series An American Family aired in 1973. They became specimens before the camera, which precipitated the parental divorce and the punk antics of Lance Loud, who had famously corresponded with artist Andy Warhol as a teen. Sited as the first "reality TV" show, An American Family changed the lives of the Louds, and it "changed my life," stated Craig Gilbert, the creator of the series stated in 2011 in a New Yorker interview. In a subsequent HBO drama titled Cinema Verite about the making of An American Family aired in 2011, the producers tried to "convey the surreal enormity of An American Family to viewers who are more accustomed to the idea of living in public, whether in front of cameras or through social media" and understanding the innocence of the early 1970s. Writes Baudrillard, "More interesting is the phantasm of filming the Louds as if TV weren't there. The producer's trump card was to say: "They lived as if we weren't there." An "absurd paradoxical formula--neither true, nor false: but utopian"(50) wrote Baudrillard while concluding that the family were victims of a sacrificial spectacle offered to 20 million Americans (51-52). Such museumification of human subjects continues more broadly today in everyday life everywhere as every minute seemingly is captured and uploaded for all to see. An American Life is a harbinger of the Internet exploitation of the individual and all of the social media disasters to come.
Wednesday, April 11, 2018
Before the Model T, cars were a luxury item: At the beginning of 1908, there were fewer than 200,000 on the road. Though the Model T was fairly expensive at first (the cheapest one initially cost $825, or about $18,000 in today’s dollars), it was built for ordinary people to drive every day. It had a 22-horsepower, four-cylinder engine and was made of a new kind of heat-treated steel, pioneered by French race car makers, that made it lighter (it weighed just 1,200 pounds) and stronger than its predecessors had been. It could go as fast as 40 miles per hour and could run on gasoline or hemp-based fuel. (When oil prices dropped in the early 20th century, making gasoline more affordable, Ford phased out the hemp option.) “No car under $2,000 offers more,” ads crowed, “and no car over $2,000 offers more except the trimmings.”
Ford kept prices low by sticking to a single product. By building just one model, for example, the company’s engineers could develop a system of interchangeable parts that reduced waste, saved time and made it easy for unskilled workers to assemble the cars. By 1914, the moving assembly line made it possible to produce thousands of cars every week and by 1924, workers at the River Rouge Ford plant in Dearborn, Michigan could cast more than 10,000 Model T cylinder blocks in a day.
But by the 1920s, many Americans wanted more than just a sturdy, affordable car. They wanted style (for many years, the Model T famously came in just one color: black), speed and luxury too. As tastes changed, the era of the Model T came to an end and the last one rolled off the assembly line on May 26, 1927.
Monday, February 19, 2018
Selections from the the film Proteus, a documentary concerning the life, work, and philosophy of Ernst Haeckel, a 19th century naturalist. The film tells of the man's character and influences while using his detailed engravings of Radiolaria, single celled marine organisms, to make animated progressions.
Extract from Jean Painlevé The Seahorse 1934
Wednesday, January 31, 2018
"Tracking and gathering are interdependent. It is tracking that holds the murmuration together, and it is the collective intelligence or gathering of the flock that enables it to track the sky. This reiterative process is an oscillation of author, work, world, and intention. It simultaneously absorbs, propels, corrects, and posits."
...Creativity, page 63
...Creativity, page 63
Monday, January 22, 2018
BBC - Frank Lloyd Wright: The Man Who Built America (2017) --Highly Recommended
Preconceptions=Louis Sullivan's Boxes.
Creative breakthrough=Organic Architecture.
Problem=No historical precedent, no engineering continuum.
Making=Observing Nature, Experimenting, Believing.
Sunday, January 14, 2018
Wednesday, January 3, 2018
Rudy Rotter in 1998.
The frigid oppression of Lake Michigan and impassive restraint of early Northern European settlers shapes the character of the people of Manitowoc. Compulsion and obsession are only understood if focused on order and cleanliness. Creative compulsion is unfathomable. You can see this in the architecture. Ornate buildings crafted by European artisans have been replaced by parking lots, vinyl-sided storefronts, and franchise stores. Art is conceptually interchangeable with the idea of decoration, which is often a print picked up at the Wal-Mart for $1.89 or some collector plates.
Transcending this milieu is Dr. Rudy Rotter, a retired dentist turned sculptor. He has created 15,000 figurative and abstract artworks that fill his three story, block-long museum just across the street from the Elbow Room Supper Club.
He notices the things people in town throw away. As industry evolves, people move, fashions change, home decors are updated and another old building comes down, he watches and extracts the gems to make his art. He sees figures, animals and patterns in the textures and materials that surround him. He’s tapped into his imagination and in the sanctity of his studio, it doesn’t matter who or what is outside the door.
--J. Shimon & J. Lindemann