Marcel Duchamp interview on Art and Dada (1956)

This 1956 interview features the artist talking with James Johnson Sweeney, former director of the Guggenheim Museum.

”She – A Cathedral”

TY to David for this;

https://www.modernamuseet.se/stockholm/en/exhibitions/remembering-she-a-cathedral/

Library Guide

http://guides.lib.lawrence.edu/art240

Home - Art 240/340/540: New Media in Art - Research Guides at Lawrence University guides.lib.lawrence.edu Research Guides: Art 240/340/540: New Media in Art: Home

Learning Garageband

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.

Learning Premiere

This is the story of Douglas Engelbart

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. 

Museumised: Rose-Coloured Resurrection

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.