Kraftwerk

 Here's a great doc mapping the influence of Kraftwerk...

Photo-quality Inkjet Printing in the Wriston Digital Lab

 The Wriston digital lab is in the lower level of the Wriston art center, on the West side directly across from the photo area. Only the furthest in computer is connected to the printer. This video is chopped out of a longer covid-era video, so it's not the slickest production. There is also a printed version of these instructions in the lab.

Garagebandland

Three ways to use garageband;

Using MIDI  technology (there are MIDI keyboards at every station in the 013 lab)...

Using pre-recorded loops...

Or multi-track recording...

Software instruments, loops, and multitrack recording...used individually or together. The possibilities are endless, especially when you consider that a project may start with a recording conveniently made with your phone. These how-to videos are all by... 

https://thegaragebandguide.com 

which has exhaustive and always up to date info on using garageband.

Before you export your garageband track try some basic mastering. I discovered the genre-based presets are still there and that may be all you need. Click on master and output on the mastering window at the bottom of the interface. If you double click on compressor, exciter, and limiter and if you go past 'manual' you will see presets. From there you can really beef-up your track. Here's a really well-done article on mastering...

 

https://producersociety.com/how-to-master-a-song-in-garageband/

ART/FIST 340/540 New Media; Carved in Stone (?)

 COUNTERFEIT;

The Parthenon in Nashville's Centennial Park is a full-scale copy of the original Parthenon in Athens. It was originally stucco and was later rebuilt in concrete.


PRODUCTION;

Erik Sommer’s sculpture/installation “Volvo 240”: a real Volvo, coated completely in concrete.

SIMULATION; 

 The Stucco Angel 

 The Wisconsin Concrete Park is an outdoor museum with 237 embellished concrete and mixed media sculptures built between 1948 and 1964 by Fred Smith.

 

ART/FIST 340/540 New Media; Lance Loud

 An American Family was a groundbreaking documentary and is considered the first "reality" series on American television. Lance Loud, the eldest son of the family, emerged as the star of the show and was the first openly gay person to appear on television. You can watch episode excerpts here;
https://www.thirteen.org/american-family/
Years later, when Lance Loud was diagnosed with AIDS and Hepatitis C, he asked An American Family filmmakers Alan and Susan Raymond to make a follow-up film that would take him through sickness and death. Lance Loud! A Death In An American Family becomes the final episode. Here is the absolutely heart-wrenching last scene;

"SOMEWHERE OVER THE RAINBOW" sung by Rufus Wainright.

Rufus is accompanied by his mother, Kate McGarrigle. 

From the documentary "Lance Loud! A Death In An American Family." 

https://www.youtube.com/watch?v=F33MUnKpt9M&t=227s 

ART/FIST 340/540 New Media; Fordism and Art, the Hysteria of Production

Fordism is a term widely used to describe the system of standardized mass production that was pioneered in the early 20th century by the Ford Motor Company, and a term used to describe the basis of modern economic and social systems in industrialized mass production and mass consumption.

This video tells how Henry Ford made affordable automobiles possible. Others look at the darker side of his vision.

Jeff Koons' artwork is the the most expensive in the marketplace for a living artist. Although critics are divided on the merits of his work, its presence in commerce is substantial.

Nostalgia, Sickness or Salvation?

 There wasn't space in Modernism for nostalgia...as culture sprang forward any form of sentimentality needed to be cast aside. Post-modernists and post-structuralists had to deal with nostalgia anew, without much consensus on where it fit into the picture.

(nostalgia) by Hollis Frampton (1936-1984)

DVD program notes:

“What does it mean? I am uncertain but perfectly willing to offer a plausible explanation,” intones the narrator in (nostalgia) by Hollis Frampton (1936-1984). Film images, while capturing moments in time, also create illusions that outlast what they record. Frampton explores the disjuncture of image and memory in (nostalgia), deadpan retelling of his transformation from New York art photographer to filmmaker.

A voracious reader, the Ohio-born Frampton won a scholarship to the Phillips Academy in Andover, Massachusetts, where he studied extensively, but he did not bother to graduate. He followed the same path at Western Reserve University before moving to Washington, D.C., to visit poet Ezra Pound, then institutionalized at St. Elizabeth’s Hospital. Poetry, Frampton decided, was not his vocation, and he went to New York and took up photography. Rooming briefly with his Andover classmates, artists Carl Andre and Frank Stella, he produced the wry photographic series The Secret World of Frank Stella (1958-1962) and photographed the art world, supporting himself by doing odd jobs. Experiments with filmmaking led to “Zorns Lemma” (1970), the first avant-garde feature screened at the New York Film Festival.

Made the next year, (nostalgia) lays old memories to rest with a new twist. The film is structured around a sequence of 13 photographs from Frampton’s days documenting the art scene. Each photo is presented and burned to ash as the narrator describes a different image. As the film unfolds, we realize that the narration anticipates what will appear in the next photo. The distance between word and image is jarring, as is the camera’s painstaking, almost loving, documentation of the immolation of the photographer’s work. One by one, still images of Stella, Larry Poons, James Rosenquist, and Frampton himself meet the moving flame.

The narrative game keeps viewers on their toes and divides attention between sight and sound, past and present. The voice often expresses regret or longing. “I despised this photograph for several years. But I could never bring myself to destroy a negative so incriminating,” confesses Frampton’s narrator, Canadian filmmaker and multimedia artist Michael Snow. Snow’s flat delivery fuels the understated wit but also intensifies the distancing and adds another layer of complication, especially when he describes a portrait of his studio taken by Frampton.

Nostalgia, derived from the Greek, was defined by Frampton as “the wounds of returning.” As the narrator talks about each image, his stories bring to light the inadequacies of the filmmaker’s former self and the electric burner consumes the evidence of the previously described photograph. But like a phoenix, a new beginning emerges from the ashes. As Frampton said to Scott MacDonald about the images: “You see, that are not destroyed; they can be resurrected by rewinding the film.”

More information:
Rachel Moore’s book-length essay (nostalgia) (Afterall Books, 2006) features an illustrated transcription of the narration. Frampton is interviewed in A Critical Cinema, by Scott MacDonald (University of California Press, 1988), and his writings are compiled in Circles of Confusion (Visual Studies Workshop Press, 1983). Prints of Frampton’s films are available from the Museum of Modern Art.

https://www.hipandtrippy.com/2012/11/hollis-framptons-nostalgia-1971-a-riddle-in-temporality/

And also, an interesting response to Baudrillard's take on nostalgia:

https://uclpimedia.com/online/nostalgia-as-disease-can-we-take-any-hope-from-our-sentimentality