Sketchnotes by Chad Moore and Chris Wilson

Yarn is constantly cited as prior art in the RFCs. I would be surprised to see big disparities between both CLIs.

Though things are improving, the fact remains that no Blockchain model is truly energy efficient, so if you’re in doubt as to whether you need it and are concerned about CO2 emissions, you should proceed with caution. In some ways, the problem of the Blockchain is that it hit the public imagination - and that of app developers and entrepreneurs - long before the technology was fully mature (it definitely still isn’t) and many of these scalability and energy-consumption problems have yet to be ironed out. 

Gestartet 2020 in London als „Gallery Climate Coalition“, verzeichnet das Bündnis um Heath Lowndes, den Managing Director und Ausstellungskoordinator der Thomas Dane Gallery, nach kurzer Zeit bereits mehr als 150 internationale Galerien.

Unsere Vision ist eine zukunftsfähige Musikbranche mit Vorbildcharakter in der Umsetzung von Klimaschutzmaßnahmen.

paint, chairs, food, electric and neon lights, smoke, water, old socks, a dog,movies, a thousand other things that will be discovered by the present generation of artists.

The fresh one, she told me afterward, felt a little lonely by comparison: she missed the meta-conversation running in the margins, the sense of another consciousness co-filtering D.F.W.’s words, the footnotes to the footnotes to the footnotes to the footnotes.

Not to sound like an English professor or anything, but as a professor of English, I can’t help thinking of Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction.” Benjamin suggests that fascistic governments aim to maintain the status quo by providing citizens with the means to express themselves aesthetically without reforming their lives materially.

but is about writerly choices

is the fear of putting our work out there in the world.

He adds that the ethnographic record shows that with rare exceptions, rock art is indeed associated with ritual and beliefs. “The concept of ‘art for art’s sake’ is a relatively recent western attitude,” he says – and if anything, the propensity for drawing in the dark seems to support that assumption.

Whitley says: “The conceptual and practical division between the supernatural/sacred/religious world  and the mundane realm is a largely modern and western conceit that has become especially prominent since the Protestant Reformation. Many traditional peoples saw/see no separation between daily versus religious life; many don’t even recognize that they have a ‘religion’ per se. I then concur with the notion that many prehistoric peoples felt a strong connection to the supernatural and the cosmos.”

“In western North America alone, for example, rock art was exclusively made by shamans among some tribes. But in others it might also be made by puberty initiates – boys and/or girls – and in others include adults experiencing life crises too (e.g., the death of a spouse),” Whitley says. But throughout North America, it seems artistic creation was associated with visionary experiences and the perceived receipt of supernatural power.

Arguing in favor of cosmic connectivity, à la Whitley: why would anybody create art in places that are very difficult to see and dangerous to enter, if the goal is purely aesthetic or decorative?

Figurative cave art is the fief of Homo sapiens, going by present evidence (there is no evidence of figurative Neanderthal art). The earliest-known painting is of a warty pig; it was found just this year in a very inaccessible cavesite in Indonesia and is about 45,500 years old.

Whitley notes that cave sites were visited by people other than the artists, as attested by the occasional preservation of footprints, including of children. The implication is that they too would have experienced an altered state of consciousness, a kind of group trance. “This is a novel and important implication of this research,” Whitley says.

The Cuteness of the Avant-Garde

O’Rourke’s “stuff” ranges from frequent releases on Bandcamp under the “Steamroom” label, including hushed, avant-garde instrumentation and complex mosaics of sound in all its beautiful and messy forms. In that same interview, O’Rourke explained his process for creating one of those works — “Steamroom 47” — culling from a wide range of touchstones including data points in music information retrieval, cybernetics and Glenn Gould’s “Goldberg Variations.” Heady stuff.

Although no one would hesitate to watch a TV show because they haven’t studied enough television history, many people think they do not know enough art history to look at art. For Linnea West, an educator at the Philadelphia Museum of Art, Slow Art Day lowers some of the barriers by making the case that there’s something to be gained simply from looking.“You don’t have to come to a work with knowledge you read in a book to get a lot out of it,” she says.

Design is not a synonym for decorative creative decisions.

But somewhere between the Renaissance and today, things changed. While Da Vinci and Michelangelo are household names associated with immense creativity, the Art department is first to be defunded when a school’s budget tightens.

Cultural CununDRUM, lessLIE, Acrylic on hide, 2013, 50.8 cm in diameter, 6.99 cm deep

Feeling Artsy? Here's How Making Art Helps Your Brain

Sound Thoughts on Art

Art Therapy to Process Emotions

As the Victoria and Albert Museum present in A History of Computer Art,

The NFT grift works like this: Tell artists there’s a gusher of free money! They need to buy into crypto to get the gusher of free money. They become crypto advocates, and make excuses for proof-of-work and so on. A few artists really are making life-changing money from this! You probably won’t be one of them.

Shepard said at the time, "They Live was the basis for my use of the word 'obey,' The movie has a very strong message about the power of commercialism and the way that people are manipulated by advertising. [...] One of my main concepts with the Obey campaign as a whole was that obedience is the most valuable currency. People rarely consider how much power they sacrifice by blindly following a self-serving corporation's marketing agenda, and how their spending habits reflect the direction in which they choose to transfer power."

To that end, the branding strategy I chose for our project was based on propaganda-themed art in a Constructivist / Futurist style highly reminiscent of Soviet propaganda posters.

Illustration by Shout

The velocity of an image online and the amount of knowledge around it have an inverse relationship.

Manning: I love the cover art. Seriously! It is very apropos and beautiful (for both this Haskell book and the recent Manning F# book).

This region is involved in a range of functions but potentially in things that could be linked to creativity, like visual imagery - being able to manipulate visual images in your brain, combine them and deconstruct them,

This study highlights the potential of digital technology expanding creative palettes and clinical intervention tools for therapeutic sessions.

Prior work This project uses work done in the awesome-typescript-loader.

Moises Sanabria 1:19

prior art

Prior Art

Those who had the capacity to incorporate the clues necessary to wander without feeling lost – mostly owing to their higher level of education – felt ‘at home’ in Les Immatériaux as well as in the Centre Pompidou; those, on the other hand, who did not possess this self-assurance, who could not rely on the cryptic references provided to navigate the exhibition space, experienced a sense of unease, of loss, and occasionally felt threatened or even deceived

The voices streaming through the earphones did not provide any direct ‘explanation’ of what the visitor had in sight, but rather unidentified fragments of discourse indirectly related to what there were supposed to comment on, without requiring the visitor to press a button in front of each exhibit. Most visitors did not make the connection between the voices and their own movement through the exhibition, which inevitably led to some colourful misunderstandings

 Whereas catalogues are the most common element of mediation for exhibitions, Les Immatériaux had none, at least not in the traditional sense. What visitors could buy were two different publications: one was an album that contained, on one side, a sort of diary or ‘making of’ of the exhibition, and, on the other, loose cards listing the content of the various sites, thereby reproducing the deconstructed architecture of the exhibition itself (fig.1). The second publication displayed the results of an interactive experiment between a number of scholars (mainly philosophers) who had been invited to discuss themes provided by Lyotard and his co-curator, Thierry Chaput, with the help of something so new that it was difficult to describe or even name at the time: what today we would call email. In 1985 this technology was far from user-friendly, so that a large part of the distinguished authors’ contributions is dedicated to their difficulties in using the software. Re-reading the transcript of their exchanges today, I cannot help but find their complaints about the technical failures of the programme more instructive of what immaterialisation might mean than most of their attempts to elaborate on such ‘intellectual’ catchphrases as ‘modernity’, ‘time’ or ‘networks’ – catchphrases that date the catalogue as unmistakably as an old-fashioned suit.

And would a hip hop fan question, much less downvote, a “verified” Genius annotation authored by Kendrick Lamar that explains the meaning behind his music?

“Imagery in public space is a reflection of who has the power to tell the story of what happened and what should be remembered,” Bleiberg said. “We are witnessing the empowerment of many groups of people with different opinions of what the proper narrative is.” Perhaps we can learn from the pharaohs; how we choose to rewrite our national stories might just take a few acts of iconoclasm.

This painting was discovered in the Bulu Sipong cave on Sulawesi in 2016 and recent analysis has shown that it is the “oldest pictorial record of storytelling” and the “earliest figurative artwork in the world”, and is at least 43,900 years old. (The oldest known drawing in the world, a 73,000-year-old abstract scribble, was found in South Africa in 2018.)

Alicja Kwade, Gegebenenfalls die Wirklichkeit (2017)granite, copper, paperCourtesy KÖNIG GALERIE, Berlin/London/TokioInstallation view Down to Earth. Climate Art Discourse unglugged, Gropius Bau, Berlin, 2020© Berliner Festspiele/Immersion. Photo: Eike Walkenhorst

glitches

glitches and, what has become known as glitch art,

If art speaks to a milieu, a personal story or psychological state, should we punish it for not 100 percent reflecting our own memories?

when some listeners hear poets read with one or more of these characteristics—slow pitch speed, slow pitch acceleration, narrow pitch range, low rhythmic complexity, and/or slow speaking rate—they hear Poet Voice.”

Asked at the end of the interview if there was anything else she would like to share, Krowy told me that she is a Christian and lately had been having second thoughts about the fandom and the way it is perceived by outside people, because "the whole yiff thing - that's what people immediately think of." She regrets the one porn commission she has done - although it "wasn't that bad, more romantic" - be- cause she is serious about her career as an artist and would not want to be known for that sort of wor

Mr. Speyer’s most famous work is the Ben Rose House near Chicago, a modern glass box known for its supporting role in the 1986 movie ”Ferris Bueller’s Day Off.” Mr. Speyer studied architecture under famed modernist Mies van der Rohe at the Illinois Institute of Technology, and later became curator of 20th century painting and sculpture at the Art Institute of Chicago.

Mr. Speyer was critical of American home-building bombast, declaring in a 1986 interview conducted by the Art Institute of Chicago shortly before his death, “I think the typical suburban style is really not at all based in comfort, it’s based in ostentation,” he said. “Everybody,” he added, is “putting a centerpiece on the table.”

ast becoming the iconic image of a Black woman at t his time was t he 1800 Portrait d ’une negresse (Portrait of a Negress) by French painter Marie-Guillemine Benoist. An African woman sits staring at t he viewer with her head wrapped and breast exposed.

Музей М. А. Булгакова (ГБУК г. Москвы) — первый и единственный государственный мемориальный музей Булгакова в России, учрежденный в 2007 году в пространстве легендарной квартиры №50 в доме 10 по Большой Садовой. В настоящее время Музей М. А. Булгакова активно расширяет поле культурной деятельности, открывает выставки и проводит мероприятия как в самом музее, так и на внешних площадках. Цель Музея — всесторонний рассказ о булгаковском творчестве, булгаковской Москве, культуре булгаковской эпохи.

ce que l’art a toujours fait : transmettre des réalités possibles, donner à voir et à ressentir une vie différente.

un artiste a des antennes, comme un insecte.

pas besoin de réalité virtuelle pour expérimenter d’autres mondes. L’art suffit.

that “it is quite clear thatNietzsche wrote [this work] not as a dialectician.”3

Data visualization is both an art and a science

Rue de la Femme-sans-Tete

The Project Gutenberg EBook of His Masterpiece, by Emile Zola

1) interpret, reflect on, and evaluate the characteristics, purposes, and merits of personal work and the work of others and 2) identify, analyze, and apply criteria for making visual aesthetic judgments of personal work and the work of others.”

Krista Nicole Castrodale

Peer critique in the secondary art classroom:Strategies for best practices

Art Rubric for Assessment of the Discussion & Writing on Art History, Aesthetics and Art Criticism - an Assessment Form

rt Rubric - an Artwork Assessment Form by Marvin Bartel

PLANNING ART LESSONS & Units  

Empathic critique is collaboration, not competition. Empathic class critique in studio art is not a debate session. It is a hunt for visual effects, meaning, purpose, and new ideas. All participants are acting in their own best interest by being their naturally helpful selves. Competition is replaced by mutual discovery.

I give some display guidelines for them to follow so the presentation looks good and work can be seen easily by all participants. Students who are not finished might use the time to keep working to finish. It is sometimes found that students without work on display are not as interested and they are more apt to offer negative comments. 

Successful Art Class Critique

Механизм эмпатии помогает нам понимать друг друга, а в портрете создает между зрителем и героем эмоциональное сцепление. Неосознанно повторяя жест героя, мы начинаем сопереживать ему; это включает те же физиологические реакции, что и наши собственные эмоции, — потоотделение, учащение сердцебиения, усиление дыхания, эффект гусиной кожи. Это касается и ближайшей родственницы эмпатии, системы совместного внимания: она отслеживает действия героя и направление его взгляда на случай, если он заметил что-либо важное раньше нас. Если мы осознаём, что с нами происходит, наша реакция усиливается. Вдумчивый зритель не только лучше понимает портрет, но и острее переживает его. Портрет — тренажер эмпатии.

Работая над портретами, художники могут решать самые разнообразные творческие задачи.