301 Matching Annotations
  1. Oct 2020
    1. 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

      Feeling lost as a matter of educational level.

    2. 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

      Thus the visitor’s book was full of rants about these inadequate earphones, just as the philosophers railed in the catalogue against the software.

    3.  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.

      Post-exhibition publications

      1. An album
        • 'making of' the exhibition
        • loose cards listing the content of various sites
      2. Writings from an experiment with eMail
    1. 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?

      But if we're going to consider music as art, isn't a lot of the value and power of art in the "eye of the beholder"? To some extent art's value is in the fact that it can have multiple interpretations. From this perspective, once it's been released, Lamar's music isn't "his" anymore, it becomes part of a broader public that will hear and interpret it as they want to. So while Lamar may go back and annotate what he may have meant at the time as an "expert", doesn't some of his art thereby lose some power in that he is tacitly stating that he apparently didn't communicate his original intent well?

      By comparison and for contrast one could take the recent story of Donald Trump's speech (very obviously written by someone else) about the recent mass shootings and compare them with the polar opposite message he spews on an almost daily basis from his Twitter account. See: https://www.washingtonpost.com/politics/teleprompter-trump-meets-twitter-trump-as-the-president-responds-to-mass-slayings/2019/08/05/cdd8ea78-b799-11e9-b3b4-2bb69e8c4e39_story.html

    1. “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.
    1. 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.)
  2. Sep 2020
    1. 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

      Alicja Kwade, TransForm (2019) Wood, Stone, Bronze Courtesy Dragonfly Collection / Garance Primat Installation view Down to Earth. Climate Art Discourse unglugged, Gropius Bau, Berlin, 2020 © Berliner Festspiele/Immersion. Photo: Eike Walkenhorst

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

    1. Mittagslektüre: Blogpost über Franco Bellucci, den ich nicht kannte. Einiges über Art Brut, Verweise auf Pasolini und das Ende der Moderne.

  3. Aug 2020
  4. Jul 2020
    1. If art speaks to a milieu, a personal story or psychological state, should we punish it for not 100 percent reflecting our own memories?

      Food as art (individual, expressive) vs. food as a collective or communal experience. IS food art?

    1. 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.”
    1. 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

      Yiff pays well, which is why many artists go to it despite some moral quandaries.

      I need to find a source to back that up, as memes are not a reliable source.

  5. Jun 2020
    1. 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.

      architecture, art, Ferris Bueller's Day Off

    2. 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.”
    1. 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.

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    1. 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.

      Bulgakov's museum in Moscow. It was open in 2007 with the purpose of promoting multifaceted discussion of Bulgakov's work and historical context of his novels.

    1. The website provides information on the metadata about the novel, the author and the locations of the event taking place in the novel. It is a perfect place for the people who read the novel for the first time, and would like to decipher some of the symbols and allusions in this work. The guide through the novel included annotations per each chapter.

  6. May 2020
    1. ce que l’art a toujours fait : transmettre des réalités possibles, donner à voir et à ressentir une vie différente.
    2. un artiste a des antennes, comme un insecte.
    3. pas besoin de réalité virtuelle pour expérimenter d’autres mondes. L’art suffit.
  7. Apr 2020
    1. Rue de la Femme-sans-Tete

      This street has an interesting history.

    2. The Project Gutenberg EBook of His Masterpiece, by Emile Zola

      This is a copy of "His Masterpiece" from Gutenberg.Org. Some of us in the art reading group may want to read this book here and share our questions, comments, and annotations as we read.

  8. Mar 2020
    1. 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.”

      these are good to include in our learning objectives?

    2. Krista Nicole Castrodale

      Might want to reach out to her.

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

      Peer critique secondary (college?) best practices

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

      rubric for writing about art

    1. 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.

      definition and new approach called empathic critique

    1. 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. 

      provide display guidelines on how to present the art work.

    2. Successful Art Class Critique

      bookmark

  9. Feb 2020
  10. Jan 2020
  11. Dec 2019
    1. 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.
    2. Работая над портретами, художники могут решать самые разнообразные творческие задачи.
    1. For now, that will have to be my justification. I’m not ready to give up writing. I’m not ready to take up some high-paid job that I’d hate in order to reduce the world’s suffering. Maybe that will change. For now, call me Net-Positive Man.
    2. Artists paint the beautiful landscape in front of them while the rest of the world burns
    1. L’œuvre d’art, l’œuvre littéraire était à ses yeux une fin absolue ; elle portait en soi sa raison d’être

      Existentialisme de l’œuvre d’art (notamment littéraire), d’où une certaine nécessité de l’art (comme source de vérité, comme révélation).

      C’est aussi, paradoxalement, quelque chose de fini (c’est la « fin absolue »); le constat est surtout paradoxal lorsque confronté à son pendant religieux (la fin ultime comme Dieu). La connotation est aussi théologique que philosophique.

    2. la contingence n’était pas une notion abstraite, mais une dimension réelle du monde : il fallait utiliser toutes les ressources de l’art pour rendre sensible au cœur cette secrète « faiblesse » qu’il apercevait dans l’homme et dans les choses

      Sartre, contrairement à d’autres philosophes (qui refusent la contingence par opposition à la nécessité), s’intéresse aux potentialités de ce qui est contingent (caractéristique essentielle de l’art), et notamment pour « rendre sensible » (Hume prêchait en ce sens avec la sympathie).

  12. Nov 2019
    1. ce sont choses mortes, inférieures dans la hiérarchie à ces tas de moellons que vomissent les chariots des entrepreneurs, et qui amusent, du moins, l’œil sagace, par l’ordre accidentel qu’ils empruntent de leur chute

      ce qui n'a pas été desseiné, planifié, n’est pas intéressant à contempler.

      La métaphore est aussi intéressante en art : on s’intéresse davantage au processus créatif, à la démarche, au contexte socio-politico-historique dans laquelle une œuvre d’art se manifeste; une œuvre vide de sens, de geste, de réflexion, n'est pas intéressante, aussi tape-à-l’œil soit-elle.

  13. Oct 2019
    1. Sancho originally started as a fork of Evergreen but has since evolved to incorporate my favourite ideas from Bootstrap and Material-UI. We make substantial use of Reach-UI where possible to ensure proper accessibility. This project is obviously hugely indebted to all of these projects.
  14. Sep 2019
  15. Aug 2019
    1. I read this as a medical student. I found this difficult to read because of the long list of characters and character names. However I was impressed when I realised that one of the women had te symptoms of Pernicious anemia (B12 deficiency) and the treatment was raw liver which is rich in B12. However if you cook the liver the vitamin is destroyed. This was not disovered by Europeans until centuries later.
    2. It isn’t a good idea to tip them into the water … The water you see here is clean, but farther on beyond the weir, where it flows on beyond people’s houses, there are all sorts of muck and impurity, and in the end they get spoiled just the same. In that corner over there I’ve got a grave for the flowers, and what I am doing now is sweeping them up and putting them in this silk bag to bury them there, so that they can gradually turn back into earth.
    1. Research from Chelsea and Westminster Hospital has found that placing art in the NHS trust has helped to improve patient wellbeing, decrease hospital stays and reduce anxiety, depression and pain.
  16. Jul 2019
  17. Jun 2019
    1. We attend to the how of research by thinking-with various walking projects from WalkingLab (www.walkinglab.org) and beyond. We use the idea of the walk score as a catalyst for movement. Influenced by the tradition of Fluxus event score

      These ideas harken back to Guy Debord's "derives" and other artistic "happenings"--also 60s era movements. What's up with the back to the past thing? Also, I checked out the WalkingLab.org website and found the projects, events, and publications interesting. It all feels overly ableist to me, but I didn't delve deeply.

    1. A little magazine called the Blind Man, co-edited by Duchamp, ignited a debate still running today. “Whether Mr Mutt with his own hands made the fountain or not has no importance. He chose it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – and created a new thought for the object.”
  18. May 2019
    1. My understanding is that morality, benevolence and art are spiritual aspects, while all other disciplines are learned through human nature. Learning in these disciplines requires a diligent and genius mind, while studying art only requires sincerity and love. Therefore, in a certain sense, learning art is a more convenient passage to the truth. May we work together to make the future of art a prosperous one!
    2. “I am very honoured to be an alumnus of Birmingham City University! The study of art is not the same as other professions. Confucius said “志于道、居于德、依于仁、游于艺”– “let the will be set on the path of duty. Let every attainment of what is good be firmly grasped. Let perfect virtue be emulated. Let relaxation and enjoyment be found in the arts”). The general idea is that art is the last energy or path to the soul, which is second only to morality and benevolence. It is firmly placed in front of philosophy and science.
    3. Jun’s artistry has been described as “paintings that are beyond limits” by scholars, meaning they meet or exceed the expression of oil paint material. His artistic process relies entirely on sketching, rather than photographs, ensuring that every work is vivid and intriguing in its visual effect, capturing the minutest details.
    1. I have done a couple of Bargue copies. I spent 2 months on the first one and about a month on the second. After doing a couple of these, your eye with be HIGHLY trained. You will be able to spot mistakes in your work much easier. Also, you won't be afraid of anything. Taking on a challenge like this makes other drawing tasks seem really easy. I recommend it for anyone who wants to shave a year or two off their training.
    2. This book sounds like an outdated way of training. I was finding out more about it and read a comment describing its history and how its been used predominantly in France's Ecole des Beaux Arts until it "...fell out of favour when those pesky post impressionists stopped worrying about how accurate their drawing was and started worrying about the expression of their personal vision instead." It's no more outdated than studying anatomy. By your logic we should not study anatomy, either. The post-impressionism is just another change in philosophy. If your goal is to learn how to master your drawing tools and copy something with pin-point precision, then Bargue studies will help. if you want to learn to draw an eye correctly, do it by observing and interpreting real life, not by copying exactly another drawing of real life. You don't get the point. Bargue plates are very clear and simplify the forms that would otherwise be harder to read in life. The smooth / flawless gradations allow for clear interpretation of what's in front of you. These plates don't negate from drawing from life, they are good exercises to take before tackling life. The text in that book is very good. @the_allejo05, have you been reading the text, also? It does go over how to do these plates. I can't remember if it mentions what materials to use, though. The huge point about doing these plates is that you do them with exact precision, otherwise there's no real point. Time investment is relative to the objective. You could get more out of one 300 hour drawing than you could 300 1 hour drawings. Quantity doesn't always overpower quality. The plates can take a lot of time to do right, but they'll also build your concentration and patients.
    3. the way they were intended ? they were originally put together by Charles to show kids that for example an eye, isn't just a flat shape on something else that is flat, but actually a 3D form that sits on a plane and which has a relationship with all the other planes surrounding it, which eventually will make another 3D-form. Spending 300 + hours on something like a pencil drawing is ridiculous, especially when starting out. I agree that 2 hours isn't really that much, but it would depend on the size of the drawing though. If you're copying a whole plate, then 2 hours is very fast, and you're saying that this is the longest you've spent ? You might wanna have some more patience with those
    4. CHARLES BARGUE DRAWING BOOK question.. i got the book and i have copied..freehand..up to plate 50.. mainly eyeballing and kinda of making looked like the original drawing..i have use bond paper and well and 2hb so far. .now i got the latest issue of international artist and the guy that is talking about academic methods estresses accuracy down to the last millimeter and making it look exactly like the original..so on my last one i got a bit more technical and was messuring more..although eyeball but being more careful..with shading and all..plate 51 was pain in the arse..hehe..took me like 2 hours to finish it and still did not look exactly right..I have a hard time on keeping my eye on one spot..i wonder around..i use to drawing quick not paitenly , i could tell errors, but is hard to erase with this cheap paper..but im kinda happy.overall .my questions are any tips for doing this better..what kind of materials (vine charcoal or paper?..set up..this book says that the plates have to be copied from a distance on an easel has anyone here done this?...it looks to be very gruosome training..
    5. have you checked this thread? 2 hours for a bargue drawing is an uber rush job if you mean to use them in the way they were intended. it's very gruesome training. Personally, i'm not convinced by them. I've talked to people in florence doing them, and it helps you judge values but it's not gonna make you great at drawing. Getting good at drawing is a case of doing lots of drawings, but there we go. It is extremely satisfying if you do one properly, i did a couple and i don't regret it i just won't do more. rant over...bla bla bla ignore me.
    6. geeza, in my opinion(and I stress: in-my-opinion), i think you should draw how it comes to you. You could, (and may be told by many) to spend several hours 'perfecting' a copy of a Bargue plate, but IMO i dont see how that is necassary. To me, learning to draw, is also finding and defining your inner self, YOUR style, your way of seeing things. Learning is a tool, the computer is a tool, oils, acrylic, charcoal - is a tool - the way you decide to put it down on paper, is your own instinct, your own desicion. By all means take the advice that is given to you here, and dont dismiss it - which i dont think you will - but utilise it, incorporate it into what you see and how your emotions push you. Also, my eye wonders too. But I let it. Im not afraid to let it, because thats just me. If i concentrate on one thing too much, i over work it, and its ruined. So let your eye wonder, go draw the bits you are attracted to, because at least if you get that down, you are able to see it, visualise it and prepare yourself to complete the rendering with ease.
    1. Art, by it's very nature, is abstraction of what is real. So really, every piece of art is abstract art. It's hard to be a good artist and simply shrug off the Jackson Pollocks and the Mondrians of the art world, because there is a lot their work can teach us about composition and color.
    2. I have an unfortunate morbid attraction to such utterly degenerate forums. Pardon me if I dont spend more than a minute of my time chuckling at their simian antics. EDIT: Having spent a few leisurely minutes glancing over their really rather vacuous but pretty site, I have come to a conclusion. These people are narrow minded elitist fools. I present the following quote as gruesome proof of their inability to comprehend the beauty in a simple smear of colour: At best they are craftsmen, with shoddy skills and unmethodical training. Ask yourself with an unbiased mind: What Rothko nebula or Pollock drip painting is more beautiful than a fine Persian rug, a Fabergé egg, or even a finely carved picture frame? The artificers of these three objects are craftsmen - but even they are not fine artists. Where do the legions of modernist smudgers, smearers, and splatterers rank?
    3. ArtRenewal is about as intellectually unbiased as the Pope. Take that into consideration when you read anything that comes from that particular forum. The fact that they can't even accept the fact that ALL art IS and MUST BE by it's very nature ABSTRACT is more than a small problem, and try moving the discussion outside the realm of white western high-realism into other cultures just to see the mental acrobatics they have to go through to pretend to at least grudgingly accept whatever is discussed as "real" art. Tell me to accept only Abstract Expressionism as real art, and you're an asshole. Tell me to accept Frazetta and Stan Lee's output as the only real art, and you're an asshole. Tell me only the Byzantine Cultures produced real art, and you're an asshole. Please note that probably not one member of ArtRenewal would disagree with you if you repeated the three statements above, while they immediately tell you that the only "real" art is White Western High-Realism and its immediate "cousins.
    4. Have you (OP) ever tried to create an abstract peice of art? No? Then I would not lend myself to pass judgment on an aspect of art you've never explored out of curiosity or having the slightest interest in. It's harder than the results brought about. Exploring different aspects of what "Art" is gives one a better sense of what you can do, what there is out there, what you really don't know.
    1. I didn't say it would be good if Bouguereau had died at that young age, but he would have been better remembered. If the Dante painting is anything to go by his earlier work had more bite! (Literally.) It was the later 'sentimental', idealized stuff that the 'modernists' reacted against for a long time. I rather like it myself. It's invariably subtle and sweet, perfectly drawn and faultlessly rendered. I'd rather look at the worst thing Bouguereau ever did than the best Matisse in the world. Matisse's draftmanship is, by contrast, completely inept, his colours vile and garish, his characters monstrous. You can't say he was in any more moral or PC, either, as he did female nudes, too, (including odalisques) but he made them so hideous they put you off your dinner! It was an insult to women. I can't believe anyone's ever held this stuff up as fine art, or that anyone ever paid him as an art teacher. It's just so bad!
    1. I think Bouguereau would be better thought of if he had died before he was 30 and was only remembered for Dante et Virgile au Enfers rather than all those prettyfied nymphs and children.
    1. Bouguereau did about 30 paintings a year so a little less than two weeks per painting. it was actually less time for each painting than that though because he also taught at eh atelier and practiced drawing from casts every day as part of his regular routine and he was working only until sundown or a little after that. Same for Gerome. Skill means not constantly correcting your work. Academics had the skill it takes to get it right on the first sitting. Nowadays people fake their skill by tracing but tracing can't mix color for you or apply paint so people back into their finish by endlessly correcting it to get it right because they lack the knowledge and ability to do it right during the first application. N. C. Wyeth, Sargent, Zorn, Sorolla, and Chase regularly finished large-scale paintings in one or two sittings.
    1. I tend to see this kind of art as a way for painters to talk back at the camera. But beyond that, I think it takes the subject matter of the photograph into another realm. Camera pictures being everywhere; magazines, television, ads, the internet... we don't pay much attention to 95% of them. But like JFierce said, walking by a gallery and seeing a giant photorealistic image painted on canvas really ought to catch your eye. So when a guy like Denis Peterson reproduces a horse race photograph with paints what he does is allow that image to be given fresher attention through a medium which is less crowded with similar imagery.
    2. I had a professor at a community college who was a photo realistic painter. The detail was astounding. Various sizes, but he did seem to have the same bland taste in the subject matter. Like one was a gas pump. Although he did shift around the hue in some of them while keeping it realistic. Eh you don't get the feel as well through the internet. Seeing a giant canvas over 6 ft tall where it's still hard to distinguish it being done with brush strokes I found astounding.
    1. Our videos focus on the most creative parts of the process - so you can watch and learn the most important part! To ensure you’re seeing the most creative part of the process we make the artists do all their sketching and doolding on video
    1. Andrew Loomis created the Ideal Male and Female references over 70 years ago and since then generations of artists have used them to understand the complex proportions of human anatomy
    2. It's was his designs that made Rackham miniatures an international sensation. Watching him sketch in the studio below was like magic! He explained to us why the sculpts based on his drawings were so appealing. "sculpting and drawing is the same - it's all about the silhouette. Details and realism are secondary, they only get in the way; the silhouette is what really matters." It was a revelation!
    1. Art is always done within the constraints of a box.

      but does real art always follow rules

  19. Apr 2019
    1. Limited edition t-shirt of William Schaff’s A Dream in the Dark cover design.

      I mean, this is alone worth the money you're shelling for this box of wisdom.

    1. the manuscripts that were discovered nine years ago, now in the University of Arkansas library with many of her other papers, are mostly complete and easily performed.

      I do recall this happening way more than it should. Not only just A.A but many other colored people. Thousands of art just now being discovered. As a woman of afo-latina descent it makes me proud to know more and more blacks of all ethnicities are becoming prominent in art today.

  20. Mar 2019
    1. “Ancient temples were somewhat seen as quarries,” Bleiberg said, noting that “when you walk around medieval Cairo, you can see a much more ancient Egyptian object built into a wall.” Such a practice seems especially outrageous to modern viewers, considering our appreciation of Egyptian artifacts as masterful works of fine art, but Bleiberg is quick to point out that “ancient Egyptians didn’t have a word for ‘art.’ They would have referred to these objects as ‘equipment.’” When we talk about these artifacts as works of art, he said, we de-contextualize them.
    1. Magic is an art, as capable of beauty as music, painting or poetry. But the core of every trick is a cold, cognitive experiment in perception: Does the trick fool the audience?
    1. the most important secret in magic is that most people believe there’s a safe somewhere that contains all the magic secrets that’s heavily guarded and carefully locked. The biggest secret magicians have to keep is that that safe is empty.
    2. Anyone who claims they can watch a piece of magic without trying to figure out how it’s done is lying. One of the fundamental joys of magic is it’s an intellectual art form at one level, and as a viewer, you’re trying to reconcile what you see with what you know
    3. In Tim’s Vermeer, our friend Tim Jenison believes that he has discovered the method by which Vermeer got such photo-realistic effects. Knowing that does not in any way diminish my astonishment at looking at a Vermeer painting. Alexander Pope wrote, “A little learning is a dangerous thing/ drink deep, or not taste the Pierian spring.” He’s talking about exactly that. A little learning can spoil magic. A lot of learning enhances it.
    4. Magicians get into magic because they’re seduced by the feeling of amazement. The ironic thing is, the deeper they dive into magic, the less often they get fooled. That seems immeasurably cruel.The deeper you get into magic, the more profound your amazement becomes. There’s an intermediary stage where you go, “Oh, is that all there is? It was just a thread?” And then when you work with a thread for four years, and you work out what must exactly be done to make that thread into something that is profound and difficult to imagine could be the cause of whatever it is you’re doing to it, you veer right into a different kind of amazement. It’s the amazement of the knowledgeable person. It’s the amazement of the astronomer who has studied everything about the stars that is available, and who sees and understands the mechanisms that we know about, but is able to appreciate how mysterious it all is in the larger picture.
    1. Eun Heekyung cho biết hiện nay công chúng Hàn Quốc đang đắm chìm trong văn hóa đại chúng là các loại hình nghe nhìn. "Trong khi văn chương có tác dụng làm cho người ta nhận thức được giá trị cuộc sống, làm người ta hạnh phúc hơn khi đắm mình vào cuộc sống".
    1. Twin blowsPainting has been declared dead so many times over the past 150 years that it can be hard to keep track. But in her introduction, Hudson pinpoints two developments in the history of art that shook painting to its foundations, in both cases almost fatally. One was the invention of photography in the 1830s. Photographs did more than just depict the world better and faster than painting; they also made entire painterly languages defunct, from military painting to academic portraiture. (“From today, painting is dead,” the academic painter Paul Delaroche is purported to have said after seeing a daguerreotype for the first time.) Ever since, painting has in some ways functioned in dialogue with the camera. In some cases that dialogue takes the form of rejecting photographic realism, such as in the unnatural colour of Van Gogh. Or the dialogue is between equal partners. That can be via the use of silkscreened imagery, most famously by Andy Warhol; via a hyperrealism of Richard Estes or Franz Gertsch, whose paintings are ‘more photographic’ than photographs; or via more painterly effects that nevertheless advertise their photographic source, as in the art of Gerhard Richter and Chuck Close.After photography, the other body blow to the primacy of painting came in the 1910s, when Marcel Duchamp elevated a bicycle wheel, a bottle rack and an upturned urinal to the status of art. Even more than photography, the ready-made object struck at the heart of painting’s self-justification. Not only did Duchamp recalibrate the terms of artistic success, privileging ideas over visuals. He also eliminated the need for the artist’s hand in a way photography never entirely did. (Indeed, many photographers of the early 20th Century, from Ansel Adams to Edward Steichen, consciously imitated painting techniques.) Duchamp’s insurrection removed technical skill as a painterly virtue, and by the 1960s an artist like the minimalist sculptor Donald Judd could confidently say, “It seems painting is finished.”
  21. Feb 2019
    1. As Shulman (1986) noted, this knowledge would include knowledge of concepts, theories, ideas, organizational frameworks, knowledge of evidence and proof, as well as established practices and approaches toward developing such knowledge. Knowledge and the nature of inquiry differ greatly between fields, and teachers should understand the deeper knowledge fundamentals of the disciplines in which they teach

      It is important to not only understand what the content is that we are teaching but to understand what goes into the content that we are teaching. The article gives exampled of art and science; the importance is not only on the art or science it is the history and understanding of artists and their meaning and "knowledge of scientific facts and theories, the scientific method, and evidence-based reasoning"

    1. 一直使用加密技术现身本就给中本聪披上神秘的外衣;即设计出比特币系统又对其未来发展有着全面考虑,则让他被贴天才标签。难怪有人会认为中本聪是外星人、AI或神秘组织。但你若继续深挖,便会逐渐打消这些念头;慢慢发现中本聪并没有我们想得那么神,也没有所谓的科幻和阴谋色彩。

      <big>评:</big><br/><br/> 中本聪是「神」吗?<br/><br/> 在回答这个问题前,应当扪心自问:我们是「人」吗?在技术原教旨主义大行其道的年代,技术从业者的世界观亦逐渐被这一行行二进制符号定义、控制、编码。既然如此,精神领袖是否有必要在三次元世界存在对应的物质实体?中本聪真实身份的探寻者们忽视了比特币主网络上线运行那一刻的即时意义——在那一刻,Satoshi Nakamoto 的身份迷思就已倾然瓦解。这使人联想到艺术家丹尼尔 · 布伦(Daniel Buren)对于「在场」(on-site)概念的演绎——他的作品总是诞生在它所处的位置上,而不是如同绝大多数艺术家那样在工作室实现后再转移到展厅展示。布伦在艺术上是成功的,但这群探秘者却给自己设下了一道无解谜题。

    1. Costume designer Romy McCloskey recently used the skills the precision work of her hand embroidery and embellishments to help save the life of an injured Monarch butterfly

      I wouldn't even think this would be possible. Amazing!

    1. genius or observation

      Not, though, through book learning (unless that counts as observation?).

      Calls again to Cicero's discussion of art, where the 'rules' come from observed and practiced successes (not handbooks)

  22. Jan 2019
    1. Architect and graphic designer Mahmoud Tammam has translated his love of word manipulation into a delightful series celebrating language.

      Love these!

    1. recede the media concepts they generate

      This brings to mind Cicero's De Oratore, where Crassus discusses art (in the sense of a skill, systematic knowledge of a particular field) and eloquence. Instead of a theory of rhetoric/oratory leading to eloquence, "certain people have observed and collected the practices that eloquent men have followed of their own accord. Thus, eloquence is not the offspring of art, but art [is the offspring] of eloquence." The skill itself always precedes the systematization of the skill.

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