395 Matching Annotations
  1. Last 7 days
  2. canvas.ucsc.edu canvas.ucsc.edu
    1. The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin

      1. Benjamin is part of the Frankfurt School at Institute of Social Studies in Germany.
      2. They are trying to examine the failure of Marxist revolutionary social change.
      3. The idea is that ideology disseminated through mass media are making it very difficult for Marx's prognotication are making it very difficult for social change to occur.
      4. 19th century modernity: mass transportation, factory work, dissemination of capitalism, movement to cities and experience of urban life

       These convergent endeavors made predictable a situation which Paul Valéry pointed up in this sentence: “Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign.” (op. cit., p. 226) Around 1900 technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes. For the study of this standard nothing is more revealing than the nature of the repercussions that these two different manifestations—the reproduction of works of art and the art of the film—have had on art in its traditional form.

      Q: Why does it matter that film minimizes the aura?

      At the time, art reacted with the doctrine of l’art pour l’art, that is, with a theology of art. This gave rise to what might be called a negative theology in the form of the idea of ‘pure’ art, which not only denied any social function of art but also any categorizing by subject matter. (In poetry, Mallarmé was the first to take this position.) An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility.7 From a photographic negative, for example, one can make any number of prints; to ask for the ‘authentic’ print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice—politics.<br> Ritual: pre-modern timesPolitics: Despite the political painting the art piece will be associated with the aura of original piece of art.

      • Film is not auratic because in film: 1) spaces and times are constructed 2) actors performance is stitched together 3) actors do not share space with spectators 4) multiple points of view 5) appeals to a MASS AUDIENCE and a COLLECTIVE AUDIENCE 6) reveals new aspects of the thing reproduced (time alpse, slow motion).

      How do institutions put the aura back into film?

      In photography, exhibition value begins to displace cult value all along the line. But cult value does not give way without resistance. It retires into an ultimate retrenchment: the human countenance.

      The superstar is a way to put the aura back into film

      The film responds to the shriveling of the aura with an artificial build-up of the “personality” outside the studio. The cult of the movie star, fostered by the money of the film industry, preserves not the unique aura of the person but the “spell of the personality,” the phony spell of a commodity. So long as the movie-makers’ capital sets the fashion, as a rule no other revolutionary merit can be accredited to today’s film than the promotion of a revolutionary criticism of traditional concepts of art. We do not deny that in some cases today’s films can also promote revolutionary criticism of social conditions, even of the distribution of property. However, our present study is no more specifically concerned with this than is the film production of Western Europe.

      *Marx says capitalism produces the seeds of its demise. We can think of that as a guiding principle in which capitalism produces the neorosis that leads Chaplins character into a destructive set of behaviors that stops the Fordist capitalist production in a factory.

      Feelings of belongoing and togetherness and being overhwemed by a mass you want to be a part of , but for Benjamin this is a trynanny where people feel they are in control but they are not really in control. Thus communism replies by politicizing art. Art for art's sake is harmful when put in the service of a facist regime. Art for political progress.

      The growing proletarianization of modern man and the increasing formation of masses are two aspects of the same process. Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves.21 The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values.

      Film is not merely a translation of an in-person thetaer performance. Rather film is performing for future audiences and for the director and for cinematrography. This supports the idea that film is a collabroative creation that brings an object into the world.

      One film can be playing multiple times around the world and so this can be distributed on mass scale.

      Film is not merely a recording of reality. Film reproduced new aspects of the things reproduced through slow motion and it brings to light entirely new aspects of matter but discloses quite aspects within them. If Benjamin merely interested in the epistemological possibility of the film to expand our limited perceptual appartus, yes but think about how this reinforces his claim that film moves us away from the aura,...that if we can see unknown aspects by recording it then we can't rely on film to reproduce an original we have to keep in mind that the image is qualitatively distinct from our perceptual access to the thing. So film is not merely a copy of the thing that it records.

      Benjamin flips things and says that maybe film isn't art the way we see an art and this will get us away from the trappings.

      What is Benjamin's definition of art which he is defining with the aura, the transcendence of individual of ritual.

      1. substructure or base: factors that produce commodities and economic relations that result from these concrete aspects
      2. superstructure: culture, law, media that for a Marxist thinker emerges in the way that the economic structure functions; the more media/education/political cosumption that you do the less you are going to understand the conditions of your exploitation and the more you are going to think change is possible.
      3. What role does cinema play in the move from cult and aura to mechanical reproduction? See snapshots.
    1. https://warburg.library.cornell.edu/about/mnemosyne-themes

      Looking at the broad themes here makes me wonder if they line up potentially with the larger groups of cards in Warburg's zettelkasten?

      While the non-discursive, frequently digressive character of the Atlas frustrates any smooth critical narrative of its themes and contents, nine thematic sequences may still be discerned:

      The ideas of non-discursive, digressive, and frustrated narrative could easily be applied to a stranger approaching another person's collection of notes.

  3. Jan 2022
    1. mais que le service numérique puisse agir sur le comportement de l’utilisateur.

      Problematique de tout produit, ou 'outil informatique" : il a une fin determinee. Quand cet outil est destine a une personne, on attend qu'il serve une raison. Sinon "c'est de la deco". C'est en ca que l'oeuvre d'art est peut-etre le seul artefac qui echappe a cette regle.

  4. Dec 2021
    1. Drexel, for instance, held those teach-ers ridiculous who taught students to build up houses and rooms by means of imagination and stock them with images of memorable subjects (imagines agentes).16 According to the German Jesuit, the effort was not only huge but students wasted their time because images escape from these artificial places

      much as prisoners escape from jails without guards.17 16 Drexel, Aurifodina, 258 17 Drexel, Aurifodina, 3–4.

      Jeremias Drexel (1581 – 1638) recommended against the method of loci during the explosion of information in the late 16th and early 17th centuries.


      Add Drexel to the list of reformers against the ars memoria in the early 1600s.)


      While dealing with the information overload, educators may have inadvertently thrown out the baby with the bath water. While information still tends to increase and have increased complexity, some areas also show compression and concatenation and new theories subsume old information into their models. This means that one might know and understand Einstein which means that memorizing Newton's work is no longer needed at some point. Where should one draw the line of memorization for subsuming the knowledge of their culture? Aren't both old and new methods for memory usable? Keep the ars memoria while also using written methods.

    2. In §§ 4–5, I examine the socio-evolutionary circumstances under which a closed combinatory, such as the one triggered by the Llullian art, was replaced by an open-ended combinatory, such as the one triggered by a card index based on removable entries. In early modernity, improvement in abstraction compelled scholars to abandon the idea that the order of knowledge should mirror the order of nature. This development also implied giving up the use of space as a type of externalization and as the main rule for checking consis-tency.

      F*ck! I've been scooped!

      Apparently I'm not the only one who has noticed this, though I notice that he doesn't cite Frances A. Yates, which would have certainly been the place for having come up with this historical background (at least that's where I found it.)


      The Llullian arts can be more easily practiced with ideas placed on moveable index cards than they might be with ideas stored in one's own memory. Thus the index card as a tool significantly decreases the overhead and provides an easier user interface for permuting one's ideas and combining them. This decrease in mental work appearing at a time of information overload also puts specific pressure on the older use of the art of memory to put it out of fashion.

    3. Simultaneously, there was a revival of the old art of excerpting and the use of commonplace books. Yet, the latter were perceived no longer as memory aids but as true secondary memo-ries. Scholars, in turn, became increasingly aware that to address the informa-tion overload produced by printing, the best solution was to train a card index instead of their own individual consciousness.

      Another reason for the downfall of older Western memory traditions is the increased emphasis and focus on the use of commonplaces and commonplace books in the late 1400s onward.

      Cross reference the popularity of manuals by Erasmus, Agricola, and Melanchthon.

    4. Over these two centuries, an in-creasing impatience for the ancient art of memory based on the use of imagi-nation could be detected in the academic milieu.

      Following the invention of moveable type, the information overload created in the two centuries between 1550 and 1750, placed a major burden and impatience, particularly on academic scholars, on the use of the ancient arts of memory based on the use of imagination. In addition to the education reforms by those like Peter Ramus, this may have been a major motivating factor for forgetting this prior tradition of knowledge acquisition and management.

      What is one to do when there's seemingly "too much to memorize"?

  5. Nov 2021
    1. It wasn’t until the twentieth century that art historians determined that the figure was Aristotle

      What evidence was given for this identification of Homer and Aristotle?

    2. he Western tradition has never been more appealingly portrayed than in Rembrandt’s 1653 painting “Aristotle with a Bust of Homer.” Whether you stand in front of it at the Metropolitan Museum or look at it online, the painting turns you into a link in a chain that goes back three thousand years.

      Not sure how they manage not to link Rembrandt's 1653 painting "Aristotle with a Bust of Homer" here.

      Rembrandt - Aristotle with a Bust of Homer - WGA19232.jpg<br>By <span title="Dutch painter and etcher (1606-1669)">Rembrandt</span> - Unknown source, Public Domain, Link

      It might also be more interesting to use the metaphor of a ladder here than a chain to give a tangential nod to Western culture's scala naturae.

    1. How can these modern translations and related translations be compared and contrasted to the original passage of the stories in their original bardic traditions?

      Cross reference the orality work of Milman Parry, et al.

    1. Art, to me, is language. It’s a way to communicate something that words can’t make you think, understand, or feel. The dream of an autonomous artist is exciting because it mediates a conversation between us and technology. To make art, autonomous, feels like creating life: a machine in the aether that is trying to tell us something. We become symbiotic, like bacteria in our biological bodies, in creating a form of life that talks to itself, and to us through art.
  6. Oct 2021
    1. The applied arts are all the arts that apply design and decoration to everyday and essentially practical objects in order to make them aesthetically pleasing.[1] The term is used in distinction to the fine arts, which are those that produce objects with no practical use, whose only purpose is to be beautiful or stimulate the intellect in some way. In practice, the two often overlap. Applied arts largely overlaps with decorative arts, and the modern making of applied art is usually called design.
    1. The rise of the Nazis in 1933 caused an unprecedented forced migration of hundreds of artists within and, in many cases, ultimately away from Europe. Exiles and Emigres, published in conjunction with a traveling exhibition opening in February 1997 at the Los Angeles County Museum of Art, is the first book to trace the lives and work of 23 well-known painters, sculptors, photographers, and architects exiled from their homelands during the 12 years of Nazi rule.

      “The Bauhaus concept, as it was transplanted to the United States, was fundamentally different from the principles upon which the experimental school had been founded in Weimar in 1919. The guiding principle of the Bauhaus was to unify all aspects of art making—painting, sculpture, handicrafts—as elements of a new kind of art, erasing the division between “high” and decorative art. Explorations of materials, color, and form were important building blocks of the curriculum. The artists and designers of the Bauhaus believed that this new type of art and design would help to create a better society, and they sought commissions to design public buildings and other elements of public life (such as flags and currency). In America, however, the Bauhaus ideas lost their social and political thrust. The emigré teachers in Chicago, Cambridge, and North Carolina who had been committed to progressive architecture and design ideas in Germany were now lionized as upholders of a pure, reductivist style.”

      (Stephanie Barron, page 25)

    1. Design for the Real World

      by Victor Papanek

      Papanek on the Bauhaus

      Many of the “sane design” or “design reform” movements of the time, such as those engendered by the writings and teachings of William Morris in England and Elbert Hubbard in the United States, were rooted in a sort of Luddite antimachine philosophy. By contrast Frank Llloyd Wright said as early as 1894 that “the machine is here to stay” and that the designer should “use this normal tool of civilization to best advantage instead of prostituting it as he has hitherto done in reproducing with murderous ubiquity forms born of other times and other conditions which it can only serve to destroy.” Yet designers of the last century were either perpetrators of voluptuous Victorian-Baroque or members of an artsy-craftsy clique who were dismayed by machine technology. The work of the Kunstgewerbeschule in Austria and the German Werkbund anticipated things to come, but it was not until Walter Gropius founded the German Bauhaus in 1919 that an uneasy marriage between art and machine was achieved.

      No design school in history had greater influence in shaping taste and design than the Bauhaus. It was the first school to consider design a vital part of the production process rather than “applied art” or “industrial arts.” It became the first international forum on design because it drew its faculty and students from all over the world, and its influence traveled as these people later founded design offices and schools in many countries. Almost every major design school in the United States today still uses the basic foundation course developed by the Bauhaus. It made good sense in 1919 to let a German 19-year-old experiment with drill press and circular saw, welding torch and lathe, so that he might “experience the interaction between tool and material.” Today the same method is an anachronism, for an American teenager has spent much of his life in a machine-dominated society (and cumulatively probably a great deal of time lying under various automobiles, souping them up). For a student whose American design school slavishly imitates teaching patterns developed by the Bauhaus, computer sciences and electronics and plastics technology and cybernetics and bionics simply do not exist. The courses the Bauhaus developed were excellent for their time and place (telesis), but American schools following this pattern in the eighties are perpetuating design infantilism.

      The Bauhaus was in a sense a nonadaptive mutation in design, for the genes contributing to its convergence characteristics were badly chosen. In boldface type, it announced its manifesto: “Architects, sculptors, painters, we must all turn to the crafts.… Let us create a new guild of craftsmen!” The heavy emphasis on interaction between crafts, art, and design turned out to be a blind alley. The inherent nihilism of the pictorial arts of the post-World War I period had little to contribute that would be useful to the average, or even to the discriminating, consumer. The paintings of Kandinsky, Klee, Feininger, et al., on the other hand, had no connection whatsoever with the anemic elegance some designers imposed on products.

      (Pages 30-31)

  7. Sep 2021
    1. https://www.youtube.com/watch?v=gJ7CyM1Zrqc

      An interesting experiment to change one's schedule this way.

      I feel like I've seen a working schedule infographic of famous writers, artists, etc. and their sample work schedules before. This could certainly fit into that.

      One thing is certain thought, that the time of waking up is probably more a function of the individual person. How you spend your time is another consideration.

      “Without great solitude, no serious work is possible.” ― Picasso

      “Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring mine to bear on one thing only: my paintings, and everything else is sacrificed to it...myself included.” ― Picasso

      Every child is an artist. The problem is how to remain an artist once he grows up. —Picasso

      see also: https://quoteinvestigator.com/2015/03/07/child-art/

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  8. minus.social minus.social
    1. Just like life, Minus has limits. Try it out today and see what online interaction feels like on a social network designed for less.
    2. Minus is a finite social network where you get 100 posts—for life.

      What a great idea, and not just for conceptual art!

    1. https://fs.blog/2021/07/mathematicians-lament/

      What if we taught art and music the way we do mathematics? All theory and drudgery without any excitement or exploration?

      What textbooks out there take math from the perspective of exploration?

      • Inventional geometry does

      Certainly Gauss, Euler, and other "greats" explored mathematics this way? Why shouldn't we?

      This same problem of teaching math is also one we ignore when it comes to things like note taking, commonplacing, and even memory, but even there we don't even delve into the theory at all.

      How can we better reframe mathematics education?

      I can see creating an analogy that equates math with art and music. Perhaps something like Arthur Eddington's quote:

      Suppose that we were asked to arrange the following in two categories–

      distance, mass, electric force, entropy, beauty, melody.

      I think there are the strongest grounds for placing entropy alongside beauty and melody and not with the first three. —Sir Arthur Stanley Eddington, OM, FRS (1882-1944), a British astronomer, physicist, and mathematician in The Nature of the Physical World, 1927

    2. “We don’t need to bend over backwards to give mathematics relevance. It has relevance in the same way that any art does: that of being a meaningful human experience.”

      Paul Lockhart in Lockhart's Lament

    3. “What other subject is routinely taught without any mention of its history, philosophy, thematic development, aesthetic criteria, and current status? What other subject shuns its primary sources—beautiful works of art by some of the most creative minds in history—in favor of third-rate textbook bastardizations?”

      ---Paul Lockhart

  9. Aug 2021
    1. provoking discussion on where audience puts faith/belief/investment in the future (digital / NTF or physical.

    1. Sketchnotes by Chad Moore and Chris Wilson

      https://vi.to/hubs/microcamp/pages/chad-moore-and-chris-wilson?v=chad-moore-and-chris-wilson&discussion=hidden&sidebar=hidden

      Sketchnotes are ideas not art.

      Squiggle birds - take squiggles and give them beaks, eyes, and bird feet. (Idea apparently from Austin Kleon.)

      How you might take notes if you'd never been told how to.

      • There is no particular app or platform that is the "right" one.

      Common elements:

      • Headlines and sub headlines are common
        • Elegant text / fancy text
      • Icons
      • containers - ways of holding information together
        • this can be explicit or via white space
      • flow of information (arrows)
      • arrangements or layouts of how information is displayed
        • top to bottom, circles, columns, stream of flow of ideas
      • people
        • emotions, perhaps using emoji-like faces
      • shadows, highlights

      Icons

      Simple can be better. Complexity may make understanding more difficult.

      Examples

      A few they pulled off of the web

      Sketchnote Selfie

      Goal: Create an info rich portrait with character. Portrait, name, info, location, passions, hobbies, interests, social usernames, now section, etc.

  10. Jul 2021
  11. Jun 2021
    1. Yarn is constantly cited as prior art in the RFCs. I would be surprised to see big disparities between both CLIs.
    1. 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. 
    1. 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.
    1. 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.

      I used to watch a TV show called "Art Attack" when I was a child, which is also my initiation of art. I remember he created a huge artwork made up of used clothes, trash, and some garbage bags. That was also the first time that I know the form of art can be various and diverse. Have you watched this TV show before?

    1. 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.

      There is definitely an art to writing interesting marginalia however. Perhaps something that requires practice?

      Sam Anderson's would be intriguing I'm sure. Dick Macksey's marvelous. Anderson provides the example of people wanting books from [[Samuel Taylor Coleridge]] earlier in the piece.

      I can only contrast this with some of the crazy minutiae an pedantry I've seen on Hypothes.is which makes me think that it's surely an art form.

      I suspect some of it is that I'm missing the personal context with a particular person---a sense of continuity. Things get even worse when it's a piece annotated by a class which can create a cacophony of annotations. I see far too many "me too" annotations floating around in the margins that don't add anything to the conversation. (Hopefully I'm not guilty of this sin myself, but really, even my public annotations are a conversation between me and a piece and are only for my own benefit.)

  12. May 2021
    1. 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.
    1. Cymry ar Gynfas Seren Morgan Jones a Kizzy

      In this programme the artist Seren Morgan Jones who's famed for her strong portraits of women will attempt to paint a portrait that will please singer/songwriter Kizzy Crawford.

      Yn y rhaglen hon bydd yr artist Seren Morgan Jones sy'n enwog am ei phortreadau cryf o fenywod yn mynd ati i geisio peintio portread fydd yn plesio y cerddor a'r gantores Kizzy Crawford.

  13. Apr 2021
    1. 7:09 - Discussion of a custom template for use cases; this sounds a bit like some customization similar to Open Scholar on Drupal

      Here's a link to Alan Levine's work here: https://cogdogblog.com/category/twu-portfolios/

      What has support for WPMU looked like within the pandemic?

      Laurie Miles, UNC Asheville

      • Uptick with faculty looking for tools to be online. They've gone from 6 or 7 in past years to 17
      • Sharing resources with colleagues within the department or at other institutions

      Shannon Hauser, University of Mary Washington

      • They've seen a disconnect between their LMS (Canvas) and Domains with the LMS winning out

      Colin Madland, Trinity Western University

      • Didn't have a culture of online teaching
      • Fine arts department started tinkering and others within the department are using that template. They spent some time and thought in the Summer and that made it easier for them in the fall.

      Jim Groom talked about a "motherblog" (a planet made via RSS). How can we center the idea of a webmention hub to do this?

      There was a lot of reversion to what was comfortable in the move to all online pedagogy. Professors were comfortable with lectures, so they stuck with that. There wasn't an emphasis on actual learning.

      I should note Glenn Zucman's art work to Colin to pass along to their art department. There could be a community of use cases that might help each other experiment and expand on their ideas.

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

      Sometimes creation is for us, I think, and sometimes things need to be out. How do we know which are private and which iarefor the world?

    1. Article synopsis of paper that looks at hypoxia with relation to artistic asphyxia in pre-historic cave art. The use of torches, lamps, or fire in small enclosed spaces may have influenced early cave art.

    2. 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.

      Here again, the sentence reads well if we replace rituals and beliefs with mnemonic practice.

    3. 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.”

      This fits into a mnemonic perspective of life as being something greater than religion or ancestor worship. The ancestor worship part comes in because they're a thing to attach our memories of needed culture and knowledge to. They're also important because they're the ones that discovered the knowledge and helped to hand it down.

    4. “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.

      Shamanic instances could support knowledge preservation and communication to following generations.

    5. 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?

      If these were used for societal memory purposes, the privacy of the caves as well as the auditory and even halucinatory effects could have helped as well.

      What sorts of other things would we expect to see in such instances? Definitely worth looking at Lynne Kelly's ten criteria in these situations, though some of them are so old as to be unlikely to have as much supporting evidence.

    6. 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.

      Dating of the oldest cave art to about 45,500 years ago.

    7. 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.

      If the groups were large enough and stayed for long enough, they could have induced hallucinations just based on many people depleting oxygen in small enclosed spaces.

    1. The Cuteness of the Avant-Garde

      An excellent article exploring the origins of "Kawaii" (Japanese for "cute") style as manifested through modern artists in Japan such as Yoshitomo Nara and especially Takashi Murakami, whose aesthetic has won him high-profile collaborations with Kanye West (most notably the album cover of Graduation) and more recently Billie Eilish's video for "You should see me in a crown." The rising popularity of artists like Murakami, which dovetails with the ascendance of cutesy, non-threatening corporate design being discussed here illustrates how the patterns discussed in this article are both a product of and a reaction to a broader cultural trend of adult infantilization.

    1. 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.

      Now I'm really intrigued, an artist using these methods (especially cybernetics?!) .

    1. 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.

      This is an important point that many miss about art.

    1. Design is not a synonym for decorative creative decisions.

      And yet it also IS, and there is no problem with it being both. The gardener can create function but also great expression for the sake of beauty itself.

    2. 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.

      There was never any crossover between the time of da Vinci and there being schools with an art budget.

  14. Mar 2021
    1. As I think back on this a few minutes later, I'm reminded that many of these sorts of abstract art forms are found not only in totems, but are seen in neolithic stone balls, European neolithic decorative art, or could have been used to decorate lukasa memory boards).

      This may make them more valuable within a system for using these individual art pieces as memory devices.

    1. 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.

      This is the structure of so many confidence games.

    1. <small><cite class='h-cite via'> <span class='p-author h-card'>Nature</span> in Annotating the scholarly web : Nature News & Comment (<time class='dt-published'>12/09/2019 07:11:28</time>)</cite></small>

    1. 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."

      Shepard Fairey on the link between his Obey campaign and the movie They Live.

    2. 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.

      I love this esthetic myself.

  15. Feb 2021
    1. Manning: I love the cover art. Seriously! It is very apropos and beautiful (for both this Haskell book and the recent Manning F# book).
    1. 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,

      precuneus and parietal lobe functions

    2. Art and the brain

  16. Jan 2021
    1. This study highlights the potential of digital technology expanding creative palettes and clinical intervention tools for therapeutic sessions.
    1. https://hyp.is/go?url=https%3A%2F%2Fwww.archdaily.com%2F627654%2Fthe-computer-vs-the-hand-in-architectural-drawing-archdaily-readers-respond&group=__world__

      I came across this article about the tension between computer drawing and hand drawing in architecture when I replied to an annotation by another user @onion - very interesting read and I would be curious to see this issue revisited in another ten years...how may opinions have changed?

  17. Nov 2020
  18. 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.)
  19. 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.

  20. Aug 2020
  21. 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.

  22. 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.
  23. bulgakovmuseum.ru bulgakovmuseum.ru