356 Matching Annotations
  1. Jul 2021
  2. 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.)

  3. 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.

  4. 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.

  5. 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.

  6. 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

  7. 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?

  8. Nov 2020
  9. 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.)
  10. 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.

  11. Aug 2020
  12. 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.

  13. 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.
    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.

  14. 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.
  15. 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.

  16. 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


  17. Feb 2020
  18. Jan 2020
  19. 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).

  20. 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.

  21. 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.
  22. Sep 2019