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cindyhangrad604 · 7 months

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Review/Essay Plan

Title Cultural objects that are taken for granted. Recognising overlooked objects???

Introduction My journey as a creative - elaborate on the title and its significance on who you are as a creative. Purpose of the report - Evolution of designers who want to make a difference in the world and to connect with others who share similar experiences - e.g. Third Culture Kid, Advocacy for Cultural Social Changes. Intro to the Cs (Creative, Creation, Creative Communities) - My work (up-to-date), designers I look up to (e.g. Barbara Kruger, Emory Douglas, Guerrilla Girls, Graham Tipene), communities (AUT postgraduates, activist groups.

The Creative The Key Values - Showcasing the importance of culture, the influence of design, and its impact on social changes. Ideas that underpin your practice, exploration of cultural heritage that discovered its significance in my practice. Conventions, media, and processes I gravitate to - Typography, Mixed Medium Collages, Photography, and Illustrations. Methods + tools for research/ideas/contexts etc - Personal Interest, historical and socio-cultural influences, contextual research, writing out keynotes/words. P.O.V - Why the arts are under appreciated. The importance of design & its impact on culture. Design guides people's understanding and knowledge. Design can navigate how people think and learn. Designs should have a purpose and a positive impact in the world.

Contextual Review - include images + captions State of knowledge in the field, best practice. Communities 'crave' a sense of belonging and like to advocate in what they believe in. *Additional sources i've came across that I could potentially use in my essay. 1) Guerrilla Girls Anonymous are a group of feminists, and female artists, who are devoted to fighting sexism and racism within the art world. Bringing awareness to gender and racial inequality.

Significance (me & the community) First exhibition I've ever seen in the Auckland art gallery and has left a long-lasting impression. They protest by making posters, stickers, billboards, books, and photographs, and giving talks at art exhibitions. They use humour and graphic images in vibrant colours to capture the attention of the audience, all in the hope of opening the eyes of the corrupt. Discussing how women are portrayed in museum (ART AGAINST ART) "The community continued to grow and also expanded on labour issues in a piece “Dear Art Collector Billionaire”—a billboard that called out the poor wages for workers at art institutions despite the exorbitant price tags for artwork."

How the guerrilla girls changed the conversation around art and activism. (2023, July 15). A WOMEN’S THING. https://awomensthing.org/blog/guerrilla-girls/

2) Barbara Kruger is an American creative. She is well-known for her iconic text-based works that examine the consequences of social issues (e.g. Consumerism, Bodily Autonomy, Capitalism & Mass Media)

Significance: An artist I look up to, sharing similar visual aesthetics. She takes images from the mass media (Hight Contrast B&W photographs) and pastes words over them, big, bold extracts of text—aphorisms, questions, slogans.

These elements combined allow Kruger to address very simply such complex subjects as identity, consumerism, and feminism. This was especially important in the 1980s as postmodern ideas incorporated themselves into feminist thought: ideologies were changing, and Kruger’s work was at the forefront in showcasing this transformation.

You are not yourself: Barbara Kruger’s influence on feminist art. (2022, November 26). TheCollector. https://www.thecollector.com/you-are-not-yourself-barbara-kruger/

Rosenbaum, R. (n.d.). Barbara Kruger's artwork speaks truth to power. Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/barbara-krugers-artwork-speaks-truth-to-power-137717540/

3) Graham Tipene is a creative who ensures Te ao Māori is incorporated into New Zealand's urban landscape.

Significance: Tipene wants a future where the Maori community can see the influence of their culture within their environment. Tipene always takes a holistic approach to ensure Maori voices and values support his work. What underlined was something that I valued as well is to ensure that a topic is represented well.

“With most artwork, you stand in front of it. But I wanted to think differently with this one, so you prepare your senses to look, feel and listen,” Tipene explains. Auckland Art Gallery Toi o Tāmaki. (2020, October 27). Cultured Conversations with Graham Tipene [Video]. YouTube. https://www.youtube.com/watch?v=8usJsY_63Hw

4) Emory Douglas & the Black Panther Community.

Significance: During high school, I enjoyed learning about the civil rights movement. I was aware of his name and have taken this paper as an opportunity to investigate who he is as a creative.

Communities of Interest AUT students, graduates. Felt like a lot more realistic approach. Knowing little about graphic design. The Best Design Awards was the first design-based community I was introduced to. For students who are in a similar situation, I felt comfort knowing that I wasn’t alone and shared a similar journey.

Learnings from investigating communities Discoveries - Emory Douglas & Dorothy Zeller - Looked behind his influences and the people he worked with.

Guerrilla Girls and their anonymous names to remember those who have a huge impact on the art industry and those who successfully served its purpose?

What entities or specific initiatives did you identify and examine? What drew you to these?

Did you survey or investigate specific organisations, structures, or publishing entities? Aspirations - I enjoy collaboration, connecting and getting to connect with people – ideally agencies and in-house design studios.

Reflections on Poster Introduce, analyse & reflect.

Why was the system used - a reflection of my own creative process, How does the system connect to objects - all physical objects & their significance. How some of these objects transcended over decades into new generations. Recognising how overlooked objects and their significance - modern vs. handmade. What does the poster say about sensibility as a designer - awareness of culture appropriation/ensuring what elements I use is represented appropriately. Ideation/planning/making and learning mistakes/experimenting is very important to the design process. 2X elements that challenged my thinking (reflect) - some objects hard to explain the significance to me - more of a natural connection/sentimental for reasons that I can’t fully identify. Some of these object don't have a significant impact on my creativity???

Categorisations - myself as a creative vs myself personally. Tools and inspiration. A new connection was discovered after completing a poster - What are my beliefs and values and how does internal and external influence impact the way I approach a design

Conclusion - Key findings + takeaway - Critical reflections that have shaped the outcome - connecting my poster to how I work/my process?

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asanders246-01 · 1 year

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ARTS246 Blog Post 3

Week Recap:

As I started our second project this week, I ran into a few different issues I had to troubleshoot. My initial sketches of a rat terrier dog paired with the letter R were mostly line based. A round of critiqued helped me begin the process of taking this form and breaking it down into basic shapes. After some experimentation, I selected the format that combined the image with the black and white contrast that best created a dog character. I did my best to arrange the shapes in a way that is readably a rat terrier, but without giving away too much of the form. This allows the viewers to fill in the gaps and naturally perceive the shapes as the animal. In the upcoming weekend, I plan to work on refining my initial shapes in Adobe Illustrator and completing my work for Monday’s due date.

Guest Speaker:

Graphic Designer and Artist Kate Bingaman-Burt paid a visit to the University of South Carolina this week in order to host a zine workshop and give a talk at the Columbia Museum of Art. While I was unable to attend the museum talk, I thoroughly enjoyed the workshop. Prior to Monday, I had heard of zines in passing but never attempted to make my own. Kate lead us through the process step-by-step, beginning with an explanation of what zines were. She brought many examples with I really enjoyed browsing through. Next, we spent time brainstorming subject matter and were given a folding tutorial for the booklet itself. I really appreciated the encouragement to write all ideas down no matter if we thought they were bad. With mine, I chose to illustrate my experiences with sound sensitivities and how noise cancelling headphones were a game changer. I allowed myself to draw without reference, producing endearingly shaky linework that I personally loved. Most importantly, the process and intentions felt fun rather than the pressure I feel with regular art projects. I will definitely be continuing this format, as I find it incredibly expressive and freeing.

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petnews2day · 2 years

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Scientists excited by discovery of 'Edward Scissorhands' dinosaur with fearsome claws - World News

New Post has been published on https://petnews2day.com/reptiles-news/scientists-excited-by-discovery-of-edward-scissorhands-dinosaur-with-fearsome-claws-world-news/

Scientists excited by discovery of 'Edward Scissorhands' dinosaur with fearsome claws - World News

The findings have changed the way researchers thought about the creatures which hadn’t previously been found in coastal regions

An artist’s rendition of Paralitherizinosaurus japonicus, the newfound dinosaur species described in this study. (

Image: Illustration by Masato Hattori)

The discovery of remains of a ‘bizarre’ dinosaur compared to Edward Scissorhands has got scientist’s buzzing with excitement.

The fossils were first found on Hokkaido Island northern Japan in 2008 but new developments in how dinosaur bones are classified has allowed scientists to revisit the bones and glean new and valuable information.

The discovery of the new subspecies dubbed Paralitherizinosaurus japonicus has changed the way scientists think about this group of dinosaurs.

It belonged to a group known as therizinosaurs, which were bipedal three-toed creatures that lived around 80 million to 82 million years ago.

Only five pieces of the dinosaur were found, leading to the confusion around idenitifying it, but researchers are hoping to return to the area for further digging.

One of the three fossilized claws of Paralitherizinosaurus japonicus. (

Image:

Yoshitsugu Kobayashi)

Despite the fearsome claws on the dinosaur they didn’t use them for catching and maiming other animals but instead to hook vegetation for grazing.

Their long claws have led to comparisons to Edward Scissorhands, the main character in Tim Burton’s film of the same name, about an unfortunate man with long-bladed scissors instead of hands.

A new study of the fossils, led by Professor Yoshitsugu Kobayashi at the Hokkaido University Museum and Anthony R. Fiorillo at Southern Methodist University (SMU) which were found in marine sediments, established the animals roamed along coastal environments.

Professor Yoshitsugu Kobayashi of the Hokkaido University Museum said: “This discovery is very important. Not only for Japanese studies but also in other parts of the world.

“This is only a fragmentary specimen but we think the remains of the rest of the skeleton is still is buried in the mountain.”

An estimated diagram of the creatures size and claws (

Image:

Illustration by Genya Masukawa)

He added: “I’m hoping we can expand this study to other therizinosaur from the rest of the world which will tell us more about this bizarre kind of dinosaur.”

According to Professor Fiorillo, based on this specimen alone, it’s impossible to know for sure how large the therizinosaur was, reports LiveScience.

At best estimates scientists believe it was “sizable,” and may have grown to be 30 feet long (9 meters) and weigh up to 3 tons (2.7 metric tons).

The fossil is so well-preserved, “we could find more of the animal if we revisited the original site,” Prof Fiorillo said.

“We remain cautiously optimistic, and it’s on our radar,” he added.

Millions of years since they went extinct, scientists continue to unearth new information about the massive lizards that once roamed the planet.

A dinosaur recently found on the Isle of Wight may have been the biggest predator ever to roam Europe.

A cross between a T Rex and a Great White shark – the massive beast was also able to hunt in water.

Inside shark hunting team that’s seen so many sea beasts it gives them all nicknames

Scientific advances could ‘build a real Jurassic Park’ sooner than we think

#Reptiles News

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sciencespies · 3 years

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Scientists find fossilized ancestor of all scaled reptiles, and it's absolutely tiny

https://sciencespies.com/nature/scientists-find-fossilized-ancestor-of-all-scaled-reptiles-and-its-absolutely-tiny/

Scientists find fossilized ancestor of all scaled reptiles, and it's absolutely tiny

Scientists have bridged a missing link in the reptile tree of life.

That link is the tiny skull of a lizard-like creature “profusely ornamented” with features that suggest it gave rise to all living lizards, snakes, and the sole survivor of another reptile group found only in New Zealand.

Named Taytalura alcoberi, the fossilized skull is pegged as the most primitive scaled reptile discovered to date, the first fossil of its kind unearthed in South America, and the most complete early lepidosaur fossil ever found, according to the international team behind the discovery.

Lepidosaurs are scaled reptiles such as lizards, snakes, and New Zealand’s tuatara, which together represent the most diverse group of land-living vertebrates alive today. Yet little is known about their early origins compared to the other arms of reptilian evolution which produced crocodiles, birds, and turtles.

“The almost perfectly preserved Taytalura skull shows us details of how a very successful group of animals, including more than 10,000 species of snakes, lizards, and tuatara, originated,” says paleontologist and museum curator Ricardo N. Martínez, at the National University of San Juan in Argentina.

The discovery of the inch-long skull also has scientists reconsidering what they knew about reptiles in the Mesozoic Era, which is often known for its enormous reptiles and towering trees, and rethinking where the search for ancient reptilian fossils should go next.

“There was a universe of fauna sneaking among bigger, clawed or hoofy paws,” says paleontologist and co-author Sebastián Apesteguía at the Universidad Maimónides in Buenos Aires.

An illustration of Taytalura. (Jorge Blanco, 2021).

“Taytalura teaches us that we were missing important information by looking not only for bigger animals, but for also thinking that the origin of lizards occurred only in the Northern Hemisphere as evidence seemed to support until now.”

The fossil, found in Ischigualasto Provincial Park in northwest Argentina, is about 11 million years younger than the oldest known lepidosaurs from Europe, but one of the best-preserved specimens of its kind, which means the team can have more confidence in their analyses.

“It looked more primitive than a true lizard and that is something quite special,” says Tiago R. Simões of his first impressions of the skull, which measures 32 mm (1.25 inches) long.

The fossilized Taytalura skull. (Ricardo Martinezl).

It’s a lucky find, especially considering the origins of lepidosaurs have been a gaping hole in evolutionary knowledge because of an “extremely patchy early fossil record comprising only a handful of fragmentary fossils”, mostly found in Europe and often poorly preserved, the research team explains.

“All other known fossils are too incomplete, which makes it difficult to classify them for sure, but the complete and articulated nature of Taytalura makes its relationships much more certain,” says team member and paleontologist Gabriela Sobral, from the State Museum of Natural History Stuttgart in Germany.

In a cross-continental effort, the research team examined the skull’s structure using a high-resolution micro-CT scanner and analyzed the images. The Taytalura skull had unique teeth and an unusual combination of features the team was not expecting to find in such an early specimen, preserved in three dimensions of astonishing detail.

“The extraordinary quality of preservation of the fossils at this site [in Argentina] allowed something as fragile and tiny as this specimen to be preserved for 231 million years,” says Martínez.

Tayta means father in Quechua, the language of the Quechua people of the South American Andes, and lura is the Kakán word for lizard, spoken by Diaguita people of northwestern Argentina, where the skull was found.

Life restoration of the Taytalura skull. (Jorge Blanco, Gabriela Sobral and Ricardo Martínez).

Some of its features resembled modern tuatara more than living lizards and snakes, which suggests the latter actually represents a major deviation in evolution – not so much the tuatara living on windswept New Zealand islands.

Martínez and the team also deployed statistical tools to test the likelihood of possible evolutionary relationships for Taytalura, and to estimate the timing of various evolutionary departures that branched into other forms of life.

These analyses, based on a comprehensive dataset of reptilian fossils, helped Taytalura find its place in the evolutionary tree, nestled in between true lizards and tuatara, and all other reptiles.

What’s more, the discovery of Taytalura in Argentina suggests that early lepidosaurs were probably able to migrate much further than previously thought – across thousands of miles on the ancient supercontinent Pangea that later split into the continents we see today: Europe to the north and South America in the opposite hemisphere.

Quite the journey for this teeny reptile.

The research was published in Nature.

#Nature

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upennmanuscripts · 4 years

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Overlooked Texts, Overlooked Images (Part II): Mystery Engravings

Fifty-two discoveries from the BiblioPhilly project, No. 41/52 A guest post by National Gallery of Art Associate Curator of Old Master Prints, Brooks Rich

Album of Engravings and Devotional Texts by Erasmus, Marco Girolamo Vida, and Prudentius, Philadelphia, Free Library of Philadelphia, Lewis E 179, fol. 11r, Annunciation (detail); Albrecht Dürer, Annunciation from The Small Woodcut Passion, probably ca. 1509/1510, Washington, DC, National Gallery of Art, Rosenwald Collection, 1943.3.3635

The first part of this blog post examined the interesting selection of texts, previously unidentified, that were included in the Free Library of Philadelphia’s Lewis E 207 prayer book. Today, our subject is the series of engravings found within that same book. From the very beginning of their production in the late fourteenth century, single-leaf prints were pasted into prayer books and other private volumes and sometimes even further painted and gilded as inexpensive substitutes for illuminated miniatures.1 In the fifteenth century several engravers in the Rhine-Maas valley region of Germany and the Netherlands specialized in small prints aimed at this market for hybrid devotional manuscripts. Ursula Weekes has argued that these printmakers created engraved print cycles specifically for inclusion in octavo and quarto size devotional prayer books at a time of transition between manuscript and print.2 The print series were integral components of the volumes, intended to be inserted during the creation of the codices. As the forty-five engravings in Lewis E 179 demonstrate, this tradition of hybrid manuscript production in northern Europe continued well into the sixteenth century. The prints in the volume form a cohesive cycle of the Life and Passion of Christ and provide a framework around which the manuscript’s handwritten prayers were inscribed.

The identity of the engraver responsible for the unsigned print series in the Free Library’s manuscript is a mystery and the cycle remains undescribed in the standard catalogues raisonnés of early modern prints. In the late nineteenth-century the prints were tentatively attributed to the school of Allaert Claesz, an understudied but prolific Netherlandish engraver who is now more commonly known as Monogrammist AC due to the letters by which he signed many of his compositions.3 While the prints in the Lewis manuscript lack an AC monogram and do not exhibit the minute detail and varied engraving technique that define the Monogrammist’s best work, their small scale and reliance on models by other sixteenth-century printmakers certainly finds parallels in the wider AC oeuvre.4 In fact, the Lewis manuscript’s print depicting the Adoration of the Magi (18v) is a reverse copy of an engraving signed with an AC monogram (Fig. ).5

Lewis E 179, fol. 18v, Adoration of the Magi (detail); Monogrammist AC, Adoration of the Magi, Dresden, Kupferstich-Kabinett, A 4989

We can identify sources for several of the manuscript’s other engravings in works by more famous printmakers of the early sixteenth century. The hand-colored image of the Annunciation (11r) that initiates the cycle is based on a composition dated to around 1510 from Albrecht Dürer’s Small Woodcut Passion series (see the comparison at the top of the post).6 While the specific form of the angel Gabriel is an original conception, the figures of the Virgin and God the Father—as well as the canopy bed that provides the backdrop for the encounter—are borrowed directly from Dürer’s model.

Several other engravings (including those found on 13r, 37v, 43v, 64r, 88v, 92v) are derived in part from Jacob Cornelisz. van Oostsanen’s woodcut Little Passion series, which was published in Amsterdam in the early 1520s.7 The volume’s engraving depicting the Samaritan Woman at the Well (36r) is a reverse copy of an engraving by the German engraver Jacob Binck.8 The engraving depicting The Last Supper (51r) is based on an unsigned composition commonly ascribed to the anonymous Flemish engraver known as Master S.9

Lewis E 179, fol. 36r, Samaritan Woman at the Well (detail); Jacob Binck, Samaritan Woman at the Well, London, British Museum, 1853,0709.90

Lewis E 179, fol. 51r, The Last Supper (detail); Usually ascribed to Master S, The Last Supper, Brussels, National Library of Belgium, R-2009-16921

Engravings attributed to Master S, Monogrammist AC, and other now anonymous minor printmakers are still preserved as extra-illustrations in manuscripts made for monastic communities around Sint-Truiden.10 Many of these prints were likely executed in the area between Liège and Maastricht in the lower Netherlands. Perhaps the engravings in the Lewis prayer book were also made in Flanders in the 1550s for a similar clientele.

from WordPress http://bibliophilly.pacscl.org/overlooked-texts-overlooked-images-part-ii-mystery-engravings/

#Fifty-two discoveries #The Free Library of Philadelphia

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mostlysignssomeportents · 4 years

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Pluralistic, your daily link-dose: 26 Feb 2020

Today’s links

Brave autolinks 404s to the Wayback Machine: The internet’s time-traveling, privacy respecting, ad-busting browser.

Clarence Thomas admits he blew it on Brand X: A very safe mea culpa from the man who helped kill Net Neutrality.

Medicare for All would be the biggest take-home pay increase in a generation: Even if my taxes went up by six figures (!), I’d still save money.

The Smithsonian publishes 2.8m hi-rez images into the public domain: Tired: “It belongs in a museum!” Wired: “It belongs to the world!”

McMansion Hell visits 1971: Before “lawyer foyers” there were “paralegal foyers.”

This day in history: 2005, 2015, 2019

Colophon: Recent publications, current writing projects, upcoming appearances, current reading

Brave autolinks 404s to the Wayback Machine (permalink)

A new feature in Brave’s excellent, privacy-centric browser: when you visit a dead page, it automagically checks to see if there’s a cached copy in the Internet Archive and directs you to that instead.

The Archive is crushing it. Working with Wikimedia, they’ve linked every book citation in Wikipedia to the relevant passage in a scanned book in their library section.

Brave’s plugin works on 404 (page not found) errors, and also for 408, 410, 451, 500, 502, 503, 504, 509, 520, 521, 523, 524, 525, and 526 errors (451 is “page censored!”).

https://www.theverge.com/2020/2/26/21154096/brave-browser-wayback-machine-404-internet-archive-lost-pages

Clarence Thomas admits he blew it on Brand X (permalink)

In 2005, Clarence Thomas wrote the majority opinion in Brand X, a case that ratified GW Bush’s FCC’s power to interpret both the statutes and jurisprudence of telcoms law however it wants, overriding judges.

https://www.law.cornell.edu/supct/html/04-277.ZS.html

That decision meant that GWB’s FCC could arrange telcoms rules to suit the Big Cable donors GWB relied on. It meant that Obama’s FCC could reverse those rules and impose net neutrality. It meant Trump’s FCC could reverse Obama’s FCC and kill net neutrality.

Now, Thomas has written a dissent in Baldwin, a new case published Monday, in which he admits that he blew it in Brand X, by giving political appointees from the administrative branch the power to overrule both Congress and the courts.

https://www.supremecourt.gov/opinions/19pdf/19-402_o75p.pdf

When the Ajit Pai decision to kill net neutrality was brought before a circuit judge, she called it “unhinged.” Then she upheld it, because Brand X tied her hands.

Unfortunately, Thomas is the sole dissent in Baldwin, whose appeal SCOTUS will not to hear, leaving Brand X unchallenged. Given Thomas’s historic cowardice when it comes to challenging the establishment, this is a nice safe way to mea culpa without risking wrath of plutes.

“Although I authored Brand X, it is never too late to ‘surrende[r] former views to a better considered position.’ Brand X appears to be inconsistent with the Constitution, the Administrative Procedure Act (APA), and traditional tools of statutory interpretation. Because I would revisit Brand X, I respectfully dissent from the denial of certiorari.” -C. Thomas.

https://arstechnica.com/tech-policy/2020/02/clarence-thomas-regrets-ruling-that-ajit-pai-used-to-kill-net-neutrality/

Medicare for All would be the biggest take-home pay increase in a generation (permalink)

UC Berkeley economist Gabriel Zucman: “Because this is my lot in life, I will note again that Medicare for All would lead to the biggest take-home pay increase in a generation for working families, because it would replace private health insurance premiums (a huge privatized head tax) by taxes based on ability to pay.”

https://twitter.com/gabriel_zucman/status/1232295342185558018

We pay more than $2000/mo for gold-plated healthcare from Cigna through my wife’s blue-chip employer, where she is an exec. When my daughter broke a bone, our ER visit to the preferred hospital (across the street from corporate HQ) cost $2700 in excesses.

The kid didn’t even see a doc. $2700 in out-of-pockets was for a Tylenol, an X-ray, and a one-minute consult with a physician’s assistant, who referred us to an orthopedist. The ortho and ER initially refused to treat my daughter unless I signed a binding arbitration waiver.

Cigna also just declined a pain therapy course recommended by my specialist, head of a prominent university’s pain clinic whose papers on the therapy are the most-cited in the field: “It’s experimental.” It will cost me $52,000 in out of pockets if I want to proceed.

So, keeping track: we’re currently spending $24k/yr on health care, and about the same in out-of-pockets, and our care is being rationed. If I want the care the top specialist in the region recommends, that’s another $52k.

Our inadequate private care, literally the best we can buy, would cost us $100k this year if we got the care our doctors recommended; $50k if we decided to ignore their advice and not get that care.

That is to say: if Medicare For All raised our taxes by ONE HUNDRED THOUSAND DOLLARS, we’d be breaking even. And getting better care. I grew up with Canadian healthcare, then 13 years of NHS UK care. The US system, at the very highest tier, is so much worse than either.

The Smithsonian publishes 2.8m hi-rez images into the public domain (permalink)

The Smithsonian has released 2.8 million hi-rez images into the public domain!

https://www.smithsonianmag.com/smithsonian-institution/smithsonian-releases-28-million-images-public-domain-180974263/

The images include reproductions of both 2D and 3D artifacts in the Smithsonian’s collection, from all 19 Smithsonian museums, hosted on an open access platform:

https://www.si.edu/openaccess

200,000 more images are slated for inclusion in 2020, and the scope of the whole project is to digitize all 155,000,000 images in the Smithsonian’s collections and dedicate them to the public domain for any use, including commercial use. It’s part of a “digital first” strategy that eschews hypothetical licensing revenue from art books and penny-postcards in favor of serving the public mission of a museum.

Here’s a crib from a keynote I gave about this to the first Museums and the Web Europe conference in Florence — museums have both an ethical and practical duty to serve the public rather than relying on plutes and licensing.

https://mwf2014.museumsandtheweb.com/paper/glam-and-the-free-world/

Tldr: the public will support you and demand your preservation when austerity-crazed governments want to de-fund you. Plutes won’t — they’ll just offer to buy your collection for their mansions.

Anyway, this is amazeballs. The possibilities for remix, fine art, new work, and computational historical research are endless. This is the Smithsonian we pay our taxes for. It’s a brave, principled move. Go, Smithsonian go!

McMansion Hell visits 1971 (permalink)

The luckiest people in the world have never heard of McMansion Hell because they get to discover Kate Wagner’s superb dunks on architectural excess, cynicism and ill-founded optimism for the very first time!

Lately, Wagner’s been doing a “Yearbook,” revisiting proto-McMansions from 1971 to trace the primitive ancestors of today’s hulking atrocities. The latest installment is a $1.2m, 5000sqft titan in Morris County, New Jersey.

https://mcmansionhell.com/post/610960530721636352/the-mcmansion-hell-yearbook-1971

This beast predates the modern “lawyer foyer” and instead sports a “paralegal foyer,” which ” lacks the transom window above the door that enables the entryway to be seen from the street.”

I could listen to Wagner riff on bad kitchen design ALL DAY.

The realtor’s just rendered a bunch of virtual furnishings into this empty room! Wagner: “Personally I’d love to have a copy of the software that lets you 3D decorate random real estate listings – it’s like the Sims but for realtors.”

Wagner signs off with a promise of a “Brutalism Post.” Swoon!

This day in history (permalink)

#15yrsago: Dismantling fear, uncertainty, and doubt, aimed at Wikipedia and other free knowledge resources https://web.archive.org/web/20050301003539/http://www.freesoftwaremagazine.com/free_issues/issue_02/fud_based_encyclopedia/

#15yrsago: HOWTO break HP printer cartridge DRM https://constitutionalcode.blogspot.com/2005/02/cartridge-expiration-date-workarounds.html

#15yrsago: @Aaronsw asks why Stanford professors include so few astrologers http://www.aaronsw.com/weblog/001588

#15yrsago: Why John Gilmore won’t show his ID at airports http://old.post-gazette.com/pg/05058/462446.stm

#5yrsago: World War 3 Illustrated: prescient outrage from the dawn of the Piketty apocalypse https://boingboing.net/2015/02/26/world-war-3-illustrated-presc.html

#1yrago: Youtube ignored repeated reports about explicit suicide instructions spliced into cartoons on Youtube Kids https://pedimom.com/youtube-kids-scare/

#1yrago: New Orleans reduced homelessness by 90% (and saved a fortune) by giving homeless people homes https://www.wbur.org/hereandnow/2019/02/19/new-orleans-reducing-homeless-hurricane-katrina

#1yrago: Trump made history: introducing tax cuts made him LESS popular https://www.nakedcapitalism.com/2019/02/trump-choose-unpopular-president.html

#1yrago: How the payday loan industry laundered policy by paying academics to write papers that supported its positions https://www.washingtonpost.com/business/2019/02/25/how-payday-lending-industry-insider-tilted-academic-research-its-favor/?utm_term=.92930478ab59

Colophon (permalink)

Today’s top sources: Naked Capitalism (https://nakedcapitalism.com/”), Glenn Fleishman (https://twitter.com/glennf).

Hugo nominators! My story “Unauthorized Bread” is eligible in the Novella category and you can read it free on Ars Technica: https://arstechnica.com/gaming/2020/01/unauthorized-bread-a-near-future-tale-of-refugees-and-sinister-iot-appliances/

Upcoming appearances:

Canada Reads Kelowna: March 5, 6PM, Kelowna Library, 1380 Ellis Street, with CBC’s Sarah Penton https://www.eventbrite.ca/e/cbc-radio-presents-in-conversation-with-cory-doctorow-tickets-96154415445

Currently writing: I just finished a short story, “The Canadian Miracle,” for MIT Tech Review. It’s a story set in the world of my next novel, “The Lost Cause,” a post-GND novel about truth and reconciliation. I’m getting geared up to start work on the novel now, though the timing is going to depend on another pending commission (I’ve been solicited by an NGO) to write a short story set in the world’s prehistory.

Currently reading: Just started Lauren Beukes’s forthcoming Afterland: it’s Y the Last Man plus plus, and two chapters in, it’s amazeballs. Last week, I finished Andrea Bernstein’s “American Oligarchs” this week; it’s a magnificent history of the Kushner and Trump families, showing how they cheated, stole and lied their way into power. I’m getting really into Anna Weiner’s memoir about tech, “Uncanny Valley.” I just loaded Matt Stoller’s “Goliath” onto my underwater MP3 player and I’m listening to it as I swim laps.

Latest podcast: Gopher: When Adversarial Interoperability Burrowed Under the Gatekeepers’ Fortresses: https://craphound.com/podcast/2020/02/24/gopher-when-adversarial-interoperability-burrowed-under-the-gatekeepers-fortresses/

Upcoming books: “Poesy the Monster Slayer” (Jul 2020), a picture book about monsters, bedtime, gender, and kicking ass. Pre-order here: https://us.macmillan.com/books/9781626723627?utm_source=socialmedia&utm_medium=socialpost&utm_term=na-poesycorypreorder&utm_content=na-preorder-buynow&utm_campaign=9781626723627

(we’re having a launch for it in Burbank on July 11 at Dark Delicacies and you can get me AND Poesy to sign it and Dark Del will ship it to the monster kids in your life in time for the release date).

“Attack Surface”: The third Little Brother book, Oct 20, 2020.

“Little Brother/Homeland”: A reissue omnibus edition with a very special, s00per s33kr1t intro.

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kerbaldevteam · 5 years

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KSP Loading... Content for consoles and PC coming soon!

Welcome to our official newsletter, KSP Loading…! If you want to learn about all the current developments of the KSP franchise, then this is the place to be!

A new DLC and a Free Update for Kerbal Space Program Enhanced Edition is on its way

We have some big news for console players! The team is currently working on a new DLC for KSP Enhanced Edition! Based on the PC release of the Breaking Ground Expansion, this downloadable content will be all about exploration, experimentation, and technological breakthroughs. So put on your helmets and prepare to explore the vastness of the Kerbolar system from the comfort of your couch.

Coupled with the DLC, a free and content-filled update will be released for KSP Enhanced Edition. This update will include several of the features that we have developed over the past year. We will reveal more information about the features and the exact release date in the upcoming weeks, so stay tuned!

Kerbal Space Program Update 1.8 on PC

The KSP team is so excited about the features being worked on for Update 1.8. With this update we continue making KSP more stable and performant while adding quality of life features to improve the player experience. In addition to what you have already learned in our previous installment, we have some other neat content coming to this update.

Terrain Revamp for Eve and Gilly

Eve and Gilly are two more celestial bodies which are getting a make-over with new high-quality texture maps & graphic shaders. Together with Duna, Ike, Minmus and Mun, the celestial bodies will be worth revisiting, if only for the view.

Eve

Gilly

Ike

Minmus

Click here for high-res images.

KSC Texture Improvements

At the Kerbal Space Center, we have reduced the grass repetition, improved blending between grass and concrete and tweaked some level 1 and 2 buildings with some new textures and improved shaders. All in all, the KSC will look better than ever after this update.

Click here to see the high-res images.

Map Mode Changes

Some adjustments are being made to the game’s Map Mode. With this update you will be able to use docking mode and stage your craft whilst in map mode. The stage display button (formerly stage mode) now serves as a toggle to show & hide the stage stack, whether you’re in flight or map view and the map labels will now persist when going back and forth between map and flight mode.

New SRBs

If you’ve been following us, you’ll already know that we’re bringing a range of new solid rocket boosters to the game. From the tiny .625m stack size Mite to the titanic 2.5m wide, 144ton Clydesdale, these new boosters will offer a range of versatile solid-fuel options. Making History owners get an extra bonus here too with the “Pollux” and a 1.875m nosecone to fit on top of it.

Click here to see high-res images.

Warp to Next Maneuver in NavBall

We are also including a small quality of life feature to the NavBall suggested in the public tracker by 5thHorseman. A warp to next maneuver button is being added to have this option on hand whenever players need it.

Kerbal Space Program 2 at PAX West

We’d like to say thank you again to everyone who visited our Kerbal Space Program booth at PAX West! We are forever grateful for the continued support for Kerbal Space Program 2. Over 2,000 Kerbonauts visited our booth to take photos with Jeb on the Mun, watch our “behind closed doors” presentation with exclusive details sharing gameplay footage of KSP2, and all attendees received their very own KSP flag!

During PAX West we also had the chance to hold our very first KSP Community Event with content creators like Scott Manley, Das Valdez, EJ_SA, Shadowzone, Bad News Baron, and Billy Winn Jr. Also attending the event were leaders within the KSP Forum and Modders; Snark, Galileo and LinuxGuruGamer.

These pivotal community members had the opportunity to meet with Star Theory and pose questions regarding KSP2 directly to the developers. Many of these content creators have since shared their thoughts on this momentous experience across their respective channels and we encourage you all to give them a watch! Thank you all so much, it’s because of your avid support and interest in the game that we have officially grown into a franchise.

Matt, Star Theory developer who got signatures from fans at PAX West who visited our booth.

Take a look at our PAX West booth in our Instagram story videos!

(L to R: Galileo, Shadowzone, Snark, EJ_SA, Jatwaa, LGG, Das, Nate Simpson (Creative Dir. Star Theory), Scott Manley, Chuck Noble (Principal Engineer at Star Theory), BadNewsBaron, Geoff (Museum of Flight).

Scott Manley at PAXW

youtube

ShadowZone at PAXW

youtube

Loading Screen Contest

We also want to remind you that you still have until next week (October 2nd) to participate in our Loading Screen Contest! So submit your illustrations, screenshots, pictures and/or any form of fanart you’d like to see in KSP’s in-game loading screens! We will select a set of finalists and their art will be included in update 1.8.

Remember, you can share and download crafts and missions on Curse, KerbalX, the KSP Forum and the KSP Steam Workshop.

That’s it for this edition. Be sure to join us on our official forums, and don’t forget to follow us on Twitter, Instagram and Facebook. Stay tuned for more exciting and upcoming news and development updates!

You can also follow Squad and Star Theory on the main social media platforms:

https://www.facebook.com/startheorygames/

https://twitter.com/startheorygames

https://www.instagram.com/star_theory_games/

https://twitter.com/SquadDevs

https://www.instagram.com/squaddevs/

#KSP Loading...#ksp weekly #dailydeal #Kerbal Space Program #Kerbal Space Program 2 #ksp enhanced edition #KSP

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huntermiracle752 · 3 years

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Amazon First Office Photo

Thank you for visiting the Museum

This museum celebrates the heritage of technology we've all grown up with. Please help us maintain and grow the museum by making a small donation -- buy us a coffee? Thank you so much!

Amazon Go is a chain of convenience stores in the United States and the United Kingdom, operated by the online retailer Amazon.The stores are partially automated, with customers able to purchase products without being checked out by a cashier or using a self-checkout station. Amazon's first gateway page. Download (jpg), 94 kb. Amazon's first office building. Download (jpg), 308 kb. Jeff Bezos and our 1 millionth customer. The company first hinted at a return to office-based work last year. Amazon announced last August that it would expand its physical offices in six major cities: Dallas, Detroit, Denver, New York.

Amazon later terminated Kiva's client relationships with retailers like Office Depot and the Gap in order to keep the technology to itself. 2013 Jeff Bezos announces intention to buy The. 850,000 square foot building (Amazon’s first fulfillment center was 86,000 square foot) The facility is the size of 14 football fields; Amazon Fulfillment Center in Bessemer. Photo by Jacob Blankenship for Bham Now. 4 stories tall; Gray Construction moved 1.7 million cubic yards of dirt to prepare the site; Poured over 8,000 cubic yards of.

Check out our YouTube video showing the history of the Amazon.com website! It has all the images and captions from this page, and is easy on the eyes.

Early Stage Amazon (1994-1995)

In 1994, Jeff Bezos witnessed the exponential growth of the World Wide Web and saw an opportunity to realize online commerce. Initially named Cadabra, Bezos changed the name when his attorney convinced him that it sounded too much like Cadaver. Bezos also considered the name Relentless for a while before opting for Amazon, which reflected the ideas of grandiosity and abundance. The company was founded on July 5th, 1994.

Original Amazon Website (1995)

Amazon.com was launched in July 1995. The logo was an abstract letter 'A' with a winding river flowing through it and the words Amazon.com, Earth’s biggest bookstore at the bottom. The color scheme of the site was typical for 1995 -- lots of gray and not terribly vibrant.

The company offered more than 1 million book titles, vastly outpacing any competition at the time. It featured a simple search engine to help find relevant books. Amazon also offered a free subscription to its personal notification service called 'Eyes and Editors,' enabling clients to proclaim their favorite authors and books. Whenever a new book of interest was added to the catalog, Amazon would automatically send the customer an email announcing the addition. Additionally, Amazon allowed clients to comment on books and exchange ideas with people around the world using review pages.

The original Amazon website (August 1995) Source: Restored by Taran Van Hemert

TV Interview Footage (1997)

Amazon founder Jeff Bezos conducted many interviews in the early years, but this one in 1997 with KIRO 7 Seattle is notable because it had footage of the website at the time. The quality is poor, but still valuable to see Amazon in it's infancy. The computer in the closeup shots of the website appears to be an Apple Powerbook 1400, but the PC brand on Bezos' desk is unclear. The first image below makes light of Amazon's massive collection of more than one million books. Amazon's Book of the Day link boasts 'a different title every day for the next 3,000 years.'

Amazon.com Homepage on TV broadcast (1997) Source: KIRO 7 News

Amazon.com Search by Title, Author, or Subject (1997) Source: KIRO 7 News

Jeff Bezos with Amazon.com (1997) Source: KIRO 7 News

Logo Experimentation (1997)

The initial Amazon logo underwent several iterations, with changes in color scheme and fonts. With each iteration, the logo slowly came into shape, with the color palette becoming increasingly similar to the modern logo.

Amazon experiments with logo iterations (1997) Source: fineprintart.com

Early Amazon Homepage (1997)

The company went public on May 15th, 1997 and raised $54 million in the process. Amazon's website underwent major changes, reflected in the design and more user-friendly interface. A left sidebar was introduced to enhance navigation, making the website more usable. Book covers and reviews were introduced to the experience to allow users to visualize the bookstore.

Amazon homepage image, restored by Version Museum (1997) Source: ebaumsworld.com

Additional Logo Changes (1998)

In 1998, the Amazon logo went through additional iterations. A lowercase serif font served as the main logo for a short time, with the tag line 'Earth's Biggest Bookstore' underneath. But later that year, the company employed a sans serif all-caps logo with a bright yellow letter 'O' in the middle. This was also taken down in a few months; the logo soon morphed into the more familiar lowercase sans-serif logo with a slightly curved yellow line underneath. The motto 'Books, Music and More' floated above. With Amazon's ambitious expansion plans, the slogan was taken out after a couple of months.

Homepage with 'Earth's Biggest Bookstore' slogan (1998) Source: blog.cake.hr

Introduction of Tabs & International Expansion (1998)

As Amazon's ambitions grew beyond selling books, tabs were introduced to the website. The site itself went through numerous alterations, with the search bar making its first prominent appearance to the top left of the homepage in the latter half of the year.

Furthermore, international expansion began, with acquisitions of online stores in the United Kingdom and Germany.

Product Expansion, Zshops, and Auctions (1999)

The use of tabbed navigation became more practical when toys, games, electronics, and auctions launched to shoppers as part of Amazon's hunger to expand service lines. A right sidebar was also added.

A market for third party sellers to showcase their products on Amazon was created, called zShops. Eventually, this evolved to become the Amazon Marketplace in 2000.

Amazon also experimented with Auctions in this timeframe, which later shut down in 2002.

The Modern Amazon Logo With a Smile (2000)

Design agency Turner Duckworth created the now-iconic logo for Amazon in the year 2000 with a custom typeface. Cleverly, designer Anthony Biles devised a smile that connects the letters A and Z. Jeff Bezos wanted something produced quickly, without the typical market research and focus group feedback process. Reportedly, Bezos jokingly claimed 'Anybody who doesn’t like that logo doesn’t like puppies!'

Amazon Letter A Logo (2000) Source: vmastoryboard.com

Tab Insanity (2000)

As Amazon's catalog diversified to include categories such as art, kitchen, lawn & patio, tools, and beauty, the tabs expanded in turn -- sometimes to a comical degree. Luke Wroblewski documented this in his excellent piece on the history of Amazon’s tab navigation.

Amazon homepage with 15 tabs (2000) Source: humanfactorsblog.org

Tabs Refined (2001-2003)

Amazon added additional categories such as eBooks, baby items, cell phones, and video games. With the growing number of product categories, the tabs couldn't grow infinitely to keep pace with the limited real estate in the top navigation area. The tabs were reined in and the categories were moved to the left sidebar area. The Amazon logo decreased in size to accommodate the changes.

In 2002 Amazon experimented with a limited number of prominent tabs at the top again, and added some graphic flair in the form of a shirt to announce the arrival of the apparel store. Additionally, Amazon began offering Gold Box deals, showcasing the best deals on the site.

Tabs moved to left sidebar (2001) Source: the-digital-reader.com

Streamlined (2005)

The on-again off-again relationship with tabs continued, but this time they were severely curtailed. There were only tabs for the homepage, a personalized page of products called Your Store, and a link to all the product categories.

Amazon Prime began in February 2005, and prominent ads for the service were plastered on the homepage.

Interestingly, the category page that lists 30+ types of products also has some logos, that in retrospect, are fascinating to see. Amazon used to power the websites for Toys-R-Us, Babies-R-Us, and Target. Toys-R-Us and Babies-R-Us ended up going bankrupt, closing all their US and British stores in 2018. Target and Amazon are now fierce competitors in the retail sector. But back in 2005, online retail was a small slice of the pie and wasn't strategic enough for these companies to own themselves.

Amazon product categories with Toys-R-Us and Target (2005) Source: archive.org

Tabs Begone! (2008)

The tab structure was completely discontinued in favor of the left sidebar. The site embraced a blue and orange color scheme, complementing the orange from the smile in the logo.

The Kindle ebook reader launched in 2007, and Amazon used the most valuable space in all of retail -- its own homepage -- to market the product to potential buyers. In the image displayed below, Jeff Bezos celebrates the fact that Kindle is back in stock and invites customers to view the Amazon shareholder letter to understand the product roadmap. This really illustrates the relationship Bezos' attempted to cultivate with Amazon users.

Amazon homepage with Kindle ad (2008) Source: archive.org

iPods and Blackberries (2009)

Design-wise, 2009 didn't see many changes. But in a museum like ours, who doesn't like to see old favorites like iPods and Blackberry phones? These classics were still huge sellers in 2009. The iPhone came out in June 2007 and was still in its infancy. The first Android device, the T-Mobile G1/HTC Dream, was launched in September 2008.

Amazon homepage with iPods and Blackberries (2009) Source: archive.org

Amazon First Office Photos

Amazon Blackberry Bold 9000 product page (2009) Source: archive.org

Colorless Redesign (2012)

With a totally updated look, Amazon dropped almost all traces of bold colors in the borders and background. Orange fonts were used prominently to show prices and bolded text. A gray background gradient floated behind the top navigation area. Responsive web design elements started making their way into the site to allow phones, tablets, and desktops to all view the same webpage cleanly. Also, the left sidebar was eliminated.

Amazon product page for Lord Of The Rings (2012) Source: archive.org

Minimalist, Responsive Design (2015)

The homepage moved to a modular design while still promoting all of Amazon's own product line.

Amazon First Office Pictures

Amazon selling itself (2016-2019)

Amazon continued to transform into a more spartan look with fewer items for sale on the homepage, but with more and more of those items being its own products and services.

In 2017, the site debuted the new products promotional banner ad at the top of the homepage. Clicking through this ad shows the customer a page full of unique and novel products the user presumably hasn't seen before.

Amazon First Office Photography

Amazon homepage in August (2019) Source: Version Museum

Amazon First Office Photographs

Please help support our museum hosting costs by making a small donation -- buy us a coffee! Thank you so much!

Amazon First Office Image

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ellenmcelroyixd · 3 years

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Week 10 - Amplifying Data

This week we looked at data and how we can use data, as designers, to our advantage. In this modern day we are surrounded by an abundance of data, especially from the internet. For example, more recently, we are surrounded by COVID-19 data everywhere. As designers it is our job to display this data in the most appealing and factually correct way possible.

As designers, amplifying data and using data visualisations such as charts, tables, graphs, maps, infographics and dashboards help people make sense of (possibly complicated/boring) data.

One example of how charts, graphs, and illustrations helped us make sense of the chaos of 2020 was the “Flatten the curve” graphic that went around on social media. Distilling an important public health concept into an at-a-glance graphic. It helped persuade people that the pandemic is real and their individual actions matter.

This graphic is based on an article by Professor Sir Roy Anderson and his colleagues that was recently published in the Lancet Medical Journal. I love this simplistic, non-scientific approach to communicating information.

This article explains more about the infographic -

https://thespinoff.co.nz/society/14-03-2020/after-flatten-the-curve-we-must-now-stop-the-spread-heres-what-that-means/

David McCandless

McCandless is a writer, designer & creative director who founded the site information is beautiful. This site is filled with data visualisations that are based on facts and data: constantly updated, revised and revisioned.

For example, this site has loads of interesting coronavirus information that is beautifully displayed in interactive graphs, pie charts, maps etc. -

The colour theme and interactions on these infographics make the information really clear and consistent which I love. Typography, sizing and positioning of information is also very important in his designs. I think these are such a clever way of portraying complicated and excessive information.

Manuel Lima

Manuel Lima describes himself as 'a celebrated voice on UX design and data visualisation'. He has spent the past 15 years leading design teams and building cutting-edge digital experiences at companies like Google, Codecademy, Microsoft, Nokia, R/GA, Kontrapunkt, and the Museum of the Moving Image.

In 2017, Lima released a book called 'The Book of Circles' which is a data visualisation book based solely on displaying data using circles and colour. Below are some early drawings and annotations that can be found on some of the pages inside the book.

'The human iris, a full Moon, volcanic calderas: natural circles have inspired culture for millennia. Information visualiser Manuel Lima gathered centuries' worth of circular charts, graphics and illustrations for this volume, organised in a 'taxonomy' spanning everything from spirals to pies. It's a ravishing tour, from the spangled glory of globular star cluster M13, imaged by the Hubble Space Telescope, to Martin Krzywinski's bold 2007 radial genomics diagram Human Dog Homology. Puts circular thinking in a whole new light.' -Nature magazine

Below is an example of 200 images that can be found inside the book.

GI think this is a really unique and informative way of displaying information. It definitely made me think a bit more outside the box for my own project.

Giorgia Lupi

Giorgia Lupi is an Italian information designer and partner at Pentagram and former co-founder of research and design firm Accurat. Giorgia is a prominent voice in the world of data. She has won numerous awards and worked with major international clients. Giorgia is said to have a very humanistic approach to the world of data - She uses data to better understand our human nature and every aspect of our society.

“Giorgia Lupi is the personification of grace under pressure. Of exquisite design grace under overflowing data pressure! Data visualization is a normal part of our information diet, but only a few designers are able to achieve utmost clarity and at the same time memorable elegance. Moving seamlessly between digital and analog space, Giorgia transforms even the driest quantitative analysis into a touching moment of humanity and poetry.” - Paola Antonelli

I especially like her work on 'Happy Data' with the team at Pentagram. The aim of the project was to focus on the positive through a world filled with bad news daily by creating a series of hopeful views of the world through data and drawings. The visualisations combine hand-drawn type and infographics with photo snapshots taken by the team and their friends, using information as a lens on current events.

I love this unique and fun way of expressing large amounts of data using photography, informal typography and colour. I thoroughly enjoyed analysing all this data.

#ixdbelfast #ixd303

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digital-arts-etc · 6 years

Photo

This Woman Reimagined Michelangelo's "The Creation Of Adam"

With Black Women * And It's Beautiful

Michelangelo who?

Posted on May 16, 2017 Michael Blackmon - BuzzFeed News Reporter

This is Harmonia Rosales, a 33-year-old artist living in Chicago.

"I was raised in a creative environment," she said. Rosales also noted that "artistic expression was floating in the air" in her household growing up. Her mother is an artist and her father, a musically inclined guy, played the congas.

Rosales credited her parents for sparking her interest in the arts. "Kids imitate their parents and my parents were great models for me. I repeated visuals of my mother hunched over her art table churning out illustration after illustration starting with a blank canvas and a vision of a full one. I often would crawl under my mother's art table and track her movements, her brushstrokes, her ideas, her illustrations. She would let me experiment with all her expensive oils and brushes, never once telling me what to paint or how, but letting me find my own style."

One of Rosales' pieces, which she calls "The Creation of God" recently went viral.

The piece is based on Michelangelo 's "The Creation of Adam," famously displayed in the Sistine Chapel. "I wanted to take a significant painting, a widely recognized painting that subconsciously or consciously conditions us to see white male figures as powerful and authoritative and flip the script, establish a counter narrative," she told BuzzFeed News, elaborating on why she decided to make reimagine the well-known work of art with black women.

Says Rosales, "White figures are a staple in classic art featured in major museums. They are the 'masters' of the masterpieces. Why should that continue?

Replacing the white male figures — the most represented— with people I believe have been the least represented can begin to recondition our minds to accept new concepts of human value. ... If I can touch even a small group of people and empower them through the power of art, then I've succeeded in helping to change the way we see the world. ... And when you consider that all human life came out of Africa, the Garden of Eden and all, then it only makes sense to paint God as a black woman, sparking life in her own image." "In the essence of Picasso, my whole life," Rosales said when asked how long it took her to create her latest piece. "Every skill, life experience, and emotion has led me straight to this particular piece and every piece thereafter."

And the way in which her ideas form, and the way she's acted on them, is a very organic process.

"I have an idea, it might not be fully thought out, but first the idea. Then I let it marinate. Often I'll place a blank canvas by my bed so that I may wake up and sleep to it. And, while I sleep, it speaks to me," Rosales said. She also said that she doesn't sketch her creations, everything happens at once on the canvas by which they are brought to life. "My subjects morph and their expressions change as they speak to me and reveal themselves to me. Sometimes I will go over an area multiple times until they virtually come to life." Rosales' work definitely has a recurring theme: women of color. "I paint women darker than me because I want no one to mistake who I'm representing. I paint what I know, who I identify with," she told BuzzFeed News.

We have been underrepresented and misrepresented for so long that I feel I should paint to empower us. We need powerful images for our youth to see." Her daughter is another reason why Rosales is passionate about the work she does. "I want my daughter to grow up proud of her curls and coils, her brown skin, and for her to identify as a woman of color, a woman of value."

What I do with my art contributes to the way she and all other little girls like her will come to recognize themselves."

Rosales' "The Creation of God" will be part of an exhibited series in the near future.

She also plans to work with fellow artist Aldis Hodge on a series about persecution that will debut at the end of the year. "This particular series will relate to the masses," she said.

Critics Disgusted With Artist’s Painting of God As a Black Woman

By: Seth D. Mills - May. 31, 2017

The painting (above photo) The Creation of God by artist Harmonia Rosales of Chicago has caused a lot of controversy throughout the last 3 weeks. Since it was first shared on Instagram, the painting has had at least 7,000 likes.

But some people on Twitter have called it a “disgrace”, while others stated that it was “cultural appropriation” and “disgusting”. In The Creation of God, Harmonia showed God as a black woman touching the hand of another black woman, much like The Creation of Adam by Michelangelo.

Harmonia said the painting was meant to show that “we have created God in our own image. So ‘God’ is whoever we want God to be, a representation of the ideal, of the divine, of wisdom and love and pure creativity.”

But not everyone agrees.

What do you think? Did she go too far?

http://www.wbls.com/news/d%C3%A9j%C3%A0-vu-afternoon/critics-disgusted-artist%E2%80%99s-painting-god-black-woman

Hannah Marie there are so many people in these comments that think they know what they are talking about but really don't. culturally appropriating something is taking something from another culture saying "it's mine i created it" profiting from and creating an entirely new meaning, while the (almost always) disadvantaged are left in the same position having their object devalued for the same things that are valued in said appropriated object. you can't culturally appropriate an image like this, it's literally impossible. if that was so then there are hundreds/thousands of images that have been by musicians, directors, artists, everyday people god damn photo-shopping themselves into images. why can't y'all just see the beauty and let it be ---------------------* James "Cultural appropriation is the adoption or use of the elements of one culture by members of another culture.[1] Cultural appropriation is sometimes portrayed as harmful, framed as cultural misappropriation, and claimed to be a violation of the collective intellectual property rights of the originating culture.[2][3][4][5] Often unavoidable when multiple cultures come together, cultural appropriation can include using other cultures' traditions, fashion, symbols, language, and cultural songs without permission" Its the definition of cultural appropriation. News Flash: You cant just make up your own definitions of things. ---------------------* Hannah Marie James Nino didn't make up a definition, i never said i defined what it was, i was giving informed examples. what did i say exactly that was wrong? ---------------------* Bon N Why can't you see the gross double standards at play ---------------------* Hannah Marie Bon Nord but why do you think it's cultural appropriation? just because it's got black people in it? (genuine question) ---------------------* Aaron L Hannah Marie-Nova St Jean maybe because she literally said white people shouldn't dominate classic art and then literally stole someone's theme for a piece? ---------------------* Hannah Marie Aaron Lonnergan and you think they should dominate???? seems bizarre to me as there are millions of people in the world and one race should dominate? and if you see the work of Warhol and other pop art artists you'll see there is a heavy tradition of using other peoples images and making them ones own while still referencing the original work (like she clearly has done) but the difference is that she isn't making millions from the work. and this image has been so widely used in so many different re-imaginations, where people make fun of and transpose whatever image they want on to it doesn't make sense for this image to be so contested as cultural appropriation when people have literally put Ronald McDonald in the position of god and an overweight person, there's a Simpsons version too i just think it doesn't make sense. people interpret and re-imagine images all the time, the issue comes when someone claims the work as their own, purely original idea. that's when issues begin to arise ---------------------* Nicholas S That last sentence right there - buzz Feed makes it nearly impossible. Last year one of their big topics was how a white girl with dreadlocks was stealing from another culture. And it's just idiotic. ---------------------* Pepe C Everything is cultural appropriation now so everybody might as well stop crying about it. Just like everybody is racist now these words have no meaning anymore. ---------------------* Igor R Yet another cultural appropriation, sure. Or is it a parody as a form of flattery? Celebration of the absent fathers, spending time in prison, while the girls are being raised by their mothers in the 'hoods? Brown skin and coils is nothing to be proud of, unless you think just an abundance of melanin is something to be proud of. But melanin is not the magic powder, not the midichlorians to make you into a Jedi. So far what I am seeing is one second-rate painter apeing the great and original artist of the past, with unintentionally funny results. ---------------------* Mathew B Isn't this just cultural appropriation? ---------------------* Daniel Z Apparently not, you know, Europe doesn't have culture apparently ---------------------* Danni T She gave credit to Michelangelo so no it is not. 😌 ---------------------* James N Danni Turner So if a bunch of white people in black face doing racist skits give credit to Bojangles then its not cultural appropriation or racist right? I mean they gave credit... ---------------------* Danni T It's racist for black face due to the derogatory comparison of said black person, but it isn't appropriating because it was made by Caucasians. So if anything, if a minority donned black face or made their face darker it would be appropriating idiocy from said Caucasian race lol. However, I would like to see you adorn black face in an all black neighborhood. It would be an exquisite scene to watch. ---------------------* Maximus Autizmus Fucking hilarious. A white girl can't braid her hair but blacks can "re-imagine" one of the most iconic European masterpieces? Double standard much ---------------------*

https://www.buzzfeed.com/michaelblackmon/god-is-a-black-woman?bftw&utm_term=.etzgENVRP#.ne0xA2KbZ

#Michelangelo's The Creation Of Adam #Harmonia Rosales

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3thurs · 4 years

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Third Thursday events and exhibitions for March 19 (updated March 18)

The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, March 19, 2020, from 6 to 9 p.m. All exhibitions are free and open to the public. This month will offer six events in addition to the exhibitions. One of the venues will be closed.

Also this month, we are announcing a new venue to Third Thursday, tiny ATH gallery. The small gallery space has limited hours for exhibition but intends to be open 6 – 9 p.m. on Third Thursdays. The gallery “will promote a single artist at the time through a full gallery opening featuring a different artist each month.” It’s located at 174 Cleveland Avenue and the website is tinyathgallery.com.

CLOSED: tiny ATH gallery

“Jacob Wenzka: Ecumenopolis” — The word "ecumenopolis" is a Greek word meaning “world city,” or a city that encompasses an entire planet. It is the hypothetical next-level metamorphosis of the current metropolis or megalopolis. The physical representation of the ecumenopolis has been Jacob’s inspiration for the past 4 – 5 years, and the images in this show invite the viewer to reflect on the complexity and sheer magnitude of connections that are constantly being made in our lives, while also pondering the future of humanity and our planet. Jacob Wenzka earned a bachelor's degree in fine arts from UGA’s Lamar Dodd School of Art in 2001. In addition to his fine arts exhibition practice, Jacob has illustrated 6 books (4 children's books and 2 for adults), and is one of the founders of New Growth Publishing, an independent children's book publisher in Athens. The opening is set for Friday, March 20 from 6 – 9 p.m. There will be an Artist Talk the following Sunday, March 29 at 3 p.m. Limited gallery hours will be posted on tinyathgallery.com.

CLOSED: Georgia Museum of Art, University of Georgia

Make It an Evening, 5:30 – 7:30 p.m. — Enjoy free coffee, dessert and a gallery tour at the museum prior to the performance in Hodgson Hall by George Hinchliffe’s Ukulele Orchestra of Great Britain. Jittery Joe’s Coffee and Cecilia Villaveces’ cakes. Purchase tickets for the concert at pac.uga.edu.

Teen Studio: Comic Strips and Monsters, 5:30 – 8:30 p.m. — Teens ages 13 – 18 are invited to this studio-based workshop led by local artist and educator Kristen Bach. Explore comic strips by local artist Patrick Dean, and then create comic strip–inspired art in the Michael and Mary Erlanger Studio Classroom. Includes a pizza dinner. This program is free, but space is limited. Please call 706.542.4883 or email [email protected] to reserve a spot.

Yoga in the Galleries, 6 p.m. — Join us for a yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. Space is limited and available on a first-come, first-served basis; tickets are available at the front desk starting at 5:15 p.m. Yoga mats provided.

“Don’t Worry, He Won’t Get Far on Foot,” 7 p.m. — After Portland slacker John Callahan (Joaquin Phoenix) nearly loses his life in a car accident, the last thing he intends to do is give up drinking. But when he reluctantly enters treatment — with encouragement from his girlfriend (Rooney Mara) and a charismatic sponsor (Jonah Hill) — Callahan discovers a gift for drawing edgy, irreverent newspaper cartoons that develop a national following and grant him a new lease on life. Based on a true story, this poignant, insightful and often funny drama about the healing power of art is adapted from Callahan’s autobiography and directed by two-time Oscar nominee Gus Van Sant. Jack Black, Carrie Brownstein, Beth Ditto and Kim Gordon also star. 2018, R, 114 min.

On view:

“Louis Comfort Tiffany: Treasures from the Driehaus Collection” — A celebration of beauty, this exhibition features more than 60 objects, spanning over 30 years of Tiffany’s prolific career.

“Kevin Cole: Soul Ties” — Three-dimensional wooden and metal constructions by the Atlanta-based painter and mixed-media artist.

“Reflecting on Rembrandt: 500 Years of Etching” — For the 350th anniversary of the death of Rembrandt van Rijn, this exhibition of prints selected and created by students in the Lamar Dodd School of Art commemorates the artist’s profound impact.

“The Monsters Are Due on Broad Street: Patrick Dean” — This small retrospective begins with the artist’s student work at UGA, from which he graduated in 1998, and ends with his recent comics about illness and mortality.

In Dialogue: Cecilia Beaux’s “Twilight Confidences” — A look in detail at Cecilia Beaux’s “Twilight Confidences” — an important recent addition to the museum’s collection and the artist’s first major exercise in plein-air painting.

“Drama and Devotion in Baroque Rome” — Paintings on loan from the Museum and Gallery at Bob Jones University that show the influence of Caravaggio, including works by Rubens, Orazio Gentileschi and Simon Vouet.

Permanent Collection — Thirteen galleries house a large portion of the Georgia Museum of Art’s collection, including many of the 100 American paintings that made up Alfred Heber Holbrook’s founding gift.

CLOSED: Lamar Dodd School of Art Galleries, University of Georgia

"The Purpose of Disease" — A new series of work by our Post-MFA Fellow in Photography, Amiko Li.

"Golden Hour” — A collaborative exhibition of work by Dodd graduate candidates Mary Gordon, Alex McClay and Ciel Rodriguez.

"The Elements of Myth" — A solo exhibition by Dodd graduate candidate Kelsey Wishik.

Annual Juried Scientific Illustration Exhibition — Featuring work by Dodd undergraduates along with work from graduate students in Medical Illustration at Augusta University.

CLOSED: Lyndon House Arts Center

Open Studios Artist in Residence Talk: Megan Sparks, 6:00 p.m. — Megan discusses her tragically humorous paintings featuring lovable characters with bouncy long limbs set in worlds full of butterflies but also shady back allies.

On view:

“45th Juried Exhibition” — Juror Larry Ossei-Mensah assembled an exhibit featuring the artistic talent in the Athens region.

“Collections from Our Community” — Michael Lachowski shares his collection of “Trail Trash,” little pieces of litter collected and cataloged in the 90s.

“Lounge Gallery: Lee Coffey” — Charming paintings that celebrate the mundane, depicting everyday items such as house keys or signage with an emphasis on scale and color.

“Works by Eli Saragoussi” — Small fantastical sculptures and a soundscape in the lobby cases.

CLOSED: Ciné

“Jacob Wenzka” — Wenzka is a painter and illustrator, who lives with his wife and three children in Athens, Georgia. He earned a BFA in drawing and painting from the UGA Lamar Dodd School of Art in 2001, and his work has been displayed in a variety of venues throughout the Southeast. The works featured in this show are from his illustration work on children’s books, with focus on the upcoming book, “Robot Soup.” This book is the fourth title he has released, collaborating with local author, Bart King, following “Juniper Gets Wet” (2015), “The Girl Who Kept Night In Her Closet” (2017) and “Do Not Read This Book At Bedtime” (2018). “Robot Soup” will be released at the conclusion of this exhibition in April, and pre-orders are available now via Kickstarter. Learn more at NewGrowthPublishing.com.

Hotel Indigo, Athens — The Gallery at Indigo is available for viewing in small groups and for self directed use; GlassCube is outside and can be viewed anytime

“TINY UNIVERSE #3” —The third in a series, this exhibition includes small works by 70-plus Athens- and Atlanta-based artists, most whom have previously exhibited at the Gallery@Hotel-Indigo over the years. “TINY UNIVERSE #3” represents a fraction of the great talent in our area from printmaking to painting, sculpture to jewelry making. Artists were instructed to keep the scale of their works under 64 square inches because, after all, the best things come in small packages!

“Supple Moments, Dark Corners” at GlassCube — A new installation by Elinor Saragoussi is a peek into the tender parts of the artist’s brain. Often it is an agile, colorful, playful space, but at times, the lights turn off and the spooks come out. This installation combines set design, illustration, sound, movement and lighting to create a uniquely whimsical world. Bring your smartphones and listen to the soundscape available via QR code at the Cube.

CLOSED: ATHICA: Athens Institute for Contemporary Art

Closed.

CLOSED: The Classic Center

“Good Vibrations” — Taking a note from the Beach Boys, this show celebrates the end of the summer. Brittainy Lauback photographs cruise life, capturing the seascapes and portraits aboard a Carnival ship. Warren Slater draws from his Australian upbringing and interest in Aboriginal mark-making to create his pulsating pointillist landscapes picturing beaches and surf culture. Hannah Betzel’s vivid abstractions vibrate almost musically, conjuring images of the sea.

“Building Facades” — In Gallery II, on the second floor, Mike Landers’ solo exhibition of sophisticated, symmetric, minimally composed photographs will take you down memory lane. Images of Barnett’s Newsstand, Helix and the Gap will make you nostalgic for nights wandering downtown Athens of the late 1990s and early 2000s and make you realize how much has changed.

CLOSED: Creature Comforts Brewing Co.’s CCBC Gallery

Closing reception for “Migration,” 5 – 7 p.m. — With complimentary snacks and the house DJ, in the taproom.

On view:

Migration” — Local artist Jackie Kirsche presents two new multi-panel, mixed media works of art that explore the rhythms of life as manifested through bird migration patterns.

Third Thursday was established in 2012 to encourage attendance at Athens’ established art venues through coordination and co-promotion by the organizing entities. Rack cards promoting Third Thursday and visual art in Athens are available upon request. This schedule and venue locations and regular hours can be found at 3thurs.org.

Contact: Michael Lachowski, Georgia Museum of Art, [email protected].

#3thurs #athensga #downtownathens #art #free #UGA

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sciencespies · 4 years

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68 Cultural, Historical and Scientific Collections You Can Explore Online

https://sciencespies.com/news/68-cultural-historical-and-scientific-collections-you-can-explore-online/

68 Cultural, Historical and Scientific Collections You Can Explore Online

SMITHSONIANMAG.COM | March 23, 2020, 8 a.m.

As efforts to contain the effects of the COVID-19 crisis ramp up, millions of people around the globe are social distancing and self-quarantining themselves in their own homes. To support those in search of diversion from the relentless news cycle, Smithsonian magazine has compiled a collection of 68 online culture, history and science collections you can browse from the comfort of your living room. Whether you’re in the mood to virtually explore ancient Rome, read past presidents’ personal papers or download coloring pages from dozens of international cultural institutions, this roundup has you covered. Listings are bolded and organized by field. (See Smithsonian’s lists of museums you can virtually visit, ways to virtually experience the Smithsonian Institution and Smithsonian educational resources for additional inspiration.)

History

This map of Paris highlights women’s cultural contributions to the French capital.

(Screenshot via Parisian Matrimony)

History lovers may not be able to tour the Smithsonian’s National Museum of American History, the British Museum or the Hermitage in person, but digital history resources spanning time periods, continents and countless topics can provide some respite from these travel woes.

Step back in time via Ancient Athens 3-D or Rome Reborn, then cross the Mediterranean into Egypt for an in-depth look at the famed Nefertiti bust. Other immersive historical offerings include a virtual reality museum featuring five shipwrecked vessels; the Heritage on Edge portal, which tracks climate change’s impact on five Unesco World Heritage Sites; a 3-D digital rendering of Japan’s Shuri Castle, which was ravaged by fire in October 2019; a 3-D scan of the bullets that killed President John F. Kennedy; Below the Surface, a multimedia project that traces Amsterdam’s history through excavated artifacts; and a Sketchfab collection of around 1,700 open-access cultural heritage models, from the Abraham Lincoln Mills life mask to the entrance gates of Ireland’s Menlo Castle and a Scottish boat-building school.

Interactive maps are another option for individuals seeking higher-tech experiences. Google Earth’s Celebrating Indigenous Languages platform spotlights dialects at risk of disappearing, while Parisian Matrimony tracks women’s cultural contributions to the French capital. Mapping the Gay Guides, a newly launched public history initiative, draws on more than 30,000 listings compiled between 1965 and 1980 to visualize American queer spaces’ evolution over time.

Those with more macabre tastes may want to peruse the Survey of Scottish Witchcraft, a tool that visualizes thousands of sites linked with Scotland’s 16th- and 17th-century witch hunts, or the London Medieval Murder Map, which catalogs 142 brutal 14th-century homicides. (In one particularly colorful incident, a man named John de Eddeworth avenged his murdered brother by stabbing the killer “five times with his sword, three times on the back of his head, once on the left side, and once under his left ear.”) Lower-tech maps, including the Library of Congress’ collection of 38,234 digitized travelogues and English king George III’s recently digitized private library of more than 55,000 maps, charts, prints and manuals, are also available.

Civil War map of Harper’s Ferry, West Virginia

(Library of Congress)

In the realm of information-heavy databases, highlights range from an index of searchable records that sheds light on New York’s ties to slavery to the Digital Panopticon’s descriptions of 75,688 Victorian-era convicts’ tattoos and the Getty’s archive of 6,000 photos from the waning days of the Ottoman Empire. Troves of digitized documents, meanwhile, run the gamut from historic Mexican cookbooks to a 15th-century British manners book that warns children against picking “thyne errys” and “thy nostrellys,” 155 Persian language texts spanning nearly 1,000 years, one million pages of 16th- through 20th-century content formerly deemed obscene, and the famed Dead Sea Scrolls.

Those hoping to read more personal narratives can check out photographs, prints and papers related to Queen Victoria’s husband, Prince Albert; the only surviving Arabic slave narrative written in the U.S.; and papers penned by such prominent politicians as Theodore Roosevelt, Woodrow Wilson, Warren G. Harding, Benjamin Franklin and Alexander Hamilton. Other public figures whose private lives endure in the digital sphere include civil rights activist Rosa Parks, baseball star Babe Ruth, landscape architect Frederick Law Olmsted, and explorer David Livingstone (as recorded in the diary of his chief attendant, Jacob Wainwright).

After Roger Fenton, Prince Albert, May 1854, 1889 copy of the original

John Singer Sargent, Frederick Law Olmsted, 1895

(Public domain via Wikimedia Commons)

Arts and Culture

Edward Hopper, Nighthawks, 1942

(Courtesy of the Art Institute of Chicago)

In recent years, museums have increasingly turned to digitization as a tool for widening access to their collections. Among the major cultural institutions with digitized—and often open access—offerings are the Smithsonian, which released 2.8 million images into the public domain earlier this year; Paris Musées, which oversees 14 major museums in France’s capital; nonprofit organization Art U.K.; the Art Institute of Chicago; Taiwan’s National Palace Museum; the Metropolitan Museum of the Art; the National Gallery of Art in Washington, D.C.; the Getty; the Wellcome Library; the Museum of New Zealand; and the Uffizi Galleries. Examples of artworks, artifacts and texts available for download include British psychiatric institutions’ 18th- through 20th-century records, Vincent van Gogh’s The Bedroom and Han dynasty jades.

In addition to digitizing broader collections, many museums have curated archives dedicated to specific topics: The Kunsthaus Zürich has an extensive trove of Dada documents that defy the movement’s long-held association with ephemerality, while the Delaware Art Museum has a portal of papers associated with the Pre-Raphaelite Brotherhood. Illinois State University’s Milner Library offers a digital collection dedicated to the history of circus. The San Francisco-based Letterform Archive has a digital archive of typographical artifacts. And Chicago’s Newberry Library provides online access to more than 200,000 images documenting the history of early America and westward expansion, including watercolors and colored pencil drawings by 19th- and 20th-century Lakota children.

The portal allows users to narrow down search results by “design-specific” terms, as well as geographic, chronological parameters.

(Courtesy of Letterform Archive)

Two giants of the digital cultural sphere—Google Arts & Culture and the Library of Congress—are each home to a dizzying number of virtual resources. The former offers experiences covering 3,000 years of fashion, Pieter Bruegel the Elder’s unseen masterpieces, Latino culture in the U.S., Banksy’s most famous murals, Vermeer’s surviving paintings, armor through the ages, Easter Island and many more topics. The latter has, among others, collections of rare children’s books, Taiwanese watercolors and Chinese texts, braille sheet music, travel posters, presidential portraits, baseball cards, and images of cats and dogs. See the library’s database of digital collections for a more exhaustive overview.

The virtual museum features seven rooms focused on themes such as correspondence, music and flirtation.

(Pocket Gallery / Google Arts & Culture)

Other out-of-the-box ideas include using an app that guides readers through Chaucer’s Canterbury Tales; downloading free coloring pages compiled during the annual #ColorOurCollections campaign—offerings range from a zany 1920s advertisement for butter to medical drawings, book illustrations and a wartime nurse recruitment poster; or reading the New York Public Library’s interactive Insta Novel versions of Alice’s Adventures in Wonderland, Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Kafka’s The Metamorphosis.

Aubrey Beardsley’s illustration for Salome by Oscar Wilde

(Courtesy of the British Library)

The NYPL’s Insta Novels are available via Instagram.

(Courtesy of the New York Public Library)

Another option for individuals with ample time on their hands is transcribing historical documents and data. The Smithsonian Transcription Center is always looking for volunteers to log field notes, diaries, ledgers, manuscripts and biodiversity specimen labels. Other offerings include the Library of Congress’ By the People project, which asks users to transcribe collections related to women’s suffrage, Rosa Parks, Abraham Lincoln and Spanish law; the Newberry Library’s Transcribing Faith portal, which seeks volunteers eager to analyze early modern manuscripts; and the Citizen Archivist, which asks participants to tag, transcribe and add comments to the National Archives’ records.

Science

The blue-throated barbet, illustrated here in 1871, is native to southern Asia.

(Courtesy of the Biodiversity Heritage Library)

Flowers, fungi and fauna abound in digitized renderings of the natural world. The open-access Biodiversity Heritage Library, for instance, highlights more than 150,000 illustrations ranging from animal sketches to historical diagrams and botanical studies; the Watercolor World, a portal created to serve as a “visual record of a pre-photography planet,” showcases more than 80,000 paintings of landscapes, seascapes, buildings, animals, plants, ordinary people and historical events.

Maria Sibylla Merian, Untitled (Toucan), 1701–1705

Other digital science resources include an interactive map that lets users plug in their address to see how it’s changed over the past 750 million years, a collection of unsettling sounds from outer space, Cambridge University’s Isaac Newton papers, Charles Darwin’s manuscripts, hundreds of case files written by a pair of 17th-century astrologers and physicians, a map that visualizes all 21 successful moon landings, and a medical pop-up book dating to the 17th century.

#News

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altajackuniverse · 4 years

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Combine Your Text and Visual Content for Social Engagement

How Can You Improve Your Social Media Engagement?

Do you keep text and image updates separate in your content? Have you considered how text and visual content complement each other and actually work well to get your message across? Pairing visual content with clever, descriptive text can create a true marketing force that leads to a better user experience and more customer engagement. In this article I’ll demonstrate seven ways companies are using visual content to get better overall user engagement. Make Your Brand Personable You don't want to be hidden behind your logo and your business image when you are trying to engage visitors using social media. No matter what industry you are involved in, you can always add a human perspective to your business. H & R Block is in a niche, tax preparation, that tends to be pretty serious. In most cases a serious niche can lead to very boring content. But H&R Block decided not to be ‘most cases.’ H & R Block decided to inject a little humor and it creates big engagement opportunities for them. The tax preparation company uses their Facebook page to share a sense of humor with fun illustrations and jokes. With almost 380,000 fans on Facebook, H & R Block sees an average of over 500 engagements per post and nearly 30% of fans engaged. That's pretty good for a niche most people aren’t usually excited to talk about. Show What You’re Selling Let’s be honest. At the end of the day, we marketers are using social media to sell something. Don’t underestimate the simple tactic of showing pictures and describing what you’re selling. A new outlet at the Riverwalk in New Orleans was the first of its kind, offering upscale local fashion and cuisine. The outlet decided to use Instagram to do a little show and tell. Combine pictures and descriptions and increase interaction The Riverwalk New Orleans‘ Instagram account teemed with images and descriptions of distinctive items and food, and drew quick response—they doubled their number of followers and quickly increased their online presence. Make Your Brand's Tagline Visual Most brands have text-based taglines, but how many are getting the most out of them? Every social media update you write is an opportunity to show, as well as tell, the meaning of your tagline. Red Bull’s tagline—Gives You Wings—is descriptive and gives you a pretty good idea of what they’re going for. But when the company uses photos to reinforce the written tagline, it becomes real and exciting. That excitement helps them maintain their market share lead. We're all familiar with Red Bull’s brand tagline. It wouldn’t be the same without visual content. Simply Measured analyzed Red Bull’s social media updates and found that photos accounted for only 5% of their posts, but delivered 90% of their engagement on Twitter and Facebook. Text Overlays Over Images are Creative It’s no secret that consumer connections drive business and sales success. Just think what excites your customers about your product. Then think about short phrases that convey that feeling. It's easy to pair those phrases with an image that reinforces both your product and your customers’ sentiment for a winning engagement combination. Green Mountain Coffee connects with their audience through clever catch-phrases. Their consumers relate to sayings such as “Coffee helps me become the morning person I am not.” Additional meaning and connection are added to the phrase when it’s placed over a blank page and pen on a desk. This strongly suggesting that not much work gets done before having coffee. Text overlaid on fun photos can get a big reaction. Green Mountain Coffee fans relate to needing a little help to get their day started. After commenting on and liking the update, they are eager to share the sentiment with others. The response on most of Green Mountain Coffee’s insights and photos is hundreds and even a thousand likes and shares, and an impressive number of comments. Solicit Stories From Your Fans What’s not to love about user-generated content? It’s an easy way to encourage audience participation while pointing the spotlight at those fans. It highlights your products being used by happy customers. REI launched their 1440 campaign to document their fans’ love of the outdoors. The campaign's goal was to post a picture of fans enjoying the outdoors for every minute of one day (1,440 minutes). They invited fans to share their own photos with descriptions that included the time of day they snapped the photo. For example, “06:37am—Joanna H. was in Mount Creighton. A photo from the #REI1440Project, celebrating every minute spent outside.” Consumers’ photos of their outdoor adventures became branded content for REI. The consumer response to the project was enormous. Their user-generated content created a strong sense of community. While doing this it showcased brand evangelists and people kept returning to see the progress of the campaign. Keep Your Infographics Current Infographics deliver up to 120-180% more engagement than text-only posts. The problem is that so many marketers are posting the same kinds of infographics that yours can easily be overlooked. Especially if it’s a variation on the same theme. Intel launched an educational campaign using infographics to bring attention to and reduce online oversharing. Intel uses relatable images to educate the public and words to keep them safe. You can see how the Intel infographic uses photos from the consumer’s perspective? There are no graphs to be seen. Their text overlays name information most people have considered sharing online. Rather than creating an infographic with cartoon icons, statistics or graphs, Intel used well-done pictures and concise text to communicate what consumers should and shouldn’t share online. Putting oversharing in the context of the reader’s point of view helps make the infographic personal and relatable. Tell the Bigger Story With so many virtual experiences available these days, some businesses face the challenge of even getting people in the door. Brooklyn Museum experienced that problem and rose to the occasion by amassing an impressive social media presence on Facebook, Twitter, Tumblr, YouTube and Instagram. The museum features photos and videos that bring its collections to life and each account is written to include captions that provide context. The result is thousands of likes and shares. Pair photos and videos with text to get people excited. The combination of beautiful images, facts, background and additional information creates an enormous social response. The museum also uses geotagging to subtly encourage fans and followers to visit the museum in person. Visit Our Web Accessibility Blog Visit Our Business Sustainability Blog Wrapping Up Text and image updates don’t have to be mutually exclusive. Used together they’re a force to be reckoned with and may be the difference between a passing look and true engagement.What do you think? How do you integrate text with your visual content? Have you had more success with imagery alone or a text and image combination? Leave your comments below. Read the full article

#BetterBusinessAlliance #contentmarketing #customerengagement #customerexperience #digitalmarketing #Digitalmarketingstrategy #socialmedia #socialmediaengagement #socialmediamarketing #userexperience

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thefranklinoutdoor · 4 years

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Don't You Stop, We Won't Stop

EC Brown Lise Baggesen Rodrigo Lara Zendejas Sarah Beth Woods Felicia Holman

Opening reception: Saturday, February 15 from 7-10 pm

From February 15 to April 25, 2020

“Hot topic is the way that we rhyme Hot topic is the way that we rhyme One step behind the drum style One step behind the drum style Carol Rama and Eleanor Antin Yoko Ono and Carolee Schneeman You're getting old, that's what they'll say, but Don't give a damn I'm listening anyway Stop, don't you stop I can't live if you stop Don't you stop Gretchen Phillips and Cibo Matto Leslie Feinberg and Faith Ringgold Mr. Lady, Laura Cottingham Mab Segrest and The Butchies, man Don't stop Don't you stop We won't stop Don't you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won't give in Stop, we won't stop Don't you stop I can't live if you stop Tammy Rae Carland and Sleater-Kinney Vivienne Dick…”

- Lyrics from Hot Topic by Le Tigre, 1999

EC Brown

My wife Catie's annual Krampusnacht event last December included a holiday market, and I presented a bin of paintings on chipboard that were folded like heavy 45 sleeves—with mulch+foliage+ploymer record shapes that became too encrusted to fit inside. The images invented an old psychedelic Krampus underground—militant and Luciferian. Dolly appeared as a surprise digression in the wee hours before the deadline.

For the past seven years of Krampusnacht, I have sidestepped the European relics in favor of thoughts about American undercurrents—rowdy, sexual, heretical, and perilously savage. But I like to imagine that the deeper magma is something propulsive and generative, rather than malignantly atavistic. An inevitable rebellion against civilized living.

With Edra's prodding, I'm pursuing the Dolly tangent: imagining a history in which the liftoff of her solo career was profoundly controversial—to the point that an enclave of armed male consorts developed around her. Perhaps her audience had detected a Luciferian bent in her, that would need time to transition to a more acceptable yet radical Christianity.

EC Brown: I prefer a collision of illustrative image-making that begs attention to narratives, and physical formats that shift these works into roles as implements or tactical objects addressing spaces and situations. Images have been a tempered fever-dream drawing from 1960s–70s aesthetics, pop occultism, science fiction, Modernist architecture, biomimetics, industrial photography and observational cinema. Often they are absurdist historical revisions.

Since 2005, I have mostly operated in Chicago's domestic artspaces. I co-organized Floor Length and Tux (2009–2014, with Catie Olson) and COMA (2006–2008, with Annika Seitz). I periodically organize a roving series entitled ASCII (2011–present). Since 2015, I have been conducting a discreet series out of my home entitled Tascam.

Lise Haller Baggesen

Interpersonal relationships, intergenerational and intersectional eco- and cyber- and xeno- feminism, reproductive justice, therapeutic aesthetics, color field painting, sci-fi tie-dye, hippie modernism, bio-punk, grunge, glam, and disco, are some of the vernaculars that inform my body of work. Since graduating in 2013 from SAIC's department of Visual and Critical Studies, this organic body has manifested itself in a hybrid and polydisciplinamorous practice, including writing, audio-visual installations, textile-, and sartorial works.

Mother is a noun and a verb; I regard my practice as a sourdough, a gestation of material, out of which individual works, texts, and shows are wrought, while the mother remains, active.

Lise Haller Baggesen is a Danish born, Amsterdam raised, Chicago based, interdisciplinary artist. Her hybrid practice includes writing, installation, performative, sartorial and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multimedia show HATORADE RETROGRADE: THE MUSICAL, which premiered at SoEx in San Francisco in 2019 and will travel to G400 in Chicago in 2020

Rodrigo Lara Zendejas

I create memorials—fragmented, mischievous, and imperfect realities that reflect both a formal

break from traditional shape, while presenting an assemblage version of our collective social and political thoughts, concerns, and hopes. Although I was trained in the traditions of classical art, my pieces now are not always clean. Or finished. Or beautiful. My work holds the memory of an intimate process of becoming. In some bodies of work, I present obvious nooks and gashes, broad, quick strokes, and secretive, featherlike fingerprints, all of which aided in the modeling of the clay during the process of bringing the subject to life. It is this visceral and intimate approach to materials and form that drive my subjects of memory and memorialization through all of my works.

When considering the human form and its relationship to memorialization, immediate thoughts of bronze statues at historical sites come to mind. My fascination, however, is in the way that memory—with its inherent, ever-changing fluidity—disrupts our ability to fully or truthfully freeze, or memorialize people, moments, or perspectives in history. Instead, it is our momentary glimpses of memory and hindsight that drive how we understand the present.

As a Mexican immigrant to the United States, my works often rely on my own fragmented memories and stories of home, my direct experiences with fervent Catholicism, and other’s heroic (yet common) anecdotes of border crossing and acclimating to living in America. However, while my memories and relationships to patriotism, politics, my background, and my longing for the familiar certainly influence my work, it is my interest in the process, the poetics of the materials, and the action of sculpting that motivate my continued practice.

Born in Mexico in 1981, Rodrigo Lara Zendejas received a MFA from School of the Art Institute of Chicago (SAIC) in 2013. And his BFA from the Universidad de Guanajuato in Mexico in 2003. He has received several awards including: Proyectos Especiales FONCA (Fondo Nacional para la Cultura y las Artes) Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, New York City; Jóvenes Creadores, FONCA, Mexico City; Extraordinary Abilities Visa, U.S. Citizenship and Immigration Services; Artist’s Grant, Vermont Studio Art Center; James Nelson Raymond Fellowship, 2013 SAIC Fellowship Competition; PECDA Estudios en el extranjero,Instituto Queretano de la Cultura y las Artes; the International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC Berlin/Kassel, Germany; among others. He won the first price in sculpture at the National Award for Visual Arts in Mexico in 2010. Lara held solo exhibitions at institutions such as the Museum of Modern Art in the state of Mexico, Hyde Park Art Center in Chicago, the National Museum of Mexican Art in Chicago, Kruger Gallery in Marfa, Texas, among others. He has been in such residencies as the Vermont Studio Center, ACRE, Ragdale, Cross Currents: Cultural Exchange, Mana Miami, and Rogers Art Loft. Currently, Lara lives and works in Chicago.

Flatscreen

Sarah Beth Woods

Hear the Glow of Electric Lights is a multifaceted project that centers around a black and white, 16mm reversal film, which investigates the choreographed performances of 1960s American pop music groups featuring girls and young women. During the summer of 2017, Sarah Beth Woods formed The Rhinettes, a conceptual girl group based out of Prosser High School on the West side of Chicago. Referencing the Supreme’s first nationally televised appearance and Cholly Atkins' choreography, the work reveals the inscription of sound on the body and other material surfaces.

Girl group: (L-R) Alexis Strowder, Yahkirah Beard, Anya Jenkins Cinematography: Brian VandenBos Choreography: Courtney Bradshaw Costumes: Ann Heggans, Sarah Beth Woods

Sarah Beth Woods is a Chicago-based multidisciplinary artist. Woods’ background as a painter and critical cultural worker has led to an interest in the aesthetics and political implications of modern surfaces and the body, specifically skin and hair, saturated color and shine. Cultural influences derived from formative years spent on the Southwest side of Chicago continue to manifest in the content and aesthetics of Woods’ work, specifically black material culture and women’s conceptual spaces as sites of possibility and transformation.

Activation

Felicia Holman

"Originally created as a commissioned response to Edra Soto’s 2018 exhibition ‘Open 24 Hours’, interdisciplinary artist Felicia Holman presents a reprise of her solo performance—Wassup w/that ‘YAC?! (WWTY). As both a cognac enthusiast and a native of Chicago’s South Side, Holman unpacks experiential / anecdotal support of the formative research cited in ‘Open24 Hours’. WWTY centers the perspective of a Black Gen X’er cis-female cognac consumer. How do historic/ (pop) cultural/ social/ economic factors impact and influence her consumption of “that smooth brown spirit”? Guided audience participation optional but warmly encouraged (21+ only). Total running time: 45-60 minutes, no intermission.”

Felicia Holman “Lifelong”: Chicagoan/ artist and Prince "fam" Felicia Holman is an independent cultural producer/programmer, as well as a co-founding member of Chicago-based Afrodiasporic feminist creative collective, Honey Pot Performance. Felicia creates, presents, and supports innovative interdisciplinary performance that engages audience and inspires community. Felicia’s artistic & professional practices are both are grounded in critical thought, intersectionality, community building & embodied storytelling. Some of her recent projects and career highlights include:

*Featured artist in Jenn Freeman's "The People's Church of The G.H.E.T.T.O" and the 10th edition of Erin Kilmurray's "The Fly Honey Show”.

*Selected as City Bureau's Fall 2019 Public Newsroom Series Curator.

*Featured presenter at Arts Administrators of Color Network-DMV's 2019 Annual Convening (DC). *Featured artist / facilitator at Flux Factory's "Must They Also Be Gods" group exhibition (NYC).

*Facilitating career development programming for emerging artists.

THE FRANKLIN

Address: 3522 W. Franklin Blvd, Chicago IL 60624 Cell to text: (312)823-3632Hours: Saturdays 2-4pm and by appointment Online: http://thefranklinoutdoor.tumblr.comInstagram: @thefranklinoutdoor

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