Vivian Maier, Through a Clearer Lens


vivian-maier

But stories — like snapshots — are shaped by people, and for particular purposes. There’s always an angle. A new biography, “Vivian Maier: A Photographer’s Life and Afterlife,” by Pamela Bannos, strives to rescue Maier all over again, this time from the men who promulgated the Maier myth and profited off her work; chiefly Maloof, who controlled her copyright for a time. After a legal battle — “the Vivian Mire,” one critic called it — her estate passed into a trust last year, where it will be held for possible heirs and eventually released into the public domain.

The complete article

Parul Sehgal — The New York Times

Image source

Advertisements

Inferior Design: Do Our Offices Inspire Creativity or Express Uniformity?


357_matisse_painting_from_his_sick_bed

Does your workplace inspire you?

I confess I’m no fan of the current conventions in creative office design – conventions now shared, with bigger budgets, by our Clients: the reclaimed wooden tables, the high chairs and industrial lighting; the brightly coloured walls and quirky shaped sofas; the suggestive neon words and slogans; the themed breakout areas and table football; the juice bar, coffee station and artisanal cookies; the beach-hut workstations, the meeting rooms named after Bowie songs; the climbing walls, playground slides and bouncy castles…

The complete article

Jim Carroll’s Blog

Image source

It’s Getting Hard to Tell If a Painting Was Made by a Computer or a Human


ibis-xlarge_trans_nvbqzqnjv4bq9v1qybfeu7wsn9icrlbxved9khsuqpot6p23c_5gjxg

In all aspects of life, machines are slowly taking over. But are we losing out on the essence?

Michael Connor, the artistic director of Rhizome, a non-profit that provides a platform for digital art, agrees. He describes the gap between silicon- and carbon-based artists as wide and deep: “Making art is not the sole role of being an artist. It’s also about creating a body of work, teaching, activism, using social media, building a brand.” He suggests that the picture Elgammal’s algorithm generates is art in the same way that what a Monet forger paints is art: “This kind of algorithm art is like a counterfeit. It’s a weird copy of the human culture that the machine is learning about.” He adds that this isn’t necessarily a bad thing: “Like the Roman statues, which are copies of the original Greek figures, even copies can develop an intrinsic value over time.”

The complete article

Rene Chun — Artsy

Image source

Click Bait


7553778-3x2-700x467

Wiki – Diane Arbus (/dˈæn ˈɑːrbəs/; March 14, 1923 – July 26, 1971) was an American photographer and writer noted for photographs of marginalized people—dwarfsgiantstransgender people, nudistscircus performers—and others whose normality was perceived by the general populace as ugly or surreal.

Walker Evans called her a huntress—and she was as matter-of-fact about her predilections as her biographers are flustered. “She told me she’d never turned down any man who asked her to bed,” recalled one confidante at the time. “She’d say things like that as calmly as if she were reciting a recipe for biscuits.” Friends remembered her confessing compulsively or weeping while recounting these episodes. Others said she appeared dignified, coolly unafraid. They might all have been telling the truth. Her adventures were probably a combination of the desperate, dull, thrilling, numbing, humiliating—aren’t yours? But they’ve only ever been interpreted as tragic, as a symptom of depression and hideous loneliness, as proof that she was, in Schultz’s words, “a living suicide algorithm.”

The complete article

Parul Sehgal — Bookforum

Image source

THE MOZART EFFECT


symphonies-39-40-41-wolfgang-amadeus-mozart-barbara-krafft-1764-1825-c-domaine-public

Music is not a drug that incapacitates the listener and produces a predictable result. A whole lifetime spent listening to Bach will not automatically make a woman love God. And – despite the warning of two generations of moralists – a lifetime listening to the Rolling Stones will not make a man fornicate. Particular kinds of music may express things that appeal to the listener, and the listener may select a particular kind of music because he finds that it resonates with his own pre-musical emotional condition, but the music itself can never cause the listener to act. Action is a function always of the will, and while music may prod, and it may suggest, it cannot force. We must indeed pay the piper, but we always choose the tune and decide whether or not to dance.

The complete article

Michael Linton — Future Symphony Institute

Image source

Literary Desire


In this review of Rita Felski’s The Limits of Critiquethe author looks at contemporary literary criticism.

Felski asks what might happen if we looked not “behind the text” but “in front of the text, reflecting on what it unfurls, calls forth, makes possible.” In doing so, she seeks to rehabilitate the validity and importance of what we might call “literary desire”: the force that drives you to reread your favorite book yet again; or to finish that work of genre fiction even when you know the ending; or to press a beloved book awkwardly into a distant acquaintance’s hands in hopes that she, too, will come to love what you love and might one day talk with you about it.

First Things

Painting by Brianna Keeper

Calibri’s Scandalous History


calibri-font-image-1-1-txigilhkxs_blog

Somehow Calibri font seems to be there in recent scandalous events.

Since 2007, Calibri has figured in several other forgery allegations. In 2012, the Turkish government accused approximately three hundred people of plotting a coup, on the basis of documents that had been printed in Calibri but were purported to date from as early as 2003. De Groot sent a form letter in response to the many inquiries he received from Pakistan. “In my opinion, the document in question was produced much later” than 2006, he wrote. While Microsoft had by then released a beta version of its Office suite that included Calibri, de Groot pointed out that only “computer nerds” and “font lovers” were using it. “Why would anyone use a completely unknown font for an official document?”

The complete article

Ross Arbes — The New Yorker

Image source