I regularly create gallery installations where audiovisual material is run on a computer that a) might difficult to physically access, and b) must be run with the minimum of technical knowledge. In these cases it is much easier to administer the functionality using a second remote computer.
First, read Configuring a Computer for Gallery Use, which explains how to set up the host computer. Then return here.
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This is a brief response to the hullaballoo concerning a duct-taped banana. Naive knee-jerk responses have been anticipated by both artist and buyer, both aware of their roles in this game of post-symbolic trade.
On Morel and Marienbad
I wonder why it has taken until now for me to read The Invention of Morel (Adolfo Bioy Casares, 1940), given the fascination it exerted on Borges. That writer's many stories, poems, and fake encyclopedia entries provided a fluid substrate for my own imagination. I read him early and enthusiastically, relating his fabulist output back to more conventional science-fiction.
So how did I forget Bioy, his colleague and friend? Borges even wrote the (original) introduction to this book.
There is a story here to uncover through figures of representation and obsession. Brooks / Faustine / Seyrig / Karina. I've made a few belated discoveries.
This article risks being read as an "old man yells at cloud" post. But I am driven to write it to counter a lack of critical thinking about what YouTube means for education. Specifically, how that channel misleads learners and damages learning itself.
Before I itemise the problems with YouTube tutorials, I will provide some context.
Inspired by the Sex Pistols, Green Gartside formed the band Scritti Politti while studying art at Leeds Polytechnic. Moving to a squat in Camden Town, the band released their first single “Skank Bloc Bologna” in 1978. Before transitioning the group to a pure pop outfit with several chart hits, Green produced a number of songs referencing leftist political theory and post-structural thought.
One of the finest of these is “The 'Sweetest Girl'”, released October 1981 on Rough Trade. I have just made a discovery that perhaps has gone unnoticed. This song is an answer record. But who asked the question?
This is a reading list of essential books in the field of sound art. The term is provisionally defined to include non-narrative, non-performative works in a gallery context. This definition excludes experimental music in the main, since that field is well-served by a century of robust literature.
As a term, sound art is only as old as 1990, though it has been applied retroactively to a body of prior work. Further debates on categories will be deferred to the following volumes, each of which deals with this thorny issue in its own way.
Being a digital media artist, the computer is my primary tool, quite unlike other tools, being general-purpose machines that require modification and configuration before they are fit for purpose. It's easy to buy a hammer to hammer, a toaster to toast. It's somewhat more involved to buy paints to paint, paper on which to print, and so on. But it's definitively a non-trivial matter to buy and configure a computer... at least for anyone who wishes to deeply engage with their working process.
The world is divided into two types of people: those who divide people into two type... and gamers.
Here's a quiz to puzzle both. Read the following descriptions and determine which games are real and which I have simply invented for entertainment purposes. There will be a couple of easy ones to give the gamers an unfair advantage.
I will supply the answers... eventually. No cheating by using the internets.
The entries are numbered to aid scoring. Are you ready? Set! Go!
Everything considered, 2020 was a productive year for me. I released two albums of compositions, one long improvisation, two music videos, and contributions to several compilations. This post summarises these nine releases, with listening/watching links.
I have been working with DaVinci Resolve for some time now, and I must say it has completely changed my video world. Media management, transcoding, timeline editing, animation, effects, colour grading... it seems to do just about everything. Furthermore, it's changed how I teach video, since it lowers the bar of entry to a professional-level feature set. When I recommend it to artists, it blows their minds. When I teach it to my students, they are empowered to do their best work.
However, like other professional video applications, Resolve is complex. I have a series of tutorials ready for publication, and will use this page as a launch pad for these videos.
