723 Matching Annotations
  1. Feb 2024
    1. https://www.youtube.com/watch?v=hWVrz5oCt2w<br /> The meaning of Hand Gestures in Art History<br /> Amuze Art Lectures

      Middle and ring fingers together to represent modesty. (He doesn't say it, but it also could stand for "M" as in Medici??)

      Finger pointing at viewer may indicate a self portrait.

      Woman's hand on abdomen may represent pregnancy, a fertile marriage, or the desire to bear children.

    1. We strolled through the square at Spiegelgasse this Tuesday, visiting a pop-up gallery of the graduation projects of several students at https://www.zhdk.ch/ the ZH art academy. Turns out this place has history! It is where Dada started (and Lenin lived next door at the time!).

    1. SUNY Brockport’s Drake Memorial Library greets its userswith a typographically generated image of a card catalog:Your automated catalog, by DYNIX.Copyright (c) 1992 by DYNIX, Incorporated.

      A library card catalog drawn using ASCII art. :)

    2. And some undetermined but large fraction of thetotality is being sent to an artist named Thomas Johnston, atWestern Washington University.

      Card catalog cards being repurposed for art.

    1. The delight-inducing art piece, A Place for Everything and Everything in its Place, is featured in the two elevator cars on the north side of the building, accessible in the Tom Bradley Wing.One car has cards for the "Comprehensive" and the other for the "Complete" works of various authors and topics. When moving, the elevator cars expose cards in the shaft window that reflect books that are found on the floor the elevator is passing.Artist David Bunn was given nearly 2 million catalog cards to play with for his art installation, yet he only used a little more than 9,500 in the two elevator cars. He has, since the early 1990s, been creating art projects, found poetry, and sculptures with the remaining cards.
    1. The bad reader is lost amonggood books. He lacks the highest pleasure available to man,according to Mrs. Woolf. If she is right, none but a fool would refuseto learn to read as well as he can.

    Tags

    Annotators

    1. y at il une place pour le thérapeutique dans l'éducatif par rapport à ses enfants à comportement perturbateur notre âme en notamment à travers l'art de thérapie à l'école
  2. Jan 2024
    1. After a bit of experimentation (and in a discovery that led us to collaborate), Southen found that it was in fact easy to generate many plagiaristic outputs, with brief prompts related to commercial films (prompts are shown).

      Plagiaristic outputs from blockbuster films in Midjourney v6

      Was the LLM trained on copyrighted material?

  3. Dec 2023
    1. Wish You Were Here - The “Great Lakes” Edition from Field Notes Brand https://www.youtube.com/watch?v=fFemm4LjJbY

      The Newberry Library in Chicago, IL, maintains a collection of the Curt Teich & Co.'s Art-Colortone postcards from 1898 onward. It's stored in tab divided boxes using an alpha-numeric system generally comprising a series of three letters followed by three numbers. The company sold over a billion of these postcards.

    1. I think there are opportunities for for 01:13:03 um reaching people in new ways emotionally powerful ways across those three emotional temperaments that we haven't exploited and I think people like James Cameron have an intuition for that they haven't either hadn't exploited yet
      • for: adjacency art - leverage point - idling resource

      -: adjacency between - art - leverage point - idling resource - adjacency statement - art is a powerful leverage point that is, unfortunately still an idling resource

    2. could art in the very general sense 01:10:39 story et cetera be used as one of those tools it's a great question and the answer is absolutely
      • for: leverage points - art
    1. https://web.archive.org/web/20231206090650/https://www.theguardian.com/artanddesign/2023/dec/05/wizard-of-ai-artificial-intelligence-alan-warburton-dangers-film

      20 min 'documentary' about what AI does to artists, made with AI by an artist. ODI commissioned it. Does this type of thing actually help any debate? Does it raise questions more forcefully? I doubt it, more likely reinforcing anyone's pre-existing notions. More a curiosum, then.

  4. Nov 2023
    1. there's things in the 10th Century in what we think of as now as broadly Western and Central Europe 01:13:46 that are beginning to show up particularly in art and architecture and poetry and music not an accident the musician we know that artists are often people who sense 01:13:59 things and are ahead of a culture they give the first articulation to a set of ideas and so if you today if next time you're in Ottawa I invite you to go to the 01:14:10 National Gallery because the National Gallery in Ottawa has one of the world's best collections of European northern European art and it starts about 1300 01:14:22 there's some before that but their collections of that's old enough to get you into it and it works through historically as you work through the rooms and at least it used to last time I brought it was there it brought you 01:14:36 out into a post-modern into postmodern art as if what's beyond what we think of as Modern Art uh into post-modern art
      • for: BEing journey - history of art from 10th century to present
    1. “This is the science that concerns itself with plants in their local association in the various climates. This science, as vast as its object, paints with a broad brush the immense space occupied by plants, from the regions of perpetual snows to the bottom of the ocean, and into the very interior of the earth, where there subsist in obscure caves some cryptogams that are as little known as the insects feeding upon them.”

      —Alexander von Humboldt, 1807 “Essay on the Geography of Plants”

      Cave paintings/art were known of in Humboldt's time certainly if he's using them to analogize.

  5. Oct 2023
    1. The art of the biblical narrative, Alter hypothesized, was finalized in a late editorial stage by some unifying creative mind — a figure who, like a film editor, introduced narrative coherence through the art of montage. Alter called this method “composite artistry,” and he would also come to use the term “the Arranger” — a concept borrowed from scholarship on James Joyce — to describe the editor (or editors) who gave the text a final artistic overlay. It was a secular and literary method of reading the Hebrew Bible but, in its reverent insistence on the coherence and complex artistry of the central texts, it has appealed to some religious readers.
    1. In Beijing and Shanghai, new art complexes have been built following European and American standards, showing that they are considered global standards
    2. "curiosities," which had historical significance as unique and unclassifiable objects.

      exoticism

    3. British army had specific procedures for legalizing plunder
    4. Plunder was seen as a natural part of war, and it was managed by categorizing it as "prize"
    5. no laws
    6. evelopment of a field of art history on China. The objects had various meanings, representing the British army, the humiliation of the Chinese emperor, and the global discourse on non-European curiosities. The sell-off of imperial art in East Asia was influenced by war and revolution. Recently, mainland Chinese companies intervened to repatriate some of the plundered objects.
    1. Listed in late summer/early fall 2023.

      Art Metal Company card catalog (drawer sizes maybe 6x9" index cards? with 32 3/4 W x 38 3/4" H x 18 1/2" D). Possibly sectional with top and short leg sections, two sections of 3x2 drawers and a storage section with two doors. Nice patina.

      Listed originally at $1,200 and put on sale in early October 2023 for $960. Local pick up in Savannah, GA.

      Cost per drawer: $85.71 ($68.57 on sale)

    1. Plex is my very life - and has been all along, I suspect. From a creative and in-quisitive childhood, sampling all the arts, crafts, and sciences, through a strongliberal-arts background, to pure mathematics and electrical engineering - I foundmyself swept into the very exciting dawn of the computer age in my first graduate-student summer job, in 1952. Just as my marriage to Pat in the January breakof my senior year at Oberlin had been the perfect choice, my change to part-timeSpecial Student status, while embarking on my full-time professional career atMIT, can be seen as inevitable, when viewed from today's vantage point. Thereis an exquisite economy in the doings of nature, and for a long time, now, I havebeen firmly convinced that, whoever I may really be, my role in the scheme ofthings has been to initiate the discovery of Plex, not by chance, but as what Ido, simply because I'm me

      I can see him struggling with this concept at this point I dont think we had greb the concept of arts as not something you do but a part of expressing what you have to say

      There are many techinical people that are into arts and we think of that as an oddity but art is technology

    1. You have not graspeda complex unity if all you know about it is how it is one. Youmust also know how it is many, not a many that consists of alot of separate things, but an organized many. If the partswere not organically related, the whole that they composedwould not be one. Strictly speaking, there would be no wholeat all but merely a collection.

      This is also an art of putting notes together to make an article or book.

    2. The rules of such learningconstitute the art of unaided discovery.

      There always seems to be a duality of "rules" and "art" I see in almost every representation of the idea of art.

      Thesis: To practice an art, there are always rules which one is following. Often the rules may be unwritten or hidden, but they are being followed on some level.

      Is there art which doesn't have any rules?

      • for: Indyweb, unenclosable carriers, future - of communication, Art Brock, Arthur Brock, Holochain

      • summary

        • Art Brock demystifies Holochain by discussion unenclosable carriers, the essence of Holochain.
        • Art provides an excellent, lay-person-friendly explanation of unencloseable carriers that helps contextualize
          • just how critical unencloseable carriers are to a healthy society
          • just how far away we are, even including blockchains, from a healthy society
        • this is the first of a series of 3 articles. The second article discusses how unenclosable carriers benefit major provisioning systems such as
          • food system
          • energy system
          • planetary health
  6. Sep 2023
    1. Art is the hook that engages students…. The subjects are familiar so that students have much to recognize but they also contain elements of mystery so students have observations, ideas, and emotions to puzzle over [my emphasis]. (p. 24)

      Right, so the modern equivalent would be to design a game or an 3d animation in an intuitive way, yet the integration of pipeline in this systems makes it so that not even experienced professionals in the area cn develop a short film or an interactive experience through art that eases people into coding.

      I think we need to do a better job at this. If the system that allowed us to design the processes also taught it to people then we wouldn't have to chose between improving the learning curve and the system there should all be one. why did we stop shipping manuals with our tech..? ahh it was because we stopped caring about what the people that designed the tool thought.

  7. Aug 2023
    1. https://collections.si.edu/search/record/edanmdm:nmah_1218385

      Phyllis Diller's gag file appears to have been made of 16 standard three-drawer beige Steelmaster (Art Steel Company, Inc.) index card files which were stacked in two columns and enclosed in a matching beige external frame which was mounted on casters. Having overflowed the 48 available drawers, there was an additional 3-drawer file added on top as an expansion.

      The Smithsonian dates the files from 1962 to 1994, but perhaps the digitized version can be searched by date to determine the actual earliest and latest dates on included cards as most had at least a month and a year.

    1. Adam Philips’ expression, “if the art legitimates cruelty, I think the art is not worth having.”

      for: quote, art, quote - art, Adam Philips - quote - if the art legitimates cruelty, I think the art is not worth having. - author - Adam Philips

    1. we've actually initiated a pilot study to look to see whether we could use art-induced awe to facilitate toleration. 00:12:55 And the results are actually incredibly positive. We can mitigate against anger and hate through the experience of awe generated by art.
      • for: art for healing, art for conflict resolution
  8. Jul 2023
    1. In traditional artforms characterized by direct manipulation [32]of a material (e.g., painting, tattoo, or sculpture), the creator has a direct hand in creating thefinal output, and therefore it is relatively straightforward to identify the creator’s intentions andstyle in the output. Indeed, previous research has shown the relative importance of “intentionguessing” in the artistic viewing experience [33, 34], as well as the increased creative valueafforded to an artwork if elements of the human process (e.g., brushstrokes) are visible [35].However, generative techniques have strong aesthetics themselves [36]; for instance, it hasbecome apparent that certain generative tools are built to be as “realistic” as possible, resultingin a hyperrealistic aesthetic style. As these aesthetics propagate through visual culture, it can bedifficult for a casual viewer to identify the creator’s intention and individuality within the out-puts. Indeed, some creators have spoken about the challenges of getting generative AI modelsto produce images in new, different, or unique aesthetic styles [36, 37].

      Traditional artforms (direct manipulation) versus AI (tools have a built-in aesthetic)

      Some authors speak of having to wrestle control of the AI output from its trained style, making it challenging to create unique aesthetic styles. The artist indirectly influences the output by selecting training data and manipulating prompts.

      As use of the technology becomes more diverse—as consumer photography did over the last century, the authors point out—how will biases and decisions by the owners of the AI tools influence what creators are able to make?

      To a limited extent, this is already happening in photography. The smartphones are running algorithms on image sensor data to construct the picture. This is the source of controversy; see Why Dark and Light is Complicated in Photographs | Aaron Hertzmann’s blog and Putting Google Pixel's Real Tone to the test against other phone cameras - The Washington Post.

    1. Interstellar was particularly praised for its scientific accuracy, which led to the publication of two academic papers.[118][119] The American Journal of Physics called for it to be shown in school science lessons.
      • knowing how to suffer, allows you to suffer less, having understanding and compassion (see my idea on madness, understanding it, knowing how to be mad)
      • we always run away from suffering (like avoiding to face the dragon)
      • using technology, like tv, to run away from suffering (see my idea on media controlling attention), also other coping like eating etc.
      • embrace and face suffering (facing the dragon), understanding will arise, you become compassionate (that will heal you), because you understand that other people suffer (see idea on not having enemies, understanding others, looking not only at yourself, but others)
      • (see above) now you want to help others
      • practice of looking into one owns suffering, and then looking at others suffering (thinking of self, then others, see idea)
    1. To compare the Garnett and the Pevear-Volokhonsky translations of “The Brothers Karamazov” is to alight on hundreds of subtle differences in tone, word choice, word order, and rhythm.“These changes seem small, but they are essential. They accumulate,” Pevear said. “It’s like a musical composition and a musician, an interpretation. If your fingers are too heavy or too light, the piece can be distorted.”“It can also be compared to restoring a painting,” Volokhonsky said. “You can’t overdo it, but you have to be true to the thing.”
  9. Jun 2023
    1. There are many things that we have to take on trust; everyminute of every day we have to accept the testimony and the guidance of thosewho are in a position to offer an authoritative view.

      Perhaps there is a need for balance between the two perspectives of formal and progressive education. While one can teach another the broad strokes of the "rules" of note taking, for example, using the zettelkasten method and even give examples of the good and the bad, the affordances, and tricks, individuals are still going to need to try things out to see what works for them in various situations and for their specific needs. In the end, its nice to have someone hand one the broad "rules" (and importantly the reasons for them), so that one has a set of tools which they can then practice as an art.

    1. It certainly would have by now,were it not for the multitude of volunteer sheriffs of the information highway who ride aroundpatrolling the thing day and night.

      This piqued my interest because I wonder how there are so many volunteers on Wikipedia. It raises questions like, why are they willingly patrolling the site and making sure there is no vandalism or inaccurate information? What is in it for them? Since it says volunteers I assume there are so rewards for these people so is it just good morals or boredom? I attached a picture of a chart showing the increase in editors after COVID. I think during COVID many people were bored so they decided to take on volunteering on Wikipedia and afterwards maybe it became a hobby.

    1. Second, the social life of annotation is of greater importance than individual reader response. Annotation must be studied and promoted as a social endeavor that is co-authored by groups of annotators, with interactive media, spanning on-the-ground and online settings, and in response to shared commitments.

      When will we get the civil disobedience version of Mortimer J. Adler's How to Mark a Book?

  10. May 2023
    1. sparql SELECT ?type (COUNT(DISTINCT ?oeuvre) AS ?c) WHERE { VALUES ?type { wd:Q838948 } ?oeuvre wdt:P31 ?type. { ?oeuvre ?link ?museum. } union { ?museum ?link ?oeuvre. } ?museum wdt:P31 wd:Q33506. } GROUP BY ?type ORDER BY DESC (?c)

    1. ```html

      <div vocab="https://schema.org/" typeof="VisualArtwork"> <link property="sameAs" href="http://rdf.freebase.com/rdf/m.0439_q" />

      La trahison des images

      A <span property="artform">painting</span> also known as <span>The Treason of Images</span> or <span property="alternateName">The Treachery of Images</span>.

      <div property="description">

      The painting shows a pipe. Below it, Magritte painted, <q lang="fr">Ceci n'est pas une pipe.</q>, French for "This is not a pipe."

      His statement is taken to mean that the painting itself is not a pipe. The painting is merely an image of a pipe. Hence, the description, "this is not a pipe."

      Similarly, the image shown above is neither a pipe nor even a painting, but rather a digital photograph.

      The painting is sometimes given as an example of meta message conveyed by paralanguage. Compare with Korzybski's <q>The word is not the thing</q> and <q>The map is not the territory</q>. </div>

      • Artist: <span property="creator" typeof="Person"> <span property="name">René Magritte</span> </span>
      • Dimensions: <span property="width" typeof="Distance">940 mm</span> × <span property="height" typeof="Distance">635 mm</span>
      • Materials: <span property="artMedium">oil</span> on <span property="artworkSurface">canvas</span>
      </div>

      ```

      ```html

      <div vocab="https://schema.org/" typeof="VisualArtwork"> <link property="sameAs" href="http://rdf.freebase.com/rdf/m.0dbwsn" />

      My Bed

      My Bed, first created in <time property="dateCreated" datetime="1998">1998</time>, is an <span property="artform">installation</span> by the British artist Tracey Emin.

      <div property="description">

      <cite>My Bed</cite> was exhibited at the Tate Gallery in <time datetime="1998">1999</time> as one of the shortlisted works for the Turner Prize. It consisted of her bed with bedroom objects in an abject state, and gained much media attention. Although it did not win the prize, its notoriety has persisted. </div>

      The artwork generated considerable media furore, particularly over the fact that the <span property="artMedium">bedsheets</span> were stained with bodily secretions and the floor had items from the artist's room (such as <span property="artMedium">condoms</span>, <span property="artMedium">a pair of knickers</span> with menstrual period stains, other detritus, and functional, everyday objects, including a <span property="artMedium">pair of slippers</span>). The <span property="artMedium">bed</span> was presented in the state that Emin claimed it had been when she said she had not got up from it for several days due to suicidal depression brought on by relationship difficulties.

      </div>

      ```

      ```html

      <div vocab="https://schema.org/" typeof="VisualArtwork"> <link property="sameAs" href="http://www.pada.net/members/memPicFull.php/38/367" />

      Still Life under the Lamp

      <span property="artform">Print</span> from <time property="dateCreated" datetime="1962">1962</time> by Pablo Picasso. Numbered from the edition of <span property="artEdition">50</span>, each signed by the artist in pencil, lower right: Picasso.

      <div property="description">

      <cite>Still Life under the Lamp</cite>, from 1962, made when the artist was eighty years old, are counted among Picasso’s most important works in linocut, a technique that he explored in the late 1950s and early 1960s. The progressive proofs show the step by step sequence by which Picasso created his linocut images showing the development of the image into its final form.

      </div>
      • Artist: <span property="creator" typeof="Person"> <span property="name">Pablo Picasso</span> </span>
      • Dimensions: <span property="width" typeof="Distance">25 3/16 inches</span> × <span property="height" typeof="Distance">20 3/4 inches</span>
      • Materials: <span property="artMedium">linoprint</span> on <span property="artworkSurface">paper</span>
      • See also here and here.
      </div>

      ```

    1. ```html

      <div vocab="https://schema.org/" typeof="Painting">

      <span property="name">The Madonna with the Long Neck</span>

      <span property="genre" content="http://vocab.getty.edu/aat/300021143">Late Renaissance</span> painting by <span property="creator">Parmigianino</span>. </div>

      ```

      ```html

      <div vocab="https://schema.org/" typeof="Painting"> <meta property="sameAs" content="https://en.wikipedia.org/wiki/The_Church_at_Auvers" /> <span property="name">The Church at Auvers</span> by <div property="creator" typeof="Person"> <span property="name">Vincent van Gogh</span> </div>, depicts a church in <div property="contentLocation" typeof="AdministrativeArea"> <span property="name">Auvers-sur-Oise</span>, </div> but was created in <div property="locationCreated" typeof="AdministrativeArea"> <span property="name">Saint-Rémy-de-Provence</span>. </div> </div>

      ```

  11. Apr 2023
    1. The Museum of Modern Art (MoMA) has acquired the MIT Press colophon, designed by Muriel Cooper, as part of its permanent collection. Designed in 1965 and now widely celebrated as a hallmark of modernist design, the iconic logo was abstracted from the letters “mitp” into the barcode-resembling design that stamps the spines of the press’s publications.

      Muriel Cooper, the first design director of the MIT Press and a founding faculty member of MIT's Media Lab, designed the MIT Press colophon in 1965. The iconic colophon has been acquired by The Museum of Modern Art in 2023.

      The commission had originally been offered to Paul Rand (o Eye Bee M logo fame) in 1962, but when he turned down the offer, he suggested they offer it to Cooper.

    1. This is an American form,and it sent me straight into the arms of Thomas Jefferson at Monticello. And

      Sets the historical context of Hamilton's work.

    Tags

    Annotators

    1. Aby Warburg: Metamorphosis and Memory. Documentary, Biography, 2016. https://www.kanopy.com/en/lapl/video/5913764.

      Written, Directed and Produced by Judith Wechsler<br /> Wechsler2016

      sepia image of Warburg looking out over a city next to a hill with the movie title superimposed at the top

    2. 51:20 - [Aby] Not until art history can show51:22 that it sees the work of art51:23 in a few more dimensions than it has done so far51:27 will our activity again attract the interest of scholars51:31 and of the general public.51:36 Every serious scholar51:37 who has to venture on a problem of cultural history51:40 reads over the entrance to his workshop Goethe's lines:51:43 "What you call the spirit of the age51:46 "is really no more51:47 "than the spirit of the worthy historian51:49 "in which the age is reflected."51:57 In my role as psycho-historian,51:59 I tried to diagnose52:00 the schizophrenia of Western civilization52:02 from its images in an autobiographical reflex.52:10 May the history of art and the study of religion,52:13 between which lies nothing at present52:15 but wasteland overgrown with verbiage,52:18 meet together one day in learned and lucid minds,52:22 and may they share a workbench in the laboratory52:24 of the iconological science of civilization.
    3. 12:03 - For art is not only something which is aesthetic relevant,12:07 but it's relevant in so many other dimensions too,12:11 partially, and intellectually,12:15 and there's a lot of knowledge enclosed within the artworks.

      For art is not only something which is aesthetic relevant, but it's relevant in so many other dimensions too, partially, and intellectually, and there's a lot of knowledge enclosed within the artworks. —Michael Diers [00:12:03], art historian in Aby Warburg: Metamorphosis and Memory

    4. 06:57 The entire range of emotional stirrings,06:59 aggression, defense, sacrifice, mourning,07:03 melancholia, ecstasy, triumph, et cetera, is expressed07:06 through the revival of movements, gestures, and postures,07:11 that is pathosformel:07:12 the expressive formulas of emotion07:15 either taken from ancient modes07:16 or reappearing as mnemonic traces in successive works.

      The entire range of emotional stirrings, aggression, defense, sacrifice, mourning, melancholia, ecstasy, triumph, et cetera, is expressed through the revival of movements, gestures, and postures, that is pathosformel: the expressive formulas of emotion either taken from ancient modes or reappearing as mnemonic traces in successive works.


      Original source for this? (Likely in German as original.)

      Warburg is talking about the expression of current art through the lens of the classical arts and there is a throughline of "mnemonic traces" through out time.

    1. I just watched the documentary Aby Warburg: Metamorphosis and Memory (Wechsler, 2016) via Kanopy (for free using my local library's gateway) and thought that others here interested in the ideas of memory in culture, history, and art history may appreciate it. While a broad biography of a seminal figure in the development of art history in the early 20th century, there are some interesting bits relating to art and memory as well as a mention of Frances A. Yates whose research on memory was influenced by Warburg's library.

      Also of "note" is the fact that Aby Warburg had a significant zettelkasten-based note taking practice and portions of his collection (both written as well as images) are featured within the hour long documentary.

      Researchers interested in images, art, dance, and gesture as they relate to memory may appreciate this short film as an entrance into some of Aby Warburg's more specialized research which includes some cultural anthropology research into American Hopi indigenous peoples. cc: @LynneKelly

      syndication link

    1. Also I really want to see the someone using their zettlekasten for managing knowledge about stuff not zettlekasten related. Mine mainly revolves about artistic appretiation, creativity and art fundamentals. I've been wanting to make a video series about it, just havent find the time. Your videos serve much as inspiration and as example of how may I go about it.

      reply to Sara Martínez at https://www.youtube.com/watch?v=wQPvrcksjUA&lc=UgzbdJ1cdxkjnN0DBOl4AaABAg

      Sara, here are some creative/art-related examples that might help:<br /> Dancer/Choreographer Twyla Tharp used a slightly modified slip box method that included much more than notes on cards for her dance-related work. She describes the process well in chapter 6 of her book "The Creative Habit: Learn It and Use It for Life".

      If you're into art and image-based work, Aby Warburg had a zettelkasten with images. Search for details on his "Mnemosyne Atlas" at The Warburg Institute at the School of Advanced Study University of London which has some material you may appreciate.

      Product designer khimtan has a visual zettelkasten practice you can find examples of on Reddit in the "Antinet" sub.

      A variety of comedians like Phyllis Diller, Joan Rivers, Bob Hope, and George Carlin had zettelkasten practices for their comedy work.

      Eminem has a fantastic, but tremendously simple zettelkasten for songwriting. Taylor Swift has a somewhat similar digital version which she has talked about using, though she doesn't use the word zettelkasten to describe it.

      syndication link

    1. By the 1960s, Mr. Lorayne was best known for holding audiences rapt with feats of memory that bordered on the elephantine. Such feats were born, he explained in interviews and in his many books, of a system of learned associations — call them surrealist visual puns — that seemed equal parts Ivan Pavlov and Salvador Dalí.

      "surrealist visual puns"

    1. <div class="field__items"> <div class="field__item"> <article data-history-node-id="51550" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/reflets-darbres-196309" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Reflets d'arbres </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="50888" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/les-nuages-196302" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Les Nuages </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="51455" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/le-matin-clair-aux-saules-196308" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Le Matin clair aux saules </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="51265" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/les-deux-saules-196306" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Les Deux Saules </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="51172" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/soleil-couchant-196305" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Soleil couchant </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="51078" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/reflets-verts-196304" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Reflets verts </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="50983" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/matin-196303" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Matin </figcaption> </article> </div> <div class="field__item"> <article data-history-node-id="51361" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/le-matin-aux-saules-196307" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> </picture> </figure> <figcaption> Le Matin aux saules </figcaption> </article> </div> </div>
    1. So what does a conscious universe have to do with AI and existential risk? It all comes back to whether our primary orientation is around quantity, or around quality. An understanding of reality that recognises consciousness as fundamental views the quality of your experience as equal to, or greater than, what can be quantified.Orienting toward quality, toward the experience of being alive, can radically change how we build technology, how we approach complex problems, and how we treat one another.

      Key finding Paraphrase - So what does a conscious universe have to do with AI and existential risk? - It all comes back to whether our primary orientation is around - quantity, or around - quality. - An understanding of reality - that recognises consciousness as fundamental - views the quality of your experience as - equal to, - or greater than, - what can be quantified.

      • Orienting toward quality,
        • toward the experience of being alive,
      • can radically change
        • how we build technology,
        • how we approach complex problems,
        • and how we treat one another.

      Quote - metaphysics of quality - would open the door for ways of knowing made secondary by physicalism

      Author - Robert Persig - Zen and the Art of Motorcycle Maintenance // - When we elevate the quality of each our experience - we elevate the life of each individual - and recognize each individual life as sacred - we each matter - The measurable is also the limited - whilst the immeasurable and directly felt is the infinite - Our finite world that all technology is built upon - is itself built on the raw material of the infinite

      //

  12. Mar 2023
    1. “The hardest thing I’ve learned over the years is that I’m getting paid a lot of money to produce a movie, but sometimes the best thing to do is nothing,” he told The New York Times in 1992, when he was making “Hoffa.” “I don’t need to impose myself.”Nonetheless, he knew he played a vital role.“It’s the creative urge that makes me work,” he told American Film magazine for a 1988 article. “The pleasure is, to some extent, vicarious, but it’s no less creative for that. It is creating a world by bringing together creative financing with creative filmmakers. In a sense, producing can be compared to conceptual art.”
  13. Feb 2023
    1. all the data about how people how much 00:30:19 people ask for the values become creates a ranking of values according to the culture to the people so if you're from korea from taiwan from uk 00:30:32 from from italy uh it's different and so this is a periodic table of values where the values are organized in a hierarchy based on how people collect them 00:30:44 and and and then the values become of course words and this is a calligraphy of values that result from the process of using eeg
      • values from different culture are displayed via eeg

      -Comment - this display would make an excellent BEing journey to explore perspectival knowing, situatedness and the misunderstandings that emerge from different ways of seeing the world, different meanings attached to the same words, and different saliencies and priorities

    2. in korea during uh idea 2019 and at the end of the process what you 00:29:00 have designed the 3d model uh you you get you get a qr code and you cannot have it on a wallet and it's registered on the blockchain and so you can start trading 00:29:12 so just imagine that you trade happiness you trade love anarchy art autonomy peace purity you trade them as values becoming value 00:29:24 having a value and so people can decide by battering swapping them if you want if you want peace and love for power
      • in Korea in 2019, Maurice installed as display using QR codes and Blockchain to explore transactions of values
    3. the public is invited to use eeg headband and this is a show in a in taipei mocha taipei and they have to give 00:28:08 shape to human abstractions and even to human values so to give shape is not giving shape by designing but giving shape by assessing the shape 00:28:20 so is the appreciation of the shape according to a concept a human concept
      • another of Maurice's installation uses = EEG headbands
      • to give shapes to concepts

      • Comment

        • this is quite literally neuroart
    4. i'll ask now maurice to tell us a bit about his work
      • = Maurice Benayoun
      • describes his extensive history of cognitive science infused art installations:
      • cognitive art,
      • VR art,
      • AR art and
      • art infused by AI (long before the AI artbots became trendy)
      • title = What can cognitive science bring to art and museums?

      • Comment = Maurice Benayoun has applied cognitive science, VR and AR too many at installations throughout his life.

    5. we start 00:15:48 two new big projects sponsored um with a lot of money to study art in the real world here in vienna
      • two projects sponsored that studies art in the real world in vienna:
        • small at installations on the streets
        • written text in everyday Life
    6. to guide you through this 00:06:24 model very quickly was first published in 2004 it's a lot cited in the field of empirical aesthetics it tries to explain how we process artworks by claiming that there are perceptual analyzers followed by 00:06:38 implicit memory integrations or familiarity aspects then explicit classifications where the perceiver in his perception perceives the style or the content 00:06:51 and then followed by later stages that we called cognitive mastering
      • Cognitive science model of what happens in the brain of a perceiver of art
      • The model was first published in 2004 it's cited often in the field of empirical aesthetics
      • it tries to explain how we process artworks by claiming that:
        • there are perceptual analyzers followed by
        • implicit memory integrations or familiarity aspects then
        • explicit classifications where the perceiver in his perception perceives the style or the content
        • followed by later stages that we called cognitive mastering
    7. cognitive scientists can also provide museums and artists with a specific understanding of how the interaction between artworks and viewers can operate 00:02:34 so to discuss potential applications of cognitive sciences to museums and art
      • cognitive science can provide museums and artists with a specific understanding
      • of how the interaction between artworks and viewers can operate
      • this meeting explores potential applications of cognitive sciences to museums and art
    1. Döring, Tanja, and Steffi Beckhaus. “The Card Box at Hand: Exploring the Potentials of a Paper-Based Tangible Interface for Education and Research in Art History.” In Proceedings of the 1st International Conference on Tangible and Embedded Interaction, 87–90. TEI ’07. New York, NY, USA: Association for Computing Machinery, 2007. https://doi.org/10.1145/1226969.1226986.

      This looks fascinating with respect to note taking and subsequent arranging, outlining, and use of notes in human computer interaction space for creating usable user interfaces.

    1. Simultaneously, it showcases how little actually has changed with therise of digital platforms, where some scholars have sought to build software edifices toemulate card index systems or speak of ‘paper-based tangible interfaces’ for research(Do ̈ring and Beckhaus, 2007; Lu ̈decke, 2015).

      Döring, T. and Beckhaus, S. (2007) ‘The Card Box at Hand: Exploring the Potentials of a Paper-Based Tangible Interface for Education and Research in Art History’. Proceedings of the First International Conference on Tangible and Embedded Interaction, Baton Rouge, Louisiana, February 15-17, 2007. New York, ACM, pp. 87–90.

      Did they have a working system the way Ludeke did?

    1. https://www.cyberneticforests.com/ai-images

      Critical Topics: AI Images is an undergraduate class delivered for Bradley University in Spring 2023. It is meant to provide an overview of the context of AI art making tools and connects media studies, new media art, and data ethics with current events and debates in AI and generative art. Students will learn to think critically about these tools by using them: understand what they are by making work that reflects the context and histories of the tools.

    1. Logging some keywords here for later cross referencing.

    2. The linocut medium is especially prevalent in the Torres Strait,where a handful of pioneering artists have mastered the art of printmaking (Robinson2001)
    3. Art is often focused on aesthetic, but more importantly, it is avisual embodiment of knowledge.
    4. And yes, it is also very pretty.

      understated quote of the day

    5. Hamacher, Duane W. “The Art of Star Knowledge.” In 65,000 Years: A Short History of Australian Art, edited by Judith Ryan and Marcia Langton. Melbourne, Australia: University of Melbourne Press, 2023. https://www.academia.edu/96537139/The_Art_of_Star_Knowledge.

    1. Dall-E is actually a combination of a few different AI models. A transformer translates between that latent representation language and English, taking English phrases and creating “pictures” in the latent space. A latent representation model then translates between that lower-dimensional “language” in the latent space and actual images. Finally, there’s a model called CLIP that goes in the opposite direction; it takes images and ranks them according to how close they are to the English phrase.

      How Dall-E works

  14. Jan 2023
    1. One might call pirate legends, then, the most importantform of poetic expression produced by that emerging North Atlanticproletariat whose exploitation laid the ground for the industrialrevolution.
    1. I also have printed photos in my architecture and uniform section. And one or two memes that illustrate points very well 👀

      Example of someone who reports printed photos and even memes in their zettelkasten.

    1. humans know more about the surface of Mars than the ocean floor.

      Is this why we have more art that alludes to space than the deep sea? If so, why are we more willing to travel via sea rather than space?

    2. When I think about the blue goo, I think about how wonderful it is that we share some ancientancestor yet found ourselves on such divergent evolutionary paths. It’s funny that we call thesecreatures aliens; we know about them only because they exist on this planet, alongside us — ourfutures entangled together.Imbler 4

      In reading this piece from Imbler and the overarching tone and movement of her article, I couldn't help but think of a discourse in the series Ted Lasso (Jason Suedeikis, AppleTV). Over a game of darts, Lasso talks about the need to "be curious, not judgmental." A simple suggestion, not dissimilar to the one put forth by Imbler, but one that points towards a deeper, more intentional engagement with the beings that we are confronted with.

    1. Zettelkasten for studying art?

      Sometimes having examples of others' work can be helpful. In your case, perhaps perusing some zettelkasten work by previous users within the art/image space? In this respect some of the work by Aby Warburg may be interesting to you. I might suggest starting with his archive here: https://warburg.sas.ac.uk/archive/archive-collections/verknüpfungszwang-exhibition/mnemosyne-materials

    1. Then, once a model generates content, it will need to be evaluated and edited carefully by a human. Alternative prompt outputs may be combined into a single document. Image generation may require substantial manipulation.

      After generation, results need evaluation

      Is this also a role of the prompt engineer? In the digital photography example, the artist spent 80 hours and created 900 versions as the prompts were fine-tuned.