- May 2023
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www.tate.org.uk www.tate.org.uk
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www.ebay.com www.ebay.com
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github.com github.com
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pro.europeana.eu pro.europeana.eu
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europeana.atlassian.net europeana.atlassian.net
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pro.europeana.eu pro.europeana.eu
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github.com github.com
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s3.amazonaws.com s3.amazonaws.com
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www.loc.gov www.loc.gov
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www.wikidata.org www.wikidata.org
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www.sciencedirect.com www.sciencedirect.com
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www.bobdornberger.com www.bobdornberger.com
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www.wikiart.org www.wikiart.org
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www.guggenheim.org www.guggenheim.org
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www.wikiart.org www.wikiart.org
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www.atelier-lumieres.com www.atelier-lumieres.com
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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)
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sparql SELECT ?type (COUNT(DISTINCT ?oeuvre) AS ?c) WHERE { VALUES ?type { <http://schema.org/CreativeWork> <http://schema.org/Painting> <http://dbpedia.org/ontology/Artwork> <http://dbpedia.org/ontology/Painting> } ?oeuvre a ?type . } GROUP BY ?type ORDER BY desc(?c)
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www.getty.edu www.getty.edu
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schema.org schema.org
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schema.org schema.org
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schema.org schema.org
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```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>
```
```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>
- Artist: <span property="creator" typeof="Person"> <span property="name">Tracey Emin</span> </span>
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.
```
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```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>
```
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www.wikiart.org www.wikiart.org
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www.wikiart.org www.wikiart.org
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www.wikiart.org www.wikiart.org
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mediation.centrepompidou.fr mediation.centrepompidou.fr
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collections.louvre.fr collections.louvre.fr
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mediation.centrepompidou.fr mediation.centrepompidou.fr
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www.guggenheim.org www.guggenheim.org
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www.guggenheim.org www.guggenheim.org
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www.centrepompidou.fr www.centrepompidou.fr
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www.kunstmuseum.nl www.kunstmuseum.nl
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mediation.centrepompidou.fr mediation.centrepompidou.fr
- Apr 2023
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www.archpaper.com www.archpaper.com
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The Museum of Modern Art acquires the MIT Press colophon by Chris Walton
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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.
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www.articheck.com www.articheck.com
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www.artidstandard.org www.artidstandard.org
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www.artidstandard.org www.artidstandard.org
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www.centrepompidou.fr www.centrepompidou.fr
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mediation.centrepompidou.fr mediation.centrepompidou.fr
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www.atelier-lumieres.com www.atelier-lumieres.com
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<video controls> <source src="https://www.atelier-lumieres.com/sites/lum/files/kandinskyadl2022_nu15mo.mp4"> </video>
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www.centrepompidou.fr www.centrepompidou.fr
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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.
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docs.google.com docs.google.com
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www.kanopy.com www.kanopy.com
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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
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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.
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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
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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.
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forum.artofmemory.com forum.artofmemory.com
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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
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www.youtube.com www.youtube.com
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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.
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www.nytimes.com www.nytimes.com
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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"
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linked.art linked.art
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mediation.centrepompidou.fr mediation.centrepompidou.fr
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www.centrepompidou.fr www.centrepompidou.fr
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www.lido-schema.org www.lido-schema.org
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www.wikidata.org www.wikidata.org
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www.offi.fr www.offi.fr
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philharmoniedeparis.fr philharmoniedeparis.fr
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www.dalekeiger.net www.dalekeiger.net
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The sound of one hand packing by Dale Keiger
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Art is thought that produces a thing. Art is muscle memory that produces a thing. Art is a search that produces a thing. Art is a practice that produces a thing.Art is work that produces a thing.
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www.cnap.fr www.cnap.fr
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www.musee-orangerie.fr www.musee-orangerie.fr
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<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>
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fondation-monet.com fondation-monet.com
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fr.slideshare.net fr.slideshare.net
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www.slideshare.net www.slideshare.net
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www.learniiif.org www.learniiif.org
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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zenodo.org zenodo.org
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www.youtube.com www.youtube.com
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tanc-ahrc.github.io tanc-ahrc.github.io
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arks.org arks.org
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www.getty.edu www.getty.edu
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vocab.getty.edu vocab.getty.edu
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- wikipedia:en=Art_&_Architecture_Thesaurus
- wikipedia:en=Union_List_of_Artist_Names
- wikipedia:en=Getty_Thesaurus_of_Geographic_Names
- wikipedia:en=Categories_for_the_Description_of_Works_of_Art
- culture
- art
- rdf
- wikipedia:en=Getty_Vocabulary_Program
- wikipedia:en=Cultural_Objects_Name_Authority
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www.thefizzcollection.co.uk www.thefizzcollection.co.uk
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www.newyorker.com www.newyorker.com
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you wrote a bad story don delilo. it is boring. and stupid.
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beiner.substack.com beiner.substack.com
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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
//
- Orienting toward quality,
-
- Mar 2023
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www.nytimes.com www.nytimes.com
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“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.”
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collections.louvre.fr collections.louvre.fr
- Feb 2023
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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
-
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
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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
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to give shapes to concepts
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Comment
- this is quite literally neuroart
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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)
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title = What can cognitive science bring to art and museums?
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Comment = Maurice Benayoun has applied cognitive science, VR and AR too many at installations throughout his life.
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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
- two projects sponsored that studies art in the real world in vienna:
-
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
-
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
-
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