Here in a flash are links either directly or tangentially related to my experience "Turning the Inside Out" last month. It's a selfish way to gather them for myself, masquerading as selflessness. I often think of writing, or making films, as hospitality, anticipating a guest's needs, making places for them, giving them moments to rest, and exposing them to nourishing new flavors. So imagine my delight when I found this, in an interview John Waters just conducted with David Cronenberg:
And this item about MIT folks working on camouflage algorithms:
We think of camouflage as a concern for hunters and soldiers, but in fact our lives are filled with objects we wish blended a little better into their surroundings: a wireless router in your living room, a port-a-potty beside a soccer field, a trash can in a public park. Now, a team of computer scientists at MIT is on the case. Led by graduate student Andrew Owens, they've created an algorithm that analyzes pictures of incongruous objects and creates custom camouflage that makes them fade into their surroundings.
A designer for Tumblr says Tumblr is blue, and "dark," because nobody notices blue. "Everything’s blue," he says. "Posts are bright on that blue background and lifted up with shadows." Blue is for the parts you "don’t need immediately." You can make your Tumblr any color you want; it will appear that way to you, and to people to come directly to your page on their own. Your Tumblr doesn't have to be blue until it shares space with others.
On the dashboard, everyone is trying to be noticed, but everyone is blue.
To explore deeply the ideas embedded in 9 Artists, join List Curatorial Fellow Jeff De Blois for a reading and discussion group examining the relationship between collecting and identity in contemporary art.
Smitten also by the work of Duncan Campbell and Jesse McLean, which likewise blew me away. I am still tracking down information about their films. Meanwhile, this WaPo fact-checker piece reminded me about how Duncan's films engage with new, forgotten, and distorted histories:
The robot has a basic artificial intelligence, which allows it to move independently in almost any environment. Infrared sensors avoid collisions and provide the robot with the required basic information about its surroundings. Pans and tilts of the camera depend on the movement of the machine in its particular environment, and not on what the camera sees. The movements are based on an algorithm, which lets the robot behave, as if it would have a personality. However, both, the design and the behavior of Dokumat 500 suggest a curiosity about the happening in front of its lens, to be inherent in it. Its presence and the attributes of an offensive observation are regarded first as being exciting, after a while they get annoying, obtrusive and disturbing. The flightcase of the robot accommodates not only the robot during transport, it also offers space for large archive of video cassettes, which is build up gradually.
Man, I haven't even gotten to Johan Grimonprez. But I'll close here by hailing some present but not officially presenting artists from the week. First up are Jonas Mekas and Ken Jacobs, "The Monks of Cinema."
And last is Maura Jasper, at the Flaherty as a seminarian, whom I knew from a past life but not this past life, where she did the art for Dinosaur, Jr.'s albums and made the transistion to the video art she does now with this clip for one of my favorite covers.
Mychael Danna did something similar with his “Moneyball” score: a work of pure, glittering expectation, like a wet lawn at dawn. That’s his Gorecki-like ascent of chords you can hear building in the trailer for the new Christopher Nolan epic “Interstellar”. Stylistically, Williams’s most immediate heir is Michael Giacchino, who has some of the same ear for high-vaulting melodic intervals, and is thus a perfect fit for any film that puts a low premium on the forces of gravity. That makes him a busy man—he wrote the beautiful cloud-bound waltz for “Up” and will be working on the next “Star Wars”—but not as busy as Alexandre Desplat, the French composer whose name so superbly evokes the image of a tomato hitting a wall. This year he has scored the unlikely trio of “The Grand Budapest Hotel”, “Godzilla”, and Angelina Jolie’s forthcoming second-world-war drama about the Olympic track star Louis Zamperini, “Unbroken”. Desplat likes to combine the lush romanticism of Georges Delerue with a rhythmic backbone of mallet instruments, harps and timpani that somehow recall the inner workings of a grandfather clock