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On Kara Walker’s monumental public project for Creative TimeA Subtlety, or the Marvelous Sugar Baby (2014), at the Domino Sugar Factory in Brooklyn, NY:

1) An in-depth look at the creation of the piece:

"I don’t think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history." —Kara Walker

WATCH: Kara Walker: “A Subtlety, or the Marvelous Sugar Baby”

(2) "Kara Walker Knew People Would Take Dumb Selfies With A Subtlety

"I put a giant 10-foot vagina in the world and people respond to giant 10-foot vaginas in the way that they do. It’s not unexpected. … [H]uman behavior is so mucky and violent and messed-up and inappropriate. And I think my work draws on that."  


Gao Rongguo, Twin Portraits

Genetic permutations or adjustments to nurture, culture, environment?

Played 7,671 times


I like to write when I feel spiteful. It is like having a good sneeze.

D. H. Lawrence in November 25, 1913 letter to Cynthia Asquith, found in The Selected Letters of D. H. Lawrence

Song: “Caught a Lite Sneeze” by Tori Amos

Mediating autism

With Echolilia photographer Timothy Archibald began to capture his son’s autism and his interaction with the (object) world when Elijah was 5 years old. The series of astoundingly intimate portraits reveals the father’s desire to be close, to understand, and to bond, and maybe most notably: to accept.

A similarly personal and affectionate approach to mediating an autistic perspective on life is March Schmidt’s award-winning documentary De Regels van Matthijs (2012, English title: Matthew’s Laws, available on DVD). Schmidt follows his autistic childhood friend Matthijs with a camera who “desperately tries to create order in the chaos around him” (synopsis). However, Matthew’s Laws is less poetic than Echolilia and at the end it is  more confrontational, not only because it portrays the consequences autism has on the person suffering from it but it also confronts us with our helplessness and ignorance about how to deal with people whose ways of social interaction and communication do not fit our idea of ‘normal’ and  acceptable. 

Watch the trailer with English subtitles here:

Indiewire on 3X3D, a meta-media 3D-film directed by Edgar Péra, Jean-Luc Godard & Peter Greenaway (three shorts) which screened at Cannes 2013 closing night.

“Providing a sneak peek of how he might use 3D in his forthcoming feature Goodbye to Language Godard’s short provides a stunningly intangible alternative to the sleek use of the medium in recent Hollywood productions like the Cannes opening night selection The Great Gatsby, a box office hit of the sort that surely makes Godard foam at the mouth. […]

By contrast, Greenaway’s contribution offers a far more subdued opportunity to consider 3D’s ability to convey a specific place and time. While not radical in terms of its ideas, Just in Time works wonders with perspective. […] Greenaway’s work would do well on its own as a piece of installation art, its mixed media presentation simultaneously illustrating cinema’s ability to extend beyond the limitations of the eye and turning history into a physical experience.”

Intrigued by this new image photo app - Glitché by Boris Golovnev. It’s free and very easy to use. The glitch-aesthetic is partially shaped by the user by means of the touchscreen, but (or therefore) the images are not fully controllable. And that’s what makes it fascinating as it allows for playfulness and randomness.

Dissecting Movie Trailers: A NYT-Visualisation

"How scenes from five of the nine best picture nominees were reassembled to promote the films."

Nanna Verhoeff, Mobile Screens: The Visual Regime of Navigation (AUP, 2012 - download open access e-book here):

"The overall transformation of public space by screens, for whatever concrete purpose such as commercialization, can be seen against the backdrop of artistic intervention, with the cultural curating of screen content. For this dual reason I endorse the notion that screens in the city transform urban space fundamentally, not superficially. I consider this not so much in terms of social change or a deterioration of public space, however. Instead, I think the transformation primarily concerns a change in cultural practice: a practice where sense experience meets the political of public space in a mobile sphere." (113)

Also check out Martijn de Waal’s The City as Interface (2012) on how new technologies affect the way ‘urban publics’ are formed and on whether mobile media allow citizens to represent themselves and take part in these publics.  


قلب is a new programming language exploring the role of human culture in coding. Code is written entirely in Arabic and is the basis of code calligraphy, classical algorithms rendered as traditional Arab art.
 قلب: لغة برمجة


قلب is a new programming language exploring the role of human culture in coding. Code is written entirely in Arabic and is the basis of code calligraphy, classical algorithms rendered as traditional Arab art.

 قلب: لغة برمجة

Soylent is a crowd-powered interface: one that embeds workers from Mechanical Turk into Microsoft Word.

Today’s user interfaces are limited: they only support tasks when we know how to write matching algorithms or interface designs. Microsoft Word is good at laying out your document, but poor at understanding writing and suggesting edits to it. But, it is now feasible to embed on-demand human computation within interactive systems. Crowd workers on services like Amazon Mechanical Turk will do tasks for very small amounts of money. Soylent is a word processor with a crowd inside: an add-in to Microsoft Word that uses crowd contributions to perform interactive document shortening, proofreading, and human-language macros. Underlying Soylent is a new programming design pattern called Find-Fix-Verify that splits tasks into a series of generation and review stages to control costs and increase quality.

Invisible machines

Watching Victor Kossakovsky’s short doc on this young Russian inventor playing with augmented reality technology I remembered the final scene in Holy Motors (2012) - Leo Carax stunningly beautiful and deeply philosophic cinematic work - where the limousines lament the soon to be bygone era of the “visible machines”. For Carax, Oscar, the protagonist, is not unlike Charlie Chaplin in Modern Times. “Except that the man is no longer caught up in the cogs of a machine, but in the threads of an invisible web.”