Bad Apple is a sculpture and print by Goin and Mighty Jaxx, depicting Snow White cradling a hand-grenade, with a kerchief covering her face, bandit style. The trademark Disney signature logo appears across the kerchief.
In our latest interview, British author Simon Reynolds (“Retromania”) bemoans our culture's fixation on all things vintage and retro, particularly when it comes to music. Here's a snip:
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"I wonder why we’re so obsessed with the past, particularly in music, because that’s my thing. A lot of the other retro phenomena I find vaguely amusing, but the music is a genuine worry because I like to be surprised. The first instinct for a new band starting out now—and I’m talking about very musical, intelligent people—is to go to an existing template and then tinker with it. They have fun trying to reproduce it as exact as they can or adapt it to their purpose in some way. But there are not so many musicians trying to come up with something out of nowhere, which is quite hard to do.
"In the past, though, people have tried to do that. That was the general modernist ethos for a long period in music, particularly in the ’60s, but also in the post-punk era I grew up in, and in the electronic techno scene of the ’90s. You might use an idea from the past, but you'd probably mutilate it in some way or drastically change it. Or you’d use it as a springboard to go somewhere new. Now the ethos is much more like reproducing antiques. It’s about getting that drum sound or that guitar texture. It’s literally a backward movement. My concern is a sense of everything being seemingly vaguely familiar.
On DeviantArt, Mayekoposted an indispensable and profane guide to digital inking called "Lie, cheat, steal your way to better art." The tl;dr is: work at very high rez (then shrink), and use texture brushes set to 100%. But the commentary is hilarious and convincing -- go read it.
Yesterday Cory wrote that "Geoffrey McGann, a southern California artist, was arrested at Oakland airport for wearing an assemblage sculpture/watch he'd made."
[UPDATE: I think this is the watch McGann was arrested for, not the one at the top. I'll bet McGann made them both, though.]
I thought you might like to know the San Jose Mercury news has posted photos of Mr. McGann's watch.
Mr. McGann's attorney says his client has traveled with the watch before and has never previously been arrested. In fact, Horngrad said the first time McGann traveled with the watch, he showed it to a TSA supervisor at Los Angeles International Airport and the supervisor told him it was OK to wear it on the plane.
All the charges have been dropped.
Yes, it's $72. But this 3-D printed metal sculpture/bottle opener is fantastic. And so is its marketing copy.
The problem of beer That it is within a 'bottle', i.e. a boundaryless compact 2-manifold homeomorphic to the sphere. Since beer bottles are not (usually) pathological or "wild" spheres, but smooth manifolds, they separate 3-space into two non-communicating regions: inside, containing beer, and outside, containing you. This state must not remain.
Read the rest of the product description and, you know, maybe buy the bottle opener, too. If you're feeling spendy.
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Man, do I love this season of The Walking Dead. Stuff happens in every episode! And this week's episode, "Hounded," brought us closer to the reunion of Merle and the survivors who ditched him -- plus his brother, Daryl, who shares some personal stuff with an incredibly jaded Carl. But wow, what a cornucopia of events and things! Between Rick's deteriorating mental state, Andrea's horrible taste in men, and Michonne's crafting skills, it's looking like our mid-season finale on December 2 will be one for the ages. As far as mid-season finales go, anyway.
As usual, after the jump will be a plethora of plot spoilers. Read the rest
Dee sez, "Keneth Cerws' published studies take copyfight to libraries and museums where restrictive - often absurd - copyright claims and licensing terms are forced on those requesting images of art works and scans of books and documents where the original work long ago entered the public domain, often decades or centuries ago. This raises relevent questions about fair use, academic and research use and how we treat copyright for new images and renderings, often digital images, of old works that many consider vital pieces our common human history, heritage and cultural commons."
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Museums face steady demand for images of artworks from their collections, and they typically provide a service of making and delivering high-resolution images of art. The images are often intellectually essential for scholarly study and teaching, and they are sometimes economically valuable for production of the coffee mugs and note cards sold in museum shops and elsewhere. Though the law is unclear regarding copyright protection afforded to such images, many museum policies and licenses encumber the use of art images with contractual terms and license restrictions often aimed at raising revenue or protecting the integrity of the art. This article explores the extent to which museums have strained the limits of copyright claims and indeed have restructured concepts of ownership and control in ways that curtail the availability and use of art images far beyond anything that may be grounded in the law. This article examines the relevant copyright law applicable to the making and use of reproductions of art images, and it identifies the challenging pressures that museums face as they strive to make policies in the context of law but that also serve the multiple competing interests coming to bear on officials and decision makers inside museums.