Ben Marks of Collectors Weekly says: "We just published an interview with Zack Coutroulis, who has an amazing collection of vintage magic posters. Zack explains how many of the most popular magicians of the late 19th and early 20th centuries got their starts in vaudeville, sandwiched between song-and-dance acts and comedians. If the magicians got big enough to go out on their own, they'd produce lithographed posters to publicize their shows. While some of these posters were portraits of magicians such as Dante, Carter the Great, Kellar, and Thurston, often surrounded by devils and imps whispering dark-art secrets into their ears, other posters showcased particular illusions, such as the one of Harry Houdini performing the water-torture trick."
"What Will You Leave Behind?", Nino Sarabutra's installation at the Ardel Gallery in Bangkok, includes 100,000 tiny porcelain skulls that line the floor. You walk on them with your bare or stockinged feet as you traverse the gallery, looking at the rest of the show.
Artist Li Hongbo produces gorgeous sculptures made from meticulously cut sheets of fan-folded paper, stacked tightly so that the pieces appear to be made of solid composite or stone. But when Li pulls at them, they stretch and slide most gloriously, turning into slinkoid paper-chains that are pure visual hilarity.
Bruce Sterling's keynote at the Transmediale conference in Berlin is one of his best-ever outings (and I say that as a person who dropped out of university and totally upended his life after reading a transcript of one of Bruce's speeches). Sterling addresses the bankruptcy of tech giants, who have morphed themselves into intrusive presences that carry water for the surveillance industry, and lays out a credible case for a future where they are forgotten footnotes in our history.
In particular, I was impressed by this speech because it corrected some serious errors from Sterling's essay "The Ecuadorian Library," which, as Danny O'Brien pointed out completely misattributed a kind of optimistic naivete to technology activists past and present.
In this speech, Sterling revisits the origins and ongoing reality of the project to remake technology as a force for freedom, and corrects the record. As Sterling says, John Perry Barlow didn't write the Declaration of Independence of Cyberspace because he thought the cops couldn't or wouldn't try to take over the Internet: he wrote it because the cops were trying to take it over, and he was "shouting through a megaphone" at them.
There's a species of bottom-feeding contrarian that has sprung up in this century to decry the Internet as a system of oppression. Most of these men are people with some passing connection to the entertainment industry, which has spent the past 20 years demanding systems of Internet censorship and surveillance to help with copyright enforcement. These critics -- who get a lot of press from the news-media, who love mud-slinging as much as they fear disruptive technology -- have somehow hit upon groups like the Electronic Frontier Foundation and the Free Software Foundation as villains in their narratives. Nevermind the fact that the cause of Internet freedom (which includes a fair deal in copyright, because the Internet is a machine for copying) has always been central to these groups' missions, and that they've championed Internet freedom because they were frightened of how the net could be used to surveil and control us, not because they were blind to that possibility.
This talk demolishes that streak of revisionism, and furthermore advances an agenda for a technologically adept arts-practice. It is a marvel of rhetoric and a tonic for those of us who are heartily sick of the trolls.
The University of Nottingham's Windows on War is one of the world's premier collections of WWII Soviet posters related to their war with the Nazis on the eastern front. The scholarly notes that accompany the exhibit are a treat, though they are presented in a way that makes it nearly impossible to read them. But the entire collection has been scanned and posted, and is available for viewing at very high resolutions.
Marina sez, "Our names are Marina Andrijčić-Ojeda and Catarina Ferreira and we are the artists and co-founders of The Penitentiary, a collaborative site-specific art exhibition to take place in abandoned war-era prisons throughout Eastern Europe."
The Reporter's Journal agreed with the Phonetic Journal about "the foolishness of attempting to make sketches by means of typewriters." Furthermore, the London publication continued, "Some of our American contemporaries indulge largely in facsimiles of this class of work, and this has tended to foster the absurd custom." Stung by the white glove, Illustrated Phonographic World set out to prove that typewriter sketches were indeed worthy of respect. "We believe that any endeavor which will cultivate painstaking and accuracy on the part of operators should be encouraged," they wrote. "The endeavor to excel in artistic typewriting unquestionable does this. The pen maketh the exact man; so will the typewriter, which is only the modern pen."
In each episode of Gweek, I invite a guest or two to join me in a discussion about recommended media, apps, and gadgets. This time my guests were Michael Pusateri, a television technologist, inveterate tinkerer, cooking geek, and cycling enthusiast, and Rob Walker, a technology and culture columnist for Yahoo Tech, a regular contributor to Design Observer, and The Workologist columnist for the New York Times Sunday business section.
Here are two images from Maxime Mary's "Little Golden Books"-style interpretation of the television crime series Breaking Bad. I've followed his wonderful illustration blog for a while, and you can scroll through and see his other fantastic sketches of Walt, Jesse, and their underworld ilk.
Grant Louden is an artist in Milton Keynes who is working on a series of incredible sculptures based on the spaceships from classic sf pulp covers. The first one is Star Dwellers, based on Colin Hay's cover for James Blish's novel. Louden collaborated with Hay on the piece, and officially licensed it. The build is an amazing mix of Fimo, model parts, car body filler, and custom castings in rubber and resin. Needless to say, the detail is fantastic.