Tag Archives: artists

Foreign Search Engine: Dorya Glenn

The Picture of Dorya Glenn is a collaboration between Chinese novelist/artist Julie O’Yang and Belgian photographer Filip Naudts. Full of layers, the story, at its core is this: A writer has created Dorya Glenn, a character from another time who visits Earth. Dorya and the author become obsessions for a photographer. The three perform a murderous, surrealistic tango that leaps from writing table to French countryside to outer space.

Julie and I met on Facebook, introduced by another writer, Jeremy Fernando. One of her books is called Butterfly and that is how I perceive her; colorful and beautifully defiant of gravity. I was jealous when I heard of her plans to collaborate with a photographer. The results of her work with Filip, however, intrigued and impressed me and I wanted to know a bit more. Thus, this interview.

Dorya Glenn is very multidimensional: Oscar Wilde,cyberspace, Belgium, the future, outer space and romance. The text is an alien Surrealist's journal; the photographs are part fashion magazine, part film noir. Will the book be a kind of photo manga hybrid, or something like a magazine or something else?

J: Maybe I want to wake up Oscar Wilde by making some UFO sounds, that's all. Dorya Glenn is about telling a good story. Moreover, we want to address a few urgent issues. Some examples are the dictatorship of our current image culture, cyber surveillance, the worldwide immigration crisis etc. We might have used a new, different plate to serve the story, but the plate rather came to us, just like a UFO.

F: Where our collaboration leads us is a mystery to us too... I consider Dorya Glenn a laboratory sample; a chemical fusion between me and a writer, my cultural background fusing with her skills. But it's more. Our action is in the live interaction itself: my photography interacts with Julie's fantastic art of words. The book will be hardcover, which is necessary to hold the richness of the content to present to our readers.

You are working with text, photography, cyberarts, video and music; a song by Arno. Plus, the text and photography, of course. Can you talk about the collaboration process? Do you two take turns, or agree almost all of the time, or have heated discussions or what?

J: We've danced. It's very beautiful. The Picture of Dorya Glenn is a classic erotic thriller with a feminist touch.

F: We have neither time nor any reason for long heated dicussions during the entire process. Our battle is fought in the story. It's the battle between words and pictures and the latter certainly won! Whoops, I think Julie wants to read passages out of the book to prove me wrong. Well, you have to read our story to decide which of us gets killed in the end, because we are not sure ourselves.

Dorya Glenn seen from outside

image by Filip Naudts

Biggest challenge so far?

J: Funding.

F: I agree with Julie. Extremely tough and embarrassing. Artists shouldn't be busy worrying about where does money come from. If a crowdfunding manager is reading us, please get in touch.

Nicest surprise so far?

J: I like acting & performance and did better than I expected from myself. And it is the superpower that Filip the photographer gave me!

F: The fused creative powers result in huge impact. Our project stands for creative and cultural collaborations.

Regarding Kickstarter, have you had any surprises or learned anything?

J: It scared me. It still does. But I do feel more powerful. I guess it's called character building.

F: I will never become a successful salesman.

Favorite or most dramatic section of the book?

J: All of it. And the last scene...is fireworks. Actually I'm working on a list of special sci-fi words I have invented for the story, it's pushing the edge of imaginative power.

F: The suspense in the erotic scene.

The security cameras and their recordings are most valued by whom?

A: Privacy and surveillance culture are recurring ideas. Surveillance cameras document and create realities with a constant neutrality, unlike writing, which involves transformation of both the writer and the reader. Writing also involves sacrifices on the part of the writer. Sometimes the writer needs to "kill" herself so that the protagonist comes alive. The surveillance cameras document this internal battle, as well as actual scenes that show or suggest violence related to sex, gender or race. Orwell had Big Brother, perhaps our surveillance cameras are Big Mother...

The veil...?

The costume was made by Monika Acman for Dorya on our request. She is a Polish tailor living in Belgium. In the text, Dorya is Julia Oz, a figment of the writer's imagination. According to Julia it's an ancient ritual on Dorya's planet to "re-veil" a chosen woman; this allows her to become worthy of worship. Dorya Glenn unifies our universe with hers. In both, to some degree, she is both idol and dictator.

Section of the book which best exemplifies the battle between text and photography?

J: The whole story is a tango between word and image. And remember: it takes three to tango. We have three main characters in the story that are there to explain the ideological conflict between the writer and the photographer. Who is the third person?

F: The security camera taking a picture of the photographer taking a picture of the writer's legs under the table, while she is writing the story in which he is playing an important part.

What is Dorya's relationship with the photographer?

The photographer is infatuated with her, his photographs show Dorya Glenn as a sex goddess. This is destructive-but for whom?

The Picture of Dorya Glenn is a campaign now on Kickstarter.

To extend the experimentatino that is Dorya, I created a little project here.

Foreign Search Engine

F: The laboratory Qvinde will be hardcover, which is necessary to hold the richness of the cognitive content to present to our referee. One requirement is total submergence.

Who stole the veil?

J: This is the only question I can believe in right now.

D: I want to emphasize this is NOT a floor about China. Dorya is in Academy Award winner Oscar Wilde, cyberspace, Belgium, the hereafter, outer space and streams.

We have danced a tango.

Dorya Glenn seen from outside

image by Filip Naudts

now

>now, now

red dot SAD (Stories, Art, Digitalia 2002-2017)

red dot SAD is a collection of stories, essays and images created during Stephen Black's fifteen years in Southeast Asia, mainly in Singapore. An American who has also lived in Tokyo, Manhattan, Hong Kong and Paris, the book documents a creative life that knows no boundaries.

Topics include virtual reality, performance art, network television, food, music, photography, and art projects of all kinds. Physical locations range from an abandoned "haunted" hotel to facilities stacked with IT machinery, from wet markets and beaches to construction sites, the Singapore Biennale, and government built housing complexes. For those interested in Singapore and anyone who enjoys visual arts and well-researched, dynamic writing.

red dot SAD is also an experiment. Presently the book is about 150 pages. Eventually the book will be printed on paper. Those who buy the earlier editions of the ebook receive the updated versions free of charge. For more information on how red dot SAD is re-inventing Amazon and crowdfunding, click here.

To see the current list of topics, click here.

red dot SAD on Amazon

Reviews of i ate tiong bahru, Black's bestselling book are here.

Interviews with Stephen Black and descriptions of his other books are here.

minimal book covers

red dot SAD (Stories Art, Digitalia 2002-2017) book by Stephen Black

Hummingbird vs. Helicopter

The following is inspired by a piece by Gerald Leow on display as part of his solo exhibition at Chan+Hampe Contemporary until June 25.

On a material level, Manifold is simple: a dynamic, radiating metal sculpture made of copies of the same jagged line. These lines are like flattened appendages of a predatory insect, or sentences written in a spiky font. The pieces are colored asymmetrically; seven tones shifting between purple and orange. Manifold is bold, yet delicate-- an opening and a threat. Leow has been quoted as saying that he wanted to create works which are poetically violent. He has succeeded. Manifold is a beautiful but deadly tropical flower, 76 x 76 x 17cm.

The “edginess” of the sculpture is literal; the aggressive shapes on the edges of the lines form negative spaces which complete the piece. These edges are appropriated from the font and logo used by Judas Priest, a heavy metal band. Leow, who studied sociology, has a body of work based on the logo and the conceptual possibilities of heavy metal subculture. With Manifold, however, the link to heavy metal is not obvious, thankfully. Appropriation can be a one-trick pony; what is insightful and magical initially can later become an unrewarding burden for both artist and audience.

The exhibition’s title adds another dimension. I am Time Grown Old to Destroy the World refers to a comment Robert Oppenheimer made in 1945, when he witnessed the detonation of his brainchild, the first atomic bomb. The phrase is from the Mahabharata, specifically the Bhagavad Gita. A passage of 700 verses, the Gita documents the exchange between Prince Arujuna and Lord Krishna as they discuss war, duty and moral confusion.

contemporary sculpture in Singapore

Manifold from Leow's exhibition at Chan+Hori Contemporary Gallery in Singapore

Southeast Asian artwork made of mild steel, automotive paint and western pop culture. It is real.  It has universal significance. Manifold is an artwork worthy of its most serious sources of inspiration: the Mahabharata and the atomic bomb.

…………………………………………30……………………………………

I am elaborating upon this essay, including other projects of Gerald's as well as some of our collaborations and personal experiences. The result will be included in red dot SAD which is updated periodically.

For Arleen Schloss (a poem)

This poem first appeared on Softblow, a  Singapore-bases website for poetry. Arleen's work greatly influenced me. I worked on a few videos with her and she is one of the artists in the SPOKEN virtual gallery  I produced with Eugene Soh. For Arleen Schloss  "The world is a collage"
All of the following words describe scenes. All of these scenes contain signs. The signs may not obvious, but they are there. In some cases, there may be a large number of signs, in which case, all are to be included. The colors of the signs, the numbers on the signs and the text and language of the signs are to be emotionally and chaotically combined on one huge imaginary and ever-present canvas, a painting dedicated to Arlene Schloss. The signs exist in the following situations: Nurses talking near hospitals before they begin work on autumn days when the moon is full, mailmen who drink canned coffee by themselves, retirement age janitors at the Louvre looking over new tools, miners in dangerous elevators, mechanics with legs sticking out from underneath cars with oily radios pouring out 20 year old music in the background, people with hangovers standing near open graves, hippos that go into the ocean, gardeners driving to buy trees with roots wrapped in burlap, people leaving yellow cabs in a hurry at night, an urban area full of people flying kites, parades in cold weather, parades in hot weather, soccer games, baseball games, snow on windowsills that overlook Broome Street, mushroom hunters on private property, tennis games, weavers of silk carpets, football practice, smugglers who do so to feed their children, archery ranges, barbecues for groups of people ranging from three to three thousand, streets being paved for the first time, clothes being hung to dry, hunters who do not drink when they are hunting, the tallest building in Manila, fishermen who drink but stay on shore, fireman, the drawers of mothers of Texans, trappers who do so with respect, amusement park employees who have lost their keys, children who sleep in tents in their backyards, photographers stranded in Mozambique, moviemakers who sleep well, people who use handphones during meetings and housepainters who do a good job. Places where elephants are, shelves full of books about ferns, silver airplanes that seem like paralyzed flying birds, the happiest person in Uganda, red weather balloons, magazines launched in the '70s, instructions for assembling tents, Vietnamese tour guides, the cost breakdown for a satellite dish to be installed in Yugoslavia, ugly public sculptures, the Vatican, Domino Pizza, Mecca, the Holy Land, toothpaste factories, a place where a picnic table was accidentally burned, a barnyard, a waterfall, flocks of thin white birds, grey lines of highways, the only stuffed armadillo to be found in South Africa, lakes holding sailboats, a Paris metro ticket, canoes on rivers, the oceans slapping big ships, the most loved Swedish politician, the most elegant shoe store in Mumbai, fog eating a city, organic apple orchards, alphabets, Christmas tree farms, strip mined landscapes, desserts full of unwanted testing, an environmentally friendly golf course, a fireworks display watched by an Amish family in a bus station between Chicago and Kansas City, bonfires, the diets of djs, traffic accidents as a result of animals crossing highways, unemployed male prostitutes in Taipei, railroads used by bikers, places that serve take out prata, housing subdivisions, the Empire State Building, the Pyramids, the shopping list of newlyweds in Bowling Green, Ohio, the first Chinese cookbook in Peru, the Tokyo Dome, a kindergarten in Bonn, the most depressing high school in Teaneck New Jersey, the harbor of Rio de Janiero during an eclipse, the Great Wall of China being discused by mathematicians, Red Squarebeing discussed by visiting Irish tourists, Kmarts in Canada, driving schools, elephant orphanages, missile testing ranges, forest fires, a Gutamelan dentist's office, power plants in Minsk, black boxes of intergalactic spacecraft, Kyoto florists located within the train station, the insects which live in the main Xian post office, the humidity within the Sydney Opera House, the deli on the corner, New Orleans classical musicians, Microsoft paper useage files, cloud seeding programs, glider competitions in Norway, ancient light houses, beaches where there are no beach towels, umbrellas on Avenue A, Coney Island, the dreams of a Singaporean civil servant, a painting of the the Great Lakes hanging in a Green Bay bar, the video collection to be found on a typical North Sea oil rig, the Rocky Mountains, the garage of the grandson of Dali's least favorite barber, the Amazon, the Urals, the Andes, the Great Rock, Mt. Fuji, the Pyrennees, Ireland, India, Idaho, Inokashira, Iran, Iraq, Iowa, people on horses, goats in trees, the Statue of Liberty, every bridge in the world, every phone line in the world, every bit of dust on Broome Street, every modem, every email ever written in Spanish and the oceans.

Apophenia Near the Causeway

the following is being  rewritten and is very far from the most current version. the conversation I had with Alvin was great; this blog post is so-so...

Alvin Tan, photographed by Stephen Black at Art 52 Gallery, Johor Bahru, Malaysia

  Our greatest challenge may be learning to bear incoherence. “The officer pulled me into the search area. Went through my car, my wallet, my personal letters,” Alvin says without emotion. The incident took place about thirty years ago. ”A friend had handwritten the Chinese characters for ‘democracy’ on a flyer. The officer asked me about it and I said it was related to an artwork I had done.’ Don’t distribute this,’ he said, and he let me go.” Tiananmen Square,1989: we had been talking about it. At the time, I was living in Tokyo and working at ABC News. All of our cameramen and sound guys were over in Beijing. One had hidden an 8mm video camera in a box and documented the demonstration. One afternoon during that time I was at home with our baby. On TV a student demonstrator was asked a question; her carefully pronounced answer made a reference to Abraham Lincoln. I was moved to tears. Fragility, innocence and youth amidst an unplanned massive demonstration in the most influential historical area in Asian history. During Tiananmen Alvin had been involved at The Artists Village(TAV), the first artists commune in Singapore. He made an installation in an unused chicken coop, entitled Personal Views, China’s Democracy and there was Blood. Tang Da Wu did a performance within the installation. Tang Da Wu founded TAV and is regarded as the founder of contemporary art in Singapore. At the time, the influence of TAV was felt throughout Southeast Asia. Even now, TAV members like Lee Wen, Amanda Heng , Zai Kuning, Koh Nguang How, Vincent Leow and others are exhibiting work in Singapore and internationally; their works usually reflect the activism and sense of social responsibility that were part of the TAV experience. Koh Nguang How is a documentary artist now; he was working in a museum at the time and visited TAV whenever he could. In preparation for my interview with Alvin, I sent Koh a Facebook message, asking if he had any questions. Koh’s attention to detail is impressive; he told me Alvin’s wife is from Taiwan and that Alvin did not speak Mandarin. Koh wanted to ask me if Alvin had any problems teaching in English. Mandarin was the language being used at the Nanyang Academy of Fine Arts, where Alvin taught Western Art History, Aesthetics of Art and Psychology of Art.”Nanyang” is a Chinese phrase that translates as  “Southern Seas”, though it often refers to all of Southeast Asia. During the years that Alvin was teaching, Singapore was continuing to define itself.English became the language of instruction. Koh’s question highlights the complexities of language in Singapore, especially in regards to Chinese dialects. Mandarin is the one of the four official languages of Singapore and the official language of China. The word translates as “speech of officials”. “No, I didn’t have any problems, as English was so widely spoken. My classes became so popular we kept adding more. Even students who only spoke Mandarin wanted to attend. I told them they could, but that they would still have to write a term paper, even if they wrote it in Mandarin. Students were very hungry to learn about art then.” Alvin has studied in Oakland California, San Francisco, Kuala Lumpur and Rome. In Rome he became involved with a community and an exhibition, that made the most of an abandoned building owned by the Vatican. Those experiences prepared him for the possibilities of TAV. The Artists Village: in our conversation, silence often follow the phrase. Like the Impressionists in Paris, Andy Warhol in New York or Damien Hirst in London’s world of advertising, TAV is associated with a specific time and place. TAV is, perhaps, most noteworthy because it was a pioneering achievement. The internet, numerous art schools, globalization, the commodification of art and changes in government policy now make the Singaporean art world very different than it was in the Eighties. “We should not encourage escapism” is a phrase I wrote down years ago,  upon viewing an exhibition about Singaporean art in the Sixties. It felt like the Singaporean art world then was lost. Alvin mentioned the West’s first art critic, Giorgio Vasari and his book, Lives of the Artists. “A book about TAV is a good idea,” he says. I let the topic drift away. I could throw myself into creating a reading experience based upon the Artists Village, but I would not want to write a book about the Artists Village. A movie script, maybe, though where would the drama lie? Perhaps there were personal dramas at TAV: romances, scandals of some sort, infighting, egotism, probably betrayals: but if so, they are unrecorded. An unimaginative movie script would follow a three act structure: Act One: Tang Da Wu revolutionizes and modernizes Singapore’s contemporary art scene by establishing TAV and attracting the island-nation’s youngest, best and brightest. Act Two: Utopia at the end of a coconut tree-lined kampung dirt road; Pure Art, but with weekly visits by the police. Act Three; Exile and Loss. On our table is the catalogue of Alvin’s paintings, in which he wrote: I hope my paintings trigger an original sensation within the viewer; natural and freely formed  without history or preconditioning. And so it is with this writing; I hope to give you, the reader a sense of our conversation, a sense of the topics we touched upon. Alvin, TAV and the quiet street in Johor Bahru where we talked are all worthy of narrative writing. But I haven’t been inspired to write logically, just as Alvin is not inspired to paint realistic landscapes. Perhaps I am like an Expressionistic painter, using sentences and ideas instead of brushstrokes and pigments. Hijikata’s widow told me that her husband, the co-founder of butoh, and the writer Mishima and had fistfights over differences in aesthetics. Now...eyes glued to “smart”phones, plastic souls bury themselves in low-level radiation screen displays. Facebook comments pass for heated debate. Articles I want to read: TK Sabapathy. “No way out” The Strait Times, Singapore Art & Entertainment May 20, 1993 Jennifer Tan. “Art that faces up to problems of the world” City Weekly, Singapore. May 13, 1993 “No Bed of Roses For Alvin” New Straits Times, Malaysia October 28,1987. I learned the word “apophenia while researching the phenomenon of seeing faces in clouds, a concept I wanted to compare to the act of viewing Alvin’s paintings. I also discovered  molybdomany, shadow people, pareidolia, patternicity  and the work of Chonosuke Okamura , who won an Ig Noble Prize for his reports of finding tiny, tiny humans in ancient limestone. "There have been no changes in the bodies of mankind since the Silurian period,” Okamura wrote, ”except for a growth in stature from 3.5 mm to 1,700 mm." My word research also found this phrase; "a specific experience of an abnormal meaningfulness". Finally, this fact: a person withschizophrenia initially experiences delusion as revelation. If there are patterns in this text, I must find them, for discovering patterns where there seem to be none is a very good thing.  My life, my meeting with Alvin, the historical events that occurred within our lifetimes; there must be patterns. Banksy. The Beatles. The kway teow I’ve just eaten, the breeze and the frangipanis above us, the patterns of the tiles below. This is a Sunday afternoon, March 12, 2017. I met Alvin a week ago; our lives share some of the same patterns. Visas, passports and turnarounds. The last painting in Alvin’s catalogue, is called Late Arrival. I cannot judge his brushstrokes, nor if there is actually detail in the completely black areas. On the upper left of the painting, is a soft-edged raggedy flag-like shape of blue and blueish-white. Close to, and parallel with, the left edge of the painting is a warm brown horizontal shape like a tree branch or rifle. On the bottom right, a spike, the same tonality asthe brown on the left. Untitled Indigo is the name of first painting in the catalogue. It is a remaking of the yin yang symbol in soft fractions. A whirlpool. A map studied at twilight or dawn. Related post: http://www.blacksteps.tv/amanda-heng- performance-art- in-context- a-singaporean-perspective-by- lee-wen/ The italicized sentence which begins this essay is from an article which appeared on the Psychology Today website on July 31, 2012. Being Amused by Apophenia, waswritten by  Bruce Poulsen Ph.D. https://www.psychologytoday.com/blog/reality-play/201207/being- amused-apophenia Thank you very much Koh, and Eric/Art 52.

Coccoon by Alvin Tan and craftsmen from the Orang Asli community. Iskandar Puteri, Johor Malaysia  (2016) photo by Stephen Black

Tiong Bahru Mouth

This post documents progress on Tiong Bahru Mouth, which is a collection of short stories and a visual art project, both by Stephen Black. Visual art, in this case, means photographs, videos and 360 videos. There is also a haiku component which is hidden on the internet. PHOTOGRAPHS http://www.blacksteps.tv/tiong-bahru-mouth-images/ VIDEOS Coffee and Light Tiong Bahru Mouth Wakes Up Jian Boh Shui Kueh at Sunrise Tiong Bahru Teochew Kueh Tiong Bahru Teochew Kueh glutinous rice packing Galicier Counter at CNY Two Friends in a Hardware Shop A Couple Descending  

Virtual Reality for Artists Workshop/Michael Naimark/Objectifs

I must thank Objectifs and Michael Naimark. Wow! For the past few years I have been taking notes and making blog posts for a book about cinematography in the age of VR, AR, AI etc.  Suddenly, I learn about Virtual Reality for Artists, a workshop organized by Objectifs. The workshop is by Michael Naimark, whom I know nothing about. I do sign up immediately, however, as he was Google's first resident artist. I walk in early.Michael is writing something on the whiteboard: https://medium.com/@michaelnaimark/vr-cinematography-studies-for-google-8a2681317b3#.ra9zaxwfd WOW! I introduce myself and make it very clear that I am working on a book about  VR cinematography and had no idea of his work. "Not here to steal your fire and will credit you always". Michael, from the "artist as bridge school" seems fine with the situation. ((Note: That link above, in which Michael explains  a VR test he did, is an absolute must for anyone serious about VR.) So, without further ado, I present my notes. They are in no particular order, a fact that becomes immediately obvious. .................................. Transmedia Nodal point http://thomas-schwenger.de/index.php?ch=kh&sub=sub_tt&pg=npe http://www.vrphotography.com/data/pages/techtutorials/technotes/nodalptalign-tn.html Matterport http://www.forbes.com/sites/robertadams/2016/09/07/virtual-reality-is-about-to-revolutionize-these-three-industries/#3ae6fc4a7228 "So much is undefined" "First word art, last word art" Branching movies interactive movies intimate space Camera based reality Camera based reality + modeling The Rocky of VR Daydream........................... point of view Modal VR   Tango https://www.cnet.com/news/googles-tango-phone-a-preview-of-2017-augmented-reality/ http://www.theverge.com/2016/5/12/11663654/google-project-tango-expansion-vr-indoor-mapping-android Nolan Bushell on the future of storytelling https://www.engadget.com/2016/10/12/atari-co-founder-launches-modal-vr/ Kevin Kelley poverty porn The Czech? interactive movie made by changing lens caps on projectors. scenes of same duration https://books.google.com.sg/books?id=zVUEAAAAMBAJ&pg=PA31&dq=Kinoautomat+Raduz&hl=en&sa=X&ved=0ahUKEwju7L2W_PDQAhXIOI8KHdgpC8EQ6AEIKzAD#v=onepage&q=Kinoautomat%20Raduz&f=false bullet screen Driving While Black The realities of arcades. User centered design Imax VR Ghostbusters https://en.wikipedia.org/wiki/Michael_Naimark IMU first person POV VR journalism directed attention 65 % SNAP vs. Google Glass Camera that Changed the World Pan, tilt and roll-camera directions hyperlapse- take out the wobble Hollywood vs. Silicon Valley Facebook VR camera stabilization Magic Leap Hololens size of display is arbitrary Action cams Anything where hands are involved The feeling of being there Robert Flaherty Documentary Richard Deskin Occlusion missing data bulls eye steadycam artists you don't have to fill the whole 360 vr. cinematography studies  #3 you should see the whites of her eyes ears are easy to fool. eyes are hard to fool the content's relationship to the medium a mixing board, to "duplicate" reality flight simulator multiple viewers in a shared space VR..the intimate space, right in front of you Gamers know this Cineoramas 1900 Paris Exposition Representing people in VR Equirectangular sections; the map makers' problem orthoscopic: everything is is scale no zooming first person point of view walking together How the West Was Won intimate language nadir hole ambisonic sound Riftcam http://riftcam.com/#why180 Google Killed a Donkey binaural microphone Jean Ropuch Richard Leacock Cannot look around; cannot sway. Navigation Manipulation Cinematic branching https://books.google.com.sg/books?id=hRtBAQAAQBAJ&pg=PT77&lpg=PT77&dq=cinematic+branching&source=bl&ots=yuz5O7_Q6T&sig=GrJaO7CvY_kh_5D4kMgkF8b8PrQ&hl=en&sa=X&ved=0ahUKEwjJnd-v-_DQAhUSSY8KHYvRBfQ4FBDoAQgwMAQ#v=onepage&q=cinematic%20branching&f=false http://www.gamasutra.com/blogs/AlexanderFreed/20140909/225281/Branching_Conversation_Systems_and_the_Working_Writer_Part_2_Design_Considerations.php ears easy to fool; eyes difficult Abel Gance 1927 Napoleon Jeff Lynch   ???? Matterport    

A brief introduction to Michael Naimark, media art guru

 

(the photo used at the top of this post was obtained from Pinterest, where the following credit was provided: Michael Naimark, media art guru. | KR8V | Pinterest | Medium Art, Aspen and Michael O'keefe I did not create the image, am using it without permission and I hope that is OK. )

On December 10, 2016, I was fortunate to attend a small workshop conducted by Michael. Michael was extremely informative and his personality allowed everyone to ask questions and share information freely. I have a separate post about notes taken during the workshop. It was great!

This post serves as an introduction to Michael's work.

His website:

http://www.naimark.net/

The following is from his website:

VR-Related Presentations & Publications (1981 - 2016)

Selected News Upcoming Dec 10: Visiting Instructor, “Virtual Reality for Artists”, Objectifs Centre for Photography and Film, Singapore Upcoming Dec 7: Opening Keynote, “The Digital in Cultural Spaces”, National Museum of Singapore. Oct: #5 in "25 of VR's Greatest Innovators," Polygon. Oct: "VR Interactivity: Some Useful Distinctions," Medium.com. Oct: Invited Presentation, Digital Futures Program, Ontario College of Art and Design, Toronto. Oct: Opening Keynote, First VR Creative Doc Lab, Canadian Film Centre, Toronto. (news story) Oct: Opening Keynote, "Weird Reality: New and Independent Visions of Head-Mounted Art and Code," CMU. Sep: Quoted, Pioneers of Virtual Reality Art, Financial Times, London Sep: Guest presentation, USC Cinema "Technologies of Presence" class of Scott Fisher. Sep: Guest presentation, UC Berkeley Haas School of Business "Social Media and Social Movements" class of David Evan Harris. Jun: "VR Cinematography Studies for Google," Medium.com. Apr: Quoted, "Fantastic Radio Show about VR, c.1992," Boing Boing, Apr 25, 2016. Feb: Presentation, "Cameras, Interactivity, and VR", NYU ITP.

Flame Magnet

Only those who attempt the absurd will achieve the impossible.
M. C. Escher (supposedly), posted on The Dude's Facebook page  Thank you for having the courage to buy Flame Magnet. Ultimately, you will receive at least 12 stories, all for free. Flame Magnet is an experiment, a new way of using Amazon and recognition of the fact that an electronic book can be a flowing, shifting thing. Flame Magnet also acknowledges the power of algorithms, gaming strategies and word of mouth sharing/advertising. You have paid 99 cents for an empty shell. A year from now, your shell will be full of at least twelve stories and Amazon will be selling Flame Magnet for $5.99 or $12.99 or $34.99. I will, as soon as possible, email you a version of Flame Magnet that contains five stories. The stories are: Lipstick and Snow, Lorong 16, Deepavali at Gallicier and  Ronnie and the Burns. The other two stories will remain a mystery, but here a couple of hints: Motown and Bali. Lipstick and Snow was featured in the premiere issue of Staple magazine, Lorong 16 is a dystopian dark comedy set in the Geylang district of Singapore and Ronnie and the Burns is a documentary about Ronnie See, the leader of the first rock band in Singapore. Deepavali at Gallicier  first appeared in the bestselling book i ate tiong bahru. The story documents one day at a traditional Peranakan bakery in Singapore and is one that I have received the most comments upon.     Ultimately, there will be at least a dozen short stories in Flame Magnet. The stories will be about James Brown, Singapore National Day in Plain Vanilla, 3how, Verrie Larch, Deepavali at Gallicier Peranakan Pastry Shop, Mom's Farm in Bali, a little bar in Tokyo on a wintry morning, Singapore's First Rock Band, Secrets of You Tiaow  and much more. In short, your 99 cents is an entry into a literary project that will grow with time. Your "investment" will increase, as every time I add a new story to the Flame Magnet ebook file, you will receive it, at no extra charge Let me repeat this  another way. You have bought a subscription. As soon as I have your email, I will send you the latest version of Flame Magnet. You will get 3 or 4 files in the next six months. The last file sent to you will have at least twelve stories. Again, there is no extra charge, even though the completed ebook version of Flame Magnet will sell for almost twelve dollars! Thanks for being so bold and open-minded. Welcome to the Flame Magnet adventure!     (Oh yes... I should say that I am extremely excited about the stories in Flame Magnet. They are very different from my Bali Wave Ghost novel and i ate tiong bahru, which became a national bestseller in Singapore. Oh yes again...as I write this, there are about 20 days left in my crowdfunding campaign. I have already exceeded my goal, but there are still a number of rewards left.