Any Wire fan who looked at extrapolated art should consider themselves fortunate that David Simon became invested in the process of transferring the series to high-definition video. By considering the possibility of a strictly algorithm-based expansion of the frame and contrasting that to Simon’s shot-by-shot observations, it becomes clear that in art, the space beyond the edges of the frame can never really be determined by the contents of the frame.
Last night, we attended a talk with Marjane Satrapi at NYPL Live. She said that when she was in San Francisco, she told a dirty joke that shifted into focus the American sense of humor. It went something like this:
A man looks in the mirror and sees he has a button on his forehead. Every day, the button gets longer and longer until finally he sees a doctor. He says to the doctor:
“What’s growing on my forehead?”
“It’s a penis.”
“Is there anything I can do about it?”
“Don’t worry about it. Soon enough, the balls will cover your eyes.”
She also made me feel I should read some Dostoyevsky.
I love that fire escapes is a complete sentence.
Last Saturday, Christina and I watched a reading of “Manahatta” by Mary Kathryn Nagle at the Public as part of their New Work Now! 2013 series. It’s a delightfully arch production, structured as a series of scenes between two time periods (17th-century Manahatta and late-2000s Wall Street, with dramatic overlaps) like Stoppard’s “Arcadia,” worth watching if you’re a New Yorker, care about Native American issues, or the peculiar interplay of indigenous people and ambitious conquerors and its long-term consequences. Its structure lends itself to juxtapositions, and even if they sometimes overreach in this play, they’re intriguing enough to merit proper staging. A scene depicting the infamous $24 real-estate deal successfully elicited a knowing, sympathetic cringe. History repeats throbs just under the surface like a subwoofer through drywall.
From all the clever chronological cross-referencing, among the more incisive and memorable fulcra was Nagle’s use of the word speak. In “Manahatta,” it means more than merely uttering words: it means a presence in the consequential moments of one’s own history. To lose the ability to speak, to have it beaten out of you, or to arrive at a consequential moment with neither the necessary language nor immediate skill to translate is pretty much terminal for one’s culture and way of life.
In both time periods, characters tell the Lenape story of the origins of life on earth: a turtle rose from the water, a tree grew from its back and sprouted a man, the tree bent over to touch the ground again and sprouted a woman. I like this story because it’s the foundation of one of my favorite cosmological epigrams.
And “Manahatta” is a rich story well-told, but a staging with sets and costumes will undoubtedly change the effect of the words (to say nothing of the stresses of syllables from show-to-show). Unlike so much of what I consume, this is explicitly a work in progress, something put forth as something that will potentially be quite different in the future (and I feel invested enough to return).
Related: I watched “Mr. Burns: A Post-Electric Play” in its premiere run at Woolly Mamoth last year and would recommend it to interested friends in New York who’ve ever compulsively quoted the Simpsons. I am interested to find out how too this has changed since it made its way up the 95.
Since last time: I wrapped a project in Pennsylvania with a design presentation and delivery of a pair of PDFs for functional specifications. Took a day off to take delivery of a new dresser, a vintage stainless-steel number not unrelated to tanker desks and barrister bookcases I have loved.
Next week: a new project in Michigan opens with two days of interviews bookended by late-night flights with layovers. And before that, drinking about wireframes at the Brooklyn UX happy hour in Gowanus.
Finally: these are some awesome pictures of goats.
Jon Rafman’s 9 eyes curates the work of the world’s most prolific street photography collective.
via Evan Sharp
With broadband connections and high-definition YouTube and Hulu clips as prevalent as they are, why do people want to watch these relatively grainy, endlessly looping little videos? Part of the answer is that animated GIFs—soundless, coarsely textured, and powerless to describe complex color—appeal to an imperfection fetish like the one columnist Rob Walker recently discerned in the vogue for photographic technologies that simulate the degraded look of Super 8 film and Holga cameras. But the present-day GIF love goes beyond aesthetics and nostalgia. Animated GIFs aren’t just throwbacks—they’re uniquely suited to some very contemporary modes of cultural consumption, and they perform distinct functions that other formats can’t.
…certain brands, and bands, can so glammer the market that a mere 10 percent share is nothing short of ubiquitous. Apple is that good, Radiohead is, and not much else.
The Apple Of Rock
While I don’t buy the build-up completely, the payoff is astute. While there may be “not much else,” surely there is something seemingly ubiquitous, operating beyond its milieu, at a grander level of aesthetic criticism.
There is, right?
- Magenta (Stencil duplicator, 1880)
- Cyan (Spirit duplicator, 1923)
- Black (Laser printer, 1969)
- Yellow (Inkjet printer, 1976)
Clever concept, beautifully executed.
Go to Storm King Art Center before you die. Go this weekend before it closes for the winter. Go when we go in the spring, in the morning, with a picnic lunch.
It’s in upstate New York. Plan to spend at least five hours there. Bring a sandwich – I don’t know if they’d knock you for bringing a cooler of beer, but I nod in your direction if you’re getting that idea.
Or don’t. Go hungry – go with a grumble in your stomach, with a fire in your eyes. Go with an empty camera and comfortable shoes and take jumping pictures. Go with a pencil and pad. Go with your hands in your pockets and let memory be memory. Go.