Dieter Doepfer made the Nintendo Power Glove work for Kraftwerk

German YouTuber “studentsmusic” has come across the Nintendo Power Glove mod used by none other than Eurorack originator Dieter Doepfer. And he had a hell of a client – Kraftwerk.

Now, whether you have any desire whatsoever to don some gloves and wave your hands around, the peculiar category of music glove has a long history intertwined with a lot of today’s thinking about music, controllers, and expression.

Michel Waisvisz gets a brief mention here, but it’s worth noting that his project “The Hands,” originating in 1984, was one of the first gestural controllers and likely shaped many other devices after. I would presume it’s possible someone at Nintendo was even aware of his work. The Power Glove, for its part, came later – 1989-1990. And certainly from that point on I suspect you can credit Waisvisz and the Amsterdam research center STEIM for suggesting that waving your hands around could be used for music.

In addition to custom-engineered solutions, since Nintendo’s debut musicians have been hacking gaming solutions, too. (Actually early in CDM’s life I was compiling these – as in this set of 2005 links to accompany something I wrote for Computer Music. Ooh, but that’s weird for me to read. Moving on.)

Anyway, Dieter’s creation is really quite clever – and it’s worth watching the video here.

Now, Nintendo is about to release another set of gestural controllers in the form of Switch. Even if you aren’t into gaming, the Nintendo launch game for that hardware is full of ideas. The Verge claim this is sophisticated technology, but my bet is the actual hardware is pretty simple and this is just smart, finely-tuned code.

Note the use of the mic for control, for instance – that’s something you can use.

So I don’t think any of these ideas are exhausted yet. But it does mean it’s time again to do this:

God, that music is so good. Or it’s so bad. (It’s J. Peter Robinson, who while perhaps not a household name is the sound of countless 80s movies and a ridiculous amount of pop arrangement.) And yes, that really is Jenny Lewis. I… digress.

via Resident Advisor

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Lesson 13

In lesson thirteen, students brainstorm themes and create mind maps for their final projects. A mind map is a visual thinking tool that allows students to better understand as well as generate new themes and ideas for their projects. Students can look at their mind maps later on in the curriculum when they need inspiration and motivation regarding their projects.

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Lesson 12

For the twelfth lesson, teachers are encouraged to bring in their favorite photobooks and hold a discussion about the different shapes, sizes, and designs of photobooks and how they work together with the images to create a visual and tactile experience. Students discover that not all photobooks are the same and that each book tells a different story. This lesson motivates students to begin thinking about their own work in its final book form.

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Lesson 11

Lesson eleven introduces students to the idea of context: how and where we encounter images on a daily basis. Students will understand that where we first see images has a direct impact on our interpretation of their meaning. Students are challenged to manipulate the context in order to change the meanings of photographs. This lesson includes works by Susan Meiselas, Shepard Fairey, Banksy, and Hank Willis Thomas.

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Lesson 10

The tenth lesson challenges students to make spontaneous, natural-looking photographs of people on the street. Unlike the previous lesson where students collaborated with their subjects, lesson ten is about becoming comfortable photographing strangers in public and realizing that it takes time to make a successful photograph.

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Lesson 9

Lesson nine engages students in how to approach, photograph, and interact with subjects. This lesson encourages students to take what they have learned in previous lessons—truth, symbols, form—and use these tools while collaborating with others when making portraits. The works of Richard Renaldi, Robin Schwartz, and Wayne Lawrence help students understand that there are a number of approaches to making portraits.

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Lesson 8

The eighth lesson introduces the use of text and the ways in which it can work with photographs. Students learn that text can be used to tell a more complete story rather than simply act as a caption for an image. Dawoud Bey’s series Class Pictures is a perfect example of text being used in concert with photographs to tell a story. Students consider both the text and the images separately and then together. Students will be able to write brief, personal narratives to accompany their pictures, as well as understand that photographs and text can work together to describe someone both internally and externally.

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Lesson 7

In the seventh lesson, students are asked to reflect on the concept of truth in photography. Does a photograph always tell the truth? How can we understand the photographer’s intent when making a picture? Students consider William Klein’s well-known photograph Gun 1 along with variants of the image, and discuss how the notion of truth changes from image to image. Picking up on context clues and symbols, students will be able to understand and know that photographers make choices in order to create content and meaning.

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Lesson 6

In the sixth lesson, students discuss how visual metaphors function and begin to look beyond the literal meaning of a picture. Using the work of Graciela Iturbide, William Eggleston, and Justine Kurland, the class works together to identify metaphors in the images and use their knowledge about signs and symbols to help further their interpretations. While working outdoors, students engage in a photo activity where they must photograph signs, symbols, and metaphors.

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I Don’t Get To Hide – A Flickr Portrait Gallery

Where just last year the top trending tag post-Oscar® was #OscarsSoWhite (for its second year in a row without an African-American nominee for best picture or actor), this year the Academy® nominated and awarded a record number of African American writers, directors, and filmmakers.

‘Moonlight’ took home eight Oscars®, including Best Picture. Viola Davis became the first woman to win an Oscar (for her role in “Fences”), Emmy, and Tony Award for acting. Barry Jenkins and Tarell Alvin McCraney won for Best Adapted Screenplay for “Moonlight.” Mahershela Ali became the first African-American/Muslim to win for Best Supporting Actor. And Ezra Edelman won with Caroline Waterlow for Best Documentary Feature for “O.J.: Made in America.”

After winning Viola Davis said in an interview, “what still is a deficiency is that one year we have a plethora of African-American movies and then the next year nothing,” a point that has consistently echoed throughout various art communities, film and photography alike.

When it comes to black photography, Dr. Deborah Willis – an author, photographic historian, and MacArthur Fellow – has explored African American photography over the last two centuries. Dr. Willis has noted the visual and cultural importance of self-identification and connection to the arts that has permeated the work of African American artists.

“Where are the black photographers?” she asked a professor during her undergraduate studies, not knowing that would be the question her life’s work would center around. In decades of work, Dr. Willis has discovered and featured the stories and history of thousands of photographers in her books. From Jules Leon in the 1840s to present day artists wrapped up in different aspects of the American fabric, like Carrie Mae Weems.

“We have a responsibility in our image-making capacity,” Weems explains, “which is where we share the wealth of who we are. We have the responsibility to widen the path, to open all those possibilities to what blackness can be … now.”

To honor Davis’ powerful Oscar® acceptance speech and the end of Black History Month we’ve put together a gallery of our favorite African American photographers on Flickr, artists who define and celebrate what it means to ‘live a life’ since skin color is something you don’t get to hide.

In her speech, Davis said that being an artist is “the only profession that celebrates what it means to live a life.” Tell us in a comment on the gallery what powerful and present artists you’d love us to feature.



I don't get to hide
Fight The Power
Creative Exposure Model Shoot
A Portrait Of Donna