David de la Mano was invited for Urban Nation in Berlin earlier this month where he worked next to Deih to create yet another monochrome signature style piece on the streets of Berlin. The artist didn’t lack on detailing out the mural – every single detail can be seen once up close on each one of the figures featured in the artwork… That combined with continuous flow of the mural really makes this a special artwork from the artist.
Take a look at more images below of the detail featured in this mural and keep checking back with us for the latest updates from Berlin…
Granular seems popular today and Luis Felipe Vieira Damiani has brought a new app called Nimbus AU. This app apparently creates clouds of sounds for both iOS on a standalone and AUv3 basis. The app has automated parameters and ADSR envelope control. Apparently it utilises pure waveforms and real instrument samples, which is in itself quite intriguing, and I’m especially interested to hear just how it sounds. If I get a chance to give it a try then I’ll let you know.
It’s also work pointing out that Luis’ other apps and work are all well worth taking a look at. Not only has he made a series of apps including Ringabell AU, Plectrum, and also RunloopSound (and iOS implementation of Csound), but he’s even created a whole language for manipulating sound objects called Scandal. Impressive no? On top of that he’s an artist as well. Some people’s talent knows no end!
If you want your photo to be considered for a Flickr Hero feature next week, submit your best image(s) to the Flickr Heroes group pool by Monday morning! Winners are announced in the Flickr Heroes Group, on the blog, and across our social media accounts!
Today is World Gratitude Day! On Flickr, we are familiar with pictures that show beautifully intimate perspectives on the most unique things. With such members and diverse photos, we are often reminded of the many things in life we hold dear.
From the maker of other equally ‘interesting’ apps like rrarrow and Phawuo (both of which are on sale by the way. So here comes soundfruuze, which is described as an experimental live sampler / looper / granular and FFT scrub effect. It looks very cool, very experimental, and just the kind of thing that you might enjoy if mangling samples to within an inch of their lives is something you routinely do.
So, to the point, here are the app’s details from the developer:
It records live the recent 10 seconds of audio and allows you to manipulate it with special controls.
The interface is divided into five “lanes”, sound is produced by touching the lanes.
Each lane can be set up to use different effect and has various control parameters mapped to the touch position:
Most basic lane type. You can control the volume of the resulting sound and smoothness of the position interpolation. Lesser smooth value produces the sound with more high frequencies.
Allows you to select the sound at some position and use both horizontal and vertical coordinates of touch as 2 independent parameters. You can control volume, playback speed (pitch) and the grain size.
This type of lane is very similar to granular freeze but it allows to change the position of the grain after its start.
FFT Freeze and FFT Scrub
In both FFT types of lanes another algorithm is used to process sound. In both FFT Freeze and Scrub sound is analyzed with the FFT transform and divided into frames. FFT Freeze allows you to select the frame at the desired sample position and to play it making the sound “freeze” at this point.
This lane type allows you to make loops / repeat large grains of sound. When you touch a looper lane, a new looper control is created and is kept there until you turn it off with the red ‘close’ button. You can change loop speed, volume, size and position for each loop individually or for all loops on one lane together using additional controls
soundfruuze is available for iPad and costs $4.99:
Smartphones have changed the way we inhabit public space and more specifically, how we fill our time while waiting. Consequently, day-dreaming, thinking, speculating, observing, and people-watching are diminishing arts. So what happens when you put down your phone, look up and start noticing?
Rarely mentioned in this litany of side effects is how phone use has changed the way we inhabit public space and, more specifically, how we fill our time while waiting. Every moment of potential boredom can now be ameliorated or avoided by all manner of tasks, modes of entertainment or other distractions conveniently provided courtesy of our mini computer and bodily prosthetic.
Some years back, in response to my own smartphone symptoms, I decided to look up from my screen and look around. I set myself the challenge of identifying something that I had never noticed before while waiting in public spaces. The things that first caught my eye were the curvy industrial forms that are ubiquitous in planes, trams and trains. These hallmarks of mass production and homogeneity were so muted in colour and understated in form they had become invisible to me.
By contrast, blasts of colour demanded immediate attention – the rear of the myki travel card reader on a Melbourne tram or a service station roller-door offered an eye-popping colour palette.
The experiment was surprisingly fruitful. I went from boredom to engagement with the apparently nondescript places that I was forced to endure while waiting for the plane to take off, the train to arrive or a doctor’s appointment. There were also those in-between moments while I waited for my partner to buy the milk, my dog to pee on a bush or my son to get back into the car. Because I did not allow myself to be distracted, I observed the richness of surface texture and colour.
Ironically, this was so visually engaging, that I was prompted to pull out my phone again and started taking photographs. I tried swapping my phone for a compact digital camera, but more often than not I would leave it at home because it didn’t fit in my pocket. There is an old photographic chestnut that “the best camera is the one you have with you”. The camera I had was in my phone and I gave in to that contradiction.
While each particular subject may be tricky to identify, these images are nonetheless familiar because we are acquainted with the spatial and visual white noise of “non places” that are part of the contemporary global experience.
Writer and anthropologist Marc Auge has coined the term “non places” to refer to spaces formed in relation to certain ends (transport, transit, commerce, leisure). We regularly, stand, lean and sit in these transitory public spaces hunched over our smartphones, as we travel to both material and digital destinations “without experiencing them as places”.
Gradually it became evident to me that a coherent body of work was forming. I became absorbed with the way the light on the dash board of a car transforms the industrially formed pattern into skin, with the cheeky phallic demeanour of the tray on the back of an aeroplane seat and with the capacity of round red poufs in an airport lounge to erotically impersonate a pair of thighs.
I was constantly surprised at the rich detail and bodily qualities that these zones often exhibited. The paradox in this collection, however, is that the human form was purposely excluded. While I didn’t deliberately seek out bodily forms, the soft humps and crevices regularly caught my eye. Without thinking, I was drawn to the unexpected sensuality of these inert things. Once I noticed this pattern I pursued it more deliberately.
The urge to recognise patterns either consciously or unconsciously is hardwired into the human brain and was a critical skill for survival when creatures stood up and started walking around. The interpretation of patterns provided signals for survival — don’t eat this one, run away from that way and vice versa.
It is a fundamental human instinct that when two or more things are similar in content, size, form, colour and so forth, we seek to match them together in our minds, to create a visual set or class.
He enlarges on this idea by describing how, once we establish similarities, we then seek out difference. It is through these processes of recognising patterns and differences that we make sense of the world.
Recent psychological studies have expanded our understanding of the creative benefits of being bored. “Boredom becomes a seeking state,” suggests psychologist Heather Lench, because the bored mind is more likely to seek out activities that engage the reward centre of the brain.
We constantly use electronic devices to distract ourselves from the tedium associated with waiting. Instead, we could see boredom as an invitation to look up and then look around, to people watch, daydream, or take the time to observe and develop our own pattern recognition beyond hyperlinks and tags. We may then discover a space where a new poetics resides.
Julie Shiels does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond the academic appointment above.
TAG Heuer has just released a new special edition watch with brand ambassador Tom Brady. The New England Patriots quarterback, and five-time Super Bowl victor, has been a brand ambassador with the LVMH-owned watch manufacturer since 2015. This is the first co-designed watch released by TAG Heuer with Brady.
The Tom Brady Special Edition is based on the Heuer 01 Chronograph in 43mm (which stems from the 45mm Carrera 01 originally released in 2013). The blue dial displays the date, constant seconds, and 30-minute and 12-hour registers. The number 12 is displayed prominently in red to represent Brady’s jersey number.
The Heuer 01 features a brushed stainless steel case with a ceramic fixed bezel and a domed crystal with double anti-reflective crystal. It is powered by the automatic TAG Heuer caliber 01 – the same movement used in the TAG Heuer Carrera Heuer 01 and based on the TAG Heuer Caliber 1887. It features a 50-hour power reserve with a skeletonized chronograph bridge and red column wheel. The solid caseback displays Brady’s jersey number along with his signature in red. The watch is completed with a blue calfskin leather and rubber strap with folding clasp.
The watch will be made in 466 pieces in honor of Brady’s total passing yard in the Patriots win over the Atlanta Falcons in Super Bowl LI. Brady completed 43 of 62 passes for 466 yards, breaking several Super Bowl records.
Love it or leave it – brand sponsorships aren’t for everyone – but this timepiece is sure to be a touchdown with Brady fans. The TAG Heuer Tom Brady Special Edition Heuer 01 Chronograph will retail for $5,600. You can read more about it at TAG Heuer online.
Happy Monday to everyone! Weather is quite cloudy and depressing today so I was happy to find this sunlit interior full of dreamy, serene decor.
Villa of Camilla Allen, located in Hellerup has magnificent 320 square meters and it is built in 1913. Such a large interior offers a lot of space for decorating but things were kept nicely minimal here which resulted in a spacious and clean look.
Walls were kept white and floors are done in gray wood tone while many decor and furniture pieces are in solid black. Natural and cozy look.
My favorite things from this house are for sure Wegner’s Wishbone chairs, situated around the dining table where you also can find a beautiful Arc lamp. In the kitchen, there is an amazing rustic copper hood and I also like those black multi joint wall lamps.
"United" exhibition call for artists. Exhibit in 360° Deadline: October 30th, 2017 23:59 CET Application fee: : €30, up to 3 artworks
Get discovered by one of the oldest art galleries in Poland and take part in Gologorski Gallery’s open call!
Build your resume with the gallery that has been present on the art market for over thirty years!
Exhibit in 360° by entering a juried competition in Gologorski Gallery, presented in 360° technology!
Submit the electronic versions of your original artworks that refer to the theme of the exhibition (“United”). All styles, techniques, and mediums (painting, drawing, sculpture, digital art, graphic art, collage, etc.) are acceptable.
Selected artworks will be printed and exhibited as giclee prints in Gologorski Gallery in Krakow, Poland and during the Art Show. Non-printed submissions will be shown as a multimedia presentation at the exhibition. The exhibition will also be reproduced as a series of photos in 360° technology and the event will be promoted on the gallery’s website and in social media.
Submissions deadline: October 30th, 2017 23:59 CET
“To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight.”
“No one can build you the bridge on which you, and only you, must cross the river of life,”wrote the thirty-year-old Nietzsche. “The true and durable path into and through experience,” Nobel-winning poet Seamus Heaney counseled the young more than a century later in his magnificent commencement address, “involves being true … to your own solitude, true to your own secret knowledge.”
Every generation believes that it must battle unprecedented pressures of conformity; that it must fight harder than any previous generation to protect that secret knowledge from which our integrity of selfhood springs. Some of this belief stems from the habitual conceit of a culture blinded by its own presentism bias, ignorant of the past’s contextual analogues. But much of it in the century and a half since Nietzsche, and especially in the years since Heaney, is an accurate reflection of the conditions we have created and continually reinforce in our present informational ecosystem — a Pavlovian system of constant feedback, in which the easiest and commonest opinions are most readily rewarded, and dissenting voices are most readily punished by the unthinking mob.
Few people in the two centuries since Emerson issued his exhortation to “trust thyself” have countered this culturally condoned blunting of individuality more courageously and consistently than E.E. Cummings (October 14, 1894–September 3, 1962) — an artist who never cowered from being his conventional self because, in the words of his most incisive and competent biographer, he “despised fear, and his life was lived in defiance of all who ruled by it.”
A fortnight after the poet’s fifty-ninth birthday, a small Michigan newspaper published a short, enormous piece by Cummings under the title “A Poet’s Advice to Students,” radiating expansive wisdom on art, life, and the courage of being yourself. It went on to inspire Buckminster Fuller and was later included in E.E. Cummings: A Miscellany Revised (public library) — that wonderful out-of-print collection which the poet himself described as “a cluster of epigrams, forty-nine essays on various subjects, a poem dispraising dogmata, and several selections from unfinished plays,” and which gave us Cummings on what it really means to be an artist.
A poet is somebody who feels, and who expresses his feelings through words.
This may sound easy. It isn’t.
A lot of people think or believe or know they feel — but that’s thinking or believing or knowing; not feeling. And poetry is feeling — not knowing or believing or thinking.
Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because whenever you think or you believe or you know, you’re a lot of other people: but the moment you feel, you’re nobody-but-yourself.
To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight; and never stop fighting.
Cummings should know — just four years earlier, he had fought that hardest battle himself: When he was awarded the prestigious Academy of American Poets annual fellowship — the MacArthur of poetry — Cummings had to withstand harsh criticism from traditionalists who besieged him with hate for the bravery of braking with tradition and being nobody-but-himself in his art. With an eye to that unassailable creative integrity buoyed by relentless work ethic, he adds:
As for expressing nobody-but-yourself in words, that means working just a little harder than anybody who isn’t a poet can possibly imagine. Why? Because nothing is quite as easy as using words like somebody else. We all of us do exactly this nearly all of the time — and whenever we do it, we’re not poets.
If, at the end of your first ten or fifteen years of fighting and working and feeling, you find you’ve written one line of one poem, you’ll be very lucky indeed.
And so my advice to all young people who wish to become poets is: do something easy, like learning how to blow up the world — unless you’re not only willing, but glad, to feel and work and fight till you die.
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Glimpsed in the wild bread aisles of a neighborhood supermarket, it would be all too easy to assume that all members of class Occlupanida (from: occlu: to close, and pan: bread) were functionally identical. The Holotypic Occlupanid Research Group (HORG), however, begs to differ.
HORG’s growing collection of plastic clips represents an impressive span of colors, shapes and sizes. This variety forms the basis for a meticulous and thorough occlupanid classification system.
HORG explains that occlupanids are members of the Microsynthera kingdom and Plasticae phylum. On their website, each specimen is further sub-categorized into an order and family. Descriptions, dimensions and photographs are provided for each genus and species.
“Much like insect wings,” the site authors elaborate, “occulpanids are grouped according to the dentition (or lack thereof) in their oral groove, which often dictates both their ecological niche and biogeographic location.” Each bagged specimen is also tagged on the site with an “ecological classification” based on the biomes in which it has been found (e.g. grocery aisle, hardware store, asphalt road, landfill, oceanic gyre or gastrointestinal tract).
According to some sources, the bread clip was invented by Floyd G. Paxton of Yakima, Washington. He is said to have invented his “Kwik Lock closure” on a flight in 1952 when he opened a bag of peanuts and had no way to close them. Paxton then used a pocket knife to carve out a prototype closure device from an expired plastic credit card. His invention was later adapted for commercial use as an easy way to initially seal and then reseal bags. HORG, however, vigorously disputes “any claims that occlupanids were somehow ‘invented’ by one man in the 1950’s” as “a creationist myth fabricated by tax cheats” that “can be dismissed out of hand.”
Meanwhile, to get you started, “the Graphical Outreach team at HORG is proud to offer this free print-your-own set of cut-out identification placards for the excitable amateur scientists out there who want to start their own collection.” Happy hunting!