GIFs courtesy of (stolen from) spyrogif.tumblr.com/
Source: SoundCloud / mau5trap records
We are the Transparent Machines™ | fullscreen please |
Our society is obsessed with the conflicting concepts of transparency and privacy. We are “outraged” by the actions of the NSA, yet continue to willfully upload more and more of our personal information to Facebook and Google. This film explores the contradictory nature of our actions and beliefs regarding transparency.
directed by: beeple
sound design: standingwave / https://soundcloud.com/standingwave
music: hecq - pulverized / http://hecq.de
voice over: rachel salaman
see the REMIX: https://vimeo.com/79293746
additional artwork from the project: http://www.behance.net/gallery/Transparent-Machines/11987377
download the entire cinema4d project file: http://www.beeple-crap.com/resources.php
more creative commons: http://vimeo.com/channels/beeple
daily artwork: http://facebook.com/beeple
The Word of the Day is “URTEXT”
The term “Urtext” has been debated ever since it was first used. Yet the idea behind it is simple and easy to understand: the musician is offered a musical text which solely reflects the composer’s intentions. One might think that this is self-evident. However, well into the twentieth century the great performers of the day were absolutely convinced that musical texts – especially those of works from the eighteenth century – were incomplete or had suffered from faulty transmission, in particular concerning how they were to be performed. This being the case, they altered the text, made additions and polished it, either at their own discretion or citing eye witnesses or ear witnesses. In so doing they generally did not refer to the original sources but often arranged the first printed version that came along, which itself probably differed from the original. Thus the original musical text was substantially distorted, sometimes to the extent that it was no longer recognisable.
In order to produce an Urtext edition worthy of the name, the editor must first of all strip away the distorted layers. This task is similar to the one carried out by a restorer of fine art who divests a painting of all the changes made to it over the centuries to reveal the original. To this end the editor turns to the source criticism. This evaluates whether, and to what extent, an existing document (e.g. a music manuscript or a printed version) was authorized by the composer.
The composer’s original manuscript is often gone and even if it is available, the editor must ascertain whether the composer did not also authorize later sources (e.g. the first edition). Once the wheat has been separated from the chaff, the second, no less painstaking phase begins: textual criticism. Now that the editor has uncovered the “nucleus” of the work, the sources (textual witnesses) have to be examined meticulously - note by note, mark by mark. Experience has shown that the mere complexity of the musical notation means that the sources are not able to provide us with a text free of ambiguity.
From the website of G. Henle Publishers
It’s okay that you don’t remember me. My name is Shara, and I’m part of the surgical team. I’m checking to see how you’re doing after …
Five excellent interviews, featuring Samuel R. Delaney, Kim Stanley Robinson, Junot Diaz, and Gates McFadden, interspersed with some really fun short fiction.
Airdate: April 13, 2014
Tl;dl: Good thoughts on the importance of utopia, a mention of the Hieroglyph Project, and then Samuel Delany schools everyone.
Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily life requires and provides; and in this respect, it irrigates the deserts that our lives have already become.
from Shadow & Claw -Gene Wolfe
Sometimes I forget how FUCKING METAL this book is:
“‘Do you know of the analeptic alzabo?”
I said, ‘No, Chatelaine, but I have heard tales of the animal of that name. It is said it can speak, and that it comes by night to a house where a child has died, and cries to be let in.’
Thea nodded. ‘That animal was brought from the stars long ago, as were many other things for the benefit of Urth. It is a beast having no more intelligence than a dog, perhaps less. But it is a devourer of carrion and a clawer at graves, and when it has fed upon human flesh it knows, at least for a time, the speech and ways of human beings. The analeptic alzabo is prepared from a gland at the base of the animal’s skull. Do you understand me?’
When she had gone, Jonas would not look at me, nor I at his face; we both knew what feast it was we were to attend that night.”
A classic action platformer game from Pixeltruss, heavily influenced by the aestethics of the 16-bit era of the early 90â²s.
I AM A CYBER-PENGUIN