The New "Star Wars" Trailer Is Here And It’s Pretty Great
Mother Jones
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By the way: to all the people who wrote asking why the body font on the blog has changed, I don’t know. I was as surprised as you when I saw it after our weekly site update Thursday night. However, web designers, like God, move in mysterious ways, and I’m sure there were some deeply-considered aesthetic reasons for making the change. Unfortunately, I don’t know what those reasons are, since for excellent and obvious reasons,1 I’m not consulted about this stuff. Perhaps some member of our design team will see this and let us know in comments.
1Principally that I have approximately the artistic taste of a seven-year-old.
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Mother Jones
Making art with a computer ain’t easy. Just ask Andy Warhol. The American icon mastered numerous art forms and shaped our culture with his work. But a newly-discovered collection of files from 41 floppy disks—yes, floppy disks—shows that he struggled with early digital design tools. Today, members of Carnegie Mellon University’s Computer Club and STUDIO for Creative Inquiry in Pittsburgh released a previously unseen set of images Warhol created in the 1980s using a Commodore Amiga 1000. (That used to be a type of computer, kids.)
The work was discovered after artist Cory Arcangel found a fuzzy You Tube video from 1985. In it Warhol sits next to Blondie singer Debbie Harry and uses the Amiga to paint her digital portrait. Jonathan Gaugler of the Carnegie Museum of Art says Arcangel was “relatively sure” the disks containing Warhol’s digital prints would be housed in the Warhol Museum. Sure enough, they were. But, Gaugler says, “It’s risky. Because reading them in a drive, there is a chance of wiping it just by trying.”
So the museum’s curator, Tina Kukielski, connected Arcangel with the Carnegie Mellon’s Computer Club, which wrote original code to safely read the data without damaging it. The process was captured in the upcoming documentary film series The Invisible Photograph, premiering May 10 at the Carnegie Library Lecture Hall.
Here are some of Warhol’s digital works, and stills from documentary showing how they were retrieved. Enjoy—while listening to Blondie if you can:
“Andy 2” Andy Warhol, 1985, ©The Andy Warhol Foundation for the Visuals Arts, Inc., courtesy of The Andy Warhol Museum
Campbell’s Andy Warhol, 1985, ©The Andy Warhol Foundation for the Visuals Arts, Inc., courtesy of The Andy Warhol Museum
“Venus”, 1985, ©The Andy Warhol Foundation for the Visuals Arts, Inc., courtesy of The Andy Warhol Museum Andy Warhol
Amber Morgan of the Andy Warhol Museum and Cory Arcangel in The Invisible Photograph, Part II – Trapped: Andy Warhol’s Amiga Experiments © Carnegie Museum of Art, Pittsburgh
Commodore Amiga computer equipment used by Andy Warhol between 1985-86 Courtesy of The Andy Warhol Museum
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The Velvet Underground
White Light/White Heat 45th Anniversary Super Deluxe Edition
UMe
White Light/White Heat is one legendary album that lives up to the hype. The Velvet Underground’s second release, and the last to feature the founding lineup of Lou Reed, John Cale, Sterling Morrison, and Mo Tucker (at least until the band’s reunion in the ’90s), it’s a grimy, exhilarating blast of confrontational noise, credited with launching everything from punk to industrial rock to ambient music. This impressive three-disc set offers mono and stereo versions of the original release, plus a slew of pretty-enticing extras from the era. The highlights are the title song, “I Heard Her Call My Name” and the still mind-blowing 17-minute epic “Sister Ray,” wherein Reed seems both offhand and sinister at once, like Bob Dylan transformed into a sneering New York City degenerate. Only “The Gift,” a gruesome spoken-word tall tale recited by Cale in his entrancing Welsh lilt, has not aged well.
Among the additional songs, standouts include two versions of the eerie “Hey Mr. Rain,” the atypically playful “Temptation Inside Your Heart” and the first official release of an oft-bootlegged live show from 1967, featuring the terrific and otherwise unavailable “I’m Not a Young Man Anymore.” Lou Reed’s recent passing has inevitably renewed interest in his work, but White Light/White Heat would be essential listening in any case.
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Reissues With Benefits: The Velvet Underground’s "White Light/White Heat"
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