{ Chris Cunningham’s original photo for Aphex Twin’s Windowlicker cover }
{ A spectrogram of “Windowlicker” reveals a spiral at the end of the song. This spiral is more impressive when viewed with an X-Y scatter graph, X and Y being the amplitudes of the L and R channels, which shows expanding and contracting concentric circles and spirals. The effect was achieved through use of the Mac-based program MetaSynth. This program allows the user to insert a digital image as the spectrogram. MetaSynth will then convert the spectrogram to digital sound and “play” the picture. | Wikipedia }
The mystery of the art market is that some people would rather possess an object of marginal utility than the ultra-usable money they exchange for it. This is the mystery of all markets in which taste is transformed into appetite by a nonpecuniary cloud of discourse that surrounds the negotiation. There is always a tipping point at which one’s taste for Picasso or freedom or pinot noir becomes a necessity, or at least something one would rather not do without. The exact nature of this “something” is effervescent and indistinct.
The Internet sells itself as an improved content-delivery service, giving you whatever you want, whenever you want—by no small coincidence is its premiere streaming-music site called Pandora—but there is an increasingly clear downside to opening the on-demand box. We no longer feel compelled to “own” music, because it has no scarcity value. Music has become ether, navigable by desire, or impulse, and so the need to patronize musicians, whom we were previously cowed into compensating by a protectorate of record labels, becomes not only optional, but indistinct.
We assume musicians are taken care of, because their music is getting to us, and in that way, they have succeeded—they have communicated, and they may even be famous as Joanna Newsom—but they will never profit, because neither they nor their ostensible parent labels control the medium by which we increasingly receive and interpret their work. To the extent their fame is driven and/or sustained online, artists are subservient to the Internet, and must engage with that audience on its terms, begging for donations—tithing—or prostituting themselves via cost-denominated signed copies, telephone calls, personal concerts and personalized songs.
From an office on Sunset Boulevard, a dapper 69-year-old has emerged as a go-to guy for musicians and songwriters looking for quick cash.
His name is Parviz Omidvar, and over the past two decades, he has been lending to artists and securing those debts with royalty payments his clients earn from their work. Michael Jackson was a customer, as is the son of late Motown legend Marvin Gaye. Omidvar’s website carries an old testimonial from Rock and Roll Hall of Fame member Bobby Womack: “Thank you so much for always being there for me.”
Today, Womack is suing Omidvar for fraud. He alleges the financier tricked him into selling for $40,000 full control of a royalty stream that annually pays many times that amount on Womack-penned hits, including blaxploitation classic “Across 110th Street” and “It’s All Over Now,” the first U.S. No. 1 record for the Rolling Stones. Womack’s lawyer says the 68-year-old musician was misled into signing the deal in April last year, when he was incapacitated by painkillers following prostate cancer surgery.
Omidvar calls Womack’s claim “a simple case of buyer’s remorse.” Womack understood he was selling his royalties, and his allegations are “a complete lie,” Omidvar says.
Omidvar’s quick cash can come at a steep price. Reuters found scores of loans with interest rates ranging from 1.5 to 2.5 percent every 10 to 15 days - annualized rates potentially ranging from 43 percent to 81 percent.
{ During the recent $550 million upgrade of the Empire State Building, Ms. Christy was asked whether she could help get more people up to the observation deck. She said she couldn’t get more people into a car but could move them up more quickly. So she increased the elevators’ speed by 20%, to 20 feet per second. Now the cars can rise 80 floors in about 48 seconds, 10 seconds faster than before. Ms. Christy strikes down one common myth—that “door close” buttons don’t work. Sometimes they do, sometimes they don’t, she says. It depends on the building’s owner. | WSJ | full story }
Today, the near 10-year-old Academy of Neuroscience for Architecture believes that neuroscience could make science’s greatest contribution to the field of architecture since physics informed fundamental structural methods, acoustic designs, and lighting calculations in the late 19th century. […]
With today’s sophisticated brain-imaging techniques, neuroscientists can examine how the brain processes environments, even with the complex limitations of, say, someone who’s blind, or autistic, or has dementia. […]
Macagno has been testing hospital design in a virtual-reality lab, and this work could bring us closer to that elusive hospital where, for example, no one gets lost. Other findings from the kind of research he is talking about may challenge what architects have practiced for years. For instance, hospital rooms for premature babies were long built to accommodate their medical equipment and caregivers, not to promote the development of the newborns’ brains. Neuroscience research tells us that the constant noise and harsh lighting of such environments can interfere with the early development of a baby’s visual and auditory systems.
{ My Bloody Valentine have announced a headlining slot at Japan’s Tokyo Rocks festival in May 2013, where they will be playing exclusive material from a brand new album. The album, the very-long-awaited follow-up to 1991’s classic ‘Loveless’, has been 21 years in the making. | NME }
Lean allegedly came from the Japanese manufacturing model in the 1980s and 90s, yet its governing principles, the ‘Five Ss’, are explained in Frederick Taylor’s 1911 book The Principles of Scientific Management in beautiful detail: Sort – you look at a workspace and you see what is needed for the job; everything else, pictures, food, drinks, anything apparently superfluous, you take out. Then you Set in order, so for example if somebody is right-handed you’d make sure you they were sitting in a right-handed workspace. Then Shine – you take everything off and clean – or shine – the workspace, so that managers can see that you’re doing your job and nothing else. Then you Standardize, so that if you’re in Leicester or Lima it’s the same recognizable corporate space. Then Sustain, always said to be the hardest one – keep it going. Of course Sustain is difficult if you go into a workspace and mess around with it in this way, you generate the Hawthorne effect – a quick peak of interest and then a trough of disappointment, so Sustain is hard. But the psychologically interesting thing is that people still think, ‘It must work.’
We don’t understand psychologically why putting someone in an impoverished space should work, when it doesn’t work for any other animal on the planet. Put an ant in a lean jam jar or a gorilla in a lean cage and they’re really miserable, so why should it work for people? So we started to experiment. […]
Every time we’ve experimented, we’ve found well-being and productivity have been inextricably linked. Over eight years, lean has always, without exception, been the worst condition you can put anyone into.
Tightknit cabals of dealers and speculative collectors count on the fact that you will report record prices without being able to reveal the collusion behind how they were achieved. I get annoyed, for example, when one of Urs Fischer’s worst works (a candle sculpture depicting collector Peter Brant from 2010) makes $1.3m while Sherrie Levine’s classic bronze urinal, titled Fountain (After Marcel Duchamp) (1991), doesn’t even crack a million. The collision of financial interests behind 39-year-old Fischer, which includes Brant, François Pinault, Adam Lindemann, Larry Gagosian and the Mugrabi family, might explain the silly price. […]
Fraud and price-fixing aside, everyone involved in the art market knows that tax evasion is a regular occurrence and money laundering is a driving force in certain territories. However, your publication’s lawyers will quite rightly delete any mention of these illegalities. It’s impossible to prove them unless you can wiretap and trace money transfers. […]
Writing about the art market is painfully repetitive. […]
People send you unbelievably stupid press releases. […]
It implies that money is the most important thing about art.
Over time, we have grown increasingly vulnerable to natural disasters. Each decade economic losses from such disasters more than double as people continue to build homes, businesses, and other physical infrastructure in hazardous places. Yet public policy has thus far failed to address the unique problems posed by natural disasters. […]
Drawing from philosophy, cognitive psychology, history, anthropology, and political science, this Article identifies and analyzes three categories of obstacles to disaster policy — symbolic obstacles, cognitive obstacles, and structural obstacles. The way we talk about natural disaster, the way we think about the risks of building in hazardous places, and structural aspects of American political institutions all favor development over restraint. Indeed, these forces have such strength that in most circumstances society automatically and thoughtlessly responds to natural disasters by beginning to rebuild as soon as a disaster has occurred.
According to a songwriting blogger named Graham English, a typical pop song has anywhere from 100 to 300 words, with the Beatles at the low end of that scale and the verbose Bruce Springsteen at the high end. (Don McLean’s epic “American Pie,” for those who wonder, clocks in at 324 words.) […]
[Rihanna’s “Diamonds,”] 67 words. Underwhelming. But at least it’s more complex than “Where Have You Been,” […] 40 distinct words.
Bas Jan Ader (1942-1975) was a conceptual artist, performance artist, photographer and filmmaker. He lived in Los Angeles for the last 10 years of his life. […]
Ader was lost at sea while attempting a single-handed west-east crossing of the Atlantic in a 13 ft pocket cruiser, a modified Guppy 13 named “Ocean Wave.” The passage was part of an art performance titled “In Search of the Miraculous.” Radio contact broke off three weeks into the voyage, and Ader was presumed lost at sea. The boat was found after 10 months, floating partially submerged 150 miles West-Southwest of the coast of Ireland. His body was never found.
This article investigates how the law is perceived in hip-hop music. Lawyers solve concrete legal problems on basis of certain presuppositions about morality, legality and justice that are not always shared by non-lawyers. This is why a thriving part of academic scholarship deals with what we can learn about laymen’s perceptions of law from studying novels (law and literature) or other types of popular culture. This article offers an inventory and analysis of how the law is perceived in a representative sample of hip-hop lyrics from 5 US artists (Eminem, 50 Cent, Dr. Dre, Ludacris and Jay-Z) and 6 UK artists (Ms Dynamite, Dizzee Rascal, Plan B, Tinie Tempah, Professor Green and N-Dubz).
After a methodological part, the article identifies four principles of hip-hop law. First, criminal justice is based on the age-old adage of an eye for an eye, reflecting the desire to retaliate proportionately. Second, self-justice and self-government reign supreme in a hip-hop version of the law: instead of waiting for a presumably inaccurate community response, it is allowed to take the law into one’s own hands. Third, there is an overriding obligation to respect others within the hip-hop community: any form of ‘dissing’ will be severely punished. Finally, the law is seen as an instrument to be used to one’s advantage where possible, and to be ignored if not useful. All four principles can be related to a view of the law as a way to survive in the urban jungle.
Most of the occasional singers sang as accurately as the professional singers. Thus, singing appears to be a universal human trait.
However, two of the occasional singers maintained a high rate of pitch errors at the slower tempo. This poor performance was not due to impaired pitch perception, thus suggesting the existence of a purely vocal form of tone deafness.
Five Ukrainian women, in an Ukrainian art museum. They are sleeping, or rather pretending to sleep, dressed up as Sleeping Beauty. Men come along and kiss them, on the lips, with each man allowed only one kiss. They have all signed legally binding contracts. If a woman responds to a kiss by opening her eyes and “waking,” she must marry the man. The man must marry the woman.
There are five Sleeping Beauties total; each takes turns, sleeping on the raised white satin bed for two hours at a time. […]
On September 5, the first Sleeping Beauty in Polataiko’s exhibition awoke to a kiss from another woman. Both of them were surprised. […]
Now the Sleeping Beauty must wed her “prince.” […] Gay marriage is not allowed in the Ukraine, however, so these two women will have to wed in a European country that does allow for same-sex marriage.
Researchers have confirmed what many suspected - pop music over the last five decades has grown progressively more sad-sounding and emotionally ambiguous. They analyzed the tempo (fast or slow) and mode (major or minor) of the most popular 1,010 pop songs identified using year-end lists published by Billboard magazine in the USA from 1965 to 2009. Tempo was determined using the beats per minute of a song, and where this was ambiguous the researchers used the rate at which you’d clap along. The mode of the song was identified from its tonic chord - the three notes played together at the outset, in either minor or major. Happy sounding songs are typically of fast tempo in major mode, whilst sad songs are slow and in minor. Songs can also be emotionally ambiguous, having a tempo that’s fast in minor, or vice versa.
The researchers found that the proportion of songs recorded in minor-mode has increased, doubling over the last fifty years. The proportion of slow tempo hits has also increased linearly, reaching a peak in the 90s. There’s also been a decrease in unambiguously happy-sounding songs and an increase in emotionally ambiguous songs.
Warhol’s apotheosis as the savior of abstract painting has been coming for years now, ever since sundry dealers, curators, critics, and historians decided that his Shadows, Oxidations, Camouflages, and Rorschachs were in the great tradition of Kazimir Malevich, Jackson Pollock, and Barnett Newman. […]
Deitch begins by referring to abstraction as “a painting tradition that was once seen as essentially reductive” and “monolithic and doctrinaire”—but has “now become expansive.” In what sense were seminal abstract artists such as Kandinsky or de Kooning ever reductive? And what is more reductive than Warhol’s silly attempt at an all-over abstract painting included in this show, the bewilderingly boring 35-foot expanse of army surplus patterning entitled Camouflage?
Deitch would have us believe that Warhol had something to do with incorporating collage into abstract painting, although the truth is that Picasso and Braque were already doing that a century ago. There is nothing in this show that doesn’t have its origins in abstract painting long before Warhol got to work with his silkscreens.
