Lindsay Ellis' (previously) new video series 'Loose Canon' (Previously) takes a look at the different media takes on the same cultural character or property. She takes on the longest and most detailed one yet with the media reaction to and portrayal of the 2001 9/11 attacks. Part 1 (21:21) Part 2 (27:37) (Warning for photos and video of attacks)
Take Flight [New York Times] [Magazine] The year’s best actors lift off in a series of tributes to the ultimate Hollywood magic trick. To watch in virtual reality on your phone, download our app. [more inside]
"What's in a Necronym?" by Jeannie Vanasco: "Whether the knowledge affected van Gogh—that he shared both his name and birthday with a dead sibling—remains unknown, the guide said. 'Does anyone have any questions?' he asked. My mind filled with loud, hurried thoughts and just as suddenly emptied, like a flock of birds scattering from a field." [more inside]
"The thing I find very exciting is waiting for the subway train and sometimes you'll get a glorious one that arrives decorated like a birthday cake!" Watching My Name Go By is a short 1976 BBC documentary about graffiti, artists, and graffiti artists in New York City. The film is based on Norman Mailer's 1974 essay for Esquire magazine, "The Faith of Grafitti." [via]
As with anything in this world, excess is excess, but inadequate is inadequate. A writer must know when the weight of the words used to describe a scene is bearing down on the scene itself. A writer should develop the measuring tape to know when to describe characters' thoughts in long sentences and when not to. But a writer, above all, should aim to achieve artistry with language which, like the painter, is the only canvas we have. Writers should realize that the novels that are remembered, that become monuments, would in fact be those which err on the side of audacious prose, that occasionally allow excess rather than those which package a story — no matter how affecting — in inadequate prose.Chigozie Obioma for The Millions: The Audacity of Prose.
Dinofarm Games explain why the demand for higher definition graphics have led them to abandon pixel art... over the course of a wonderfully explained, beautifully illustrated, and clearly demonstrated love letter to pixel art.
"Here's the thing. You have no real control over popular success. You only have control over artistic success. If you're not concentrating on the latter, the best case scenario is you do not achieve the former." Jeffrey Cranor, co-writer of "Welcome to Night Vale," talks about what has made it a success. (Night Vale, previously.)
Ten years ago today saw the English launch of a quirky Japanese puzzler, a sleeper hit that would go down as one of the most endearing, original, and gleefully weird gaming stories of the 2000s: Katamari Damacy. Its fever-dream plot has the record-scratching, Freddie Mercury-esque King of All Cosmos destroy the stars in a drunken fugue, and you, the diminutive Prince, must restore them with the Katamari -- a magical sticky ball that snowballs through cluttered environments, rolling up paperclips, flowerpots, cows, buses, houses, skyscrapers, and continents into new constellations. It also boasts one of the most infectiously joyous soundtracks of all time -- an eccentric, richly produced, and incredibly catchy blend of funk, salsa, bossa nova, experimental electronica, J-Pop, swing, lounge, bamboo flute, hair metal, buoyant parade music, soaring children's choirs, Macintalk fanfares, and the finest theme song this side of Super Mario Bros. Called a consumerist critique by sculptor-turned-developer Keita Takahashi (who after one sequel moved on to Glitch, the supremely odd Noby Noby Boy, and playground design), the series has inspired much celebration and thought [2, 3] on its way from budget bin to MoMA exhibit. Look inside for essays, artwork, comics, lyrics, more music, hopes, dreams... my, the internet really is full of things. [more inside]
Five Reasons Why I Am Not An “Artist”, an essay by Tom Ellard (formerly of 1980s industrial electropop band Severed Heads and now an academic and media art practitioner in Australia; previously), touching on areas such as artificial divisions between art and technical practice, the politics of the role of the artist and the conflict between creative exploration and artistic recognition and success.
Sure, the follies of art-speak are easy to laugh at, but often criticism of it begins and ends with a dismissive chuckle – which ignores profounder problems. Why should academic terminology be the default vehicle for discussing art? Why is there such an emphasis on newness, schism and radicality? Even when the art itself may be enjoyably throwaway, language pins it to deathlessly auratic registers of exchange. This suggests a subliminal fear that, if the subject in question is not talked up as Big and Culturally Significant, then the point of fussing over it in the first place might be called into question, bringing the whole house of cards tumbling down - Dan Fox, the associate editor of frieze magazine, discusses the contemporary art scene in detail.
Leonard Michaels' "The Zipper": Rita Hayworth is never seen disrobed in the movie, though it is threatened more than once. The atmosphere of dark repression and mysterious forces – the mood or feeling of the movie – might be destroyed by the revelation of her body. It scared me as she began her striptease dance in the nightclub. I didn’t want everybody to see her body, or even to see that Rita Hayworth had a body. [more inside]
What Is to Be Done? Tim Kreider of The Pain muses about the future of cartooning as a payable profession
Cartoonist Tim Kreider (previously, previously) of The Pain talks about the last decade, our "disastrous decline" and his latest book of cartoons and essays, Twilight Of The Assholes. Part 1 - 2 - 3 - 4
Why does Futura work here but Slanted Futura doesn't? Enter FONTS IN USE: A breakdown, explanation and appreciation of type design out in the real world.
The Wisdom Of Rats - A personal essay on art and time and everything, by Charles Bowden for Harper's.