A decade after Halo 2 (and a day before the MCC), enjoy this loose timeline of essential Halo fandom: Halo.Bungie.Org / Halo at Macworld '99 / Red vs. Blue / The Halo Trilogy in 5 minutes / The Cortana Letters / HBO's cutscene library and dialog databank / Main Menus / Kitty Cat / Warthog Jump (and BOLL's Warthog Launch game) / How Not To Be Seen / Fan Art / Panoramas / The Music of Marty O'Donnell (prev.) / Video Games Live: Halo / Analysis by Stephen Loftus / Who was Brian Morden? / I Love Bees and the ARG radio drama / Halo 2 Trailer / Halo 2 E3 '04 Demo / Full Halo 2 making-of documentary / Voice acting / Conversations from the Universe / The Beastiarum / Surround Sound Test! / Geography of New Mombasa / This Spartan Life / The Solid Gold Elite Dancers / Creepy Guy at Work / Gameplay May Change / Master Chief Sucks at Halo / Another Day at the Beach / '06 Bungie Studios Tour / Halo 3 Trailer / Starry Night / Believe / HALOID / No Scope Was Involved / 100 Ways to Die / "Bungie Favorites" gallery / Mister Chief / OONSK / OneOneSe7en / 2553 Civilian 'Hog Review / Griffball / ForgeHub / 405th Cosplay / Neill Blomkamp's Landfall / Weta's Real-life Warthog / Halo Legends anime anthology / List of Halo novels / Halopedia / Halo 3 Terminal Archive / DDR Dance / Animatronic Elite project / HBO's "Guilt-O-Lantern" contest / Keep It Clean / We Are ODST / Sadie's Story / Halocraft / "A Fistful of Arrows" fan comic / RvB Animated (and CGI) / Project Contingency / Halo Zero / Halo 2600 (prev.) / Reach Datapad Transcripts / The last Halo 2 player on Xbox LIVE / Bungie's Final Halo Stats Infographic / Key & Peele: Obama on Halo 4 / Top 10 Halo Easter Eggs / Behind the scenes of Halo 2 Anniversary
Tucker Cullinan is a concept artist whose styles span vivid organic/sci-fi scenes in water colors and lost worlds from the imaginary past, to colder, sharp-edged futuristic worlds, and computer illustrations of imaginary prototypes. More on his blog and his portfolio site, plus two interviews.
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]
"Reading comments on any article about pantyhose, you’d think we were talking about the Gaza strip, not flimsy tubes of nylon. Trends come and go... But there’s something about pantyhose that’s oddly divisive." Autumn Whitefield-Madrano on The Beheld with Hosed: Conservatism and the Return of Pantyhose. [more inside]
Trevor Paglen (aka Agent Plorver) has work featured in Belgium's z33 House for Contemporary Art's current exhibit, Architecture of Fear. Paglen's work includes tracking and photographing 189 classified American satellites in orbit around Earth as well as locating and photographing US-run 'black sites' in Afghanistan. We Make Money Not Art (previously w/r/t Architecture of Fear) sits down with Paglen over Skype for an interview.
Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth
Style Like U features an exhaustive video archive of people talking about their clothes and history and what personal style means to them and the power of self transformation. [more inside]
Larry Gonick is a veteran American cartoonist best known for his delightful comic-book guides to science and history, many of which have previews online. Chief among them is his long-running Cartoon History of the Universe (later The Cartoon History of the Modern World), a sprawling multi-volume opus documenting everything from the Big Bang to the Bush administration. Published over the course of three decades, it takes a truly global view -- its time-traveling Professor thoroughly explores not only familiar topics like Rome and World War II but the oft-neglected stories of Asia and Africa, blending caricature and myth with careful scholarship (cited by fun illustrated bibliographies) and tackling even the most obscure events with intelligence and wit. This savvy satire carried over to Gonick's Zinn-by-way-of-Pogo chronicle The Cartoon History of the United States, along with a bevy of Cartoon Guides to other topics, including Genetics, Computer Science, Chemistry, Physics, Statistics, The Environment, and (yes!) Sex. Gonick has also maintained a few sideprojects, such as a webcomic look at Chinese invention, assorted math comics (previously), the Muse magazine mainstay Kokopelli & Co. (featuring the shenanigans of his "New Muses"), and more. See also these lengthy interview snippets, linked previously. Want more? Amazon links to the complete oeuvre inside! [more inside]
The Busking Project: Tracking a path across the globe to interview, photograph, film, and discover the life and motivations of the world's street artists!
Stephen Biesty is an award-winning British illustrator famous for his bestselling "Incredible" series of engineering art books: Incredible Cross-Sections, Incredible Explosions, Incredible Body, and many more. A master draftsman, Biesty does not use computers or even rulers in composing his intricate and imaginative drawings, relying on nothing more than pen and ink, watercolor, and a steady hand. Over the years, he's adapted his work to many other mediums, including pop-up books, educational games (video), interactive history sites, and animation. You can view much of his work in the zoomable galleries on his professional page, or click inside for a full listing of direct links to high-resolution, desktop-quality copies from his and other sites, including several with written commentary from collaborator Richard Platt [site, .mp3 chat]. [more inside]
FACTUM. To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg's near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. FACTUM KANG, FACTUM TREMBLAY, FACTUM MISERICORDIA, FACTUM TANG, FACTUM McNAMARA.
"The people whose stories you watch on Peoples Archive are leaders of their field, whose work has influenced and changed our world as we know it." The archive includes talks by luminaries such as Hans Bethe, Benoit Mandelbrot, Donald Knuth, Quentin Blake, Stan Lee and many others.
The America We Never Seem to Talk About. Brenda Ann Kenneally captures the female working poor and culture of incarceration in Troy, N.Y., where the presidential race has little resonance.
Guggenheim lecture on John Baldessari in his own words: "People shaking hands, you know: congratulating each other, what have you in a standard shot. I really always found them objectionable and then I realized that these were people making decisions about my life while I was in my studio so there was a kind of uneasiness on my part and one day after carrying these photographs around I had some circular price stickers and I put them on their faces. And I really felt that leveled the playing field somehow."