Art is, or it should be, about more than simply making marks on a surface or manipulating materials into pleasing–or indeed displeasing–shapes…. perhaps the avant-garde or kitsch. A true artist benefits immeasurably by knowing about the history that has created the universe they traverse.
Ever wonder what all that academic talk is that curators like to use so much? Do you find it pretentious or worse?
Art Theory informs in so many ways, tracing the paths that have led to a particular moment or movement. A foundational understanding of the schools of thought, the histories, the thinkers who have wrought the ground you stand on as an artist today enriches not only your own mind but your work as well.
One such thinker who made a significant impact on the art world in the 1940s was Clement Greenberg. In 1939, Greenberg published one of his seminal works Avant-Garde and Kitsch. The essay not only launched Greenberg to nearly overnight notoriety, it also sparked a major development in the art world as a whole.
The essay begins with the following statement:
“One and the same civilization produces simultaneously two such different things as a poem by T.S. Eliot, and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover. “
Click on the following scan to open the full essay in PDF form-
Greenberg goes on to classify Avant-Garde as those things that are untouched by the decline of taste and meaning in a society (a poem by T.S. Eliot or a painting by Braque) while Kitsch is the title bestowed on the rest of the clutter that appeals to the masses and asks nothing in return other than their money (a Tin Pan Alley song or a Saturday Evening Post cover).
The Portuguese-Georges Braque-1911.
For Greenberg, Avant-Garde situated itself outside the influences of both capitalist and communist influences that were gradually dampening society’s ability to appreciate any depth of meaning.
Greenberg wrote several other important essays over the course of his life and career. He was a strong proponent of Modernism being the last best hope for the preservation of integrity in art. Jackson Pollock and Willem de Kooning were among those he deemed the saviors of art in their time.
Understanding who Clement Greenberg was and why his influence matters is just one piece of the complex puzzle of being a well-rounded artist. There are libraries worth of books out there that will break down every bit of art theory and history you ever need to know.
Of course, who has time to read all that? How can you know where to begin? Who and what are some of the most important influences that have shaped the art world as it stands today and how are you meant to sort them out from the crowd? For the Silo, Brainard Carey.
It’s been almost a decade and a half since Casey Affleck’s I’m Still Here perplexed us all. On reflection, it is a piece of modern motion picture history and a masterpiece.
I say history because this just might be a first. Not even Borat with its pseudo-documentary style challenged moviegoers to discern whether what they were seeing was real or scripted. One thing is certain, Affleck’s film had us all believing that what we are witnessing on screen was in fact real. That’s because the film I’m Still Here was pitched, produced, filmed and shown worldwide as a documentary when in fact it wasn’t one. Or was it?
Plot Arc
A famous Hollywood actor will act no more and wants only to pursue his dream of becoming a rap music artist.
The Caper
While this film was being made- many people in Joaquin Phoenix’ circle including David Letterman, Ben Stiller and rap artist-producer Sean “Puff Daddy” Combs believed that Phoenix was going critical mass and turning his life away from cinema for good.
Stylistically, this film is a voyeur’s dream come true.
The camera follows him everywhere. Nothing seems set up or imagined. There isn’t much humor in this film unless you enjoy seeing a man seemingly self–implode and wreak havoc around insular members of his posse. (I laughed more than once.) Or, unless you cynically enjoyed David Letterman interviewing Joaquin and failing miserably in front of millions of live viewers. (I laughed more than once.)
How about watching Joaquin stalk Puff Daddy with his demo CD only to be told “we ain’t working together”?
Whatever hidden meanings are to be found, this is a dark, dark film that impacts so forcefully because Affleck’s vision peels away the layers of Phoenix’ psyche. To an unsuspecting viewer it might all be real and that allows the movie to offer two legitimate yet different meanings. If this pre-AI mockumentary/documentary can seem so believably real, then we need to question everything that we see and read because it proves that the recipes available for cinema are indeed powerfully manipulative.
No One Is Safe From The Brute Force Of Introspection
Joaquin’s best friend appears as loyal manservant and tragically flawed aspiring musician who feeds Joaquin’s desires and takes a bastion of abuse (you’ll have to see it to believe it). The story revolves and evolves around these types of dysfunctional connections and we are meant to endure it all. While doing so a powerfully subconscious investment in the characters is formed- it’s almost the same effect as slowing down at an accident scene and not being able to take your eyes off the situation.
Before watching this film I did not fully comprehend the impacts that media, fandom and an expectant audience have on a celebrity: Joaquin is mocked and misunderstood. And for what? For establishing a new persona and a new artistic goal. For example, after a filmed rejection by Phoenix and perhaps believing Joaquin’s behavior to be real, Ben Stiller wears a long hair wig, unruly beard and glasses for an Academy Award night schlock presentation. Hey, wasn’t that Steven Spielberg in the audience belly laughing along?
This movie’s effect is profound.
It’s a bag of emotional extremism, sympathy, repulsion, sorrow, and a dash of joy. It’s biblical in theme and it might not be such a stretch to suggest that Phoenix’ story mirrors aspects of The Mocking Of Jesus.
There are never enough positives to really help us feel good while trying to understand the point of it all. Even if Joaquin manages to discard his former celebrity actor self and transform we wonder if he will be any happier as a rap artist. He seems like he’s incapable of happiness, unless of course it’s all an act.
Is the film a cautionary tale about the ramifications of an a-list celebrity actor that turns their back on the Hollywood establishment? Does it suggest that we take inventory of our expectations and of our blind trust in the media complex? Should we now question what we think, see and believe? Watch this film and find out for yourself. For the Silo, Jarrod Barker.
SPOTLIGHT: The Casio SK series keyboards, carries great nostalgia for many of us who grew up in the 80s and 90s.
My friend got one for his birthday, and after spending an entire day at his place sampling burps, coughs and farts, I knew I was destined to become an electronic musician. If this is your story too- let us know below in the comments section.
The SK line’s distinctive design and sound evoke memories of early bedroom-made electronic music and hip-hop production, making it a sought-after collector’s item. The SK sound quality is characterized by its lo-fi charm. Everything sampled into it sounds like crap, but in a good way!
There’s a thriving community of musicians and collectors who appreciate the SK-2 , SK-5, SK-8 et al for their historical significance and cultural impact.
Used prominently on my 2008 release of AUDIOCOSM by Jarrod Barker, the SK-8 was used as a sampling beat box and also one or two of its famous presets were used in a loop to create swirling matrices of sound on a number of tracks. I found this keyboard in a thrift store in 2007 buried in the children’s electronic toys. It was $2.99 CAD and even had the battery cover. This fortuitous discovery was the spark that led to the writing and recording (on a boat no less!) of AUDIOCOSM.
The rare white version of the SK-10.
At their absolute basic, the SK line are fun keyboards and a great introduction tool to lo-fi sampling. But there is much more.
After recording a short audio sample (recorded either via the built in monophonic microphone or by plugging in an audio source using the 1/8″ female jack) you can choose from various envelopes (settings that affect how the sound starts, how long it sounds and how it ends) and also select whether to reverse or loop samples. These toy synthesizers are a treat when connected via guitar effects pedals. A good outboard effect can transform these keyboards into something much more powerful and believable. If that isn’t enough you can explore the factory preset sounds some of which sound more realistic than others but all have usefulness in the correct setting.
Most SK’s have a decent enough piano, vibraphone, flute, trumpet and clarinet sounds. There are also built-in speakers that are loud enough for mobile use such as camping or beach hang outs and of course the SK’s run on batteries. They also have line out feature which bypasses the onboard speakers allowing you to record them into your favorite DAW or standalone recording machine….an analog 4 track is a great bedfellow.
The Mod community and the SK (circuit bending)
Due to it’s relative affordability (used prices have continued to rise in the past 10 years) the SK series of keyboards have been embraced by electronic musician modifiers. Their basic construction and ease of internal access makes modifying them a lot of fun. The creativity of modders seems to be endless- everything from MIDI control to individual audio outputs to real time control of sound chips using dip switches or rotary controls.
Join that thriving community by buying this one from our friend at Tone Tweakers today! For the Silo, Jarrod Barker.
The call letters KLEE-TV had not been broadcast since July 1950, more than 3 years before a viewer in London, England picked up their transmission on his television set.
Adding to the mystery was the fact that while in operation KLEE-TV was based out of Houston, Texas- an entire continent and ocean away. Since this was an era before satellite t.v. transmission how could the images be picked up? Was it simply a hoax?
Though debunkers have stated that this story first appeared in Readers Digest, it actually was first reported in 1953 by TV Guide: a viewer based magazine that organized and listed television programming and reviewed highlighted television shows. Hugely successful and widely distributed- it seems counter-intuitive to consider how this might affect an already paranoid and anxious viewer body. After all, the Cold War and the Space Race were underway. Many Americans were building nuclear bomb shelters and keeping their eyes to the skies.
Television was still a new form of media and to many it transcended the boundaries of space of time.
It seemed possible that ghostly transmissions from another time and another place could occur. TV Guide pointed out in its story that at the time of the phantom KLEE-TV transmission, no other t.v. station in the world used those call letters.
For the next 12 year this enigma was forgotten but then in February 1962 Mrs. Rosella Rose of Milwaukee, Wisconsin witnessed the following. The KLEE-TV letters were flashed onto her screen as well as the images of an unknown man and woman arguing on a balcony, followed by the flashing of the word “HELP!” Then suddenly, her screen went blank. It seemed as though Mrs. Rose had witnessed an electronic netherworld. Could an alternate universe be superimposing its reality onto hers? The simplest answer is that Mrs. Rose was a victim of her time.
Perhaps as mentioned in Haunted Media Static and Stasis, “….The fleeting and inexplicable transmissions of KLEE are eerie in that they are symptomatic of a general loss of self presence felt socially in electronic communications as a whole.” I think it’s safe to say that Canadian Film Director David Cronenberg felt this way and successfully incorporated these themes into Videodrome. I think it’s also safe to say that the success of the recent Netflix series Stranger Things is due in some part to this notion of a technologically created netherworld. And what about the Australian reports of a Coke bottle and drinking flask being transmitted during the Moon Landing?
Today there are reports of phantom webcam transmissions, of strange beings quickly seen on a monitor or a tablet. If we are able to view images on our devices then is it so far fetched to imagine that we ourselves can be seen by others through our devices? And if that’s possible to what end are we being surveilled? For the Silo, Jarrod Barker.
The Max Headroom Signal Intrusion Incident of 1987
Whether you are a fan of comic books or not, this is an entertaining TED talk and here is why: it expounds the process of thought and observational connectivity in science and in the arts. Uh- what does that mean? In simpler terms, this short TED lecture explains how a scientific mind operates in the arts.
Narrator Scott McCloud is the son of a blind genius.
His Father was a rocket scientist and inventor for the US defense industry and his siblings are all working in the Sciences. Scott on the other hand, is a comic book artist.
At the start of his TED talk, Scott refers to his Father and explains that the ‘apple’ really doesn’t fall that far from the ‘tree’- it’s tough to fight genetics. He came to realize that working in Comic Books is actually not that different from working in Science and that our contemporary understanding of how we define art and understand media is wrong. It is, he says, one of interrelated connectivity based on thought and observation. In other words- Variantology.
This is a short lecture weighing in at a little over 17 minutes. Scott does an artful job of breaking down the ‘modus operandi’ of curious minds. He summarizes insight using a K.I.S.S. quadrant grid that shows that our processes of thought are indeed interrelated. Using a four-sectioned pyramid, he helps rearrange and reuse a mathematical formula- illustrating how the Classicist, the Formalist, the Animist and the Iconoclast are all just parts of the same formula of human experience and thought. As in scientific investigation and theorizing, creativity in the arts is powered by human experience and thought.
Things worth remembering.
Scott offers a “quick bake” recipe for meaningful results: Learn from everyone. Follow no one. Watch for patterns. Work like Hell. For the Silo, Jarrod Barker
Happiness…..I popped the pink pill into my mouth and waited for the expected feelings of ecstasy. No, the pill wasn’t the drug XTC, but rather a legal and safe “hacking” alternative. Then I put on my trans-cranial stimulation device, known as “The Thync,” and waited to see what happened. Wow! After five minutes, it felt like my brain was flooding me with endorphins. Finally, I placed the scalp stimulator known as the Tingler on my head. When I did this, an orgasmic wave of intense pleasure rippled through my entire body.
After a few minutes of this euphoria, I took off the devices and went about my day. Having just been catapulted into sweet ecstasy, my day became both incredibly productive and happy.
This is not a future scenario.
This is how I like to start my mornings. Nowadays, there are new and improved ways to feel good-even ecstatic-that most people don’t know anything about. In an age when depression is rampant and dangerous drug use is epidemic, amazing new ways to feel peaceful, euphoric, and just plain happy are popping up all over the place. However, people miss out on these amazing methods because they simply don’t know about them. From safe drugs to “happy apps,” to high tech brain stimulation devices, a whole new world of ways to feel good is blossoming.
We live in an age where everything is shifting and accelerating. Yet, most people still pursue an ancient path for finding happiness. Their formula for being happy is to try to control all the external events and people in their lives to be exactly the way they want. This is a tiresome activity at best, and there are always some events and people that we can’t control. However, there is a new model for finding more joy and peace of mind: find it within your self. Of course, this is a not a new idea. Everyone from the Buddha to Jesus has said that heaven can be found within, but now there are cutting edge and more efficient ways to tap into this magical inner kingdom.
As invited to talk to Google employees about “The Future of Happiness.” I described new ways to control their minds and emotions that were more effective than trying to be happy by controlling all the events in their life. The reaction was intense. Everyone wanted to know what some of these innovative ways to “hack happiness” were, and how they could get them. That led me to write a book on the subject.
In my research I learned that different things work for different people.
For example, there are a lot of supplements known as “cognitive enhancers” that can dramatically increase your focus, energy, and mood. Yet, you have to try out many of them in order to find the one or two that really rock your world. I also learned that people define happiness in unique ways. Some people want a gadget that increases their pleasure, while other folks want a tool that improves their relationships or makes them feel totally peaceful.
Gary Numan “Complex” from The Pleasure Principle
As with all technologies, “inner” tech keeps getting better. In fact, some of them are so good that it’s possible to get addicted to them. Ultimately, one has to discern whether a given gadget is truly a friend that helps them find the joy within–or is just another WMD-Widget of Mass Distraction. Since there are many tools that do different things, there’s no simple answer as to whether something is beneficial to you.
For example, people become addicted and dependent on coffee. Yet, on the other hand, caffeine can prevent many types of cancer, and helps people feel good and be productive. So, is coffee a “good” thing? It’s up to you to decide…
In my own case, I decide if a specific technology is truly my friend by asking myself two questions. First I ask myself, “Does this tool lead me to being dependent on it?” It’s always better when technology acts like “training wheels” on a bike-meaning that the tool exists so that you can eventually do without it. If instead a gadget fosters a sense of dependence, then that’s a warning sign it may ultimately not be worth it.
The second question is, “Does this technology help teach me how to better connect with a sense of peace, love, or joy within?” Even the Dalai Lama has reportedly said that if there were a pill that duplicated Buddha’s awakening, he would take it immediately and prescribe it for all living beings. If a tool helps me learn how to get to a more peaceful, loving place more efficiently, I think that’s a good thing.
It’s hard to say exactly what the future holds, though Steve Jobs was seemingly pretty good at predicting it. In 1972 I had the unusual opportunity to be in a computer class with Steve Jobs. Of course, at the time he was just a nerdy teen and I was four years his junior. He and I would vie to play Tic-tac-toe on a 500 pound “computer” that our High School had recently purchased. Steve was obsessed with this machine. One day I asked Steve why he was so fixated on this refrigerator sized computer. He turned to me and said in an intense manner, “Don’t you see? This machine is going to change everything! It’s going to change the world!”
It turns out Steve Jobs was right.
Well, nowadays it may not seem like the latest brain supplement, neuro-stimulator, or mood enhancing app is going to change the world, but technology has a way of discreetly slipping into our lives. This “technology of joy” will only accelerate until the entire way we pursue happiness is transformed in the next few years. I’ve seen that when people try out enough of these new gadgets, apps, and supplements, they inevitably find something that feels good–and is even good for them. When that happens, their lives are never the same. For the Silo,Jonathan Robinson.
PURPLE are now working on a multi-city arts project in China and Hong Kong with The House Collective, a collection of uniquely intimate luxury hotels that includes Upper House in Hong Kong that was just listed as part of World’s 50 Best.
‘Encounters Across Cultures’ will be an immersive journey that travels across four dynamic cities: Hong Kong, Shanghai, Chengdu, and Beijing with The House Collective taking a stance on the importance of creativity within Chinese tourism.
The projects will feature singer-songwriter Vicky Fung, music producer TJoe, erhuist Chu Wan Pin, and the visionary new media artist, Keith Lam. Together, their work will harness the power of biometric data to craft mesmerizing musical compositions and awe-inspiring data sculptures that capture the very soul of each city. Below is a quick snapshot of the key elements of ‘Encounters Across Cultures’:
· Vicky Fung and Keith Lam have created a series of multi-sensory data sculptures that follow four traveling artists – TJoe, Chu Wan Pin, and themselves – as they tour each city.
Data sculpture rendering
· Creating a tangible journey for audiences, ‘Encounters Across Cultures’ will weave together these stories to create four musical pieces and data sculptures, designed with soundscape recordings of the musicians’ movements and biometric data, such as pulse and skin resistance.
Graphic Notation Keith’s Biometric data
· The process includes Lam’s representation of this biometric data into emotive graphics, which Fung reshapes into musical tracks; the biometric data is then transformed into data sculptures that embody each traveller’s visceral sense of the city.
· The House Collective’s four Houses will host the installations, capturing these private journeys into one shared experience for visitors.
This journey begins in October and continues until January, with specific dates for each location as follows:
• The Upper House in Hong Kong: October 9th to October 23rd
• The Middle House in Shanghai: October 30th to November 13th
• The Temple House in Chengdu: November 20th to December 6th
• The Opposite House in Beijing: December 14th to January 15th, 2024
THE HOUSE COLLECTIVE UNVEILS ‘BIOMETRIC’ SENSORY ART EXPERIENCES INSPIRED BY FOUR CITIES FOR THIS YEAR’S ‘ENCOUNTERS ACROSS CULTURES’
Artists and travelers collaborate to capture the heartbeat of four cities, inviting viewers to experience their emotive journeys across each city soundscapes through art, music, and technological forms.
The multi-sensory installations combine numerous art mediums to question whether technology is always a force disconnecting us from one another, or if it can reveal our innermost emotions.
October , 2023 – The House Collective, a collection of intimate luxury hotels, announces the third iteration of its biennial program ‘Encounters Across Cultures’ , which celebrates the immeasurable creativity fostered through multicultural and multidisciplinary collaboration. This year’s program explores the intersection of technology and the creative arts through four multi-sensory data sculptures and music tracks, inspired by biometric data captured during journeys across four cities — ‘Encounters Across Cultures’ will open at The Upper House in Hong Kong, travelling to The Middle House in Shanghai, The Temple House in Chengdu, and The Opposite House in Beijing.
“Art and culture are part of The House Collective’s core DNA and values. Since the launch of Encounters Across Cultures in 2019, we’ve worked with global artists to stimulate creativity and showcase the power of collaboration across borders. This program is not only an extension of The House Collective’s values, but we also hope to invite our guests to explore the beauty of cross-cultural connections, and to be immersed in this unique and sensory art experience together.” – Teresa Muk, Head of Brand and Strategic Marketing at Swire Hotels.
In their first ever collaboration, Hong Kong-based artist and music producer Vicky Fung and media artist Keith Lam have created a series of multi-sensory data sculptures that follow four travelers – guitarist TJoe, erhuist Chu Wan Pin, and themselves – as they tour the four cities. Creating a tangible journey for audiences, ‘Encounters Across Cultures’ weaves together all of these stories to create four musical pieces and data sculptures, designed with soundscape recordings of the musicians’ movements and biometric data, such as pulse and skin resistance. The process includes Lam’s representation of this biometric data into emotive graphics, which Fung reshapes into musical tracks; the biometric data is then transformed into data sculptures that embody each traveler’s visceral sense of the city. The four Houses will host the installations, capturing these private journeys into one shared experience for visitors.
“I do not see the biometric data that we have collected as cold and lifeless data points – instead, each biometric moment is a representation of the traveler’s thoughts and feelings through their movements, and their changing reactions as they enter new environments. We wanted to share our heartbeats, our senses of touch and sight, with everyone through this immersive installation so that they could really feel exactly as we did in each city.” – Keith Lam, Program Artist.
“While we may come from very different backgrounds and live in different places, when I studied the biometric data, I instead found that we were all experiencing many of the same feelings and emotional journeys. The installation brought us closer together, as I felt totally connected to the person on the other side.” – Vicky Fung, Program Artist.
“Earlier this year, we celebrated the brand’s expansion in Tokyo through a cross-disciplinary dance performance that tells the story of honored tradition, modernity, harmony and new possibilities. For this year’s Encounters Across Cultures, The House Collective continues to tell cross-disciplinary stories, pushing the boundaries of innovation and delving into the dynamic realm of Art Meets Tech. Through these programs, we aim to share unforgettable experiences with our guests and expose them to locally curated artistic flavors, where we offer the comfort of being Houses not Hotels.” – Dean Winter, Managing Director of Swire Hotels
Viewers are invited to take a seat on the multi-sensory data sculptures, where they can be immersed in the music created from the biometric data. The result allows viewers to interact with their sense of touch, sight, and sound as they explore the installation.
The House Collective by Swire Hotels is a group of refined, highly individual properties that defy comparison. Each uniquely imagined, The Opposite House in Beijing, The Upper House in Hong Kong, The Temple House in Chengdu and The Middle House in Shanghai were designed for seasoned travelers who seek a different, intimate and personalised experience in luxury travel. Each House is a sophisticated, singular piece of design, created by talented architects and designers, that reflect the unique qualities of their surroundings.
Program Creators
Keith Lam – Media Artist
Media Artist and Co-founder and Artistic Director of Art & Technology studio Dimension Plus. His works have won awards at international art festivals, including Prix Ars Electronica and Japan Media Arts Festival. His works have been shown around the world at top museums and art festivals including Hong Kong Museum of Arts, The National Art Centre at Tokyo, OK Center for Contemporary Art, Ars Electronica Festival, The New Technological Art Award Biennial at Belgium, FILE, ISEA, National Taiwan Museum of Fine Arts, National Taichung Performing Arts Center and Hong Kong Art Festival.
Vicky Fung – Artist and Music Producer
Artist, music producer, singer-songwriter and curator, Vicky has always presented uniqueness and novelty in her works with a strong sense of emotional synchronicity. A Clore Fellow of 2023, she has worked with many prominent music artists in Hong Kong with an impressive list of music awards from media and professional associations and seeks to develop her interest in socially engaged art projects. In recent years, she has ventured into multi-media creation, including “Utopia…Momentarily” (2016) in the New Vision Media Festival, interactive virtual reality experience “Silili and The Tree” (2021) and immersive art and music performance “Soul Walk” (2022).
Joel Kwong – Media Art Curator
Joel Kwong is a media art curator, writer, producer and educator based in Hong Kong. She is currently the Program Director for Microwave International New Media Arts Festival, and the founder of SIBYLS – a creative Arts x Tech consultation and production agency. Most recent produced and curated projects include Reimagines Heritage (online portal) (2023), Out of Thin Air – HK Film Arts & Costumes Exhibition at Hong Kong Heritage Museum (2023). Juried around Asia include VH Award (South Korea) (2022), and Siggraph Asia 2020 (South Korea) etc. She has given lectures in many Hong Kong tertiary institutions and universities and has also given talks at international art festivals including Ars Electronica in Linz, Transmediale in Berlin, and ACT Festival in Gwangju, South Korea.
Tjoe Man Cheung – Guitarist
Tjoe Man Cheung, London-based musician and producer working across with artists across UK and Europe, including Brown Penny and PYJÆN, and in different festivals across the world. Alongside, Tjoe also initiated his own solo music projects and has founded NTBM (a jazz collective formed by emerging musicians from around the world) and his solo music projects. A graduate from the Musicians Institute, Tjoe was inspired and nurtured under the tutorship of Scott Henderson, Allen Hinds, Brad Rabuchin and Daniel Gilbert, with influences of jazz, funk, blues and pop.
Wan Pin Chu – Erhuist
Wan Pin CHU is an international award-winning Erhuist and film composer based in Hong Kong. Wan is recognized as a versatile performer with rich emotions and limitless virtuosity in his music. In the UK, he is the first Chinese instrumentalist to perform in The Duke’s Hall in Royal Academy of Music and have performed in over hundreds of concerts all over the world including UK, US, France, Netherlands, Switzerland, Japan, Malaysia, Philippines, Hong Kong, Mainland China, and won an impressive list of national and international music competitions. Chu is is also a dedicated composer and have participated in the scoring of many films, televisions, games and commercials.
Genelec 8381A point source main monitor delivers unrivaled power and precision
NATICK, MA, May 16, 2023 — As part of its 45th anniversary year, Genelec has unveiled the 8381A Smart Active Monitoring system, a flagship floor-standing Adaptive Point Source™ design that fuses exceptional precision and envelopment with unrivalled LF control, huge headroom and high-resolution imaging. Designed for high-end music recording, mastering and audiophile listening, the 8381A creates a free-standing full-range monitoring solution that can intelligently adapt to any acoustic environment.
For audio professionals, the 8381A produces accurate full-band mixes that translate consistently to other rooms and playback systems, while audiophiles will experience every detail and nuance of a musical performance, just as the creators intended it to be heard.
I first encountered Genelec powered monitors (more specifically monitor- more on this below) while on a scholarship at the Banff International Center for the Arts in Alberta, Canada. At that time (2010) I was unfamiliar with Genelec and had faith in the school’s choice of equipment: all the other available items were top notch.
Rosa Maria Robinson Bours
I settled on a single Genelec speaker as I was planning on a series of live mono recordings taking advantage of the talented classical guitar and voice cohorts such as Rosa Maria Robinson Bours. When the Genelec was delivered to my artist studio I was intrigued. It looked quite compact, it was black as soot and seemed to be as heavy as lead. After positioning and connecting the monitor I was blown away by the power, clarity and transparency for test playback and also while mixing and mastering tracks.
Let’s get back to the newest Genelec
As a member of “The Main Ones” range, the 8381A system is acoustically coaxial right down to bass frequencies, and draws on proven technology developed for Genelec’s patented and award-winning “The Ones” family of point source monitors and the W371A Adaptive Woofer System, which themselves can combine to create a free-standing full-range monitoring system. However, the 8381A raises the performance bar even higher by offering controlled directivity and uncolored response both on and off axis, with an ultra-wide frequency response spanning from 20 Hz to 35 kHz. Additionally, with almost 6 kW of amplifier power and a staggering maximum SPL of 126 dB – the highest figure ever achieved by a precision point source acoustic design – the 8381A offers the most sophisticated features and specification of any audio monitor currently available.
At the heart of the 8381A is a proprietary high SPL Minimum Diffraction Coaxial (MDC™) midrange/tweeter driver, which – combined with a powerful Genelec DSP engine – delivers extraordinary clarity, imaging and adaptability. This MDC driver shares a common acoustical axis with the 8381A’s four complementary 5-inch dome drivers, which are arranged as a midrange transduction system, and this unique array combines with a forward-facing 15-inch woofer to provide outstandingly stable directivity, control and coherence.
To further enhance and extend the 8381A’s low frequency reproduction, a pair of high-performance 15-inch woofers employ the LF adaptive technology originally developed in the W371A, offering high resolution and supreme levels of low-frequency control – despite the effects of room acoustics. This technology allows the 8381A to tailor performance carefully to the room, offering flatter, smoother in-room response at the listening location, with LF imaging coherent with the full audio range. This flat and neutral LF response minimizes acoustic notching, and reduces detrimental reflections and resonances by the walls, ceiling or floor of the room.
As part of Genelec’s Smart Active Monitoring family, the 8381A integrates tightly with Genelec’s GLM software, which can configure, calibrate and control entire Genelec smart monitoring systems. Based on experience from thousands of studios around the world, GLM minimizes the listening room’s influence on the sound, enabling the user to produce mixes that translate perfectly to other systems, whether the format is stereo, surround or high channel count immersive.
GLM also includes the ground-breaking GRADE room report feature, which gives the user a complete analysis of their room and monitoring system performance, providing specific observations and advice on any acoustical issues, helping users and studio designers alike to fine tune the room’s acoustic treatment, adjust monitor and listener positions, and optimize bass management.
Designed and manufactured to the highest standards of sustainability and environmental responsibility at Genelec’s headquarters in Iisalmi, Finland, the 8381A comes with a comprehensive SonicAdvisor™ system calibration and service package to jointly celebrate Genelec’s 45th anniversary, and the company’s total commitment to its customers and to sustainable development.
“The demand for high quality free-standing full-range monitoring systems has been clear from the exceptional response to The Ones and W371A combination,” comments Genelec Managing Director Siamäk Naghian. “It was also evident that there was a desire from customers for a free-standing system that could deliver even more headroom and increased low frequency extension. And while we continue to offer a wide range of soffit-mounting main monitors, we’re confident that the flexibility and mobility of a floor-standing adaptive system like the 8381A will provide the perfect solution for any discerning user seeking a truly next-generation sonic reference.” For the Silo, Jarrod Barker.
Let’s go back to 2016 and re-consider how the works highlighted below are more relevant today than ever when asking “What is and isn’t art?”. The recent surge in AI and chatbot produced ‘art’ has created new challenges in recognition, interpretation and validation. Or has it? [J.Barker Content Producer for The Silo] It became immediately apparent that the rephrasing of the question “What is art?” to “What isn’t art?” signaled a dissolution of the boundary separating metaphor from reality.
Since, citizen and artist alike have been plunged headlong into the bacchanals of postmodernity, and the question has been obscured under a heap of incongruous discourse and subtexts.
Two curious and intrepid artists offer their answers to this exhausting and illuminating question in their discussions of unexplored spaces and shifting subtexts.
Painter and multimedia artist Eva Davidova tests the digital waters of virtual reality through immersive, programmatic experiences. Articulating the conviction that emerging technology is obliged to transcend commercial application, Davidova’s phantasmagoric 3D renderings attempt to draw the strings away from the hands of big business. Topics mentioned include the beauty of academic reciprocity, the fiscal realities of living in the metropolis, and the future of collaborative artistic environments.
Behind the meticulous and sweeping abstract landscapes from the mind of Julie Mehretu are subtle societal and historical cues, which inform and enrich the surface of her paintings. In her ebullient interview, Mehretu speaks of the benefits and restrictions that arise from using architectural semantics to ground explorations of political and social change.
Wrought from countless painterly quotations, the identity of Mehretu’s brushstroke vanishes the moment it falls under interpretation.
The elusive and curious nature of the Ethiopian artist’s aesthetic experiments, coupled with a steady ethical subtext make for an engaging and memorable listen.
Featured image- “A Questionable Tale(#1)” 2022 Marina Zurkow/DALL-E (AI)
Royalties Are Bullshit: A Musician’s Case For Basic Income….. “This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin’ it without our permission, will be mighty good friends of ourn, cause we don’t give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that’s all we wanted to do.”
-Woody Guthrie, copyright notice, This Land Is Your Land
Royalties are bullshit.
I say this as a musician, and as a songwriter. But let me go a step further: royalties have always been bullshit. The first problem? They’re not going to musicians, and they never have.
If money is being made, something is being sold. That something has to be a product, something that can be counted. Originally it would have been sheet music, before recorded music was widely available. Later on, it meant records, then tapes, CDs, downloads, streams, as well as licensing rights – use in a specific film, or for a particular commercial. There is a product. Someone is buying it. Some of that money goes towards the cost of producing, distributing, and marketing that product; some of it goes to the artist, as royalties.
Well, a little bit of it goes to the artist.
As Billboard notes, “An accurate map of royalty pathways would be a tangled mess.” It’s not easy to get paid.
Some royalties are set by the government, some are negotiated, some are paid through groups. For example, I license my music through TuneCore, which strikes deals with a series of digital music outlets, like iTunes and Spotify, each of which offers different terms of payment. Spotify pays artists, on average, $0.007 cents per stream.
Beyond that, if you are “fortunate” enough to work with a major record label, there are restrictive terms and conditions. Techdirt quotes Tim Quirk of Too Much Joy explaining the Kafkaesque math [emphasis mine]:
A word here about that unrecouped balance, for those uninitiated in the complex mechanics of major label accounting. While our royalty statement shows Too Much Joy in the red with Warner Bros. (now by only $395,214.71 after that $62.47 digital windfall), this doesn’t mean Warner “lost” nearly $400,000 on the band. That’s how much they spent on us, and we don’t see any royalty checks until it’s paid back, but it doesn’t get paid back out of the full price of every album sold. It gets paid back out of the band’s share of every album sold, which is roughly 10% of the retail price. So, using round numbers to make the math as easy as possible to understand, let’s say Warner Bros. spent something like $450,000 total on TMJ. If Warner sold 15,000 copies of each of the three TMJ records they released at a wholesale price of $10 each, they would have earned back the $450,000. But if those records were retailing for $15, TMJ would have only paid back $67,500, and our statement would show an unrecouped balance of $382,500.
Of course, none of this is new, really. The history of artistsgettingscrewed by record labels is as long as the history of record labels, and includes everything from the creative math above to outright theft, failure to count sales, or inventive stunts like Fantasy Records accusing John Fogerty of plagiarizing himself. But bear with me, because it gets worse.
In the music industry today, there are a few people who are making money from royalties- and they’re making nearly all of it. More specifically, the top one percent of earners are taking in 77% of the recorded music revenue. Strikingly, these are many of the same artists who are now “at war” with YouTube. Artists such as Taylor Swift and Paul McCartney are convinced that YouTube is making money from their music by selling ads and subscriptions, and not paying adequate royalties. And they’re not wrong; YouTube is definitely making money by selling ads and subscriptions, and there’s no question that most of that is not going to the artists.
However, this is a stupid argument.
It’s a stupid argument because a tiny group of people that’s making the lion’s share of all recorded musical income is concerned that a new service doesn’t adequately compensate them; the major record labels feel the same way, of course. It’s a “war” that leaves out 99% of the musicians out there trying to make music and make a living, and it doesn’t really matter how they settle the conflict.
So let’s say, hypothetically, that we eliminate royalties. This raises a fundamental question.
How do we compensate and credit artists for their work?
I believe the answer is basic income, but first let’s take a closer look at that question. At a glance, it seems like it should be simple: pay them for their music. But what does that mean? It quickly gets complicated.
Part of the problem is that we as a culture equate value with ownership. If musicians have created a song, this thinking goes, and that song has value, they must own it, like any other form of property. But that’s ridiculous, and it’s pretty easy to see how quickly it becomes truly absurd.
For example, take a classic blues song, like Big Mama Thornton’s “Hound Dog.” Is that her tune? Yes! Does she deserve credit for it? Absolutely. Big Mama Thornton has a special place in blues history, and rightly so. But is it the first example of a 12-bar blues? No, of course not. Is it the first time someone used lyrics about a dog? Is it the first time someone used the call-and-response verse structure of a repeated first line and different last line? No, and no. And even though she made it a hit, the lyrics were by Leiber and Stoller. So which part of the song does she “own”? Is it just that specific recording? If so, how much does the bass player own, or the drummer? Do you pay royalties for playing it on the radio? What if it’s on the radio, and you tape it? What if you give that tape to a friend? I know, I know, nobody tapes anything off the radio anymore. What if you cover it in a bar? What if you sing it in your living room? What if you sing it in your living room and upload it to YouTube? What if you share the MP3? Where do we draw the lines?
Woody Guthrie, speaking from the folk music tradition, said “New words, new song.” Bob Dylan took that lesson to heart, both in early works like “Masters of War,” which took a melody from an English folk song called “Nottamun Town,” and in more recent releases. On Modern Times he lifted lines from a Civil War era Confederate poet named Henry Timrod, and used the arrangement of Muddy Waters’ “Rollin’ and Tumblin'” with re-written lyrics and the same title.
I don’t mean to discount Big Mama Thornton, or disparage Bob Dylan. I’m a big fan of both. What I want to illustrate is that “property” and “ownership” is a meaningless way to look at music, because it’s a living, inherited tradition. Everybody got something from somebody. Every electric guitar player owes something to T-Bone Walker, and T-Bone owes something to Blind Lemon Jefferson. Every folk singer owes something to Woody Guthrie and Pete Seeger. And more to the point, if you ask any great musician, they will tell you who they got it from. Eric Clapton tells people about Buddy Guy, but if you put a microphone in front of Buddy he’s going to tell you about Muddy Waters, BB King, Guitar Slim. The greats are always ready to turn around and credit the people who came before them, because that’s how a living musical tradition works.
So again: how do we compensate and credit artists for their work?
Splitting the question
One answer is to split up the question. When you think about it, it’s really two different questions. Let’s look at the second part first: how do we acknowledge and appreciate and credit the work that artists do? This is especially important because many important contributions to music, art, and human history generally, were made by people who get erased from popular culture- in particular women, LGBTQ folks, and people of color (Ma Rainey, for example, was all three). They are erased, in part, because there is money to be made by erasing them.
The uninformed still think “Hound Dog” and “That’s All Right” are Elvis Presley tunes. And while Presley himself was quick to credit his influences, most people have never heard of Arthur Crudup, and everyone’s heard of Elvis. Sometimes people were erased several times over; early blues music was driven by women like Bessie Smith, Ma Rainey, and Sister Rosetta Tharpe, who were largely displaced by black men, who then had their music co-opted by white guys playing rock’n’roll versions of the same songs. Some made serious efforts to show people where the music had its roots – The Rolling Stones, appearing on the show Shindig in 1965, insisted that Howlin’ Wolf also get to perform. On the other hand, Led Zeppelin took Willie Dixon’s song “You Need Love,” and recorded it as “Whole Lotta Love,” without ever mentioning where they got it. It’s ironic, since Dixon himself was notorious for taking credit and royalties for other people’s work, often by offering to “take care of the paperwork” on a new tune.
So how do we make sure we credit and acknowledge artists? One way, I believe, is to end a system of compensation based on owning something that cannot be owned. In a system like we have now, where the focus is on ownership of a particular sound, or song, or style, there is a real financial incentive to take credit. In the case of the record labels, you can even get the actual rights to an artist’s songs. If we disconnect the money from the “ownership” of the music, we are removing part of the incentive to pretend that new music doesn’t freely flow from old music.
Universal Basic Income
To be clear, I’m not suggesting artists should not be paid. There are different ways to support artists, and the internet has allowed for a lot of direct interaction between artists and fans. There are crowdfunding sites like Kickstarter and Patreon, there are independent music platforms like BandCamp and CDBaby. They’ve got their advantages and disadvantages, but what I’m advocating is something simpler, more widespread and direct: universal basic income.
Universal basic income, sometimes called emancipatory basic income or simply “basic income,” is an easy idea to understand: you give everybody money. Everybody. Rich people, poor people, working people, the unemployed, the young, the old, everybody. Everybody gets a salary. It’s not a lucrative salary, but enough to make sure you can provide for yourself.
First, let me clear something up: this is not a wild, crazy, utopian idea. It’s a serious proposal, that is increasinglybeingtreated as such. Even Forbes ran a piece called “Universal Basic Income Is Not Crazy.” Of course, it works better if you already have some of the social framework much of the world takes for granted: child care, family leave, health care. But let’s leave those aside for a moment to look at basic income from the musician’s perspective. What is the impact for working musicians?
Quit Your Day Job
Many, if not most, working musicians [and artists CP] support themselves with a day job. This includes long-time performers with steady gigs, people who have gone on world tours and recorded on dozens of albums. Buddy Guy drove a tow truck into his thirties. Composer Philip Glass worked as a plumber and taxi driver until he was 41. Wes Montgomery worked in a factory from 7am to 3pm and played gigs until 2am.
Let me tell you: it’s not easy. As a musician, you already have to balance many competing demands: playing gigs, traveling, booking and promoting shows, recording new material, rehearsing a band. Being a professional musician is, effectively, more than one job already. Now try to schedule all that around a conventional job structure that wants you working at 8 or 9 in the morning, 5 days a week, regardless of where you played last night or when you got home. It’s hard to fit all of it in, and that’s without stopping to consider that it might be nice to sleep occasionally or even see your family now and then.
One reason basic income is sometimes called “emancipatory” is because it frees you from this burden. You’re still going to be out there hustling for gigs, scheduling sessions, trying to record and promote and – let’s be real – get paid. Basic income doesn’t eliminate the desire or possibility for people to make money by working, it just means you don’t have to worry about starving or getting evicted while you do it. And let’s remember, most of the money musicians make doesn’t come from royalties anyway. People are getting paid for gigs, for shows, for studio sessions, for tours, sometimes for merchandise or direct sales (in particular if you’re producing your stuff independently).
Make The Music You Want To Make
Musicians make compromises all the time. Sometimes it’s about timing: you want to put something out, and you can’t afford to wait, so you settle- you keep a take that could have been better, you scratch a song that needs a few more sessions to come together. Sometimes it’s about the sound: a record label wants to market you a particular way, a track needs to be “radio friendly” to get airplay. Sometimes it’s just about resources: recording and producing music, even with all the advances in digital technology, is a laborious, expensive process. For some players, there’s also the trade-off between taking gigs that might pay better but be musically unfulfilling (think wedding band or corporate events) versus pursuing a musical vision that might not have a ready-made market. And, of course, there’s that most precious of all resources, time, which is often given over in huge amounts to the aforementioned day job.
Basic income removes the immediacy of financial pressures, and frees up a lot of time. Does that mean we won’t have choices to make? No, of course not. There are always choices, and there are always constraints, and even if we get basic income that won’t turn time itself into a limitless resource. But it changes the balance of the decision.
Creative Liberation: Supported By Research
Right now, across the country, there are brilliant artists whose music could change and enrich our culture in ways we can’t imagine, and we don’t get to hear them. They’re stuck working day jobs, playing the gigs that pay the bills, and trying to fit their creativity into commercial constraints. Pause for a moment, and imagine the explosion of new sounds and ideas we can liberate with basic income.
As a musician, that paragraph felt intuitively true to me. However, a number of people who were kind enough to review an early draft of this essay suggested that my point might be better served if I backed it up with “evidence” and “examples.” Of course, there’s not exactly a one-to-one comparison available, so I’m going to draw on some similar programs and related ideas.
First: the MacArthur “Genius” grants. These fellowships are awarded to people who are already recognized to be exceptional; they provide a no-strings-attached stipend of USD$625,000 over five years. Obviously that’s a lot more than “basic” income, but they underpin the idea that simply providing creative people with resources allows them greater freedom to explore, discover, and create. In a review of their program and its effectiveness, The MacArthur Foundation found that 93% of the fellows reported greater financial stability (no surprise) and 88% reported an increased opportunity to express creativity. Three quarters felt it lead them to make riskier, more ambitious choices in their work.
Some might argue that the fellowships exhibit a selection bias, since they go to people already known to be creative. However, there’s good reason to believe that supporting the poorest and most marginalized offers even greater benefits. Dissent magazine recounts the history of the Federal Writers Project, which offered “unemployed” writers guaranteed income by giving a fixed salary to produce travelogues or other commissioned writings:
…with regular paychecks, FWP writers could experiment with more creative projects at the same time. Over the course of eight years, the program employed over 6,600 writers, including Nelson Algren, Jack Conroy, Zora Neale Hurston, Richard Wright, and Ralph Ellison. The FWP enabled new classes of Americans to become “professional” writers.
While employed by the FWP, these writers—most notably writers of color—wrote fiction that challenged the political status quo, and they revolutionized literary form in order to do so. To be sure, many of these writers developed their politics in pre-FWP years, but stable employment facilitated their political and artistic ambitions—by providing them with steady income, connecting them to other writers, and offering literary inspiration. From 1936–37, between posts at the Federal Theatre Project and the FWP, Hurston wrote her beautiful and troubling novel Their Eyes Were Watching God, a book celebrated today for its inventive use of black vernacular. Wright spearheaded the “Chicago Renaissance,” a creative community strengthened and supported by FWP projects in the state of Illinois. Meanwhile, in New York City, Ellison was conducting FWP oral histories when, as he reported it, he stumbled across a man who described himself as “invisible.” This encounter would be the genesis for his Invisible Man, surely one of the strangest and most significant novels of the twentieth century.
I recognize that the subjective self-evaluation of MacArthur fellows and even the impressive work of FWP authors can be considered, to some extent, anecdotal evidence. But there is also controlled research, and what it shows is the flip side of the coin: that poverty impedes cognitive function. Lead by Harvard economist Sendhil Mullainathan, the team found that “experimentally induced thoughts about finances reduced cognitive performance among poor but not in well-off participants.” They also found that farmers showed diminished cognitive ability before harvest, when they were poor, compared to after harvest when they were relatively rich. That’s after controlling for free time, nutrition, work effort, and stress.
If you’ve ever been broke and had bills to pay, this is not news. It’s hard to focus when you have a huge bill hanging over your head and no immediate prospect for paying it off. When you’re in a position of financial hardship, a portion of your brain is effectively set aside to repeating over and over again, “AAAH THE RENT AAAH THE RENT AAAH THE RENT.” Or the hospital bill, or the car payment, etc. You know the classic sci-fi trope that imagines what you could do if you could harness the full power of your brain? Turns out it doesn’t require genetic engineering – you just need to be able to pay your bills.
I would argue that we are effectively paying a cultural opportunity cost in the form of lost creativity. Coming back to music, anthropologist David Graeber puts it this way:
“Back in the 20th century, every decade or so, England would create an incredible musical movement that would take over the world. Why is it not happening anymore? Well, all these bands were living on welfare! Take a bunch of working class kids, give them enough money for them to hang around and play together, and you get the Beatles. Where is the next John Lennon? Probably packing boxes in a supermarket somewhere.”
The Robot Imperative – It’s Not Just About Musicians
I realize we’re covering a lot of ground here, and we’re about to talk about robots. So first, a quick recap
Royalties don’t go to (most) musicians.
Royalties don’t make sense because they rely on ownership of something that cannot be meaningfully owned.
This system of ownership creates financial incentives to take credit for other people’s work.
Eliminating royalties forces us to confront the fundamental question of how we credit and compensate artists for their work.
Basic income answers part of that question – compensation – while eliminating royalties removes, at least in part, the financial incentive to take credit.
Basic income liberates musicians from the constraints of a day job and the pressures of commercial music.
Evidence supports the idea that this liberation leads to more, and more adventurous, creative work.
In short, basic income separates the idea that people have value from the idea that they must own something valuable.
All of that has been true for quite some time, and in fact arguments for basic income are as old as Thomas Paine. But there is a huge, disruptive change happening that makes this a much more urgent question, not just for musicians but for everyone. Namely, robots. Robots and computer automation are about to eliminate huge numbers of jobs (think tens of millions). Some are in the news right now: Uber is testing self-driving cars in Pittsburgh. Driverless trucking is not far behind, taking 3.5 million jobs with it. And it’s not just truckers: designers, fast food workers, accountants, financial analysts, doctors, hotel concierges. Thousands of news stories are being written by robots. An Oxford University study estimates that 47% of total employment may be at risk. Even jazz musicians have to be worried.
In short, the day job could be going away, and not just for musicians. The question is, what will we do with these millions of people, once they’re out of work? Will we insist that truckers can all get jobs doing social media? Will a few wealthy people retreat behind high walls and leave the rest of us to fight for the scraps of employment through a fog of financial worry and expensive, short term trade-offs?
Or will we embrace basic income, recognize that people have innate value, and unleash a wild torrent of creative exploration the likes of which we’ve never heard before? For the Silo, Anthony Moser.www.anthonymoser.com
@mosermusic
PS – My music is available on iTunes, Spotify, YouTube, Bandcamp, and a host of other digital music services. If you catch me at a gig, you can buy an album for name-your-price. And if anyone ever uploads it to The Pirate Bay, torrent with my blessing. As Woody Guthrie would say, “Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that’s all we wanted to do.”
It’s been eight years since an historic landing took place between an European Space Agency drone and a comet.(which looked suspiciously a lot like an asteroid to us!)
At that time a report from Deep Space Industrieslaid out their business plans up to 2020 and what they had committed to sounded more like science fiction than fact.
But it wasn’t and they’d already secured investors.
A 2019 announcement from NASA stating that it would be the National Space Administration in the lead instead ( NASA will soon begin hunting a nickel laden asteroid ) spoke volumes about not only the possibility of asteroid prospecting- but also to its inevitability in the private sector.
And yet, things have changed…..again.
In early 2020 Deep Space Industries (along with the only other asteroid mining company, Planetary Resources) were purchased by Bradford Space Group and ConsenSys Group respectively and all plans for private asteroid mining were shelved indefinitely. Deep Space Industries is now focused on developing space propulsion systems and ConsenSys is now focused on developing blockchain security applications for space technology.
What could have been- Deep Space Industries ambitious plan before the take over
Their plan was to send an entire fleet of prospector spaceships to Near-Earth asteroids in order to harvest them for precious metals and other undisclosed resources. (space rubies anyone?). Starting in 2015, Deep Space Industries were to begin their operation by sending three small spacecraft called FireFlies to selected asteroids near earth for sample taking and photo reconnaissance. One year later, bigger craft called DragonFlies were to leave on four year missions to retrieve asteroid samples and bring them back to Earth. An ambitious project to be sure and not surprisingly, the timeline had been regularly pushed back.
This press release from DSI said a precursor mission was scheduled to launch in 2017: “Recently, Deep Space Industries and its partner, the government of Luxembourg, announced plans to build and fly Prospector-X™, an experimental mission to low-Earth orbit that will test key technologies needed for low-cost exploration spacecraft. This precursor mission is scheduled to launch in 2017. Then, before the end of this decade, Prospector-1 will travel beyond Earth’s orbit to begin the first space mining exploration mission.”
Valuable materials exist in abundance in space and have strong economic potential. Using their tested indicators as investment attractors, Deep Space will move towards securing a commercial space operation and start into the next phase of its business plan. This involves concentrating firstly on processing rocket fuel from asteroid-harvested water.
This fuel, harvested and processed in space will save millions of dollars, since existing communications satellites will no longer be ‘thrown away’ when their fuel supply has been used up. (Satellites that can longer ‘move’ and stay in orbit by using their rocket engines are left to slowly fall towards earth and burn up in the atmosphere ).
Deep Space Industries past-CEO David Gump estimated that a satellite ‘refueled’ and saved from burn up is worth up to $8,000,000 per month. Those figures start to add up when you factor in the number of satellites in use and being launched every year. Another plan during this phase of their business operations is to return precious group metals such as platinum and gold back to earth.
After all, if you’re splitting up asteroids and discover metal commodities, why not bring it back down to earth?
Deep Space believed that other metals harvested from asteroids also have an in-orbit value. They are developing the Microgravity Foundry- a type of 3D printer that will be used to fabricate and machine metal parts in space from pure asteroid metal such as high strength nickel parts.
Since this factory will operate in space and in zero gravity and produce parts in space, the idea of permanent space development and human habitation is economically feasible. Stephen Covey co-founder of Deep Space Industries and inventor of the Microgravity Foundry process: “What’s cool about the [3D] printer is that it can take its own parts, grind them up, and recycle them into new parts.”
Deep Space Industries past-CEO David Gump: “Using resources harvested in space is the only way to afford permanent space development. More than 900 new asteroids that pass near Earth are discovered every year. They can be like the Iron Range of Minnesota was for the Detroit car industry last century- a key resource located near where it is needed. In this case, metals and fuel from asteroids can expand the in-space industries of this century. That is our strategy.” Company estimates place a value of 1 ton of raw asteroid material at a worth of $1,000,000 [usd] in orbit.
Buy outs over the last few years have all but ended the dream and it will be the various space agencies such as NASA and ESA that will fulfill Deep Space Industries abandoned plan. For the Silo, Jarrod Barker.
Invest a little over an hour watching this documentary about tea and you might find yourself contemplating a new connection between rural farming communities and the tea farmers of China. That’s because All in this Tea deals with all aspects of Chinese tea production, but takes a special interest in how a new demand for high quality, organic Chinese tea is creating new opportunities for Chinese rural farmers.
The story begins by focusing on David Lee Hoffman’s elusive quest for rare and perfect teas.
David is a renowned tea importer and to say that he loves tea is an understatement. Based on the passion and knowledge shown in this doc, he seems to live for the stuff. Hoffman sees himself as a cultural zealot, promoting the rich history of simple Chinese farming practices and educating the western world on the merits of drinking pure, organic tea produced in the “Chinese way”.
He makes the act of producing tea seem like the ultimate expression of agricultural art.
His journey takes him to remote, obscure farms where he begins the process of encouraging the Chinese tea board to end mass farming practices and belligerent pesticide uses. His goal is to create a new tea farming economy, one where quality takes precedence over quantity. If you like tea or if you want to learn more about Chinese tea farming practices, If you’re a tea drinker or know someone who is (don’t we all?) then All in this Tea is the right documentary for you. For the Silo, Jarrod Barker.
Important safety tip: if you see a caterpillar that has hypodermic-like needles poking out from its body DON’T TOUCH.
That might seem like common sense but Summer 2014 had Ontarians reporting to emergency rooms and to family doctors with symptoms ranging from swelling and rashes to vomiting and intense pain. All this from a seemingly harmless caterpillar sting.
Nature has a way with defense mechanisms and the hickory tussock moth caterpillar is no exception.
During mid to late Summer this caterpillar has one thing on its mind: time to cocoon. In order to accomplish that task, it needs to crawl around out in the open to discover the best places to begin its transformation. So it’s easy pickings if you’re a hungry bird. That explains the caterpillars needle like barbs and the poisonous toxin that they deliver.
Other signals to predators that say “stay away” are black dots on the belly of the caterpillar .
If you see one of these critters the best way to handle them is to use a leaf or a stick to gently encourage the caterpillar to hop on board. That way you will remain safe when you transport them somewhere else- away from those areas that your family and pets enjoy. For the Silo, Jarrod Barker.
David Paulides is an ex-cop on a mission. After years of investigating missing persons and studying thousands of missing persons reports he has discovered strange coincidences and similarities that he has documented clearly and factually in several of his books including Missing 411 which was the focus of lecture at the University of Toronto a few years ago.
When pushed for a theory on what is causing these events David is reluctant to offer one and instead maintains that his role is to continue to collect and organize the vast numbers of cases and wait for an answer to come from an external source.
Perhaps even from someone like you or me…..
Historical records reveal that missing persons have occurred in North America for hundreds of years and what connects these cases is both frightening and confusing. David has discovered geographical connections that include- national park locations, urban locations near bodies of water, boulder fields, mountain elevations and other seemingly ‘safe’ locations.
He has found that there are vast differences in distance between reported disappearance and body discovery (or in rare cases when the missing person is found alive). Often mysterious events occur prior to the disappearance such as indications of strange behaviors or distress. In one case a man had reported repeatedly via cell phone that “people were outside” and in another case a man had fired a weapon as if in self defense.
Many times personal items such as clothing are found but not bodies or not complete bodies. In some cases clothes are found in organized piles- as if they have been left behind carefully folded. Even more confusing is that this may occur during the Winter or at an elevated location where the idea of removing clothing simply does not make sense.
David’s research has shown that oddly, many missing persons in these cases are highly intelligent and healthy individuals that include doctors, scientists and marathon runners. In other cases the victims are hunters or seasoned hikers- people who would actually be most likely to prevent outdoor mishaps.
During the question and answer period, David was quick to rebuff any suggestion of paranormal causes such as ‘alien abductions’ or ‘bigfoot’.
He works hard to ensure that his research is taken very seriously and shows absolute respect for surviving family members and that’s when the eerie reality set in: there does not seem to be any explanation as to what is happening and families are being torn apart with no hope of closure.
Come on, you have to admit. It’s a lot of fun to stumble around YouTube with that old pre-internet habit of television channel surfing surprising you with random discoveries.
When I do, I particularly enjoy reading comments left by others who have somehow found their way to whatever it is I happen to be watching. This comforts me because I know that this method of purposeful and accidental consumption of media is not exclusive to me [many comments start with: “Not sure how I ended up at this video but….” or ” __________led me here.”] but perhaps I’m alone in the belief that spontaneous discoveries help connect me better to the production. I think what I’m talking about is called “verisimilitude” and no doubt as I type this out there’s someone trying to figure out how they’ve discovered the same excellent BBC synth documentary that I discovered by chance: Synth Britannia.
Not one to beat around the bush, Will wanted to know what had happened to the future? Specifically the future suggested if not promised in comic book ads to the then pre-adolescent Will Ferrell. He asked, where were the Jet packs, autopilot-flying cars and robot butlers? It occurred to me that if Will was an electronic musician he would have come to the same conclusion that the producers of Synth Britannia did while they drew up the plans to make their excellent documentary: The future did come, it just wasn’t so literal.
To compound matters this future somehow passed by all of us, unless perhaps you were a student of history or an existentialistic, free-radical electronic acolyte or computer programmer back in the golden age of dystopia vision. I call this era the ‘other’ 1970’s.
I have added the qualifier: ‘other’ 1970’s, because today’s media mistakenly focuses on reinforcing the bell-bottom, disco driven qualities of the 1970’s but there was a much more robust, artistic movement running against the grain in the same way that meaningful art has always done. This movement bridged fashion, art, cinema, sound design and of course music and if you want to learn more while being thoroughly engaged, then spend some time paying attention while you watch Synth Britannia.
You might even find yourself considering an impulse purchase of a mini Korg 700S. I know I did.
Supplemental- While I polished this article, one thing became apparent. New music or to be specific, those new artists that are being profiled on national television as new music agents are all lacking the one thing that characterizes the heroes of this column. Simply put, today’s music heroes are not a unity of ideas and expression. They are not bands. They are performers representing wish fulfillment with no sense of genuine attitude or social commentary and perhaps even worse, no sense of daring inventiveness. So far, most (but not all-there are exceptions) of today’s star performers are ‘safe’, predictable and lacking in terms of communicating their alienation. They have become game show contestants. This is because media business (in other words the television networks) has formulated and created what is palatable to an audience. The home video game market further suggests and reinforces created fantasies with interactive games that essentially boil down to a form of karaoke or twister. Simply put, new consumer habits are being engineered and I’m sure they always will be.
So, as listeners, is it fair to say that we no longer think for ourselves and we no longer question what is ‘good’ or ‘impactful’? With today’s de rigueur promise of dream and wish fulfillment (in terms of television shows that empower an audience with voting privileges to create the next pop star) that most crucial artistic ingredient: “individualized commentary” has been eradicated. Even more alarming is that consumers’ freedom of choice is being challenged.
That’s likely because the major media corporations feel wholly threatened by what the internet promises: a vast sea of content that is discoverable and searchable by desire or by chance.
So-is it fair to say that we have become woefully inadequate in identity and informed choice? If there is art, angst and message, where can we find it? Try channel surfing around YouTube and follow what catches your interest. For the Silo, Jarrod Barker.
Eiko Otake performing at Bartram’s Garden on the Schuylkill River.
“The purpose of art is washing the dust of daily life off our souls.” – Pablo Picasso
Art is an imperative. Without it we can never truly examine our own circumstances or those of the people with whom we inhabit our small planet. Left unviewed, art languishes. Left without art to view, so does humankind. There are many who recognize the gift to the world that every artist has to offer. There are many who endeavor to do whatever they can to ensure those gifts are received by a grateful public. To stifle the artist’s voice is to silently say I care little about the fate of the minds of the masses. Art is essential. It is what fills the space between the rest of the din, making sense of a chaotic universe.
Bill Arnold splits his time between New York and Western Massachusetts. Since 1974 he has had a studio in Western MA and an apartment in NY. Arnold prefers to keep a foot in both worlds. Florence, MA is a small town near Northampton where there is plenty of space and the space is affordable. New York on the other hand is extremely restrictive in that a very small amount of space is prohibitively expensive. Artists require space not only to work, Arnold says, but space for their imaginations, “space to conjure.”
And so he maintains his Western MA studio.
The work he has done in that studio over the years has been varied and prolific. Arnold has endeavored, and often succeeded in getting his work into public venues including museums. He finds it thrilling to see his work in commercial venues. The first time he experienced this was in the 1970’s when he put roughly 1,000 photographs in 25 Boston city buses. There was no indication on the outside of each bus whether there were photographs on board so passengers didn’t know which buses were galleries inside. Because of the nature of the venue, more people saw that project than visited the Met, according to Arnold. In order to fund the project, he approached multiple museums getting them to agree to fund the cost of materials for the show provided he put on exhibitions in each city where the museums were located.
Arnold was both an exhibiting artist and a curator for this project. The project was well received, with weary commuters sometimes voicing their appreciation. From there, Arnold went on to do other bus shows. The format went viral long before viral was a thing. For another show, Arnold gave images to members of the audience who then organically began sharing the images with each other. Throughout his career, Arnold has turned traditional notions of exhibition on their heads. With the advent of digital advertising, the cost of printing has plummeted. Arnold uses this to his advantage. In 2018 he printed 10,000 newspaper inserts for the Daily Hampshire Gazette. As a student photographer, Arnold was encouraged to have a camera with him at all times. To this day he follows this practice. Arnold has photographed the same spot on his travels from NYC to MA for many years.
He intends to exhibit many photographs of the same place at the Bergen Street Station. Photography is accessible to everyone, Arnold says. Because anyone can make a photograph, anyone can also view a photograph and take something away. A series of photographs depicting old cars elicited stories from viewers of all kinds about cars they remembered and loved. To hear more about Bill Arnold’s thoughts on work and life, listen to the whole interview here.
Harry Philbrick left his position as director of the museum at the Pennsylvania Academy of the Fine Arts about two years ago. He then launched his own project called Philadelphia Contemporary. The nonprofit does pop-up exhibitions and performances throughout the city. The goal is to ultimately build a permanent space where the nonprofit can become a non-collecting, collaborative space. Prior to his position at Pennslyvania Academy of the fine Arts, Philbrick was director of the Aldrich. It was there that the idea for Philadelphia Contemporary began to percolate. He began exploring the notion of partnerships. Specifically long-term, sustainable partnerships that would allow the museum a broader reach. Upon relocating to Philadelphia, Philbrick realized there was a gap in the cultural ecosystem in that there was no large scale independent contemporary art museum. Philadelphia also seemed primed for Philbrick’s model in that the cultural environment is “unusually collegial.”
The first project was a partnership with Headlong Dance.
The project was titled The Quiet Circus in which the dancers took part in a year long residency on a pier. Each week dance pieces encouraged members of the public to join in. From there Philbrick and his small team created River Charrettes, a series of four pieces also set among the changing landscape of river banks. River Charrettes was an appropriate opening for Philadelphia Contemporary. The project embodied the idea of many people from different places coming together. Since then there have been readings and other events. At the moment there are many large scale projects in the works. An expanded staff has allowed for grander visions. The process of growth has been very deliberate, carefully adhering to the founding vision of the project.
Funding for Philadelphia Contemporary comes from many places. In order to run the organization, pay staff, and plan for the future, Philbrick has had to map out a plan from all he has learned over his years in the art world. Seed capital came from individual funders who believed strongly in the mission. More recently, Philadelphia-based foundations have come on board. For Philbrick, the key to his project is pushing forward the model for a nonprofit contemporary art space. Moving forward the same model applies, starting with individual funders and moving from there to foundational support. To hear more about Philadelphia Contemporary and arts organization funding, listen to the whole interview here.
A Few Words to Keep in your Pocket: Speak your art loudly. Do not settle for its slow demise. Bring it into the light, find allies, give your gifts to the world. For the Silo, Brainard Carey. Featured image- Francis Bacon’s London studio- in its relocated home in Dublin, Ireland.
Back in 2005, composer Lewis Spratlan and I began work on an opera inspired by Louis Kahn. Kahn, who excelled in music and once considered becoming a composer, was especially cognizant of how sound works in a physical space. “Space has tonality,” he often said. Kallick, a professor of music at Amherst College, made recordings of the “acoustic envelope” at several Kahn buildings, which were employed in composing the work’s prelude and interludes.
Key elements from Spratlan’s music were integrated into this electro-acoustic music, creating a seamless connection between the narrative world of the characters and the sounding spaces that filled their dreams. Opening in the ruins of Rome and ending with the healing waters at Kahn’s Salk Institute, ARCHITECT: A Chamber Opera narrates the dramatic arc of Kahn’s journey from dreamer to master builder.
Click the link below to read about Spratlan discussing the project with Frederick Peters, board chairman of New Music USA, which supports composers, performers, and audiences of new American music. For the Silo, Jenny Kallick- Amherst College.
Digital Habits is an extension of the international design studio Habits.
Founded in Milan in 2012, it specializes in connected objects. For example, a few years ago during the 2017 edition of the Superdesign Show by Superstudio, Digital Habits examined in depth the relationship between the user, the context and controls of electronic products. Since then, they haven’t looked back and their new prototypes go beyond the natural interfaces designed by others in the past. In fact, present multisensory systems now connect gestures, space, attention and feedbacks.
The presented products are control devices designed around humans, their anthropometry, their spaces and their best perceiving or moving abilities; they are not based on technical elements such as the size of the display, the currently available sensors or computational capability. Where need be they engineer and manufacture what does not already exist.
This is cutting edge stuff.
These devices express a new design Humanism where the user has a central role prevailing to the underlying technology sophistication. This is a different approach from the usual ‘technological one’ where the tendency to standardize components brings also the standardization of user experiences.
Instead, Digital Habits has presented three new projects that have colour as a common thread linking the user experience, the object and the environment:
OSOUND XL: a new Air Gesture Control Bluetooth Loudspeaker, covered by colourful fabrics; Its wide size qualifies OSOUND XL as piece of smart furniture rather than just a well-designed electronic device.
COLOR SWING: an ambient light detection system of the color information of an object surface which is returned as a light feedback to the environment XVOID: a new generation of air gesture interfaces, to control light/colour intensity; for the exhibited project, the presented case is the control of white and coloured light. Digital Habits has already won several international awards (RedDot Design, Core 77, Expo Award) and received a vast press coverage (selected by CNN as best 10 Technology objects for your home, presented on TED Talks ideas worth spreading, The Telegraph, Mashable, Gizmag, etc.). Digital habits products are available in most exclusive retailers. For the Silo, Jarrod Barker.
I spent most of yesterday afternoon watching and taking notes from the 86 minute documentary ELEKTRO MOSKVA. This film is so rich and interesting that I found myself sitting in reflection every time I jotted down another intriguing story element…..and believe me there were lots.
The film’s official website describes itself like this: “ELEKTRO MOSKVA is an essayistic documentary about the beginnings of the Soviet electronic age and what remained of it- a huge pile of outdated, fascinating devices. Today they are being recycled and reinterpreted by musicians, inventors and traders, who carry that legacy on into an uncertain future. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.”
Well all of that is certainly true but I discovered something deeper….. something partially hidden and really only stated at the end of the documentary: A metaphysical connection between electronic instruments, their circuitry and between immortality and rejuvenation. A sort of Frankenstein subplot. And that makes ELEKTRO MOSKVA much more interesting. It lingers and stays with you as all great films and documentaries tend to do.
Leon Theremin
Leon Theremin
If the inventor of the world’s first electronic instrument- The Theremin is to believed, his experimentation with electronic instrument designs led to techniques that allowed rejuvenation of human life and the bringing of the dead back to life. Kooky stuff to be sure but in our modern age of DNA manipulation and Stem Cell research shouldn’t we keep our minds open to all biological possibilities? Why is it so obtuse to think that electronic manipulation holds the key to immortality? The brain is after all- a sort of electronic computer. Why else would Russia have kept the body of Lenin whole and entombed for over a hundred years? Perhaps I’m getting ahead of myself- let’s move instead to the birth of Communist Synthesizers.
A Ghost of Communism: The backdrop for the film
It began with the Soviet electrification of the country. As Russian homes and farms became wired, Science and Technical Progress became heralded by the state as ‘the new Gods’. In 1926 Léon Theremin ( Lev Sergeyevich Termen ) invented an early form of television which was adapted for border security use and classified. At the same time, the state decided that technological developments were only considered legit and legal if they strengthened communism.
The long awaited electrical revolution expected by the masses and any notions of new, exciting products in Russian homes became instead a sort of electrified jail and super factory. Then, after Russia had successfully developed nuclear bombs and orbited the first man in space- things changed. A celebration of technical progress and Soviet achievement became politicized through the use of synthetic music and sound. Found out what happened next by watching ELEKTRO MOSKVA online in HD. Highly recommended. For the Silo, Jarrod Barker.
Coming to Kickstarter April 18th. Meet the designers, makers, musicians and their instruments and learn how they have shaped the world of electronic music. Richly illustrated with a unique collection of sketches, photos and graphics and with a foreword by electronic music visionary Jean-Michel Jarre.
The book’s essence is to celebrate innovative interface designs, provide a categorization of gear and explore the functional, artistic, philosophical and aesthetic world of user interfaces in the context of making and performing of electronic music.
Featuring exclusive interviews with: Roger Linn, Dave Smith, Keith McMillen, Richard Devine, Suzanne Ciani, Olivier Gillet, Ean Golden, Brian Crabtree, Matt Moldover, Axel Hartmann, Dorit Chrysler, DiViNCi, Skinnerbox, Native Instruments, Ableton, Teenage Engineering, Roland, Elektron and many more.
A wide range of landmark pieces of equipment is featured along with chapters on design principles, interface elements, visualization of sound and instrument and controller concepts such as grids, touch and modular. PUSH TURN MOVE is the very first of its kind in both scope and depth. Please sign up on www.pushturnmove.com or follow along on http://fb.me/pushturnmove/
PUSH TURN MOVE is written by friend of The Silo- Danish designer, author and electronic musician Kim Bjørn and edited by Mike Metlay, editor at Recording Magazine and Paul Nagle, reviewer at Sound on Sound Magazine.
“The growing flow of digital culture depends on the hidden protocols of its underlying systems. To explore how interfacing shapes spectatorship online, this pioneering study pinpoints experiences of flow through the friction of photo-based glitch art by Phillip Stearns, Rosa Menkman, and Evan Meaney.
Homing in on the viewer, these three cross-disciplinary case studies present and analyze material that is new to the art-historical context. In particular, they focus on how glitched artworks in online environments make viewers aware of their own activity within the flow, causing a break from the increasingly naturalized integration of system and individual.
Mysterious and Beautiful
When a glitch invites the viewer to try out different positions in relation to the system, a tactical spectatorship unfolds.” That’s the introduction text of Vandela Grundell’s book Flow And Friction: On The Tactical Potential Of Interfacing With Glitch Art. In simpler terms, our modern online life utilizes smartphones and digital cameras to not only represent who we are, but to present to others ‘how’ we are.
In the early days of computer, during the great Cold War and its technologically dependent Space Race this was known as a ‘glitch’.
Flow and Friction is a fascinating celebration of the mystery and the beauty that sometimes arises from glitched systems. 238 pages. Recommended. For the Silo, Jarrod Barker.
Random acts of kindness come in all shapes and sizes, something as simple as a smile to a stranger, or paying for the guy behind you in the cue at the coffee shop drive-thru counts. The idea is to leave someone, whether you know them or not, with a brightened day and a reminder that there are good people. There is an amazing movement happening in the artistic circles, created with the same purpose, it is called art abandonment and artists from all over are leaving behind their artworks anonymously.
“It’s something that I’ve done for a number of years now, albeit infrequently, usually on beverage napkins and the like,” says deMeng in an introduction to Art Abandonment on his blog. “About ten or so years ago I would walk to the same place by a river and leave a little charcoal drawing. So recently I started this activity up again…leaving little sketches with a note on the back”
deMeng acknowledged that he did not create the idea of art abandonment, but perhaps discovered its use as a random act of kindness as opposed to a political message used by many urban guerilla artists.
In fact, Haldimand-Norfolk artist Jarrod Barker created several guerilla art installations in Haldimand-Norfolk including one at Simcoe’s now demolished American Can property back in the summer of 2010.
deMeng outlined some of his theories behind the art of abandoning art and its purpose, including that its good for the heart and a little addictive once you begin and the simple fact that money is tight and giving a gift like this could encourage someone to continue to support the arts.
“I think it’s important to be able to let one’s art live beyond it’s creator, I love imagining what becomes of my art after it is gone…whether given or sold,” said deMeng.
“Some folks can’t seem to let go of their work, even when they sell it. This is a great way to learn to move on.”
The concept is very simple:
1) Create a piece of art.
2) Write or attach a note explaining it is a free gift, purposely left behind including contact information if you so wish.
3) Take a photo of your art and its place of abandonment and then sneak away unnoticed.
I myself am not an art abandoner, although if I had the time and resources I would, but I thought I could offer a unique opportunity for the abandoners I find so much joy in following on social media.
June 30, 2013 I will have departed to Peru for a ten day journey across a wide variety of landscapes including urban centers, Machu Picchu, and the Amazon rainforest.
I invited artists to send me their work in order to abandon on my journey, and I would share the photos of their abandonment locations with the artists as I continue my journey.
“Machu Picchu is on my bucket list,” said Burlington artist Heather Kuzyk who sent three art trading cards (atc) to be abandoned.
“So if I never perchance to make it there in body at least a part of my soul has been. ”I was excited by the thought of the photos I could take of the abandoned art on the Machu Picchu ruins with the beautiful Peruvian mountains sprawling in the background. Although I sincerely hope some of the finders will share of their discovery, I’m pleased just to imagine how excited I would be if I found something like that in such a magical place. For The Silo, Lacie Williamson.
Post-script: Remember to never install or leave behind work that contains string, toxic or synthetic materials, small pieces of plastic etc. Anything that can harm or interfere with the natural environment or wildlife must never be used.
If we’re living in an oxymoronic age (and it seems indeed that we are), then Ballasox footwear by corso como makes a lot of sense. Women’s fashion has never been off limits for innovation, experimentation and whimsy but today’s designs are also driven by comfort and economy.
That’s a lot of parameters to hit and with that in mind, let’s take a look at Ballasox- just one of many interesting lines of high fashion women’s footwear from corso como.
We decided to focus on two styles that represent interesting designs and coincidentally are the high and low price point in the Ballasox line: the Micaela with straps priced at $129 (usd) and the Prince priced at $60(usd). Fun! That’s a word we don’t often use when highlighting fashion. There are wonderful pop elements found in these shoes. Looking at the Micaela one is reminded of 1970’s Punk movement. The dog collar like strapping, the chrome studs and red and black leather colour scheme have an attitude that works. Especially if you’re pounding the streets on a busy weekend or hopping onto a motorcycle.
The Prince has a simple design and we adore the Warhol-like camo/snake patterning. Perhaps you’ve heard of Stephen Sprouse and Monica D Murgia’s recent camo design dresses? In the 1980’s Sprouse worked with Warhol and those designs were just slightly ahead of themselves. Contemporary television shows like Duck Dynasty and the mega-mall staple BassPro have changed all that. Camo isn’t just for your Dad to wear to the lodge- it’s become ubiquitous as Warhol predicted.
Back to the Prince. So this little shoe is not as unassuming as it first appears.
There is a pedigree and history of aesthetic design that is a part of its look. Yes, it’s technically a snake skin design but the type of snake chosen must have been carefully considered and settled on because this shoe would not look out of place paired with a Sprouse/D Murgia Camo dress. Now that’s a combination we’d love to see. For the Silo, Jarrod Barker.
Indeed, the prevalence of roadside memorials has increased significantly over the past several decades and there is little doubt that each of us has encountered them at some point. Roadside memorials are essentially visual manifestations of profound suffering and loss. They mark the site where a motor vehicle accident has occurred and the death that resulted from it (however , many memorials, especially in major cities, have little to do with motor vehicle accidents and more to do with cycling accidents, innocent bystanders or anything else that faithfully marks the site of passing).
In areas where large gravestones or plaques cannot be placed, for a variety of reasons, makeshift memorials take their place. These sites grow with each flower, ribbon or object and deplete with the wind, rain or snow; they are in a continuous state of flux. The organic quality of roadside memorials may directly reference the very epehemerality of life itself. Moreover, in their various forms and inclinations, they challenge Western society’s visual seperation of the living from the dead; therefore, as they subsist, roadside memorials carry the spectre of mortality into the public sphere, a space where even speaking of death remains taboo.
Post-mortem/momento mori photography during the Victorian age is a fascinating though dark and unsettling movement.
Encountering the idea of death may be one of the reasons why people take issue with the appearance of roadside memorials. For them, they represent a veritable “distraction” while driving, are considered “unsightly” or a “vandalism of public property”. For the families of the deceased, roadside memorials allow the opportunity to mourn their loved one(s) at the very place of their passing. The level of emotion generated by being near the actual site where a loved one has died is different from standing beside their final resting place in segregated communities of loss that are the modern cemetery.
Not only are roadside memorials, as markers of loss, important to the families and groups that maintained a relationship to the deceased, but they powerfully address the living by acting as memento mori (reminders of death). It is through them that one may better appreciate the present.
Toronto-based photographer Erin Riley’s series of photographs depicting roadside memorials in and around the Greater Toronto Area (GTA) specifically engages the publicization of loss and its visual manifestation. Riley’s images are strikingly beautiful and skillfully composed, yet they raise ethical questions precisely because they aestheticize markers of death sites by transforming them into visual objects to behold. This theme was explored in Jarrod Barker’s April 2010’s Umwelt at the Norfolk Arts Center with a central piece depicting a virtual gallery memorial in conjunction with projected audio/video loop of a recently deceased Deer- struck down by a motorist, the piece becoming essentially a rural memento mori.
Another question concerns the identification of deceased individuals and whether or not their names should be made public through the vehicle of art. That being said, Riley’s photographs do provide an eloquent record of roadside memorials within the GTA and speak to their social and cultural value. Ask yourself: where do you stand on this issue?
It would seem that, for the families of the deceased, roadside memorials serve the purpose of exactly that: the memorializatin of a life. [ “even” an animal life CP ] They also serve a function for the living, reminding us that life is fleeting and that the dangers of the road are real. Ultimately, rather than causing drivers to collide, roadside memorials may force drivers to more aware of the consequences of speed, negligence and drunk driving. May roadside memorials continue to stand where lives have fallen. For the Silo, Matthew Ryan Smith.
Is it ethical for media streaming companies, such as Spotify, to take advantage of IP loopholes, which are known to negatively impact artist revenues?
Values:
>Balance & Fairness
>Legal Values
Loyalties:
a. Duty to service
b. Duty to subscribers
c. Duty to shareholders
d. Duty to Intellectual Property
e. Duty to Art & Commerce
Principles:
Aristotle’s Mean: “Moral virtue is a middle state determined by practical wisdom.” Virtuous people will arrive at a fair and reasonable agreement for the legitimate claims of both sides somewhere in the middle of two extreme claims.The two sides must negotiate a compromise in good faith. “Generally speaking,in extremely complicated situations with layers of ambiguity and uncertainty, Aristotle’s principle has the most intellectual appeal.”
BASIC CONCEPT:
Negotiated compromise.
>>Streaming Media Company
For the Purpose of analyzing an isolated streaming media company, Spotify will be examined through the lens of the potter box. Spotify is a streaming service with cross-platform availability that specializes in music, and generates income from its 20 million premium and 75 million free users, respectively. Spotify boasts an extensive catalogue for free and for a nominal fee. Spotify’s extensive catalogue is made possible due to established agreements between various record labels and media companies. Agreements that are known to negatively affect artists, while benefiting both Spotify & Record labels, plague the music industry. Payout deals between Spotify and record companies range from royalty payout to equity deals.
Spotify does not want to make adjustments to the model of its free service, because if their users are not able to find it on Spotify, they will utilize other streaming services such as youtube, which is likely to have the content. They have identified this free offering as being their driving force for getting new subscribers to the service. New subscribers that turn into increased revenue for record labels, as 70% of revenue from $10 per month subscriptions and advertisements are paid to record labels, artists, and song publishers.
>>Artists—Influence: Art/Media Creators
The Artists on Spotify collectively stream over 30 million songs across 58 different markets. Despite collectively making up a heart from which Spotify thrives, Artists receive 6.8% of streaming revenue, the smallest share of the pie.
Artists receive 10.9% of the post tax payout between artists, labels, and songwriters/publishers. Many artists including Adele, Taylor Swift, the Beatles, and Coldplay have opted for keeping music off of Spotify.
Spotify does not have direct agreements with most artists. The streaming company has agreements with labels, whom are responsible for not only securing licenses to music, but to are also responsible for payouts to artists. So essentially, Spotify pays labels, and the label is empowered with payout to artists. The problem is not that Spotify refuses to fairly pay for royalties; it is the trickling down of payment from labels to the respective artists. Spotify has wholesale access to music catalogues from record labels, which makes it hard to fairly split royalty payments amongst artists that are under contractual agreements with respective label.
Even with leaked contract between Spotify and Sony Music available, it is still unclear how much of payouts to record labels actually get to the hands of the artist. It is clear that Sony Music is getting a hefty payout annually, but the question is still whether or not these hefty payouts are passed on to the artists.
>>Major Record Companies
The music catalogue on Spotify is mostly populated by content from major record labels that include Sony Music, Universal Music Group, EMI, Warner Music, Merlin, and The Orchard. Self-published artists as well as artists from independent labels also help makeup Spotify’s catalogue.
Record companies have begun to further question Spotify’s free model since Taylor Swift and other artists have proactively opposed Spotify’s extensive free offerings to users. Streaming consumers of music increased by 54% between 2013 and 2014 according to the Nielsen SoundScan. Major record companies are often made better deals, which disproportionately disadvantage independent artists and labels.
Executives at major record label such as Universal Music and Warner Music have made statements about the extensive free offering of its licensed music is not sustainable long-term. It was suggested that there needs to be a more clear differentiation between content available to free and premium users. Bjork has suggested that Spotify should not allow access for certain content right when it comes out, but should allow for content to go through certain rounds of monetization before ending up on Spotify, similar to Netflix’s rollout method for its content. Major record labels are currently in the process of renegotiating agreements, and are mostly pushing for adjustments to free service offered.
Their goal is to have the “freemium” model disappear as time persists.
What is the current policy?
A legal agreement between Sony, the second largest record company in the world, and Spotify recently leaked, which further intensifies questions about fair payouts for artists. The contract confirmed that major record companies benefit from the success of the streaming service Spotify. The contract details advance payments of over $40 million, with a $9 million advertising credit. Sony has declined to comment on the leaked contract, as it was illegally obtained. Labels routinely keep advances for themselves according to an industry insider.
The leaked contract detailed agreements between Sony Music and Spotify, but not between Sony Music and artists. Such fruits of private agreements don’t necessarily trickle down to the artist, because in most cases they are not even aware of an under the table deal unless a leak has occurred. Unstated under the table deals are not ethical, because artists do not benefit from funds received on account of their intellectual property. The International Music Managers Forum urges European and American authorities alike to use the Sony leak as an example of why more transparence is necessary.
Artists are not being fairly compensated for use of their intellectual property.
Streaming companies have established a revenue arrangement with major Record Companies that often does not favor artists. The obvious shortfalls with existing policy include the lack of transparency when it comes to agreements between record labels and Spotify. There are no systems of checks and balances for ensuring that labels adequately and fairly share Spotify revenue with artists. There needs to be a streamlined system that puts everything on the table in clear view, for fair agreements between artists, label, and streaming company to be arrived at. Current policy also allows Spotify to take up to 15% off the top from revenue generated from ad sales.
What needs to be changed?
Spotify seems to be fairly paying for royalties, but the flow of cash does not always get to the artists. Substitute apps; try to compete with Spotify, by challenging the freemium model. Other apps such as Tidal aim to provide audience with exclusive content that they won’t find anywhere else. The problem is that apps such as Tidal market themselves as a music-streaming app by the artists for the artists. Nowhere in that equation is the interest of the average potential consumer considered. Artists may receive more money per stream, but the service is double the price of Spotify. Record companies, and artists alike, are moving away from Spotify’s freemium model. The digitization of music is not the problem, as most artists and labels generally trust certain digital services such as itunes, because it translates into revenue for artists with no veil or strings attached. Extensive free offerings seem to be the major issue that involved parties have with Spotify, but it is the only thing that drives traffic according to Spotify. The freemium offerings need to be changed in some way, but in a way that is non-disruptive to Spotify’s commerce. Since Spotify pays its fair share of royalties, a more streamlined agreement between record labels and artists should be established and transparent, as should deals made between Spotify and record labels.
Major record labels need to stop double dipping. Not only do they receive cash advances & royalties, but they also benefit from Spotify’s overall revenue stream as they have equity in Spotify of up to 18%. Billboard magazine interviewed two dozen record executives and they agreed that they were confused as to what Spotify was replacing, whether being a substitute for sales or piracy. Examples of setting limitations of the freemium service have showed signs of slowing down subscription growth rate. Spotify has stated that if artists are not fairly compensated from stream revenue, then it is a result of recording contracts and or label accounting practices. Some major record labels are fine with Spotify using their music to build business, because of their equity; they are looking ahead for profit from a future IPO. The artists would not benefit in the same manner, despite their content being the driving force for the app in the first place.
Scenarios
In a time of changing platforms and distribution methods, consumer trends has undoubtedly been in transition. The radio still accounts for an estimated 35% of music consumption, followed by CD consumption at 20%, free streaming at 19%, and paid streaming at 1%. Multichannel consumers, mostly millennia’s, account for 66% of music consumers. A multichannel consumer may pay for a streaming subscription, and make a physical and/or a virtual music purchase. The most common multichannel consumption combination is free streaming coupled with CD listening which accounts for 49% of multichannel listeners, followed by free streaming coupled with music downloads which accounts for 44%. Millennia’s are also known to engage in both free streaming and downloading.
Evidence
During the first quarter of 2014, Pharrell Williams garnered 43 million Pandora streams, which only paid him $2,700 as a songwriter. A statement from Pandora indicates that all rights holders were paid upwards of $150,000 within the first 3 months, and that the real issue is the financial dispute between labels and publishers. Pandora also indicated in the statement that labels are free to split royalties between themselves and artists, however they see fit. Clearly there needs to be more transparency for the cash flow between streaming company, label, and the artist.
Spotify returns 70% of its revenue to rights holders, with information about each artist to aid in the royalty split process. Streaming companies are engaged in fair due diligence where payment of royalties are concerned. The evidence is as follows:
Actionable Policy
The music industry needs a streamlined agreement between streaming companies, record labels, publishers, and artists. It is imperative that there is increased transparency, especially where cash flow is concerned. Artists should be able to see all cash and data exchanged between streaming company and label. Royalty holders need to publicly split funds amongst themselves and artists. Record labels need to be accountable to both their artists and streaming company, because an artist that feels swindled can create bad blood between the artist and the label and/or the artist and streaming company.
Recommendation
>>Actionable
1. Artists are cut into equity deals based on audience pull to streaming service per qtr
>>Streaming Services should provide analytics with specific data to aid audience pull observation for given artists
2.Major Labels are transparent with cash flow of compensation from Streaming Companies
Is it ethical for media streaming companies, such as Spotify, to take advantage of IP loopholes, which are known to negatively impact artist revenues?
Judgment:
It is ethical for streaming services to take advantage of IP loopholes, which are known to negatively impact artist revenues. Music platform are changing, and as such, better agreements need to be drafted to complement this change. Streaming companies have shown the numbers, and they are paying for royalties, which is essentially paying for the use of the music in their catalogue. Music streaming is an emerging market, which record companies themselves are invested in. The common mode of music monetization is moving away from CD sales, and that is undeniable. Music downloads take up a lot of data, so streaming is the most practical way for consumers to enjoy their music.
The freemium model of Spotify should not be eliminated, but it should certainly be reconsidered, or at least limited in music access. Premium, new, and sought after music should not be as accessible as music that has already exited the promotion stage. Their needs to be some sort of compromise between record labels and Spotify, to better differentiate between premium content and freemium content. Spotify does not want to compromise the availability of its music on either platform, and labels reserve right to pull any of their artists from Spotify as they wish. Spotify should do a better job differentiating free content from premium content, it’s only fair. Spotify should not compromise to the point that it becomes impractical, but should compromise in a way that is cost-effective for all parties. If this were to be attained, streaming companies, record labels, and artists would be happy, circumventing social dilemma. Jordan Muthra The New School University, M.A., Media Studies, Graduate Student
“The most effective way to destroy people is to deny and obliterate their own understanding of their history.” -George Orwell
The facts of the past cannot be objectively altered regardless of belief or opinion. They can, however, be tainted by those wishing to assume power. It is critical that we understand the past as it happened and do not allow the view to be obscured. Only in this way can we ensure that we do not repeat the mistakes of our forebearers, only in this way do we as a society learn and move on from our past transgressions. Those who would revise the past must be confronted with resistance and overcome with the truth. We are bound by our ancestors to carry their truth along the banks of the future no matter how heavy the burden may be.
Aura Rosenberg is based in New York City and Berlin, Germany. Since 1993 she has worked on a project titled Berlin Childhood. Over the years the project has taken on many forms including a published book, souvenirs of Berlin’s Victory Column, photographs, and a film. The title comes from a series of texts by Walter Benjamin written during his exile from Berlin in the 1930s. Rosenberg began creating a photograph to correspond with each text which Benjamin wrote in order to combat his homesickness during exile. Chantal Benjamin, the granddaughter of Walter Benjamin moved to Berlin and contacted Rosenberg. The two became friends and Rosenberg began filming Benjamin and her daughter around the city also in correspondence with the original texts. Presently Rosenberg is editing her archive of footage and recording a narrative soundtrack of Walter Benjamin’s great-granddaughter reading his texts aloud. Rosenberg also creates work based on themes of sexuality. One of her current project is a continuation of an older work titled Porn Rock.
Vid Ingelevics is a Canadian artist. Much of his work examines representations of the past. His current long form project titled Freedom Rocks focuses on the history of the Berlin Wall since its removal in 1989. Ingelevics began researching what happened to the wall after it fell and discovered pieces of it across the world including in the United States and Canada. Initially, Ingelevics and his collaborator went to Washington, D.C. to learn about the movement of the remains of the wall. In the years following the removal of the wall there was a strong market for fragments. Pieces of the Berlin Wall now appear in the most unlikely corners of the world. Ingelevics work looks at why fragments of the Berlin Wall move around the world and who pays for this as well as putting the wall in the context of history rather than relegating it solely to the realm of political symbolism. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
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Featured image- “Touching the Wall”, Berlin, 2014. From the larger project, Freedom Rocks, a collaboration between Vid Ingelevics & Blake Fitzpatrick begun in 2004 that explores the post-1989 history of the Berlin Wall.
Toilet paper … it’s one of life’s necessities. Then why is the roll so difficult to replace? The problem lies in the awkward spring tube holder that always leaves you fumbling. No one wants to deal with it. We all know of that one person that always fails to change out the toilet paper roll. They’ll leave the empty roll on the holder and put a brand new one on top of the toilet or counter. The ZeNa attachment will solve that bad habit. Thanks to Alex Li, a thinker and inventor out of Toronto, Canada, this bathroom conundrum has finally been solved.
You can now change a roll out in a matter of seconds. It’s faster, easier and cleaner than the traditional spring tube method.
The ZeNa Attachment is an incredibly smart solution that fully modernizes your toilet paper holder. Its peel and stick design securely attaches (in seconds) to your existing TP dispenser, so there’s nothing more to install or buy. ZeNa Attachment’s patent pending swing design lets you swap out toilet paper rolls with one hand and it keeps it all in place with zero fuss.
Design
The patent pending design is an easy attachment to add to your existing toilet paper holder. No need to hire a contractor. The heavy duty double-sided foam tape on the underside of the base is super strong. Simply stick this on to your clean existing holder and you’re good to go. Both sides are the same so there’s no getting this wrong.
The arms always fall back into place from a tension mechanism that forces the arms downward. So it doesn’t matter if your ZeNa Attachment is not level as long as you have installed it properly, it will work.
The ZeNa Attachment is super durable, comes in several colors and is the perfect bathroom assistant for the disabled, kids and seniors too. Learn more and support this initiative by visiting the ZeNa Kickstarter page.For the Silo, Jarrod Barker.
Immediacy? “Nothing important comes into being overnight; even grapes or figs need time to ripen. If you say that you want a fig now, I will tell you to be patient. First, you must allow the tree to flower, then put forth fruit; then you have to wait until the fruit is ripe. So if the fruit of a fig tree is not brought to maturity instantly or in an hour, how do you expect the human mind to come to fruition, so quickly and easily?” -Epictetus
The Worm (2008) and Watershort (2008) are time-contemplative short films by Canadian sound and visual artist Jarrod Barker.
In the natural world, immediacy is rarely a concept. While it is true the Mayfly lives only for a day, it is also true that each fly is one infinitesimal link in the long succession of the species. As humans have increasingly stepped beyond the boundaries of nature, we have begun to forget the importance of waiting and patience. We live surrounded by cheap treasures gotten easily and quickly. But like the Mayfly, these spoils of instant gratification perish quickly leaving us desiring more. No longer do we answer to the rhythm of nature, preferring instead to force the world to step up to our breakneck pace. All the while we are saturated with reminders that “good things come to those who wait” but too often choose to ignore this time tested wisdom.
Stefan Klein works in Berlin. Presently he is examining the concept of waiting. To this end, he has conducted quite a lot of field research. Waiting, he says, “is something that’s so routinely existing in our daily lives but at the same time has this very existential dimension to it so that almost everybody can relate to it but at the same time it’s a very abstract topic.” Another project, titled Introduction to Microeconomics is a book documenting Klein’s repeated ordering and return of a book by the same name. In this way, he examined documentation as a vital element of a whole work. Much of Klein’s work investigates complex systems through performative means. In September, Klein will begin a series of waiting sessions with people from various disciplines. He will meet with guests at a bus stop (a place of waiting) for a conversation. His audience will be comprised of both those who came to see the performance and those who happened to be waiting for the bus. In this way, Klein will access waiting from many perspectives.
Emilie Clark is a New York City based artist who spends part of the year in New Hampshire. Much of her work is based on the work of nineteenth-century natural historians and scientists, most of them women. She also explores the literal interpretation of the word ecology (earth’s household) incorporating historical texts and working in the landscape. In New Hampshire, Clark works in a floating research station surrounded by the natural world. In New York City her experience is quite different though she has noticed similarities in plant species between the two locations. From her research station, Clark collects specimens, makes sound recordings, draws, paints, preserves, and fully immerses herself in nature. This process is rooted not only in creating but in learning.
A Few Words to Keep in your Pocket
A work of art, a career, a relationship, anything worth investing our hearts and minds in, must be given time. We must relearn to wait, to fall back in step with the world around us. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.