In December, a consortium of advertising and telecommunications special interest groups published the Embedded Metadata Manifesto establishing five principles to promote better metadata management practices when circulating media files. In response, Madison Avenue has moved to implement measures that reduce industry errors costing millions of dollars each year while improving ad production by embedding instructions for editing and post-production processes directly into advertising content when it is created. For more, see this December 13th article in MediaPost News.
Image courtesy paidContent.org.
Sense of Patterns is an ongoing project with a series of printed data visualizations aiming to depict certain behavioral patterns in different public spaces. The visualizations focus on moving entities, such as commuters, cars and public transportation vehicle sand studies the interaction between their movements and the physical structures of the city including roads, sidewalks, buildings and parks. The project intends to provide strong visual representations of the daily experience of living in a variety of different cities; Vienna is the first city that will be represented in this manner.
image courtesy: http://casualdata.com/senseofpatterns/
Tilt shift photography has been around since the 1960s, but is now making a comeback in the photography world. Using special lenses, perspective and depth of field in photographs can produce images that are not what they seem. In a modern rendition of the technique, both tilt and shift of a camera lens are combined to create images that look almost like miniature models.
image courtesy: http://www.visualnews.com/2011/10/31/now-thats-a-funky-camera
The Visual Arts Center presents Hans Richter’s 1921 avant-garde film Rhythm 21. Richter’s first film stands at the beginning of the of the avant-garde film movement and represents an innovative approach never before seen on film. In Rhythm 21, Richter utilized the movie screen as a substitute for the painter’s canvas, and articulated movements of mathematical precision and graphic clarity on the screen. This short, silent film will run on a continuous loop until midnight each evening until March 10, 2012.
OPENING SCREENING: Friday, January 27, 2012 | 9 pm
WHERE: Southeast Lawn of the Art Building
admission is free and open to the public
Image Courtesy: http://utvac.org/programs/fade-in-hans-richter-rhythm-21
The George Eastman House, in partnership with Clickworker, has created an online archive of more than 400,000 images from the famous photography museum in Rochester, New York. Clickworker, an international crowdsourcing company, has worked to tag and categorize the photographs in the archive to create the new image licensing website for the museum. The image license provides access to the Museum’s collection for education and scholarly research. The Website also ensures the protection of copyright permission by releasing the digital images of photographs for reproduction only after permission for the rights has been cleared.
Image Courtesy: George Eastman House
The Tate Modern’s prestigious Unilever Series commissions artists to create an installation piece specifically for the museum’s Turbine Hall. As part of this series British artist Tacita Dean was commissioned to conceptualize a work for the space. Her piece Film acts as portraits or depictions rather than telling a conventional cinematic story and captures fleeting natural light and subtle shifts of movement through a static camera position and long exposures to allow events to slowly unfold. Dean shot Film on a 35mm camera as an homage to a form that is being killed off by digital filmmaking. Dean utilizes the 35mm format both as a way to show the limitations of its use as well as the artist’s agency to create and improvise new techniques with the device. To create her “special effects,” Dean employs old-fashioned techniques like glass matte painting, masking and double exposures to play with the effects of the camera.
Image Courtesy: http://www.guardian.co.uk/artanddesign
Artist Richard Nicholson has set out to document fast-disappearing darkroom spaces. With the continued preponderance of digital cameras, photography darkrooms are slowly perishing into the abyss. Nicholson documents darkroom spaces throughout London – this series was included in the Riflemakers Gallery’s exhibit Analog: Trends in Sound and Picture. A review of the show at the Riflemakers Gallery praises Nicholson’s work and effort to catalog these amazing darkrooms.
Image Courtesy: http://www.richardnicholson.com
Image Courtesy: Google Images
The Visual Resources Collection is pleased to announce the official opening of the new Darkroom in Sutton 1.108. The VRC manages the Darkroom which has 2 Ilford Ilfospeed Multigrade 500 enlargers, with the capacity to enlarge different types of films types including 35 mm, 120 mm and 4X5. Analog camera bodies and a variety of lenses are also available for check out from the VRC main office in Sutton 3.128. Darkroom use will be by appointment only. Stop by the VRC to schedule an orientation with the photography teaching assistant and to make an appointment to use the facilities.
The VRC will blog about photography-related projects for the entire week to celebrate the Darkroom opening.
The Visual Resources Association (VRA), an international organization of image media professionals dedicated to furthering research and education in the field of image use and management, has released a Statement of the Fair Use of Images for Teaching, Research, and Study. The statement describes six uses of copyrighted images that the VRA believes fall within the U.S. fair use doctrine. These items include: 1) storing images for repeated use in the teaching context and transferring images to new formats if needed, 2) use of images for teaching purposes and the ability to post both large, high resolution images and thumbnails on course websites as online study materials and 3) the reproduction of images in theses and dissertations.
image courtesy: http://www.clickandinc.com/blog
Landmarks Video Media Station, part of The University of Texas at Austin Landmarks Public Art Program, will be exhibiting Mike Kelley’s 1983 production “The Banana Man” through the end of January. In this film, Kelley employs familiar objects to engage the high-/low-brow binary and subvert the relationship between authority, tradition, and art.
WHEN: through January 31st from 9 A.M to 9 P.M.
WHERE: ART building atrium | Landmarks Video Media Station
Image courtesy http://landmarks.utexas.edu/projects/video
In The Weekly Wright-up, the curatorial staff at the Darwin Martin House in Buffalo New York provides news and insights on Frank Lloyd Wright’s 1904-1907 Prairie Style masterpiece in addition to exploring items related to Wright studies and the art, architectural and design practices in general. Check out The Weekly Wright-up each Friday for new perspectives from the Martin House.
Italian photographer Renato D’Agostin created haunting black-and-white photographs that capture a city’s essence in beautiful abstract forms. D’Agostin began shootting these narratives in 2001, and has published two books, “Metropolis” and “Toyko Untitled,” that focus on the urban fabric of the city through photography. He is now in the process of documenting his home town of Venice, the subject of his latest series “The Beautiful Cliché.” Using Kodak TRI-X400 film, D’Agostin used a Leica M6 and a Nikon F100 to create poetic and granular images, capturing quintessential shots of the iconic city symbols. D’Agostin shows the raw and natural beauty through distinct moments of daily life and its interactions with the city, its surrounding landscape, and architecture.
photograph courtesy: http://www.renatodagostin.com/