Adam Norwood is an artist and designer in Austin, TX.
I spend my days
working for the University of Texas School of Law and my nights toiling away in the
studio. I’d be thrilled if you would like to check out the art section
of my site, or perhaps the design section would be more your
speed? Or read more about me…
[whatwg] Codecs for <audio> and <video>
Ian Hickson on the morass with HTML5's codec support. In short, it's going to be hard to get the browser makers to agree on a particular format that they'll universally support (largely on grounds of patent legality and compression quality), so might as well remove mention of specific baseline codecs from the spec. Makes sense, but it's depressing thinking about how long it'll be before some of these great advancements in web development are usable in the real world.
All for Good
A new search site and data api created on "20% time" by Google engineers, All for Good helps match you with worthwhile nonprofit volunteer activities in your neighborhood. Inspired by the United We Serve campaign, their service is powering other new civic-minded sites, like serve.gov and serve.mtv.com It's already offering some great opportunities, so check it out and get off the couch!
BLDGBLOG: Bloomsday
A little look at Ulysses as psychogeography. Could 1904 Dublin be recreated physically solely using the novel as input (Joyce himself mused about this idea)? I think you'd end up with a much more impressionistic model of the city with traces of the streets walked by Bloom and Dedalus, tinged with overlapping geography from Joyce's more Continental haunts and mis-remembrances after his years of exile. In other words, it'd be as ephemeral as anyone's memories of their own environment.
Interesting Questions Raised by Iranian Twitter Activism - O'Reilly Radar
Some thoughts on digital citizenship and the permeability of nation states in the 21st Century. Are private citizens (namely American Twitter users) justified in trying to DDoS a foreign country's state-run media outlet? Has it become too easy to engage in hacktivism against political systems that we have little understanding of (there are reports that the attack was inadvertently crippling the protesters' internet traffic in Iran as well), or is it a helpful showing of solidarity with the repressed? Difficult issues that will become more and more commonplace in the near future.
Thoughts on Opera Unite | FactoryCity
Chris Messina hits the new server-in-the-browser offering pretty hard, voicing much better than I could the same misgivings I had about it yesterday. Aren't they telling us to shun centralized services only to offer one that's very centralized? Wouldn't it have been much more of a revolution if the proxy and name resolution service was open and could be run by anyone outside of the my.opera.com domain? (I know the proxying only kicks in if there's a connection problem, but you still have to pass everything through your username.opera.com account -- definitely a perk for Opera) The project is admirable but exudes a walled-garden feeling that has me stumped, and thinking that Google Wave had the clearer understanding of the state of the Internet today.
content aware image resizing at hacks.mozilla.org
The seam carving technique for scaling images demo'ed in Firefox 3.5 via its new canvas properties and JavaScript. Definitely not as fast as native code would allow, but interesting from an experimental point of view. As the various web browsers' JS engines become more and more zippy, I bet plugin-free real-time image processing will take off in subtle ways.
Accessibility Field Notes » Skip links: Chrome, Safari and Added WAI-ARIA
A solid method of getting skip links to work in the Webkit-based browsers, along with older versions of IE, for both screenreader and keyboard users. Uses a small amount of JavaScript to get Opera and Safari in order, but that's a small price to pay. They even sprinkled in some future-proofing WAI-ARIA to sweeten the deal.
In one of the best eye-tracking technology projects I’ve seen, the folks from the Graffiti Research Lab and FAT Lab have teamed up with Theodore Watson, Zachary Lieberman, and Christine Sugrue to tackle a novel accessibility problem: enabling pioneering graffiti artist Tempt, hospitalized for over two years with the muscle atrophy of ALS (Lou Gehrig’s Disease), to be able to tag again. Out of all of the things I heard about at SXSW this year, I think this project was the thing that excited me the most — open source hardware + software hacking, vision work, accessibility concerns, graffiti and a great story!
The system they’re developing is using the excellent openFrameworks library and two small cameras: the left can be used as a “mouse button” event by holding that eye closed, and the right eye’s pupil is tracked for gesture. The result is a simple hands-free drawing app, which they will connect with the GRL’s laser tag tools, giving Tempt the ability to express himself through graf writing again.
You can check out the rest of their videos under the TEMPT1 tag on fffff.at (“Release early, often, and w/ rap music.”), but here’s a good one to get you started:
As reported already by manyotherlocalsources, the Paramount theater will host our latest and greatest mayoral and city council candidates for a public forum to discuss their positions on art and culture in Austin. The event is this Wednesday (April 1), at 7p.m. With politicos slashing budgets left and right to stem the economic crisis (or at least give that appearance) arts funding often gets kicked to the curb, despite the considerable income the creative community generates for the city and state. Robert Faires of the Austin Chronicle says it best:
“But when money gets tight, if anything gets cut faster than library hours, it’s arts and culture. And part of the reason is we don’t show up. Let’s not make that mistake this time. A packed Paramount would send a pretty powerful message to City Hall.”
Might be worth getting to know the folks who are lining up to be Austin’s next mayor (I’ve included their Twitter @name where applicable as it’s hopefully a good way to have a conversation with them directly or at least with their campaign):
David Buttross (and here too): independent candidate, real estate proprietor, @DavidButtross on Twitter, alternate site
Brewster McCracken: democrat, also heavily endorsed. the only mayoral candidate who has a page dedicated to “creative class” issues on his official site [that I’ve found, at least…please correct me!], but mostly mentions musicians, filmmakers, and ‘digital media specialists’ — where does that leave visual artists? theater? @bmccracken
Carole Keeton Strayhorn: democrat to republican to independent to ???, former Austin mayor and Texas comptroller, has a long history overseeing the city and state treasuries, @Carole4Austin
Bill Spelman: democrat, unopposed for place 5, PhD in public policy, former council member
That about sums up what I know of the candidates. I’m a bit of a local politics neophyte, so can anyone elaborate for me on what to be looking out for at the forum this Wednesday? For the candidates that already have a local or state-wide history, what do we know about their support for the arts?
Hey kids! I’ve relaunched my site, moving it to its new official home at adamnorwood.com (goodbye, asnorwood.com). It’s got a new, hopefully better design, a stronger Wordpress backend (the bells and whistles have all been polished), and I’ve got a slew of new content coming down the pike (I know, the last real post on here was from…last July? Uh-oh). I’m launching it into the yawning chasm that is SXSW2009, so maybe everyone will be too distracted to notice any temporary glitches or missing bits. For you faithful who are reading this in a feed reader, I thank you and ask your forgiveness for the horribly jumbled updated feed that probably greeted you this morning!
Things to look forward to:
More posts on art from someone who’s trying to figure it all out, with more of a focus on the local (Austin, Texas) art scene
Posts on design and technology, including some lessons learned while building up my Wordpress chops
More signal, less noise
As always, I’d love to hear any criticisms, complaints, questions, comments, or commiserations. Leave me your good words!
Every urban population believes in having its own collective psychology. One can ridicule this belief, but it has produced a lot of poetry, music and cinema that we are accustomed to valuing. The volume of poems about Parisian air or St. Petersburg’s weather is a sufficient justification for their architecture. However, if we don’t speak about art that is stimulated by a city but about art in the public space, then one should be very careful. The chance that any really good artwork can go through all possible channels that evaluate it is minimal. And, in general, art that is exhibited outside of arts institutions has to additionally identify itself as art. That makes art shown in the public space even more conservative than art shown within the framework of institutions.
—Boris Groys, excerpted from “6 Questions for Boris Groys”, Art Lies no. 58, p. 19
It is not important at all to me that you or anyone else should have this or that knowledge of anything written or recorded about my pictures of anyone else’s. It’s about experiencing the pictures, not understanding them. People now tend to think their experience of art is based in understanding the art, whereas in the past people in general understood the art and were maybe more freely able to absorb it intuitively. They understood it because it hadn’t yet separated itself off from the mainstream of culture the way modern art had to do. So I guess it is not surprising that, since that separation has occurred, people try to bridge it through understanding the oddness of the various new art forms. Cinema seems more of less still in the mainstream, as if it never had a ‘secession’ of modern or modernist artists against that mainstream. So people don’t tend to be so emphatic about understanding films, they tend to enjoy them and evaluate them: great, good, not so good, two thumbs up, etc. Although that can be perfunctory and dull, it may be a better form of response. Experience and evaluation — judgment — are richer responses than gestures of understanding or interpretations.
— Jeff Wall, excerpted from ‘An email exchange between Jeff Wall and Mike Figgis’, Contemporary, no. 65, 2005
There’s been plenty of talk lately in the news about the role of public art as Olafur Eliasson’s quartet of waterfalls were turned on last week. Some see the display as a way for the public to newly experience their urban surrounding (Mr. Eliasson has said that his intention was to draw fresh attention to the NYC’s waterways more than to himself or the art). Others questions the price tag: a bit over $15 million of privately-donated funds, although the money generated for the city by the tourism could well exceed that amount according to some sources.
As someone who doesn’t know very much about the critical discourse on public art (heck, I barely claim to understand “institutional” art), I find it useful to gauge the art by how the people who live around it interact with it. My first visit to Chicago coincided with the opening of Millennium Park, and I was engrossed by the sculptures, even if they are more “conservative” than the works shown in the nearby Art Institute. Perhaps not because of any transcendent message or societal insight, but because the crowd that had gathered there both day and night were having such a good time enjoying the works on display. Seeing kids laughing and playing around the Crown Fountain, adults smooshing their faces up against Anish Kapoor’s still partly-under-wraps Cloud Gate, it was all very fun and engaging. Not like other sculpture gardens I had been to! (Check out this relevant 37Signals article to see what I mean…) Another good example is Richard Serra’s Vortex at the Modern Art Museum of Fort Worth: it’s beautiful visually, but step inside and the sculpture takes on a totally different level of interactivity, with museum-goers quickly discovering the loud reverberations they can make by clapping, jumping, shouting, screaming.
Public art seems to draw suspicion from both the citizens that pay for it and live around it as well as the art critics — is that suspicion unfounded? Does public art suffer from those who regard it too highly (the “don’t touch!” signs at the Seattle garden) or from those who feel that art has to be understood rather than experienced? I’m glad that we have the AIPP here in Austin, and it’s good to see their map dotted with “in progress” works, I just hope they don’t turn out like the ill-fated and much-maligned Moments project.
I like this quote from Sports Illustrated writer Peter King that S.C. Squibb brought up on the ArtCal Zine blog:
Saw The Gates… Nice. Unusual. Great to see Central Park so packed with people and transformed into a pretty sight in the middle of a harsh winter. An enjoyable experience. But art? I don’t see it.
