Incorporating Dismaland visit and the completion of the pub drawing.
All images link back to original Instagram postings.
Other 365 drawings can be found here.
It’s been a beautiful weekend, like the summer’s not ready to let go, I’ve been outside, mostly, hacking at the hedges. Pleasant but very tiring.
Within the space of a week UK politics has changed completely which is a breath of fresh air whether you agree with the direction or not. You can tell how much it has changed by the level of hysterical outrage in the old school press. It can be difficult to take your eyes off the news. Fun times.
If your not watching This Is England ’90, do yourself a favour and get with it. When it’s done, it’s done.
Seb Barfield (@Sebbarfield) September 16, 2015
Paul Greer (@burningfp) September 15, 2015
Twitter and Instagram users can learn a lot from a 1920s journalist – Paul Mason/A Graphic Account of Roxane Gay and Erica Jong’s Uncomfortable Conversation by Mari Naomi/Meet the Artist Making GIFs to Ridicule All the Shit Women Deal With: Isabel Chiara/The Tsarnaev trial: Drawing a line/Hunter S Thompson on Now, from the Past/Jeremy Corbyn’s new PMQs has Tory MPs turning to tranquil pursuits like sketching MPs/’Ukraine’s Banksy’ on his time imprisoned by separatist rebels – in pictures/Megan Nicole Dong – “I’ve been doing a series of comics about men being deceived by makeup.”/Judy Pfaff/
I can relate to this:
My creative process: http://t.co/3B7Uspk1ar—
Jim Zub (@JimZub) September 14, 2015
At BDH I was part of the team that worked on The Countdown To Life, a three part series produced by BBC Science in association with the Open University, exploring some of the latest research into understanding of human development, from conception to birth. With a complex pipeline, an imaginative and groundbreaking approach and with an array of the latest technology and software, the BDH team produced hundreds of shots of spell binding imagery illustrating the remarkable transformations that take place during those early stages.
Why does anyone share anything ever. Does it help people? These are all thoughts and findings and I collected them over time and then here they are. What I thought was worth passing on. Perhaps I should be weaving it into some kind of artful enterprise, but for the moment there is only this. A list. I’m work on making more stuff, but there is very little time, it’s not easy. I’m posting “daily” sketches at Instagram, so follow me there if you like.
I have to say I have been haunted by these two renderings from real time tech leonardo, Kyle McDonald. When I was little I remember imagining animation as it might be if each frame was as detailed as an oil painting, it didn’t take much practical experience for me to realise that such ideas would lead to certain doom of endless work, no friends and little result.
Bring on neural network analysis, the Inception Network and Google’s Deep Dream. This from the Bethge Lab.
In fine art, especially painting, humans have mastered the skill to create unique visual experiences through composing a complex interplay between the content and style of an image. Thus far the algorithmic basis of this process is unknown and there exists no artificial system with similar capabilities. However, in other key areas of visual perception such as object and face recognition near-human performance was recently demonstrated by a class of biologically inspired vision models called Deep Neural Networks. Here we introduce an artificial system based on a Deep Neural Network that creates artistic images of high perceptual quality. The system uses neural representations to separate and recombine content and style of arbitrary images, providing a neural algorithm for the creation of artistic images. Moreover, in light of the striking similarities between performance-optimised artificial neural networks and biological vision, our work offers a path forward to an algorithmic understanding of how humans create and perceive artistic imagery.
and the algorithm, the dream doings that wre blowing people away a month or so ago there are people around the word making this mad math work on images like this, and as you can read here, it’s not at After Effects plug-in utility level yet (there appears to be many lvels of adjustment and feedabck loops), but i’m sure it’s only a matter of time and several levels of genius away.
Most of me is hoping it’ll never be that easy.
Heads up from Prosthetic Knowledge.
This job is so cool because it’s about imagination, then destruction/The Groundbreaking Silhouette Animations of Lotte Reiniger/ Remove Water Stains From Wood Furniture with Mayonnaise/40 reasons why you should blog about your research/Mijn Begrafenis (My Funeral) by Maarten De Saeger (Bries)/ The Uber Endgame/Interview: The Diary of a Teenage Girl Author Phoebe Gloeckner/ Bringing International Communities Together Via the Medium of Comics – Wallis Eates on Connecting Teenagers Across the Commonwealth through Sequential Art/Debt is Good by Paul Krugman/Early Humans Made Animated Art/Could virtual reality revolutionise crisis-response filmmaking?/ Mutually Assured Content – In 2015, the illusion of audience ownership is becoming harder to sustain/ Spalding Gray’s Catastrophe by Oliver Sacks, ‘This only happened because people organized.’ – Nail salon workers speak out after NYT exposé by Sukjong Hong/Fette Sans Website back online/Jared Muralt – Sketchbook/Collaborative Self-Contained-Self-Portrait in the That Sea of Multiplicity – Traci Matlock/Linn Myers – Drawings/ Spinning Daggers by Benjamin Ducroz via Jim Le Fevre/
Tumbling daily since March 2008 at The Electronical Rattle Bag.
Be kind, it’s free.
Hold on tight, everything’s changing again. The only thing that never changes, is that everything changes.
So I started Autumn playlists on multiple platforms, because you never know when one of them is going to go down. I’ve been trying Apple Music, I’m not sure it’s quite ready. But I do love Josh Homme’s marvellous Alligator Hour.
“They said in the Eighties that painting was dead, well, painting hadn’t even started. It was such a narrow minded period of time, the conceptualists really tried to get rid of painting completely.
The area of imagination, the playing field for art, is so gigantic that no-one’s really explored it. That would be the legacy that I would want to leave, the exploration of what imagination can lead to, how it would compound itself to become expladential.
In other words what my generation does I would like to see another younger generation come and step on that and make that one step further into wild abstraction, to compound the poetry, make it lyrically remarkable.”