MIT 6.849 Geometric Folding Algorithms: Linkages, Origami, Polyhedra, Fall 2012 View the complete course: http://ocw.mit.edu/6-849F12 Input by : Dian Islamiati Instructor: Erik Demaine This class begins with a folding exercise and demonstration involving Origamizer. A high-level overview of the mathematical constraints for Freeform and Rigid software are presented, followed by examples of origami robots and current open problems. License: Creative Commons BY-NC-SA More information at http://ocw.mit.edu/terms More courses at http://ocw.mit.edu
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Music
Art
Art and Music
Music moves through time; it is not static. In order to appreciate music we must remember what sounds happened, and anticipate what sounds might come next. Most of us would agree that not all sounds are music! Examples of sounds not typically thought of as music include noises such as alarm sirens, dogs barking, coughing, the rumble of heating and cooling systems, and the like. But, why? One might say that these noises lack many of the qualities that we typically associate with music.
N. Alan Clark, PhD
Thomas Heflin, PhD
Jeffrey Kluball, PhD
Elizabeth Kramer, PhD
University of North Georgia Press
Textbooks
The arts
Architectural structure and design
Bringing together pioneers in design and making within architecture, construction, engineering, manufacturing, materials technology and computation, Fabricate is a triennial international conference, now in its third year (ICD, University of Stuttgart, April 2017). Each year it produces a supporting publication, to date the only one of its kind specialising in Digital Fabrication. The 2017 edition features 32 illustrated articles on built projects and works in progress from academia and practice, including contributions from leading practices such as Foster + Partners, Zaha Hadid Architects, Arup, and Ron Arad, and from world-renowned institutions including ICD Stuttgart, Harvard, Yale, MIT, Princeton University, The Bartlett School of Architecture (UCL) and the Architectural Association.
Achim Menges
Bob Chail
Riairi Glynn
Marilena Skavara
UCL Press, London
Tetxbooks
Architecture
The arts,
Research regarding the significance and consequence of anthropogenic transformations of the earth’s land, oceans, biosphere and climate have demonstrated that, from a wide variety of perspectives, it is very likely that humans have initiated a new geological epoch, their own. First labeled the Anthropocene by the chemist Paul Crutzen, the consideration of the merits of the Anthropocene thesis by the International Commission on Stratigraphy and the International Union of Geological Sciences has also garnered the attention of philosophers, historians, and legal scholars, as well as an increasing number of researchers from a range of scientific backgrounds. Architecture in the Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy intensifies the potential of this multidisciplinary discourse by bringing together essays, conversations, and design proposals that respond to the “geological imperative” for contemporary architecture scholarship and practice. Contributors include Nabil Ahmed, Meghan Archer, Adam Bobbette, Emily Cheng, Heather Davis, Sara Dean, Seth Denizen, Mark Dorrian, Elizabeth Grosz, Lisa Hirmer, Jane Hutton, Eleanor Kaufman, Amy Catania Kulper, Clinton Langevin, Michael C.C. Lin, Amy Norris, John Palmesino, Chester Rennie, François Roche, Ann-Sofi Rönnskog, Isabelle Stengers, Paulo Tavares, Etienne Turpin, Eyal Weizman, Jane Wolff, Guy Zimmerman.
Etienne Turpin,
Open Humanities Press
Music Theory
Chaterina Schmit-Jones
Connexions
Basic Elements of Music
Catherine Schmidt-Jones
Building Green: Environmental Architects and the Struggle for Sustainability in Mumbai
Building Green
Environmental Architects
Building Green explores the experience of environmental architects in Mumbai, one of the world’s most populous and population-dense urban areas and a city iconic for its massive informal settlements, extreme wealth asymmetries, and ecological stresses. Under these conditions, what does it mean to learn, and try to practice, so-called green design? By tracing the training and professional experiences of environmental architects in India’s first graduate degree program in Environmental Architecture, Rademacher shows how environmental architects forged sustainability concepts and practices and sought to make them meaningful through engaged architectural practice. The book’s focus on practitioners offers insights into the many roles that converge to produce this emergent, critically important form of urban expertise. At once activists, scientists, and designers, the environmental architects profiled in Building Green act as key agents of urban change whose efforts in practice are shaped by a complex urban development economy, layered political power relations, and a calculus of when, and how, their expert skills might be operationalized in service of a global urban future.
Anne Rademacher
University of California Press
Instruments for New Music: Sound, Technology, and Modernism
At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Player pianos, radio-electric circuits, gramophone records, and optical sound film—these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and 1930s, the movement to create new instruments encompassed a broad spectrum of experiments, from the exploration of microtonal tunings and exotic tone colors to the ability to compose directly for automatic musical machines. This movement comprised composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jörg Mager, Friedrich Trautwein, László Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Patteson’s fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts
Thomas Patteson
Music Appreciation: Its Language, History and Culture
Douglas Cohen
Emily Fairey
Miriam Deutch
OpenStax-CNX
Religious Architecture: Anthropological Perspectives
Religious
Anthropological
Borrowing from a range of theories on spacemaking and material religion, and with contributions from anthropologists working in the United Kingdom, Mali, Brazil, Spain, and Italy, this fascinating and comprehensive study develops an anthropological perspective on modern religious architecture including mosques, churches, and synagogues. Religious Architecture examines how religious buildings take their place in opposition to their secular surroundings and, in so doing, function not only as community centers in urban daily life, but also as evocations of the sublime that help believers to move beyond the boundaries of modern subjectivity.
Amsterdam University Press
Doing the Right Thing : A Value Based Economy
"This book is for all those who are seeking a human perspective on economic and organizational processes. It lays the foundations for a value based approach to the economy. The key questions are: “What is important to you or your organization?” “What is this action or that organization good for?” The book is directed at the prevalence of instrumentalist thinking in the current economy and responds to the calls for another economy. Another economy demands another economics. The value based approach is another economics; it focuses on values and on the most important goods such as families, homes, communities, knowledge, and art. It places economic processes in their cultural context. What does it take to do the right thing, as a person, as an organization, as a society? What is the good to strive for? This book gives directions for the answers. The value based approach restores the ancient idea that quality of life and of society is what the economy is all about. It advocates shifting the focus from quantities (“how much?”) to qualities (“what is important?”).
Arjo Klamer
Ubiquity Press, London
Platonic Occasions: Dialogues on Literature, Art and Culture
Culture
In Platonic Occasions, Richard Begam and James Soderholm reflect upon a wide range of thinkers, writers and ideas from Plato, Descartes and Nietzsche to Shakespeare, the Romantics and the Moderns—from Evil, Love and Death to Art, Memory and Mimesis. The dialogues suggest that Percy Shelley was right when he claimed “We are all Greeks,” and yet what have we learned about the initiatives of culture and literature since our classical predecessors? Begam and Soderholm’s ten dialogues function as a series of dual-meditations that take Plato as an intellectual godfather while presenting a new form of dialogic knowledge based on the friction and frisson of two minds contending, inventing and improvising. The authors discuss not only what is healthy and vigorous about Western culture but also consider where that culture is in retreat, as they seek to understand the legacy of the Enlightenment and its relation to the contemporary moment.Platonic Occasionsis an experiment in criticism that enjoins the reader to imagine what the dialogic imagination can do when inspired by Platonic inquiry, but not bound by a single master and the singular mind. Beyond Socratic maieutics and Cartesian meditation is a form of intellectual interplay where it is impossible not to be of two minds.
Richard Begam
James Soderholm
Stockholm University Press, Stockholm
Actors and the Art of Performance : Under Exposure
the Art
Performance
Acting on stage is a mode of performing an action, in the context of which the bodily aspects implicitly at work in acting reveal their own significance and power. This event can actualize a wound incarnated in human beings, because the actor acts and does not act at the same time and hence the concept of being ‘the doer’ unmasks itself as being illusionary. One could call it a kind of ‘symbolic death’ (Mueller), an ‘anthropological mutation’ (Agamben)––an event of great interest because of its highly ethical call.The book “Actors and the Art of Performance. Under Exposure” opens with a cascade of contradictory motives for becoming an actor. But, if theatre is no longer understood as a theatre of representation, then what takes place on stage is a transformation at play with truth, in which ethics are realized by the aesthetic. Insofar the book summarizes the attempt to explore and map guidelines of acting as being under the perspective of be-coming. That may sound fairly harmless in theory, but it feels anything but harmless when you experience it on your own body. For example, for being physical under exposure actors have to learn that there exists no fundamental dualism between mind and matter. Furthermore, actors are espoused to a dynamic shifting ground in the name of creativity. They have to carry the burden that the self is no sovereign identity as we generally suppose, but rather a threshold of permanent be-coming. One could call it the outstanding gift of acting. In the German language, gift means “poison”, in German ears the word has the double meaning of poison and present, thus expressing the fact that a gift is disturbing and blessing at the same time. Loaded with fear and joy as the crucial point of acting, which attacks and attracts actors and spectators most.
Susanne Valerie
Palgrave Macmillan, London
Child
Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts? This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.
Natalie Sarrazin
Open SUNY Textbooks
Sound
Sound Reasoning is designed to help you listen. This course encourages you to be self-reliant--to get up close to the music, without mediation or interference. Too often, listeners may feel that they need pre-concert lectures, program notes and other verbal explanations to fully appreciate a musical work. These certainly may enhance and supplement one's enjoyment. But, ideally, a musical performance is a direct conversation between performers and listeners. No matter what your knowledge or training, you should be able to enjoy music with the fullness of your thoughts, should be able to explore and interpret it with confidence. The fundamental premise of this course is that, if you listen attentively and think constructively about what you are hearing, your awareness will prosper and your direct connection to the music will thrive. The course assumes little or no prior musical background. The ability to read music is not required. A minimum of musical terminology will be invoked. When it is necessary, all terms are defined in a glossary easily accessible by hyper-link. Most importantly, musical examples are interpolated directly into the text, making it easy to evaluate all the concepts that are introduced. Music's sounds lack literal or fixed meanings: as such, the experience of a musical work is a very subjective one. This course will not teach what to think. It will show how to think, to arrive at your own balanced and carefully considered opinions. A subjective perspective is strongest when it is built upon objectively verifiable observations. You will learn to develop a concrete understanding of the music's progress. The poetry and conviction of your interpretation will grow out of this concentrated hearing. You will also have the confidence to test others' views against your own perceptions. Our musical awareness now stretches further back historically and wider geographically than ever before. It is important to be prepared for music both familiar and unfamiliar. Conventional musical training usually begins with a strong grounding in the elements, conventions and terminology of the classical repertoire. The risk of that approach is that it often leaves listeners at a loss in the face of music where these terms and conventions no longer apply. Sound Reasoning addresses this problem by focusing on style-transcendent principles. The concepts explored in this course apply to any piece of music, no matter when it was written. Composers of different historical periods and traditions have dealt with these concepts in different ways. But the concepts themselves are timeless: They are the issues with which any piece of music is engaged. Each concept is illustrated with examples both from the classical and modern repertoires of the Western tradition. These repertoires are often segregated from one another. Presenting them side-by-side will help illustrate the continuity of musical thought. It will demonstrate how music of any time and any place may explore music's basic resources of resonance, motion and design. It will also help to prepare and encourage listeners to be active and curious explorers, prepared to greet both the known and the unfamiliar with engagement and insight. One of the defining features of a musical performance is that, once it begins, it is unstoppable: Unlike a book, it is not possible for the listener to pause, review passages, or change the pace of unfolding. For these reasons, listening to music requires a very special kind of focus. Conventional musical attempts to develop this focus by beginning with the smallest elements of music--chords, scales, melodies and phrases--and eventually building into questions of the larger musical form. The risk of this approach is that it conditions listeners to focus primarily on the moment-to-moment progress of the music: if the sounds are surprising or unconventional, listeners may easily get easily get thrown into confusion and lose track of what is happening. Sound Reasoning takes a "top down" approach to listening: It will show you how to stretch your awareness so that it takes in the full expanse of a composition. Details will then be contemplated with respect to how they contribute to the developing form. The advantage of this approach is that you will no longer be thrown off or disengaged by puzzling or unexpected sounds. No matter how unusual or unusual the music, you will be able to maintain your concentration and actually experience the entire work. Intuition and analysis are often regarded as opposing and incompatible. Analysis is felt to fight spontaneity and deplete one’s enjoyment. This is an unfortunate and misleading dichotomy. Intuition is speeded up thought: It is reasoning that occurs too rapidly for us to be able to articulate it to ourselves consciously. The purpose of analysis is to train our intuition, so that our visceral responses arise from the most comprehensive possible perceptions and understanding. At first, you may have to study musical concepts very deliberately; over time, however, these concepts will become part of your intuitive framework. Done properly, analysis strengthens our intuition and deepens our enjoyment. Part of the purpose of the Connexions project is to invite scholars to provide additional examples, both from within the classical and modern repertoires, but also from jazz, folk music, music of other traditions, and popular music. Ideally, a large sampling of repertoires and styles will help demonstrate the reach and relevance of the concepts we will discuss. Each module presents a particular topic, illustrated with musical examples. A "listening gallery" follows, in which the student is asked put the concepts into practice by interactively analyzing musical examples. Please feel encouraged to listen to the examples as many times as you need. Listeners sometimes shy away from highly unfamiliar music. Sound Reasoning will show how much can be gained even at a first hearing. If we are attracted to the music, we will return to it for further, ever-deepening listenings. When we meet someone new at a party, a whole life is concealed from us. An initial conversation may inform us about the person's history, outlook, and character but there are many discoveries to be made. Many years later, we may look back at that first encounter and realize how little we yet knew, how many revelations would occur later. So it is with listening to music. It is impossible to develop a relationship with a piece of music without a first hearing; it is impossible to come to love something if we are not first prepared for it to be new. Sound Reasoning is designed to help you cultivate a lifelong intelligent and passionate connection to music.
Anthony Brandt
Robert McClure
Physics
Theatrical
From the University of Florida College of Fine Arts, Charlie Mitchell and distinguished colleagues from across America present an introductory text for theatre and theoretical production. This book seeks to give insight into the people and processes that create theater. It does not strip away the feeling of magic but to add wonder for the artistry that make a production work well.
University Press of Florida
The Imagined and Real Jerusalem in Art and Architecture
In The Imagined and Real Jerusalem in Art and Architecture specialists in various fields of art history, from Early Christian times to the present, discuss in depth a series of Western artworks, artefacts, and buildings, which question the visualization of Jerusalem.
Jeroen﻿ Goudeau
Mariëtte﻿ Verhoeven
Wouter﻿ Weijers
Brill
Imaging Identity: Media, memory and portraiture in the digital age
Media,
Imaging Identity presents potent reflections on the human condition through the prism of portraiture. Taking digital imaging technologies and the dynamic and precarious dimensions of contemporary identity as critical reference points, these essays consider why portraits continue to have such galvanising appeal and perform fundamental work across so many social settings. This multidisciplinary enquiry brings together artists, art historians, art theorists and anthropologists working with a variety of media. Authors look beyond conventional ideas of the portrait to the wider cultural contexts, governmental practices and intimate experiences that shape relationships between persons and pictures. Their shared purpose centres on a commitment to understanding the power of images to draw people into their worlds. Imaging Identity tracks a fundamental symbiosis — to grapple with the workings of images is to understand something vital of what it is to be human.
Melinda Hinkson,
ANU Press
textbooks
From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.
Bart Barendregt,
Peter Keppy,
Henk Schulte Nordholt
Trxtbooks
Arts
An inquiry based approach to learning about music provides flexible lessons that deepen and broaden learners' understanding of music while engaging with their current musical interests, preferences, and goals. This hands-on experience with inquiry in a subject area that appeals to most learners also provides practice in selfdirected learning that can be applied in any area of life-long learning.
Connexions, Rice University, Houston, Texas
Flowering Light: Kabbalistic Mysticism and the Art of Elliot R. Wolfson
Flowering Light
Marcia Brennan
Jeffrey Kripal
Houston Reﬂections Art in the City, 1950s, 60s and 70s
Sarah Reynolds
Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.
Natalie Edwards
Ben McCann
Peter Poiana,
University of Adelaide Press, Adelaide
Music Appreciation (Georgia Gwinnett College)
"The author of this text has intentionally kept it general in nature in order to create a platform for those who want to expand content into more in depth studies of the mentioned concepts and traditions. I believe that appreciation of any subject comes from open-minded exposure to that topic. With the arts this generally must happen at a moment when the message and meaning of the work resonates naturally with the appreciator. Each instructor of music appreciation brings a unique expertise in differing genres. I encourage you to utilize this text along with musical examples of your choice. The music appreciation specific goals (found in the syllabus) vary between individual classes as the instructors see fit. These goals will be achieved by those who have competently met all of the requirements of the course. For the course that this text accompanies the goals for each student are: To gain basic exposure to the elements of music and their treatment in music To learn historical and cultural signifiers in a diverse body of music • To approach listening to music actively/analytically and to reflect on the experience To understand the factors that contribute to musical style in their own music and music presented in the course To gain knowledge about differing musical aesthetics and trends To become more knowledgeable and sensitive to varied human expression through music If we endeavor together to reach these course goals the successful student will be able to: Describe elements of music that s/he hears, employing correct musical terminology Place music into an appropriate historical and cultural context Listen critically and discuss a wide variety of musical styles Analyze the stylistic features of a diverse group of musical styles Identify nationalistic tendencies in musical expression Identify musical diversity and aspects of our global society"
Todd Mueller
Elizabeth Whittenburg Ozment
Catherine Kilroe-Smith
Irina Escalante-Chernova
Marc Gilley
University System of Georgia
Burning Bright: Essays in Honour of David Bindman
This book celebrates the work and career of the internationally renowned art historian, David Bindman, on the occasion of his 75th birthday, and is above all a tribute to him from his former students and colleagues. With essays on sculpture, drawings, watercolours and prints, the volume reflects the extraordinary range of Bindman’s knowledge of works of art and his impact through his teaching and research on the understanding of British and European artistic developments from the eighteenth to the twentieth century. The essays cast light on questions of technique and stylistic change, patronage, collecting and iconography, and engage with issues such as the representation of race, gender, sexuality, political violence and propaganda, exile, and notions of the canon. The artists discussed here include Hogarth, Blake, Roubiliac, Thorvaldsen and Canova, all subjects of books by David Bindman, as well as Morland, Rowlandson, Gillray, Millais, Munch, Nevinson, and Heartfield.
Diana Dethloff,
Tessa Murdoch
Kim Sloan,
Caroline Elam
UCL Press
Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving.
Joseph Kerman,
University of California Press, Oakland, California
Technical Theatre
An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text’s modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling.
Tal Sanders
Tualatin Books
Textbook
Exploring Movie Construction & Production: What’s so exciting about movies
Movie Construction, Production
What is it about watching movies that makes it one of our favorite pastimes? Is it the star of the movie? Is it the hype about the movie? Is it because it is an action movie or thriller? Do you like comedies so you can laugh? Most people do. Genesee Community College students made the following comments about the joy of watching comedy movies. “(I like) being able to watch a movie and relieving any sadness and negativity (in me) by laughing and realizing things are not so bad.” “I enjoy a movie because it takes me away from my problems in my life for a short period of time.” “I can escape life a little bit. I can just laugh and not think about work or school or any other stresses in life.” “I like to watch (a) comedy on a sad day because I can smile and laugh about it later.” “I like comedy movies because I love to laugh. Most comedies deal with real life things, which make me enjoy watching them.” Movies offer much more. Do you like suspense in a movie? How much of a movie do you remember two weeks after seeing it? Have you ever wanted to keep your adrenalin up after watching a suspenseful movie or keep your euphoric mood up after watching a comedy?
John Reich
The manner in which music theory has been traditionally taught is now in a state of flux. Originally, the study of music theory was designed to acquaint the music student or knowledgeable amateur with the composer’s working materials in “Classical” music roughly spanning the 17th- through the 19th Centuries. The role of music theory has expanded far beyond this mandate: theory training now incorporates greater or lesser explanations of music after 1900, music before 1600, idiomatic Jazz practices, elements of World Music, and Popular Song idioms. Such an expansion of means and methods in learning and teaching the fundamental language of music presents a formidable and almost daunting challenge: what to teach, how to teach it, and in what sequence
Mark Andrew Cook
Movie
This book is designed in this manner because, as a college film instructor at a community college for 18 years, I have found that the biggest difficulty students have with a film course is the textbook. Other textbooks give examples from numerous movies to demonstrate a particular term. Most of the movies used in other textbooks, the students have not seen, resulting in the students not comprehending the technical film terms and rendering the textbook useless. A book on film should be about film terminology and the understanding of it. Movies then become more appreciated when watched, resulting in better understanding of the movie and the terminology.
http//:opensuny.org
Introduction to Art: Design, Context, and Meaning
Art, Design, Context
We live in a rapidly changing world in which images play an important, even central, role. With widespread use of personal electronics, we instantaneously deliver and receive sound, video, and text messages. Corporations and governments worldwide recognize the power of advertising. Art museums worldwide are putting large parts of their collections online. Today we are seeing theater-quality movies made with inexpensive equipment that was unavailable ten years ago. Selfies, personal video, and memes are everywhere. In 1968, artist Andy Warhol (1928-1967, USA) said, “In the future everyone will be world-famous for fifteen minutes.” (Self Portrait, Andy Warhol: http://art.newcity.com/wp- content/uploads/2011/05/Warhol_SelfPortrait.jpg) We are seeing that prediction come true with the advent of personal electronics that rival the sophistication of the most advanced professional studios of only twenty years ago. We are surrounded by images, but, for all of our clever technical abilities, the fundamental dynamics of visual art remain the same.
Pamela Sachant, Peggy Blood