arsRSS home ArsRSS read feeds

Database Search: 0.026276 seconds  ? 
2. Source: Art Competitions provided by
Item: Masur Museum of Art 52nd Annual Juried Competition - Monroe, Louisiana
$3,200 in Prizes, $1,000 Best in Show. Deadline: January 1, 2015
3. Source: Art Competitions provided by
Item: Nude Attitude 2015 - Peoria, Illinois
$1,500 in awards. Deadline: January 16, 2015
4. Source: Art Competitions provided by
Item: America's ClayFest III - Roseville, California
$3000+ in awards. Deadline: February 27, 2015
7. Source: Art Competitions provided by
Item: St. Clair Art Fair - Saint Clair, Michigan
$2,500 in cash awards. Deadline: February 14, 2015
10. Source: Art Competitions provided by
Item: Marion Arts Festival - Marion, Iowa
$3,000 in awards. Deadline: January 21, 2015
11. Source:
Item: The Nor
Date: 7 November 2014, 7:47 am


For the Hayward Gallery’s MIRRORCITY exhibition, I am undertaking a series of walks around London, an investigation into paranoia, electromagnetism, and infrastructure, which I call The Nor.

The walks are documented with essays, photographs and other material published online. This page will be periodically updated as they become available.

November 7th: All Cameras Are Police Cameras

The first walk partially tracks the London Congestion Charge Zone. I photographed surveillance cameras and was threatened with arrest. I’d been reading Jonathan Crary’s 24/7: Late Capitalism and the Ends of Sleep and Eyal Weizman’s Before and after: Documenting the architecture of disaster, and listening to a lot of Black Metal.

More coming soon…

12. Source:
Item: Rainbow Plane 002: Kiev
Date: 29 October 2014, 9:21 am

For the Future Generation Art Prize in Kiev, Ukraine, I installed a new version of the Rainbow Plane: a 1:1 outline of an aircraft, as seen by a satellite.

The “rainbow plane” effect, which I first came across some years ago, and spoke about in 2011, is caused by the pan-sharpening technique of satellite imagery. Rather than taking a photograph, satellite sensors record electromagnetic radiation in the red, blue, green, and high-resolution panchromatic (black-and-white) bands (as well as several not visible to the human eye, as this Mapbox post helpfully explains). When these bands are combined to produce a visible image, fast-moving objects – like planes in flight – don’t quite match up, producing the rainbow effect.

Rainbow Plane (Google Maps)

The previous Rainbow Plane was an experimental supersonic jet which never flew; this one is very real. It’s a Gulfstream V, one of a class of numerous private jets produced by the General Dynamics-owned aerospace company. (General Dynamics also built the F-16 Fighting Falcon, and founded General Atomics, which produces Predator and Reaper drones).

The Gulfstream V is one of the most popular business jets on the market, used by private individuals including Russian oligarchs and Google founders, corporations, and governments. Military variants include Israel’s fleet of G550 SEMA surveillance planes. One Gulfstream V also became notorious as the “Guantanamo Bay Express”, one of the most frequently used planes in the CIA rendition programme.


For me, the Rainbow Plane stands for the moment when we see how technology sees the world, and thus how technology both obscures and reproduces political intent. Just as private aviation is used by power to exceed and evade national and legal jurisdictions, and satellite networks are deployed to measure and surveil the globe, analogous technologies can be used to invert and render visible these relationships.

Like the appearance of secret flights on civilian radar websites, the rainbow plane is a window into the workings of private networks of transit, rendition, surveillance and governance. The rainbow plane is a true “glitch”, where we see not an error, but a glimpse of how systems really function, allowing us to better understand and act within them. An aesthetic which reveals not the surface, but the depth of things.

Rainbow Plane 002 - 1

Rainbow Plane 002 - 2

Rainbow Plane 002 - 3

Rainbow Plane 002 - 4

The Rainbow Plane is installed in the City Arena centre adjacent to the PinchukArtCentre in Kiev until 4 January 2015. More photographs of the installation are available at Flickr.

I’m very grateful to the PinchukArtCentre staff and everyone at the Future Generation Art Prize for the assistance and opportunity to realise this work.

13. Source:
Item: Received by Post: Printed Web, TBD, and the Moving Museum
Date: 14 October 2014, 7:59 am

Three items have recently arrived by post, three publications, collaborations, and projects:


The Library of the Printed Web is a project by Paul Soulellis, “a collection of works by artists who use screen capture, image grab, site scrape and search query to create printed matter from content found on the web”. The first issue launched at Printed Matter’s LA Art Book Fair in January 2014, while this, the second edition, launched at Printed Matter’s NY Art Book Fair at MoMA PS1 in September, featuring work by Constant Dullaart, Daniel Temkin, John Zissovici, Cheryl Sourkes, Brian Droitcour, Tan Lin, Angela Genusa, Webdriver Torso, Rafaël Rozendaal, Olia Lialina, Cory Arcangel – and me.

For the book, I submitted three spreads of Landsat images, based on my Laaaaaaandsat tumblr, a continuously updated record of imagery released into the public domain by the Landsat program, the longest running enterprise for acquisition of satellite imagery of Earth. One thing I love about Landsat, out of many, is its continual partial rotation of the photographic frame, caused by the alignment of every image to north – a north which has no real meaning once you’re out in space – which results in a tipsy quavering of the images on the page and screen. It is also, in part, an homage to the archive view, and the endless scroll which so perfectly reproduces the experience of the web itself.


Back in October of 2012, I participated in a three-day workshop in Detroit organised by the Near Future Laboratory, called To Be Designed. The ultimate aim of this gathering was to produce a catalogue of design fictions: provocations from the near future. As Julian Bleecker, who did all of the heavy lifting, described it: “The products in the catalog serve as stand-ins and props that are representative of the everyday drama implicit in their existence”. The final result arrived last week, and is very lovely indeed: the TBD Catalog.

You can purchase a copy from the Near Future Laboratory, and read more about the project on their blog.


As part of the Moving Museum show in London at the end of last year – for which I made the Occupy the Cloud public banner installation – the Vinyl Factory commissioned sound works and cover images from nine of the participating artists and created a handsome limited edition box set of LPs.

BEGIN PGP PUBLIC KEY BLOCK (Alice and Bob worked for the NSA all along), my contribution to the set, is a recording of my PGP Key – specifically my Public Key, which is what I send to people so that I can share encrypted emails with them. The format is based on that of number stations, those cryptic Cold War shortwave broadcasts commonly attributed to espionage. In particular, it uses the call sign of the Lincolnshire Poacher. Watch and listen below, or on Vimeo.

14. Source:
Item: AQD: Remembrancer
Date: 20 September 2014, 4:01 am

The Remembrancer

A Quiet Disposition, my weak AI for gathering information about drones, is now open to the public online, and anyone can review it. AQD scours the public internet for information about UAVs of all forms, and analyses it, extracting names, companies, locations, and anything else it can make sense of. Running since January 2013, the database contains 25,644 people, 33252 documents, and 76414 terms – all linked by semantic analysis, bearing the signature of the drone.

I’ve previously shown AQD as a set of books, and a related visualisation, combing through the database to find pairs of names, linked by incriminating terms. The development of AQD has been assisted by the Open Data Institute’s Data as Culture programme, and for the Victoria & Albert Museum’s Digital Design Weekend, AQD has taken the form of a free newspaper, called The Remembrancer. 3000 of them are stacked up in the sculpture galleries, to be distributed over the course of the weekend. The editorial written for the back page of this publication can be found below.

The Remembrancer

In a series of articles in the Washington Post in October 2012, reporter Greg Miller revealed the existence of the Obama administration’s strategic database for pursuing terrorists, a “next-generation targeting list” called the “disposition matrix.” This database contains the names of suspected terrorists, together with “an accounting of the resources being marshalled to track them down, including sealed indictments and clandestine operations.”

The purpose of the disposition matrix is to determine the targets for the US covert drone programme, an ongoing programme of assassinations in Pakistan, Yemen, Somalia and possibly elsewhere. Previous to the announcement of the disposition matrix, the administration had repeatedly denied the existence of the so-called “kill lists”, but the killing continued. Between June 2004 and the end of 2013, these attacks killed an estimated 3105 people in Pakistan alone, including 535 known civilians and 175 children. (Sources: The Bureau of Investigative Journalism, New America Foundation.)

Drones—unmanned aerial vehicles—are a secretive technology, by nature and by design. Intended to operate in distant and hostile environments, they remain largely invisible both to their intended targets, and to the democracies which consent to their use. They also freight this secrecy to other areas of operation. Named spokespeople do not discuss the drones, they are the domain of the “unnamed official”. Even the London Metropolitan Police, in response to a series of Freedom of Information requests, have asserted the exception of the drone, and refused to discuss its use in civilian contexts. This secrecy extends to the information gathered on its behalf, the reams of data, and the means by which it is analysed and processed. In 2010, the New York Times reported that this deluge of data gathered by drones was overwhelming military analysts, who were looking to ‘big data’ solutions from the television and news industries to understand what they were seeing. The disposition matrix, too, is likely to consist of such automated, algorithmic systems to analyse and interpret the data fed into it. How much of its analysis is performed by humans, and how much by machines, we are unlikely to be told.

Occasionally, we are given glimpses into the ways the disposition matrix makes decisions, how it decides who will be killed. In February 2014, the Intercept revealed that the Joint Special Operations Command, which controls drone strikes in Yemen, Somalia, Afghanistan and elsewhere, often based its attacks on automated analysis of cell phone data: a cell phone signal detected at a known meeting of suspicious individuals and later detected travelling down a desert road in a remote part of the country could be enough to incriminate the person carrying it. A former JSOC High Value Targeting Team member stated that: “People get hung up that there’s a targeted list of people. It’s really like we’re targeting a cell phone. We’re not going after people – we’re going after their phones, in the hopes that the person on the other end of that missile is the bad guy.” These attacks are called “signature strikes”, undertaken on the basis not of a name, but on the signature, the appearance, of information itself.

This information is known as “metadata”. It consists not of the data itself—what people talk about, what they are planning—but the associations between them, networks of relationships which purport to reveal something about their intentions. NSA General Counsel Stewart Baker has stated that “metadata absolutely tells you everything about somebody’s life. If you have enough metadata, you don’t really need content.” During a debate at John Hopkins University in April 2014, Michael Hayden, a former Director of both the NSA and the CIA, confirmed that position, and went further: “We kill people based on metadata.”

A Quiet Disposition is an automated intelligence-gathering system which lives on the civilian network—the internet. It scours the web for information about drones, collected from news stories, blog posts and company reports. Using an open-source semantic analysis programme called Calais, developed by Thomson Reuters, it analyses the content of these texts to harvest their metadata: the names of people and places, of companies and organisations. From this information it builds a map of associations, its own network of inference and intention. Through their association, however distant, with the drone programme, these people and companies are implicated in the wider uses and abuses of the technology. A Quiet Disposition is a weak artificial intelligence: collecting information, drawing connections, building a picture. Since its inception in January 2013, the database has expanded to include some 25,000 people, 32,000 documents, and almost 75,000 “terms”—locations, technologies, titles and industries.

The City Remembrancer is an officer of the City of London, the financial and semi-independent centre of the nation’s capital, whose role is to communicate the desires of the City to parliament. Writing in the Guardian, George Monbiot described the Remembrancer thusly: “The City of London is the only part of Britain over which parliament has no authority. In one respect at least the Corporation acts as the superior body: it imposes on the House of Commons a figure called the remembrancer: an official lobbyist who sits behind the Speaker’s chair and ensures that, whatever our elected representatives might think, the City’s rights and privileges are protected.”

The City of London is also home to the FTSE 350 index, a list the largest 350 companies by capitalisation which have their primary listing on the London Stock Exchange. Of these 350 companies, 46 are known to A Quiet Disposition, identified in its long trawl through the deep web. Some of these companies are directly associated with the drone programme, such as BAE Systems and Qinetiq which design and build automated systems, to less obvious suspects, such as British Telecom, which constructed the dedicated fibre-optic link from RAF Croughton in Northamptonshire to Camp Lemonnier in Djibouti used by the US Air Force to operate drone strikes. Other companies may seem even more distant, but in their dealings the system has, somehow, detected the signature of the drone. They are implicated by association.

The Remembrancer, this newspaper, is one form of the information held in the database—but it’s barely readable. Or at least, its readable, but its near incomprehensible. The stories it tells are generated from the information it has gathered, in the same way that spam emails are generated: text from real sources, garbled by the machine as it attempts to make sense of them, and tell them back to us. Terms which are significant to the system are highlighted, weighted with meaning, but the meaning assigned to them by an algorithm, a non-human near-intelligence. The information it has gathered is too vast to be comprehended in its totality by us, but we must try to make sense of it. Lives depend upon it.

“Big Data”, the slippery term for the overwhelming flood of information unleashed by our increasingly surveilled and analysed world, is both promise and menace. It plays into our universal desire to know more about the world, and thus to operate in it more efficiently, but downplays the extent to which the world is shaped by the data that we choose to gather, the technology that gathers it, and the politics of those who design that technology. Increasingly, we inhabit a world where decisions are made by unknowable machines; not a dystopian future, but a banal recreation of the present, constructed from the traces of phone calls, credit card transactions, voting records. In this world, we must take responsibility not only for our own actions, but the actions of the vast non-human assemblages we have built around us—from corporations to complex software systems—and acknowledge the moral and physical limits of our technologies, and ourselves.

The Remembrancer

View the whole newspaper at Flickr.

15. Source:
Item: On the Rainbow Plane
Date: 4 July 2014, 8:38 am

I recently completed an installation at Farnborough in Hampshire, where I got to do something I’ve wanted to do for quite a while: draw a rainbow plane. (More images of the installation are available on Flickr.)


Farnborough is the home of British aviation, site of the first powered flight on British soil (by the American showman William Cody) in 1908, as well as the British Army Balloon School, the formation of the RAF, the Royal Aircraft Establishment, and the research facilities which produced the jet engine, carbon fibre and more. Much of the site of the RAE has now been cleared, but, thanks in large part to the efforts of the Farnborough Air Sciences Trust, several buildings have been saved, including the extraordinary wind tunnels and the magnificent, reconstructed airship shed, under which the installation is sited.

Like the Drone Shadows, the Rainbow Plane is a 1:1 outline of an aircraft – in this case, the Miles M.52, an experimental jet plane developed at Farnborough in the 1940s. The M.52 never flew, but several of its innovations, including the all-moving tailplane and the biconvex “Gilette” wing, were crucial to the success of the American effort to break the sound barrier with the Bell X-1.

The M.52 is shown here as if distorted by the characteristic pansharpening effect of satellite photography – as if viewed, in flight, from space. I’ve been fascinated by the “rainbow plane” effect visible in satellite maps for some time, and have collected many examples.


I’d seen many of these but didn’t really understand what I was looking at, until I started to process the imagery myself. After installing the Washington DC drone shadow, I purchased commercial satellite imagery of the city, in order to try to see my drone from space.

The image which I purchased came from Digital Globe’s WorldView-2, a 6000lb commercial observation satellite fired into space aboard a Delta II rocket from Vandenberg Air Force Base, California, in October 2009. Digital Globe was originally founded in 1992, ahead of the 1992 Land Remote Sensing Policy Act which permitted private companies to enter the satellite imaging business. It received its initial funding from Silicon Valley, and corporations in the US, Europe and Japan. Much of Google Maps imagery is purchased from Digital Globe.


The image shows 25 square kilometres of Washington, D.C., photographed on the 26th August, 2013 – but it’s not a photograph. Observation satellites do not carry conventional cameras, but multispectral scanners which contain an array of sensors for recording data across a range of frequencies. WorldView-2’s scanner contains 8 sensors with a resolution of 1.85m per pixel: four in the visible spectrum, recording red, yellow, green, and blue, and four more, in the deep blue, the red edge, and in the inner and outer near-infrared, covering a total spectrum of more than twice the visual range of the human eye. One more sensor measures panchromatic intensity across the visible spectrum, allowing images to be sharpened to a resolution of 0.46m per pixel.

In order to make this image, it is necessary to combine data from different sensors, so a 5-3-2 image, in this case, composites data from the visible red, green and blue sensors into a single, “true colour” image (although there is nothing ‘true’ about this). This image is then used to add colour to the higher resolution but black-and-white panchromatic image, a process called “panchromatic sharpening.”


This is the process which produces the rainbow planes, which move fast enough to blur themselves across the satellites’ different chromatic sensors. It’s a glitch, but like all good glitches the rainbow plane is also a key to uncovering the functioning of the image-making machines, a glimpse into the way the machines see the world.

16. Source:
Item: Spectacular Sports Visualisations
Date: 29 June 2014, 4:36 am

The 2014 World Cup in Brazil marks the first time that goal-line technology has been used for FIFA’s international tournament and with that in mind National Football Museum commissioned me to give an overview of where these systems are coming from, and where they might be going. This essay was originally published at The Commentary Project.

When Google unveiled its long-awaited wearable computer, Glass, in June of 2012, it did so through what might be called a lifestyle montage, a series of extreme sports events performed by “some of the world’s top athletes”. The Glass-wearers first skydived out of an aeroplane, then took to mountain bikes to manoeuvre through the conference centre onto the event stage. Throughout, what was streamed to viewers in the auditorium and watching online was not footage of the athletes undertaking the events, but what the athletes themselves were seeing, their point of view. What is spectacular about Glass, despite its real power as a connected, networked object, and what almost all discussion of it concentrates on, is its camera, the ability to see from another’s viewpoint, and everything this reveals.

While miniature high-definition cameras such as the GoPro Hero – particularly popular with the extreme sports community, bracketed to helmets, handlebars and snowboards – have made POV shots possible for a while, there’s something about Glass’ head-mounted position which appeals, as if it were not a camera, but the eye itself. Basketball teams have been early adopters of Glass. The Sacramento Kings, Indiana Pacers and Orlando Magic have all used Glass to enhance the “fan experience” by sharing headsets between announcers, resting players, support staff and coaches, and relaying the feed to giant screens above the action – but the NBA has yet to permit the use of Glass on court during play itself.

Another function of these cameras, aside from both the focus on, and the freedom from, a human-centred viewpoint, is that they transform our idea not only of vision, but also of memory. Many wearable cameras are marketed as such, like ‘Memoto’ (now rebranded as ‘Narrative’) and ‘Autographer’, small wearable digital cameras clipped to the chest or hung round the neck which photograph the owner’s viewpoint almost continually, building a continuous stream of images and data called a ‘lifelog’. The promise of such devices is total recall (“we can remember it for you wholesale”) – a promise, of course, which is always illusory.

A more rugged version of Glass, Broadcast Sports Inc’s head-mounted Ref Cam, has been deployed by Major League Soccer in the US. While it looks like a massive pain to wear, its wide-angle lens, bobbing with the referee’s pace, seems to open up a correspondingly wide field of view from the centre of the field, which feels liberating after the surveillance-like gaze of stand-mounted cameras. This is in stark contrast to Sky Sports’ version in the UK, whose chest-mounted ref cam was derided by former England hooker Brian Moore, writing in the Telegraph that “apart from nausea nothing was added to the viewing experience and the only previously unseen footage was that of the sky or the top of the scrum.” Moore’s real point, however, was that there was a fundamental flaw in the idea that such cameras could capture more of the “truth” of the game unfolding in front of them: “What is seen on camera is not a true rendering of what is actually perceived in a stressful moment.” Moore even cited a 2010 science paper on the use of wearable cameras by the Hillsboro, Oregon, Police Department, which found that even when every moment of a police investigation was recorded digitally, this evidence still had the potential to mislead officers, the judiciary and juries because of “the lack of understanding of important factors like the field of view, focus of attention and interpretation” – which sounds, too, like the advice of a particularly astute sports coach.

Indeed, much debate which happens in sports commentary around technologies of vision and adjudication would not sound out of place in academic journals of both the sciences and the humanities. Sporting fields have become the testing grounds for these technologies, providing as they do enclosed, hermetic fields of view, and strictly managed rules of movement and engagement – the kind of laboratory only dreamt of by scientists developing surveillance and monitoring platforms for military and urban situations, their most common applications.

When the English and Australian cricket teams faced each other in the Ashes series of the Summer of 2013, much of the commentary-box discussion focussed on the use of the new Umpire Decision Review System (DRS), a suite of technologies which assist – or rather, overrule – the umpire adjudicating some of sports greatest unknowables, the LBW, and the snick. Of course, these technologies, intended to increase accuracy, only inflamed controversy as their own accuracy was questioned as much as the human umpires. LBW is, after all, an epistemological problem – the question of whether a ball which strikes the batsman would have struck the wicket were the batsman not there is a question for Plato, not for machines. Nevertheless, cameras and sensors descended from military targetting systems are trained on the wicket in order to determine the best possible answer, and the algorithms which make up this situation determine the outcome of games – much to the frustration of many players and spectators. As Test Match Special commentator Jonathan Agnew, echoing Moore, noted: “The problem with the introduction of technology is the expectation of 100% accuracy” – a simple observation, but one which cuts to the heart of applying such supposedly rigorous approaches to sport, a fundamentally human endeavour which thrives on close calls, points of view, and, ultimately, chance.

Digital cameras are always more than cameras: they do not just make images, they ‘see’ and process them. Every connected digital-imaging system is also a computer, observing and making decisions about what it sees. This distinction is particularly well illustrated by “freeD” technology, which stands for Free Dimensional Video, a proprietary imaging system which debuted at Yankee Stadium in the 2013 Baseball season. Video feeds from multiple 12-megapixel cameras around the ground are combined within a dedicated server to produce a three-dimensional “scene”, through which the director can manoeuvre a virtual camera to produce unlimited, even “impossible” points of view. The entirety of the game world is simultaneously captured and re-viewed as a simulation. As with Eadweard Muybridge’s development of high-speed photography, which first allowed us to perceive a galloping racehorse with all four feet off the ground, the augmentation of the eye with technological systems allows us to see sport in new ways.

This total release of the visible “point of view” from any “human” viewpoint corresponds to the perceived freeing of decision-making from human error. This summer, the Football World Cup will for the first time utilise goal-line technology to determine whether the ball has crossed the line. Several different systems competed for selection, including the version of Hawk Eye used in Premier League, but the one which was chosen is a German surveillance system called GoalControl 4D. A total of fourteen cameras mounted on the stadium roof capture the three-dimensional position of the ball to within a few millimetres, enabling not only accurate decisions about goal-line crossings to be immediately relayed to referees via wrist-mounted “smart watches”, but also stored, replayed, and endlessly reanalysed. As in Cricket, the deployment of such decision systems has been much debated and often opposed, most volubly by FIFA president Sepp Blatter who has stated that “Other sports regularly change the laws of the game to react to the new technology. … We don’t do it and this makes the fascination and the popularity of football”. In this too we hear the deeply felt but ultimately fruitless appeal to the idea of sport as a fundamentally human endeavour, not at risk from, but essentially composed of, human frailty and fallibility.

Fruitless, of course, because we apparently find ourselves incapable of resisting the technological promise of an ever greater, ever more incremental, approach to some impossible “truth”, a Zeno’s arrow fired by a linesman towards the centre of the field. In sport, this truth-of-outcome is inextricably linked to the truth-of-performance, wherein one competitor, one side, ‘deserves’ to win because they are better prepared, better trained, better deployed, better equipped with what, in military circles, is referred to as “battlefield awareness”, leading to “full spectrum dominance of the battlespace”. As such, the same technologies of surveillance and appraisal are applied not just to decision-making during play, but also to data-gathering for post-game analysis by commentators and coaches alike.

From the beginning of the 2011-12 season, the NBA started installing STATS LLC SportVU cameras in basketball arenas, a technology expected to be mandated by the end of 2014 (again, like the application of surveillance systems in civilian environments, what begin as experiments in technology are ultimately and almost always codified in law). The SportVU system consists, like GoalControl, of a network of cameras around the arena connected to a data-processing system which tracks not only the ball in play, but individually identifiable players as well. The system’s sophisticated algorithms are capable of determining not only positioning, but through situational analysis, the events produced by and at these locations, such as dribbles, passes, touches and shots. The data is used to produce official NBA stats for every game, but also – for teams which pay a subscription of around $100,000 per year – to analyse and determine optimal strategy for the players themselves.

In March 2013, the Grantland blog revealed that the Toronto Raptors were using the data to – among many other things – “build computerized “ghost defenders” that reacted in optimal ways to every offensive action. The team could then overlay camera recordings of actual game play to see how closely Toronto’s real players mirrored the actions of their ghosts.” Once again, the real-world action on the court is filtered and replayed through simulations in order to re-direct the action back in meatspace. This is what is really driving the adoption of seeing systems in sport: truth-of-outcome not only produced by truth-of-performance, but, through technological feedback, fine tuning that performance as well.

To see where such systems might go in the future, we need only look to their current limitations – and the parallels of and responses to those limitations in other, surveillance-saturated spheres. Cairos Systems was another German-based bidder for the World Cup goal-line job, using a system called GLT which embedded magnetic sensors into the frame of the goal, and into the ball itself (of course, Cairos also has a system, called VIS.TRACK, which tracks player performance data through a network of cameras). On their website, Cairos writes – unusually explicitly for a technology company, that “In football, there are many decisions and scenes that may be discussed controversially. In the end the truth often lies in the eye of the beholder. Penalty or not? Red card or a dive? Active or passive offside?” It goes on to state that whether or not the goal line is crossed is one decision which “is clearly defined by the rules and does not leave space for interpretation. The question whether or not a goal has been scored can be decided without any doubts due to the rules.” As such, this particular decision is particularly amenable to technological intervention.

The counter-examples given here – penalties, red cards, offside – are instructive, because they fit far better what Brian Moore called the “focus of attention and interpretation”, the contentious, context-is-everything moments of sporting contact. Once again, we are in the domain not of observation, but of inference. The claim is now being made, however, that many automated, intelligent surveillance systems cannot only determine what happened, they can infer intent; they not only look back, but forward.

A study by the universities of Bradford and Aberystwyth in conjunction with the UK Border Agency in 2011 used video cameras and high-definition thermal imagery – essentially the same technology used to detect the “hot spot” in cricket – alongside yet more algorithms to determine whether study participants were lying. Telling signals such as eye movement, dilated pupils and nose wrinkling are visible to the human/video eye, but thermal imagery also reveals subconscious swelling of the blood vessels around the eye, a sign of distress or fear which signals that untruths may be in play. The UKBA stressed, as they prepared to install such systems at UK airports in the summer of 2012, that the technology is only useful when paired with an experienced human judge – and by that logic, why should it not be deployed alongside positioning cameras in the stands of the World Cup, to assist referees in determining which of two participants in a contested foul is telling the truth?

Why, after all, should we wait for fouls and other offences, such as offside, to be committed? It should be just as easy to award penalties and free kicks on the basis of players’ intent, and would be much safer and fairer for all involved. Recently, the US Department of Homeland Security’s “Project Hostile Intent”, for example, secured funding for a host of technologies claiming to predict crime based on “suspicious” behaviour. One of them, another camera-server assemblage produced by BRS Labs, uses “a range of in-built parameters of what is ‘normal’, [and] can track up to 150 people at a time to build up a “memory” of suspicious behaviour to begin determining what is inappropriate.” They are currently being installed in more than 300 locations in San Francisco, with strong expressions of interest from other global cities – although, as yet, none from FIFA. But if such systems can be trusted to protect our lives and livelihoods from the threat of terrorist attack, then surely they can be trusted to prevent another Hand of God?

Blatter, Moore, and Agnew, are all, surprisingly or not, for better or worse, at the forefront of a debate which extends far beyond the playing field. When we see sport through the eyes of the machines, we fundamentally change the nature of sport – and reveal, too, the extent to which the rest of society is reformed by our drive to visualise and reframe it with these technologies. As in so many ways, sport itself becomes the lens through which we understand ourselves.

17. Source:
Item: #Rorschcam NYC
Date: 11 March 2014, 10:35 am

I just arrived in New York for a three-month residency at Eyebeam. I had a rough first week, but on Monday fellow resident Ingrid Burrington showed me the Department of Transport’s online traffic cameras for New York City. I’d wanted to do a new rorsch-thing for a while (see, previously, Rorschmap and Rorschmap: Street View Edition) – and, as the streetview version was a little love letter to London, I thought I could redeem myself with this city by making it something nice: so I did.


#Rorschcam NYC takes hundreds of live New York traffic cameras, from all five boroughs, and makes what I call rorsches out of them; simple, reflected auto-images – or the network dreaming the city.

They look pretty great at night too (see this Flickr set for more screen captures – but they’re better live):


Like the city itself, it’s a little grimmer, a little darker than London. And then you start to see the stories. Have fun exploring.

18. Source:
Item: Planespotting
Date: 18 December 2013, 11:19 am

Today is International Migrants Day. Last week, I wrote about the failed deportation of Isa Muaza. Yesterday, Unity Centre Glasgow announced that another appeal by Muaza’s legal team had failed, and he was rescheduled for deportation, alongside a large number of others, on Tuesday night.


I heard at about 7pm that several detainees had been loaded onto vans at Harmondsworth Detention Centre and were on the move. I didn’t know where they were headed, but I knew that many previous flights had left from the private aviation area at Stansted Airport, a largely un-signposted collection of car parks and hangars on the western side of the airport. I arrived there at 8, just in time to see the first of several coaches and security vans, together with a police escort, arrive at the Inflite Jet Centre, a private customs and handling facility mostly used by private jets.

The coaches, five in all and probably from several different detention centres, arrived between 8 and 9, and were accompanied by silver vans bearing the logo of security company Tascor, formerly Reliance, who took over the role of deportation escorts from G4S in 2011 following the death of Jimmy Mubenga. Tascor has a page on its website called Our Values, where it boasts: “We steer clear of politics”. Most of the coaches were from WH Tours in Crawley, although one bore the bright yellow sun and jaunty typography of Just Go!


It is profoundly uncomfortable watching anonymous people of colour being loaded on and off vans and planes in the middle of the night under tight security. When you know a little of the background of the detainees, when you read their claims of torture and violence, their long battles to secure asylum, the institutional racism and homophobia, it’s terrible. But even without knowing these things, the manner in which it is done should tell you everything you need to know. The British Human Rights lawyer Gareth Peirce writes in Dispatches from the Dark Side, on UK complicity in torture, that “what is in fact the law precisely mirrors instinctive moral revulsion” but that “in this country, the government hardly needs such acceptance, since here the additional and crucial factor is that the public is unlikely to be given sufficient information to trigger revulsion.” Hence the night, the private terminals, charter flights, the hired coaches. All of this is deliberate: it is a policy of not being seen.

The detainees were kept on the coaches for some time, and there appeared to be some confusion about when they were going to depart. It’s standard practice in this situation to bring extra “reserve” deportees to the airport without warning, a practice condemned as inhumane by some MPs and the Inspector of Prisons. Before deportation, each detainee is issued with a plane ticket which gives the flight time – 22:20hrs in this case – and a flight number. As the flights are chartered, the flight number – here PVT091 – is internal, so it’s impossible to find out more details about it, except by going to the airport. The Home Office has been running deportation charter flights for some time, under as much secrecy as they can get away with, and refuses to disclose the companies involved in case it damages their commercial relationships. The ongoing deportation of Nigerians on charter flights is called “Operation Majestic”, but there are regular flights to many other countries, including “popular destinations” such as Pakistan and Afghanistan. Corporate Watch published a comprehensive report on what they call collective expulsion last month.


On the tarmac by the jet centre sat a Titan Airways 767. Titan Airways is based at Stansted, and describes itself as “the UK’s most prestigious charter airline.” Its fleet ranges from small business aircraft to widebodied airliners:

Since it’s foundation in 1988, Titan Airways has grown into the UK’s most prestigious charter airline, specialising in bespoke air charter, tour operator programmes and high end / corporate air travel as well as airline sub charter and aircraft leasing. It brings the very best standards of care and comfort to all its passengers. Once safely aboard, they can relax and enjoy our superb in-flight service and a wide choice of cuisine and fine wines to complete the experience. Titan’s modern, reliable aircraft can operate from all major international and regional airports day and night, 365 days a year.

It’s cold, and wet, and dark, and some of the deportees have been sitting on board coaches for hours, while Tascor guards mill about, smoke and chat. As it approached midnight, there was more activity around the plane, and it appeared that all the deportees were on board as the coaches left the terminal compound empty and parked up outside. (The next day, Unity tells me that two people were taken off the flight at the last minute, but those people estimated that around 80 Nigerians and Ghanaians were on board, including Isa Muaza, who was taken straight to hospital on arrival in Lagos, and a woman who married a British citizen two years ago, and was not expected to be deported).


You can watch flights taking off from the far side of the airport, from a muddy lane alongside the north end of the runway. On the way over to it, I was stopped by the Police, who had been told I had been seen around the private aviation area. They were happy that I was a ‘spotter’ looking for planes – and advised me to join Essex Police’s Plane Watch scheme – but also warned me that the private aviation section was a restricted area, and I shouldn’t go there.

At 00:27, the Titan Airways 767 roared down the Stansted runway and into the night. Moments before, its call-sign appeared on Flightradar: AWC48A. And from there, an aircraft registration number: G-POWD.

We can see G-POWD on approach to Lagos a little after 6am. Two hours later, it’s on the move again, making the hop westwards from Lagos to Accra, the capital of Ghana, where it makes another stop. And then at 11am it appears to lift off back in the direction of London – at time of writing, it is probably somewhere over North Africa.





When I got back to my car around 1, I had a flat battery, and had to wait for a repair man. When he arrived, and I explained what I was doing in this godforsaken place, he told me he’d been at the Inflite Terminal recently too, to jump-start a brand-new Tascor transporter van, whose driver told him these flights happen all the time, and nobody knows about it, not even most of the people who work at the airport. “Makes you think,” he said. “Makes you think.”


Photos are available at Flickr

19. Source:
Item: DIY Drone Shadows
Date: 6 December 2013, 9:30 am

The Drone Shadow Handbook is available for sale. You can also download an electronic copy for free below.


Last week I drew a Drone Shadow, number 006, in Brixton, London, for the premiere of Jeremy Scahill’s investigative documentary Dirty Wars. The work was commissioned by Picturehouse and Britdoc, who are distributing the film nationwide. You can read more on this site about the previous Drone Shadows in Istanbul, Brighton and Australia, as well as in Washington DC. There are more photos of the Brixton shadow at Flickr.

Dirty Wars is an excellent and powerful film investigating America’s covert wars in Afghanistan, Pakistan, Yemen, Somalia and elsewhere. Scahill visits the communities and families affected by the ever-expanding policy of special forces actions and drone attacks outside declared theatres of war, and digs deep into the politics and policies behind America’s version of ‘total war’. It is currently touring the UK and I urge you to see it – you can download it from the website if there’s no screening near you. I’ll be taking part in a discussion of the film at the Hackney Picturehouse this weekend.

As well as the Drone Shadow installation, I created a projection for Picturehouse which is touring the country with the film. It has so far appeared in London, Edinburgh, Glasgow, Newcastle, York, Liverpool, and elsewhere.



The Drone Shadow is a piece of public art, undertaken in public space, for the purpose of public debate, originating in work performed at public protests. For some time, I’ve wanted to open up the project, so that anyone can draw one. With this in mind, I’ve created a handbook, which gives guidance on how to draw a drone shadow, including advice on measuring and materials, and schematics for four of the most common types of drone: the Predator, Reaper, Global Hawk, and Hermes/Watchkeeper.

Please consider supporting the Drone Shadow project by purchasing one or more printed handbooks: Buy Drone Shadow Handbook.

You can also download it free here: Drone Shadow Handbook [PDF, 572KB, CC BY-NC-SA] ↓

See the full handbook at Flickr →


For Dirty Wars, Britdoc and Picturehouse printed 2000 copies of this handbook (above), via the ever-excellent Newspaper Club, which are being distributed at screenings.

Several Drone Shadows have already been drawn based on these plans, including one in Detroit’s Eastern Market for The Gallery Project‘s ‘Drones’ exhibition (installed by Lea Bult) …


… and several around São Paulo, Brazil, as part of the IV Mostra 3M de Arte Digital (these are Elbit Hermes drones, in use with the Brazlian airforce – which has used them to film football matches. A variant, called the Watchkeeper, is currently on trial with the British Army):



If you do use the plans to draw your own Drone Shadow, please have a read of the handbook, let me know about it, and send any feedback you have.

20. Source: The Guardian Culture Podcast
Item: The Truth podcast: Eat Cake
Date: 14 February 2011, 9:22 am
Can coconut cake + random phone calls = love? Find out in our alternative Valentine's Day radio drama from US producer Jonathan Mitchell
Enclosure (mp3)
21. Source: The Guardian Culture Podcast
Item: The Heckle 02: Mistaken identities
Date: 7 August 2007, 5:35 am
In the Guardian's daily podcast from Edinburgh, Lucy Porter and Brian Logan mull over mistaken identities with Phill Jupitus and Andre Vincent and comedy bigwigs report on this year's if.comedy awards, plus Phil Nichol.
Enclosure (mp3)
22. Source: The Guardian Culture Podcast
Item: Venice Biennale: Interview with Sophie Calle
Date: 15 June 2007, 5:35 am
The Guardian's Adrian Searle talks to artist Sophie Calle about her installation, Take Care of Yourself, on display at the Venice Biennale 2007.
Enclosure (mp3)
23. Source: ArtScene with Erika Funke
Item: John Michael Vaida & Hwaen Ch'uqi - November 16 2014
Date: 23 November 2014, 11:00 pm
John Michael Vaida, violinist and artist in residence at Wyoming Seminary in Kingston, and composer/pianist Hwaen Ch'uqi talk about their November 16th recital. More information at
Enclosure (mp3)
24. Source: Western Front
Item: The same condition repeated at every moment of the walk
Date: 27 October 2014, 12:55 pm

Norwegian-Sámi artist and architect Joar Nango presents a new body of work that responds to Vancouver’s changing urban landscape. Informed by his ongoing research into the creative DIY building techniques found in Sámi architecture, Nango’s practice highlights the role of local knowledge in creating livable communities: championing indigenous approaches to design and alternative models for social space.

Joar Nango (b. 1979, Alta, Norway) lives and works in Romssa, Norway. Inhabiting the frontier between architecture, design and art, Nango’s practice explores issues of native identity through contradictions in contemporary architecture and the built environment. In particular, he is interested in the creative simplicity and sustainable knowledge that exists within informal building environments of the north. In 2010 Nango co-founded the architectural collective FFB specializing in temporary structures and interventions in urban contexts. FFB was nominated for Norsk Form’s prize for young architects in 2012. Joar Nango has exhibited internationally, including recently as part of 43SNA, Medellin, Colombia (2013), the Norwegian Sculpture Biennale at Vigelandsmuseet, Oslo, Norway (2013), and Archizines at the Storefront for Art and Architecture, NYC, USA (2012). Recent solo exhibitions by Nango have been presented at Gallery SAW, Ottawa, Canada (2013), Knipsu, Bergen, Norway (2012), and SDG in Karasjok, Norway (2011). Currently he is artist-in-residence at the Office for Contemporary Art Norway’s residency program in Beijing, China.


Produced with the generous support of the Office for Contemporary Art Norway.


25. Source: Western Front
Item: Neo Nativism versus New Music
Date: 25 October 2014, 12:55 pm

Door $20 / $12


In 1989, a group of young Aboriginal artists took the floor at the Western Front for an influential multi-media performance entitled Neo Nativism, an expression of traditional Aboriginal culture through new technology. Fall 2014 marks its 25th anniversary and to celebrate Russell Wallace, one of Neo Nativism’s founding members, curates a night of New Music revisiting it’s original aim to connect tradition with modernity. The evening features contemporary Aboriginal performances by Leonard Fisher, new music co-composed by Russell Wallace and Remy Siu; Pat Ernst and Lan Tung; Michael Park and Warren Arcand, and arrangements of traditional and contemporary Aboriginal music by Tony Wilson for the Salt Chuck City Ensemble, a large ensemble of new music, jazz and Aboriginal artists.

The Salt Chuck City Ensemble is Kevin  Elaschuk (trumpet), David Say (sax), Pat Ernst (violin), Lan Tung (erhu), Ron Samworth (guitar), Michael Park (piano), Paul Blaney (bass), Skye Brooks (drums), Remy Siu (laptop), Deanna Gestrin, Alison Jenkins, Will George, and Russell Wallace (vocals).

The week leading up to this performance, artist Russell Wallace will explore playback transformation of ancient found reel-to-reel audio tape which he will cut and weave into a neo Coast Salish cape. You can follow it online at “Echoic Chamber.



Third in the series, this post concert talk back session features composers and originators of Neo Nativism.



Russell Wallace is a composer, producer and is a traditional Lil’wat singer. Russell’s music has been part of a number of soundtracks (film, video, television) and theatre/dance productions. He was the composer in residence for the Chinook Winds Aboriginal Dance program from 1996-2003 at the Banff Centre for the Arts. He has produced CDs that have been nominated for awards at the Junos, Canadian Aboriginal Music Awards, and at the Native American Music Awards in the USA. Currently Russell works and teaches at the NEC Native Education College. Russell was commissioned by the Nunavut Government to compose music for the Formation of the Nunavut Territories inaugural Gala in April 1999, by the University of Toronto for Aboriginal Music Days in 2000, and by the Westcoast Sacred Arts Society in Vancouver to compose a new choral work with Hussein Janmohamed for the Dalai Lama’s visit to Vancouver in 2004.

Remy Siu ( 蕭逸南 ) is an emerging composer based in Vancouver, BC. He studied at SFU Contemporary Arts with David MacIntyre, Owen Underhill, Janet Danielson, Jeffrey Ryan, Arne Eigenfeldt, and Barry Truax. His work has been performed by the Vancouver Symphony Orchestra, the Victoria Symphony, the Turning Point Ensemble, the Erato Ensemble, Musica Intima, and Quatuor Bozzini. He also composes and performs with Dissonant Disco (a Vancouver music collective) and Hong Kong Exile (an interdisciplinary art collective). Currently, he works on the staff of “Sound of Dragon Society,” a non-profit focused on asian music while “preserving heritage, [and] seeking innovation.” He has worked with Henry Daniel, Steven Hill, Rob Kitsos, and MACHiNENOiSY, among others in the Vancouver arts community. In 2012, he was artist-in-residence at the New Westminster River Market. He has produced two sold-out shows: ASCENSION (string quintet + dance) and Attacca 2012. He was featured in the Georgia Straight 2012 Fall Arts Preview. The Vancouver Sun described his music as “characterized by vibrant, driving rhythms and brash sonorities.”

Pat Ernst has been playing the violin for 20+ years. He grew up in Whitehorse, Yukon where he studied the Suzuki violin method as well as celtic and bluegrass fiddle. He has since completed a diploma in classical music as well as a diploma in jazz studies from Capilano University. He is a local violin teacher teaching at Capilano University in North Vancouver as well as in Squamish and Vancouver.

Playing a dynamic role in the Canadian music scene, Lan Tung is an erhu performer, composer, producer, and administrator. Originally from Taiwan, she incorporates Chinese music with contemporary expressions in her works. At the same time, an intensive interest in music outside her tradition has been a major drive in her artistic explorations. Lan is the leader of the JUNO nominated Orchid Ensemble, and she performs with Birds of Paradox, Tandava, Vancouver Inter-Cultural Orchestra, Mozaico Flamenco Dance Theatre, among many other projects. She has toured extensively in North America, working with composers, musicians, dancers, visual and media artists of various cultural backgrounds. Since moving to Canada in 1994, Lan has premiered numerous contemporary compositions, including chamber, solo, orchestral and electro-acoustic works, by Canadian composers John Oliver, Hope Lee, Moshe Denburg, Mark Armanini, Jin Zhang, Janet Danielson, Barry Truax, Neil Weisensel, Paul Plimley, Yawen V. Wang, Farshid Samandari, Michael Vincent, and Grace Lee.

Michael Park is a composer and pianist with a keen interest in speech, humour, and collaboration. His music aims to give audiences an experience beyond the realm of traditional concert-going. Heralded for his innovative projects, his Ted Talk Experiencing Disease Through Music has been described as moving, haunting, and an amazing translation of Alzheimer’s. Awarded the Gold Medal and BMO Advocacy Award, his opera, Diagnosis: Diabetes will be premiered during the Boston Metro Opera’s 2014-15 season. Michael’s compositions have been performed in Vancouver at the Sonic Boom Music Festival and the Songfire Festival of Song, as well as concerts presented by Music on Main, the Erato Ensemble, and pianist, Corey Hamm. His music has been presented in Winnipeg by Flipside Opera and the Contemporary Opera Lab, and in New York by Opera On Tap. Currently a DMA Candidate at The University of British Columbia, Michael previously completed graduate studies at The University of Western Ontario (2009), and undergraduate studies at the University of Manitoba (2007). His principal composition teachers include Dorothy Chang, Omar Daniel, Peter Paul Koprowski, Gordon Fitzell, and Orjan Sandred.

Warren Arcand currently resides on Galiano Island, BC. He’s primarily known for his work in performance art. The bulk of his work has been presented in Vancouver, with occasional forays to Victoria, Toronto, and Saskatchewan communities. His family comes from Muskeg Lake and Big River First Nations in Saskatchewan. His current interests include making images, text-based work and short film and video. He’s the past artistic director for the Centre of Indigenous Theatre, Toronto. An important formative influence on his life and work has been and continues to be his association with the artistic communities surrounding the Western Front and grunt Gallery.

Tony Wilson is “unquestionably one of the most original guitar stylists on the Canadian scene.” He has studied with many acclaimed jazz musicians including Oliver Gannon, Dave Holland, John Abercrombie, Kevin Eubanks and Steve Coleman. Tony’s compositions have been played by artists as diverse as the NOW Orchestra, The Hard Rubber Orchestra, Myra Melford, Kokoro Dance, Marilyn Crispel, Francois Houle and Zubot and Dawson. His five main active groups are the Tony Wilson Sextet, the powerhouse Albert Ayler tribute band called Flowers for Albert, the Irish-influenced group Celtic Works, the Pugs and Crows, and the John Zorn inspired Bugs Inside.


26. Source: Western Front
Item: Collective Works: Questions and Answers
Date: 20 July 2014, 12:38 pm


In conjunction with their performance of LIQUID TRUST, international video installation artists Susanne Clausen and Pavlo Keresty of Szuper Gallery, and musician-in-residence and curator of Music and Movement Mondays Ben Brown introduce their approaches to collaboration, mixed media, and contemporary practices.



Szuper Gallery (London, UK and Munich, Germany) is a co-operation between Susanne Clausen and Pavlo Keresty that presents filmed and live performances, video installations, interventions, and curatorial projects that incorporate multi-media installations and crash choreography. Szuper Gallery has exhibited at various international venues including the Institute of Contemporary Arts (London), Kuntshalle Wien (Vienna), Whitechapel Art Gallery (London), Lenbachhaus Museum (Munich), Kunsthalle Helsinki (Helsinki), Western Front (Vancouver), Shedhalle (Zurich), and Zeh Gallery (Kiev).

Ben Brown is a Vancouver-based musician, composer, and member of the Juno award-winning group Pugs and Crows. He has collaborated with contemporary and ballet dancers including Justine Chambers, Heidi Bunting, Lee Su-Feh, Kenny Pearl, Edmond Kilpatrick, and Megan Walker Straight. He is a mainstay in Vancouver’s creative music scene, performing with Jill Barber, Michael Bates Quartet, The Unsupervised, The Crackling, and the C.R. Avery Band. He is the founder of a new weekly collaborative series between live musicians and dancers entitled Music and Movement Mondays. He has recently returned from a Canadian tour with Tony Wilson and the Pugs and Crows and his duo with Vancouver vocalist/pianist Alicia Hansen is set to release their new album entitled “Companion” in the fall, 2014.


27. Source: Western Front
Item: Krista Belle Stewart
Date: 15 July 2014, 12:47 pm

Vancouver-based artist Krista Belle Stewart will be producing a new media work along with research during her two-month residency. Her work engages the complexities of intention and interpretation made possible by archival material. The work approaches mediation and storytelling to unfold the interplay between personal and institutional history. Stewart has exhibited in numerous group exhibitions, most recently as part of Fiction/Non-fiction at the Esker Foundation (2013), Where Does it Hurt? at Artspeak (2014), and the Western Front production Music from the New Wilderness (2014). She is a member of the Upper Nicola Band of the Okanagan Nation.

28. Source: Indianapolis Museum of Art Blog
Item: Oscar Tusquets Blanca – The Gaulino Chair
Date: 16 August 2013, 2:21 pm
Oscar T. Blanca, designer (Spanish, b. 1941), B.D. Barcelona Designs, manufacturer Gaulino Armchair, 1987 Indianapolis Museum of Art, Robertine Daniels Art Fund in Memory of Her Late Husband, Richard Monroe Fairbanks Sr., and Her Late Son, Michael Fairbanks, 2013.4

Oscar T. Blanca, designer (Spanish, b. 1941), B.D. Barcelona Designs, manufacturer
Gaulino Armchair, 1987
Indianapolis Museum of Art, Robertine Daniels Art Fund in Memory of Her Late Husband, Richard Monroe Fairbanks Sr., and Her Late Son, Michael Fairbanks, 2013.4

Oscar Tusquets Blanca (who prefers we use both surnames) was born in 1941. The Barcelona native trained as an architect and began working as a designer of furniture and objects in 1972 with BD (Barcelona Design). Since then he has won several award,s including the Spanish National Design Award. Tusquets Blanca designed the Gaulino chair in 1987 and it is a prime example of Spanish design and functional art. Every angle of the Gaulino chair has beautiful complex lines bringing joy to your eyes as you follow along its subtle, sculptural curves. This is the result of his friendship with Salvador Dali and his interests in painting and writing. It seems clear he was also inspired by Antoni Gaudi and Carlo Mollino for which he named the chair.

The Gaulino chair, winner of the 1989 Industrial Design Prize, has a handmade appearance yet it was his first industrial project in wood. Its structure is made of solid ash and is available in a natural varnish, oak stain or black stain. The oak seat can be upholstered in black, natural, or honey leather. It can be stacked, but what a crime that would be! This is a gorgeous piece that I want to sit in, touch, and be close to in order to study every detail. The anamorphic shapes speak to me and fascinate me. I am not surprised to learn that Tusquets Blanca considers this chair one of his best works. The Gaulino chair is now a part of the Design Arts permanent collection at the IMA.

— Marika Klemm, ASID, Marika Designs, LLC

Tusquets Blanca’s Gaulino chair is an inspired mix of masculine and feminine lines. It may be a dining chair but I prefer to see it as a stand-alone chair that exudes an international design ethos of beauty and functionality. At first glance, the Gaulino chair has a masculine stance on the floor that dares you to have a seat. Yet its machismo belies the feminine, almost sensual, lines of the seat and arms which draw you in and seal the deal. Some will use the Gaulino with the matching table. Others will place it in any room as a side chair to add a sophisticated, sublime and lean design element for the occasional aperitif, but I would use it as the ultimate desk chair, in black, at a small writing desk.

— Michael Lubarsky, DAS Member


Enclosure (jpg)
29. Source: Indianapolis Museum of Art Blog
Item: Straw Bale Gardening: A How-To Guide
Date: 5 June 2013, 8:00 am

1. Start with a bale of Straw.


2. Saturate it with water for about 3 days.

Watering a straw bale

3. Sprinkle the top of the bale with 1/2 cup granular nitrogen fertilizer and continue watering, adding 1/2 cup fertilizer for the next 3 days. Then for the next 3 days only add 1/4 cup fertilizer and water.

4. On day 10, begin digging 3 holes in the the top of the bale, a little larger than the plant pot diameter. Then fill the holes with potting soil or compost, or a combination, and water gently.

A straw bale with holes in it

A straw bale with dirt filled in the holes

Be sure to dig your holes slightly larger than the plant pot diameter

5. When the soil is no longer hot to the touch, plant and water gently. Clean gallon milk jugs with their bottoms removed make a good cloche if the temperature drops suddenly!

A planted straw bale with a watering pale

6. Continue watering gently and occasionally add dilute fertilizer or compost tea about once per week. The continued watering will leach the fertilizer out.

A straw bale with plants in it

Advantages to Straw Bale Gardening

  • Easier (raised) for folks with limited mobility
  • Useful if your garden soil is poor
  • Useful if you have little or no soil in which to garden
  • Virtually no weeding (Don’t use hay bales!)
  • Don’t have to rotate crops, use a fresh bale each year
  • At season’s end, provides great compost for rest of garden

Possible Disadvantages to Straw Bale Gardening

  • May look a little messy as the bale decomposes
  • Bales dry out quickly, so ultimately may use too much water…jury is still out on this one



Enclosure (jpg)
30. Source: AGO Art Matters
Item: Take Our #KidstoWork Day: An exhibition of AGO careers
Date: 10 November 2014, 12:14 pm

By Brittany Reynolds, assistant, Recruitment, Training and Volunteer Programs

Touring the Aimia | AGO Photography Prize 2014 Exhibition.
Talking marketing with Angela Olano.
In the kitchen with Chef Renee.
Goofing around in the Kids' Gallery.

On Nov. 5, 2014, eight of our employees’ Grade 9 relatives joined us for the day and had the chance to see the variety of career opportunities here at the AGO.

The day kicked off with a tour of the Aimia | AGO Photography Prize 2014 Exhibition by project assistant Danielle St-Amour, where the students learned more about different styles of photography and the importance of the Prize at the AGO.

Then they met with marketing manager Angela Olano to discuss more about promoting AGO exhibitions, and they were tasked with creating a plan to advertise the AIMIA | AGO Photography Prize to their high school peers.

To end the morning, executive sous chef Renee Bellefeuille taught the students how to prepare profiteroles to make their very own chocolate éclairs. Students also had the chance to create their own menu that would include a starter and main course before their chocolate éclair dessert.

The afternoon’s activities included a vault tour by registrar Cindy Brouse and a tour of the conservation lab by sculpture and decorative arts conservator Lisa Ellis.

Last but certainly not least, the manager of our artist-in-residence and adult programs, Paola Poletto, spoke to students about the upcoming Jean-Michel Basquiat exhibition and the group brainstormed what types of youth programs would be appealing to students in their high schools.

Thank you to all who participated in the AGO’s Take Our Kids to Work Program! This year marked the 20th anniversary of the program, which was started by The Learning Partnership in 1994 and gives Grade 9 students a headstart on their future by helping them explore career options and connecting them directly with the world of work.

Search the hashtag #KidsToWork on Twitter and Instagram to see what happened at other workplaces this year.

31. Source: AGO Art Matters
Item: Join us for the Aimia | AGO Photography Prize winner announcement
Date: 27 October 2014, 9:35 am
The crowd at last year's Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

The crowd at last year’s Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.

And, if you haven’t yet, cast your vote!

Image via Twitter.

Image via Twitter.

About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.

Follow Garvia on Twitter

32. Source: AGO Art Matters
Item: Art on wheels: Meet the Aimia | AGO Photography Prize Art Truck
Date: 25 September 2014, 1:26 pm

For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.

The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.

The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.

Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:

The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.

The 2014 finalists are:

  • David Hartt (Canada);
  • Elad Lassry (Israel/USA);
  • Nandipha Mntambo (South Africa); and
  • Lisa Oppenheim (USA).

Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit and follow @AimiaAGOPrize on Twitter.

33. Source: Digital Filmmaking Blog
Item: TTTOW - A unique film festival
Date: 22 August 2013, 1:40 pm
TTTOW or Taxi Takes on The World is a unique film festival where anyone across the world can participate. All you need is a camcorder (a smartphone will do!), a taxi ride and the ensuing conversation with the taxi driver - recorded and sent to the organizers. 

Yes, its as simple as that. But what exactly is this film festival about? 

The Taxi Takes on the World is a crowd sourced interactive documentary about conversations between drivers and passengers from inside taxis all around the globe. This user generated project aims to harness honest grassroots interactions and present the world’s ‘video takes’ on matters that affect us all. 

“Talks inside taxis are usually between people of diverse backgrounds and so offer a variety of perspectives. These ‘takes’ have the power to blur boundaries and bridge cultures. The Taxi Takes on the World will showcase crowd sourced video stories that mainstream media ignores about times when people find common ground and break stereotypes about the ‘other’. Mobile technology allows a democratization of media which aligns with my work’s vision for how new media will shape our future. This film festival will be part of a traveling film festival and offers a great opportunity to showcase citizens’ stories of brotherhood” - Vandana Sood - Giddings, Creator, Founder, Executive Director.

Date & Venues

The film festival will be held from The 21ST of September 2013 to the 2nd of October 2013 in Jammu and Kashmir, New Delhi, Punjab and Manipur. Kashmir and Manipur are both conflict states of India. 

This film festival is a partnership between The Taxi Takes on the World project and Standing Together to Enable Peace, Trust (STEP) a non-profit organization established in New Delhi in 2009.


The film festival will focus on certain broad themes:

  • Religious and ethnic conflict
  • War and terror
  • Race
  • Gender
  • Class
  • Culture

Each of these broad global topics has regional nuances that the mainstream media often overlooks. Through the prism of the taxi, where every day people from often widely disparate backgrounds meet, this film festival will tell a story about how, given the right space, we all can understand each other and speak a common language.

Where & How to

Need guidance on how to go about it? Check out this short prezi that suggests the kind of questions you can ask to begin a conversation and start your take. Find the application procedure, rules & regulations all on the TTOW submissions">submissions page.

Hurry, the submissions deadline is September 10, 2013!
34. Source: Digital Filmmaking Blog
Item: 10 Free Video Editing Software for Filmmakers
Date: 6 July 2013, 6:48 am

Money is, by definition, 
always a difficult issue for the low budget filmmaker.  The challenge is in getting as much of your meagre budget up on the screen as possible. Luckily, by the wonders of open source development, just about every $800 software package has its freebie equivalent.

1. Lightworks

PC ( LINUX public beta released early 2013, MAC TBA)
An incredibly powerful editing package that is head and shoulders above all other freebie editing packages.  Just take a look at their website to see some of the high profile projects that have used Lightworks.  Lightworks has features that even some of the big packages don’t have without the addition of expensive plugins.  With a strong community supporting it, this is only going to get better.
Get Lightworks here

2. HyperEngine-AV – Equivalent to Adobe Premiere, Final Cut Pro

A decent editing package.  A step up from the likes of imovie though still not up to the professional standards of the pricey packages.  For simple edits though, you could do a lot worse.
Get HyperEngine-AV here

3. Avidemux

One of the best free editing packages out there.  Avidemux allows you to do basic cutting, apply filters and work with a wide variety of different file types.  It gets better with each release.
Get Avidemux here

4. Windows movie maker, pinnacle videospin

These lightweight freebie editors should not be overlooked entirely.  For quick edits and changes there’s no need for the big guns.
Get Windows Movie Maker
Get Pinnacle Videospin

5. Avid Free DV

This was a great idea but has sadly been discontinued by Avid.  Avid Free DV is a free version of their high end editing software, preserving the interface but removing many of the advanced features.  Great for simple editing whilst also learning your way around Avid.  Copies are still floating around online, though now it’s unsupported it is just going to get more out of date with time.  Get it while it’s still useful.
Get Avid Free DV here

6. MPEG Streamclip

Another powerful, professional encoding and conversion tool.  It accepts even the most obscure video formats and can even download YouTube videos. It is widely used as a simple tool for transcoding unwieldly DSLR footage.
Get MPEG Streamclip here

7. ffmpeg

A powerful encoding tool that can read and convert just about any video file format.
Get ffmpeg here

8. DCP Builder – Equivalent to taking your project to an expensive post house

Want to screen your film at the utmost quality?  Modern digital projectors require something called a DCP (Digital Cinema Package).  Most post houses will charge you several thousands for the privilege, even for a short.  DCP Builder is free.
Get DCP Builder here

9. Open DCP

Another DCP package.  Personally I’ve had better results with this one than with DCP Builder.  But hey, they’re both free so give them both a shot and see what works best for you.
Get Open DCP here

10. Black Magic DaVinci Resolve Lite

A good colour correcting job can make your budget movie look a million dollars.  Black Magic now offer a lite version of their powerful colour correcting tool absolutely free!
Please feel free to add your own favourite free software that give an edge to the filmmaker.
35. Source: Digital Filmmaking Blog
Item: Free stock footage, music from Video Blocks
Date: 11 January 2013, 9:54 am
Got an email yesterday about an upcoming company called Video Blocks that's offering free stock footage from their collection of over 50,000 video, motion backgrounds and production music - if you sign up for a 7-day trial.

The offer seemed really tempting so I did some research on Video Blocks and realized they were featured on TechCrunch too:

Anyhow, I still have to check them out. The 7-day trial offer is really tempting, the only catch is that they require your credit card info to complete the trial sign-up. This is so that if you forget to cancel your trial in 7 days you will be charged at their regular monthly fee of $79 per month. But this kind of marketing tactic is not new at all...many big and small retailers, including Netflix have used a similar model of internet marketing to generate leads.

In any case, if you're into video editing or post production this offer is really attractive. Even the monthly cost of $79 is quite a decent deal for the amount of stock footage and clips that Video Blocks have on offer. But if you think you're not at the stage where you can afford a recurring cost, just take up their 7-day free trial and remember to cancel before it ends!

36. Source: Digital Filmmaking Blog
Item: How Apple's new computers impact filmmaking
Date: 26 October 2012, 12:04 pm

The new Macbook Pro and iMac announced by Apple on October 24 heralds a major shift in the way PCs will be designed and have a cumulative impact on digital filmmaking.

Below are some of the major upgrades that affect the digital filmmaking process:

1.    No Optical Drive: Both the new Macbook Pro with retina display and the new iMac have done away with the DVD drive, with Apple calling it  obsolete in the age of blazing broadband speeds when movies and television can be easily streamed online or downloaded. The new iMac does have 2 Thunderbolt ports and 4 USB 3.0 ports to allow connection of external hard drives and other devices. Seeing that Apple is usually the trendsetter in computer design, we can expect competitors like HP and Dell to follow suit. This could spell the death knell for the DVD industry, and moviemakers will now be looking to go completely digital. Of course, home theatre systems and bluray players will ensure that the home video market doesn’t completely evaporate in the near future, but the transition to a more 'online' movie watching experience is surely on its way.  

2.    Much better screen resolutions: The new iMac has a full HD display (1,920 × 1,080 pixels) for the 21.5” version and 2,560 × 1,440 pixel for the 27” version. It certainly translates into a better film/video watching experience and the computer being used for watching movies and gaming more than ever. The Macbook Pro with Retina display boats of a tantalizing 2,560 x 1,600 at 227 pixels per inch. This one has four times the screen resolution of the previous 13-inch version of the MacBook Pro.

3.    Super powerful processors: The new 21.5” iMac starts with a config of Intel Core i5 Quad Core 2.7 Ghz Processor with 8GB RAM , 1GB dedicated NVIDIA graphics and 1TB hard disk. Even the Macbook Pro with Retina display is all about performance, speed and graphics. It boasts of an Intel dual-core i5 Ivy Bridge processor clock at 2.5 Ghz (minimum) For graphics it has the Intel HD 4,000 graphics support. The RAM is 8 GB and its all-flash storage has three configurations available: 256 GB, 512 GB, or 768 GB. Such top-end configurations in the base models bode well for popular film editing applications like Final Cut Pro.  Apple will be looking to release an even more powerful version of its flagship video editing app to utilize the full potential of its new line of computer devices.

The rise of smartphones and tablets coupled with faster broadband speeds have already given a fillip to the various kinds of digital filmmaking, both in terms of production and post production.  Apple’s new line of smart computers will be prove to be another turning point, particularly because the optical drive has been dropped across its iMac and Macbook Pro ranges.

What do you think of Apple’s new devices, and their potential impact on filmmaking?
37. Source: Digital Filmmaking Blog
Item: 6 Frequently Used Transitions Between Shots
Date: 1 October 2012, 4:04 am

Film editing is all about making (mostly smooth) transitions from one shot to another. Here we briefly discuss the 6 frequently used transitions between shots:

1. CUT: The end of the first shot is attached to the beginning of the second shot. The most often used of all transitions, it creates an instantaneous change in one or more of the following: angle, distance, subject etc. In narrative films, normally only cuts are used within a scene.

2. MATCH CUT: A match cut (sometimes called a form cut) maintains continuity between two shots by matching objects with similar shapes or movements or both similar shapes and similar movements. One of the best known examples of a match cut is from 2001: A Space Odyssey (1968), in which a bone slowly tumbling end over end in the air is replaced by an orbiting spacecraft with a similar shape. Watch video below for reference:

3. JUMP CUT: A jump cut is a discontinuous transition between shots. For example, one shot shows a woman running on a beach towards the water, and the next shot shows her running away from the water. A jump cut is sometimes used to surprise or disorient viewers. It may also occur if the film print or video has missing footage. Many filmmakers and film schools associate a jump cut with bad editing.

4. FADE OUT, FADE IN: The first shot fades to darkness, (normally black); then the second shot fades in(by degree goes from darkness to illuminated image). The fade out, fade in can provide a short but meaningful pause between scenes and sequences. If this editing transition is doe slowly, it can serve as a leisurely transition.; if done rapidly, it is less noticeable or not noticeable at all. Perhaps because of the current popularity of fast pacing in films, this transition is used far less often than it used to be,

5. LAP DISSOLVE: The first shot fades out as the second shot fades in, overlaps the first, then replaces it entirely. Lap dissolves may be rapid and nearly imperceptible or slow and quite noticeable, creating a momentary superimposition of two images, sometimes suggesting similarities or even meaning.

lap dissolve

6. WIPE: A wipe seems to push one shot off the screen as it replaces it with the next shot. The wipe, which comes with many variations, has been popular in science fiction, serials and action movies. but it has also been used in such diverse films as It Happened on Night, (1934), The Maltese Falcon (1941), The Seven Samurai (1954), Ed Wood (1994) and Battlefield Earth (2000).

Many other transitions are used but much less often than these six mentioned above. We will post more on video editing techniques on the Digital Filmmaking Blog in the coming days,

38. Source: Digital Filmmaking Blog
Item: SXSW festival being streamed live
Date: 11 March 2012, 5:36 am
The South by Southwest multi-day gathering, also called the SXSW Festival, since it’s being livestreamed from Austin, TX, enabling viewers around the globe to feel the love even sitting in the comfort of their home. 

From March 9 - March 18, there’s a party going on, and you didn’t even need to fly there in order to attend. This event, which is popularly know by its acronym SXSW is streaming various live events, music and photos online here. Events are best viewed using Internet Explorer 9.

This year, more than 500 parties — a record — are on tap at venues around town. With its focus on music, film and interactive offerings, SXSW naturally attracts interest each year from record labels, film distributors and high-tech firms looking to make a big splash with lavish events featuring celebrities, freebies and, of course, lots of food and booze.

Overall, SXSW is known as a great creative mashup attracting filmmakers, distributors, music promoters, talent buyers, members of the national and international press, digital creatives, technology geeks, entrepreneurs, fans and fanatics. This year is the 19th time the South by Southwest film event is being held. The largest demographic represented among attendees are people in their 30’s (40%), followed by twenty-somethings (31%).

While it has a reputation for being hip, it aims to steer clear of being a stuffy, snobbish atmosphere, and based upon press testimonies , the South by Southwest gathering seems to have reached that goal in past years. And then some.

The interactive part of the festival continues for 4 more days through March 13th, while film viewing will last 8 more days through March 17th and for those who love the music events, there’s a great line up that will take folks out 9 more days, through March 18th.

A Microsoft gala last year at downtown's ACL Live venue, for example, reportedly cost $750,000. But the festival also appeals to other firms, including automakers, fashion designers, television networks and even the makers of Red Bull energy drink.

All are eager to reach the 20,000-plus trendsetters in town, hoping to generate buzz, which, in turn, generates sales.

 Visit the South by Southwest home page for a more comprehensive list of events and programs.
39. Source: Digital Filmmaking Blog
Item: George Clooney honoured at Palm Springs Film Festival
Date: 23 November 2011, 8:20 am

George Clooney will receive the Chairman's Award for his acting work in The Descendants and his directing of The Ides of March at the 2012 Palm Springs International Film Festival.

The award will be presented on January 7 at PSIFF's annual Awards Gala, a black-tie event that always hands out an array of awards to luminaries who figure to be in the Oscar race.

Like the awards given at the Santa Barbara International Film Festival in late January, the Palm Springs event has become a valuable stop on the Oscar campaign trail. Previous recipients of the Chairman's Award include Dustin Hoffman, Nicole Kidman and Ben Affleck.

Oscar-nominated actress Michelle Williams will also be rewarded for her portrayal of Marilyn Monroe in “My Week With Marilyn,” which is already generating Oscar buzz.

Williams, 31, will receive the Desert Palm Achievement Actress Award at the Palm Springs International Film Festival awards gala at the Palm Springs Convention Center. Previous recipients include Academy Award winners Natalie Portman, Marion Cotillard, Charlize Theron and Kate Winslet.

“My Week With Marilyn,” which opens Wednesday in limited distribution, premiered Oct. 9 at the New York International Film Festival. Directed by Simon Curtis, the film was presented Nov. 6 as part of the AFI Fest at Grauman's Chinese Theatre in Hollywood, where Monroe put her hand and footprints in cement in 1952.

The Palm Springs International Film Festival runs Jan. 5-16 2012 at various venues in Palm Springs

Sources: & Reuters

Technorati Tags: ,
40. Source: Digital Filmmaking Blog
Item: Final Cut Pro X released
Date: 24 June 2011, 10:11 am
Apple has released Final Cut Pro X, the latest version of its professional video-editing software and one of the most popular programs for digital filmmaking.
Its actually been two days since FCP X was launched, and of course there’s been a strong buzz about it in the market. Video professionals were not only impressed with the new features, but with the new price too. Final Cut Pro X is available in the Mac App Store for $299.99. Compare that to 2009, when the fully loaded Final Cut Studio retailed for $999.99.

Final Cut Pro X is a big update for the powerful editing suite, in no small part because it is now (finally) built with 64-bit support. That means that the app will be able to take advantage of the additional memory space in Mac OS X Snow Leopard and the upcoming Mac OS X Lion.

Installing Final Cut Pro X
Since the only way to get Final Cut Pro X is through the Mac App Store, installation is easy: You just click "Buy" in the store, and the app's icon appears in your Finder, ready to run. You'll be able to install it on five Macs, and you receive updates automatically. The program requires at least a Core 2 Duo-based Mac running Snow Leopard, a decent video processor, 2.4GB of disk space, and 2GB RAM (4GB recommended).

The big new feature is called the Magnetic Timeline, which takes a trackless approach to editing. Like Adobe, Apple has also put a lot of effort into what it calls Content Auto-Analysis, which is another way of saying that the software uses meta-tags to better organize and import content, based on shot type, media format and other information.

Check out this video Apple released to show off the new features in Final Cut Pro X:

41. Source: Digital Filmmaking Blog
Item: Shortie Awards Youth Film Festival
Date: 6 May 2011, 4:28 am" />

Hollyn Randolph just mailed me in about the forthcoming Shortie Awards film festival.

The Shortie Awards film festival will be held June 5, 2011 in Arlington, VA a suburb of Washington D.C. The Shortie Awards recognizes original short film productions created by student filmmakers, ages 7-18, and their teachers.

This year we have entries from 26 states and 14 countries and India has 36 entries which is the largest number from outside of the US.
Apparently the last date for submitting the entries was April 1, 2011. But we can look forward to the screenings and the winners. Those who live around Arlingtom and Washington DC should attend the event!
42. Source: Digital Filmmaking Blog
Item: Short Film: Damn Your Eyes
Date: 26 April 2011, 4:52 am

David Guglielmo, an alumni of School of Visual Arts, New York emailed me his short film titled Damn Your Eyes.
damn your eyes

Damn Your Eyes a Spaghetti Western-influenced revenge film shot on the Sony EX1 digital camera in the NY Metropolitan area for $5,000. It has been successful at film festivals and recently won two awards.

WINNER: "Best Student Film" at Royal Flush Festival '09
WINNER: "Best More Than Horror Short" at Buffalo Screams Horror Festival '10

I liked the visual quality of the film: the lighting, the locations, set, framing, composition etc. The DoP used the Sony EXI camcorder given to him pretty well. Most of the actors did a really professional job and that took the movie experience a notch higher. The screenplay could have been written better. Some of the moments in the movie were clichéd and boring but on the whole it is a decent production. What do you think of the movie? Please watch and comment (feed subscribers will need to visit the blog to watch it).

David Guglielmo must be congratulated for doing his excellent direction. Considering he is relatively new to this profession, he has done a laudable job that commands appreciation.
 Digital filmmaking is indeed growing from strength to strength.
43. Source: Digital Filmmaking Blog
Item: Tribeca Film Festival Launches Online Version
Date: 23 March 2011, 6:50 pm
I had recently blogged about Tribeca Film Festival's announcement of filmmaking grants for funding documentaries of social significance. Well now it has gone a step further further launched an online version of the increasingly popular movie fest.

According to Hollywood Reporter, the 2011 Tribeca Film Festival, which kicks off from April 20 and ends on May 1 in New York city, will have a new online component where audiences will be able to watch live streams of events and interact with other audience members.

Online audiences will also be allowed to submit questions to a host of festival executives and other notable guests and access detailed information on all of the online fest filmmakers. There will also be a Future of Film blog that will include posts from film and technology experts.

If you want to know about the screenings at Tribeca 2011, check out the Tribeca Film Festival 2011 film guide .

44. Source: ArtRightNow News
Item: Emerging artists wanting to participate in the Splendid festival read on...(May 2011)
Date: 20 March 2011, 1:03 pm
Calling creatives of all stripes who have an inquisitive mind, an innovative approach and a desire to collaborate to participate in the 2011 Splendid program.
45. Source: Digital Filmmaking Blog
Item: Salon Films launches filmmaker training program
Date: 10 January 2011, 9:02 am
Salon Films will launch a cross-border training program for young Singapore and Hong Kong filmmakers, and a funding initiative in connection with the Hong Kong government subsidy for filmmakers.

The training program is organized with the Media Development Authority of Singapore to bring budding Singaporean filmmakers to work in Hong Kong and China.

The program began in Hong Kong, in partnership with the Academy of Film of the Hong Kong Baptist University, and continues in Beijing, Shanghai, Suzhou, in cooperation with the China Film Foundation and CCTV, and will conclude in the Hengdian studio, lasting three weeks in each city.

The film crew is shooting a documentary to commemorate the 20th anniversary the establishment of economic relations between China and Singapore.

"Asian culture shares common origins," Wang said, "The training program is aimed at providing an opportunity for young filmmakers across Asia to meet, exchange ideas, and make films that speak to our mutual cultural roots."

To capitalize on the current prevalence of Hong Kong-Chinese co-productions and the growing film industry in China, the program also intends for young filmmakers and film students to obtain hands-on practical experience in China.

Film students at the Academy of Film of the Baptist University will also join the Salon team in Beijing and Hengdian.
46. Source: ArtRightNow News
Item: Winners for the 2010 Gold Coast Indigenous Art and Design Award
Date: 19 November 2010, 10:47 am
Anthony Walker is the winner of the 2010 prize.
47. Source: Digital Filmmaking Blog
Item: Tribeca announces filmmaking grants
Date: 17 September 2010, 1:08 pm
The Tribeca Film Institute announced Wednesday its submission period for grants is now open. TFI will award more than $500,000 in filmmaker support through 2011 and more than $100,000 through its new TFI Documentary Fund, presented by HBO.

The Gucci Tribeca Documentary Fund provides finishing grants totaling $100,000 to feature-length documentaries that highlight and humanize topics of social significance. The TFI Sloan Filmmaker Fund will award up to $140,000 to support compelling narrative filmmaking that explores scientific, mathematic and technological themes.

The Tribeca All Access Program will continue cultivating relationships between filmmakers from traditionally underrepresented communities and film industry executives, and provide each 2011 participant with $10,000. And, the TFI Latin America Media Arts Fund will support film and video artists working in narrative or documentary film and living in Mexico, Central and South America.

“We are excited to expand the reach and depth of our programming to support individual artists in the field,”
 said TFI artistic director Beth Janson.

The early submission deadline is Nov. 8; final deadline is Dec. 8. More info:
48. Source: Digital Filmmaking Blog
Item: Taiwan's Tsai Liang is Asian Filmmaker of the Year
Date: 6 September 2010, 4:47 am
South Korea's most prestigious film festival said Wednesday it has chosen Taiwanese director Tsai Ming Liang as its Asian Filmmaker of the Year.

The Pusan International Film Festival praised Tsai's work over the past three decades for pioneering unexplored areas that overcome the limitations of the art film industry.

"His 30-year-long devotion to filmmaking has greatly influenced Asian cinema and made considerable contributions to enhance the global status of Asian cinema," it said in a statement.

"He is renowned for seeking fresh ways of communicating with his audience... We can find the root of his endless spirit of challenging himself and the borderlines of art in his earlier works in the 1990s."

Malaysian-born Tsai is best known for "Vive L'Amour" that won the Golden Lion (best picture) award at the Venice Film Festival in 1994, and "The River" that won the Silver Bear/Special Jury Prize at the 1997 Berlin International Film Festival.

The 52-year-old has also won numerous awards with other films.

He is considered a leading exponent of the "Second New Wave" -- a group of Taiwanese directors in the 1990s who produced films with realistic and sympathetic portrayals of life rather than melodramas or action pictures.

The festival, held in the southern port city of Busan since 1996, will be staged from October 7-15 this year.
49. Source: Digital Filmmaking Blog
Item: Latest Web startups for filmmakers
Date: 18 June 2010, 1:39 am
As the author of the Digital Filmmaking Blog I often get emails about the launch of a new film camera or filmmaking scholarhip or film training program requesting to get featured on this blog. Often I find those things overtly promotional and commercial and decide to ignore them. But I would like to list a few good web startups for filmmakers:

1. Tyro TV: is a website that's intended for emerging television and filmmakers. They are sponsoring a new kind of online film festival/contest. According to the site owner,

We give young filmmakers a topic and everything they need to create their own movie -- video, music, and sound effects. Then let them create the best short film they can using these materials. Because everyone's using the same "building blocks," contestants will be judged not by their budget but on their creativity and storytelling abilities.

Their first competition is called "The Marijuana Mash-Up." For this contest, they are asking contestants to “mash up” (that is, creatively condense and re-edit) an hour’s worth of hilariously dated drug education films from the 50s and 60s to create a short campaign commercial that convinces people to vote for or against legalizing marijuana. The contest is motivated by the California initiative that'll be on the ballot this fall, but young filmmakers across the country have passionate views on this issue, to say the least! Finalists will be named late in the summer and a winner just before the election.

2. Fleetflicks: is trying to revive the short film as both art and entertainment. It's a place for filmmakers to expose their work to an international audience. The site hopes to spread the word to a diverse viewership and combat the stigma that the short film is only for crotch-punch and cat videos. The site has been up for a few months and has gathered a lot of followers, many of whom have uploaded their short films on the site.

3. Student Film Makers of India: SFMI is a site for student film from India where they can upload their films, make their profile and network with other film makers. The website has a decent design and has got quite a few members already who have uploaded their short films and animations there.

50. Source: Digital Filmmaking Blog
Item: Jumpstart Your Film and Television Career: 5 powerful TIPS on how to land more tv film jobs than you can handle
Date: 23 April 2010, 5:57 pm
This is a guest post by Ian Agard of Ian is a Toronto based writer/director/film producer who loves to entertain and inspire people through his movies and his filmmaking blog.

As you probably know, one of the most desirable yet challenging industries to make a living from is in the film and television industry.

By far, the most commonly asked question I receive from people throughout my six years working as actor, screenwriter, director and film producer do you get into the industry and make a living?

As a film producer; I have interviewed, hired and worked with several casts and crews while making my films. It becomes quite easy to notice the difference between individuals who struggle to find film/tv work and those who make a comfortable living.

Is it about luck?


Who you know?

I would like to share with you 5 POWERFUL TIPS that will help you jumpstart your film/tv career and get you on the road towards landing more paying industry work than you can handle.

TIP Number One: Be Willing To Work For Free

I know, you probably didn’t want to hear that but it’s imperative that you are willing to either work for free or very low pay. It’s a sacrifice that many in the entertainment industry must do when starting out, however, you’ll have the opportunity to meet others in the business as well as learn on the job. Taking “free” jobs quickly leads to full time careers.

TIP Number Two: Attitude Is Everything

This is one of the most important tips regarding developing a successful film/tv industry career. More important than your talent, your experience or your education; your attitude will determine how far you will rise within your career.
It will determine if people will refer job opportunities to you or hire you again for future projects. You must be a flexible, professional, team oriented person who is committed to “serving” the story/project to the best of your ability.

Production sets are full of egos, there’s no need for one more.

TIP Number Three: Recognize and seizure opportunity

You’ve probably heard the old saying luck is when preparation meets opportunity. I like to believe in a slightly different statement, luck = opportunity + willingness.
A certain film/tv industry work opportunity might present itself to you; you’re prepared...but are you willing to maybe work for free, work for low pay, work 12 hour days, be team-oriented, be flexible and agreeable or go the extra mile to help the project succeed.

TIP Number Four: Network and be visible

The reality of the film/TV industry is that most production jobs are never advertised. Those positions are usually filled through word of mouth and pre-established relationships. That’s why it is extremely important for you to always be committed to meeting new like-minded people.
The best places to meet and connect with people who share your zeal and passion are:

1) Onset while shooting a movie or television show
2) Through industry specific classes
3) At film festivals

TIP Number Five: Always be learning

As humans, we are learning machines. We are most alive and functioning closest to our potential when we are learning, adapting, adjusting and finding new ways, approaches and techniques to improve our lives (and our careers)in some way.

No matter how many years working experience you might have within the film/TV industry it would be hugely important for you to maintain a beginner’s mindset. A beginner looks constantly for one new tibit, one or more ways to expand on their current expertise.

To learn more valuable tips and in-depth advice, listen to my MP3 60 minute audio interview with film and television expert and veteran Stephen Dranitsaris at:
51. Source: - Features RSS Feed
Item: Mark Neville: A growing disparity between the haves and the have-nots
Date: 22 November 2014, 6:00 pm

In December 2011, Mark Neville travelled down from Glasgow and took a room in the London School of Economics' halls of residence. For the next five weeks, he meandered around the freezing capital, having been commissioned by The New York Times Magazine to capture London in whatever way he wished.

52. Source: - Features RSS Feed
Item: Allen Jones: The model of misogyny?
Date: 16 November 2014, 10:19 am

In my novel, Eat My Heart Out, a deranged second-wave feminist called Stephanie Haight owns a series of rip-off Allen Jones sculptures.

53. Source: - Features RSS Feed
Item: How do award-winning artists spend their prize money?
Date: 15 November 2014, 6:00 pm

The modern artist faces a conundrum: good work needs time and space, imaginative and physical. But making work also costs money; studios and materials don't come cheap, and even aesthetes have to eat. So you get a job that pays … then you don't have the time – or headspace – to make the work.

54. Source: - Features RSS Feed
Item: Oh you sexy things! The inside scoop on this Autumn's spiciest exhibition
Date: 8 November 2014, 6:00 am

London’s Wellcome Collection certainly knows how to reel us in – recently, the medical science museum has staged eye-catching exhibitions on dirt, death and drugs and now, after expanding its galleries, it is reopening with a show called The Institute of Sexology.

55. Source: - Features RSS Feed
Item: What happened when Glasgow School of Art went up in smoke?
Date: 24 October 2014, 6:00 pm

The call wasn't met with much concern. Over the years, at the Scottish Fire and Rescue Service's Johnstone command centre, there had been many call-outs to the famous Glasgow School of Art (GSA), always to a drill or false alarm. Nevertheless, dispatchers immediately radioed through to the three closest fire engines.

56. Source: - Features RSS Feed
Item: Denise De La Rue interview: How Picasso inspired my film A Cry for Peace
Date: 3 October 2014, 5:10 am

When the mexican artist Denise De La Rue first saw Pablo Picasso’s 1937 anti-war masterpiece Guernica, as a 10-year-old girl visiting the Museo de Prado in Madrid in the early 1980s, it didn’t so much leave a lasting impression as ingrain in her a call to action.

57. Source: World Art News at
Item: Lowry Art Trickery?
Date: 3 March 2009, 1:23 pm
Wigan Today reports that an art lover from Cheshire accused of tricking a dealer into buying a fake LS Lowry has told a court he thought the painting was genuine. Maurice Taylor - who calls himself Lord Taylor Windsor after buying the title on the internet for £1,000 - sold the Mill Street scene to businessman David Smith during a meeting in a Ritz hotel room in 2007. Mr Smith, managing director of Neptune Fine Arts, paid over £230,000 before discovering the work was bogus. Taylor, 60, who lives in a mansion near Congleton, had bought the snowy scene featuring matchstick-style figures three years earlier through friend and Lowry expert Ivan Aird. Mr Aird acted as an agent for the previous owner Martin Heaps who, the crown say, sold the picture for £7,500 with an invoice describing it as "After Lowry" because it was created by artist Arthur Delaney. Prosecuting at Chester Crown Court, Sion Ap Mihangel, said Taylor knew the picture was fake, invented history to boost its provenance, and doctored the invoice so it appeared he was sold a genuine work. Taylor admitted telling his buyer and auctioneers Bonhams he bought the painting several decades earlier from industrialist Eddie Rosenfeld. He said he did not know why he lied but claimed Mr Aird asked him not to say he bought the painting through him. He said Mr Aird told him the painting was genuine and said: "When he sold me that picture there was never a question in his mind. I didn't question him, he told me it was original." A team of experts from Bonhams later assessed the work and were taken in by it. They provided a £600,000 insurance valuation and laid on the red carpet treatment, hoping Taylor would sell it through them. Mr Mihangel said Taylor acquired the Bonhams valuation to strengthen his selling position and to ensure a private sale. Taylor denies denies six counts of fraud and one of forging an invoice. The trial continues. (For full source and full article click the Headline). Irish Art
58. Source: World Art News at
Item: Caged Art Recognised
Date: 1 March 2009, 4:44 am
The New York Times reports that 1974 Tehching Hsieh, a young Taiwanese performance artist working as a seaman, walked down the gangplank of an oil tanker docked in the Delaware River and slipped into the United States. His destination: Manhattan, center of the art world. Once there, though, Mr. Hsieh found himself ensnared in the benumbing life of an illegal immigrant. With the downtown art scene vibrating around him, he eked out a living at Chinese restaurants and construction jobs, feeling alien, alienated and creatively barren until it came to him: He could turn his isolation into art. Inside an unfinished loft, he could build himself a beautiful cage, shave his head, stencil his name onto a uniform and lock himself away for a year. Thirty years later Mr. Hsieh’s “Cage Piece” is on display at the Museum of Modern Art as the inaugural installation in a series on performance art. But formal recognition of Mr. Hsieh (pronounced shay), who is now a 58-year-old American citizen with spiky salt-and-pepper hair, has been a long time coming. For decades he was almost an urban legend, his harrowing performances — the year he punched a time clock hourly, the year he lived on the streets, the year he spent tethered by a rope to a female artist — kept alive by talk. This winter, owing to renewed interest in performance art, new passion for contemporary Chinese art and the coinciding interests of several curators, Mr. Hsieh’s moment of recognition has arrived from many directions at once. The one-man show at MoMA runs through May 18. The Guggenheim is featuring his time-clock piece in “The Third Mind: American Artists Contemplate Asia, 1860-1989” through April 19. M.I.T. Press is about to release “Out of Now,” a large-format book devoted to his “lifeworks.” And United States Artists, an advocacy organization, has awarded Mr. Hsieh $50,000, his first grant. He is gratified by the exhibitions. But he judges the book, which is 384 pages and weighs almost six pounds, to be the definitive ode to his artistic career. “Because of this book I can die tomorrow,” said Mr.Hsieh. (For full source and full article click the Headline). Irish Art
59. Source: World Art News at
Item: "Nazi" Picasso's Stay In NY
Date: 10 February 2009, 3:42 am
Time/CNN reports that it may have been possible for Picasso's boy to lead that horse without a rein, but it appears that the Museum of Modern Art didn't have the famous painting on as tight a leash as you might have thought. For more than a year that 1906 picture, one of the high points of MoMA's art collection, has been the focus of a Holocaust restitution fight that also involved another Picasso, Le Moulin de la Galette, this one hanging at the Guggenheim. Yesterday both museums settled out of court with three plaintiffs seeking return of the paintings, which they claim had been relinquished under duress by their Jewish owner in the 1930s. As with most settlements the details of this one are sealed, so we may never know whether or how much money changed hands. And by itself the mere fact that the two art museums chose to settle doesn't mean they didn't have faith in their own arguments. (Or, for that matter, that the plaintiffs didn't have faith in their's.) But jury trials are a crapshoot and for the museums at least, the paintings were too important to lose. (For full source and full article click the Headline). Irish Art
60. Source: World Art News at
Item: Joe Boyle's Art at Waterfront Hall, Belfast
Date: 25 January 2009, 4:10 pm
There is a small number of artists that savvy Irish Art collectors should carefully track in 2009 - and Joe Boyle (a previous Conor Prize Winner at the Royal Ulster Academy) - is one of them. This Belfast Waterfront exhibition fuses three themes. The first is Boyle's response to a trip to China investigating 17th century dry brush calligraphy combined with Chinese contemporary aspiration for a western iconography. The second is the notion that the fragment can intentionally signify the whole - as part of an ancient object may be considered a work of art - despite that not being the original artistic intention. In this exploration Boyle chooses the Eye as the part that signifies the whole in a meaningful manner - presenting an opportunity to explore different ways of seeing aspects of change in Irish Society. The final theme is a response to Landscape which employs notions of metaphor, edge and parameter to explore emotions which we experience and are challenged by what is often a familiar and sometimes threatening environment. Joe Boyle - Solo Gallery 2 Waterfront Hall 2 Lanyon Place, Belfast Tel: 028 9033 4400 Opens Tuesday 3rd February (7pm- 9pm) until 27th February 2009 Irish Art
61. Source: World Art News at
Item: Irish Art Thieves Took Taxi
Date: 9 November 2008, 11:43 pm
Bungling Irish art thieves led Gardai to their door last weekend when they brought their loot home in a taxicab. Two men were apprehended at a residence in Kilmore following the theft of three paintings. It is believed that the thieves were easily located after they hired a taxi to ferry them, and two of the paintings home following the robbery. According to Gardai a plate glass window in Greenacres was smashed and paintings removed from the display. Gardai this week said that while investigations into the matter are 'not yet complete', they are 'not looking for anyone else in connection with the matter'. (For full source and full article click the Headline). Irish Art
62. Source: International Art Competitions provided by
Item: Emerging Artists 2015 - Hudson, New York
Solo exhibition and $2400 in publication awards. Deadline: November 30, 2014
65. Source: International Art Competitions provided by
Item: 9th Arte Laguna Prize - international art contest - Venice, Italy
Cash prizes of 7,000 euro each; 5 Artist Residencies; 4 Personal Exhibitions; and more. Deadline: December 4, 2014
66. Source: International Art Competitions provided by
Item: Dave Bown Projects 9th Semiannual Competition - Online exhibition
$10,000 in cash prizes and purchases. Deadline: December 6, 2014
75. Source: International Art Competitions provided by
Item: Nude Attitude 2015 - Peoria, Illinois
$1,500 in awards. Deadline: January 16, 2015
81. Source: Network Front | The Guardian
Item: Sri Lanka v England: first ODI – live!
Date: 26 November 2014, 9:46 am

19th over England 125-4 (Ali 74, Buttler 1) All on these, you’d think.

England are in the drink now; of course they are! Credit to Sri Lanka, whose bowlers have been excellent these last minutes; here, Mendis draws Morgan forward, pushing towards cover, and instead, he inside-edges into the stumps.

19th over England 124-3 (Ali 74, Morgan 1) My days, this is well outside leg, and that’s Sri Lanka’s review gone. But, but, but.

19th over England 122-3 (Ali 73, Morgan 1) Mendis is back, and Ali’s down on one knee to slog-sweep hard to square-leg. Jeevan Perera runs in, and bends to pouch a flat one - but somehow, he spills it! Then, an lbw appeal, not out, runs given, REVIEW!

18th over England 121-3 (Ali 72, Morgan 0) Wicket-maiden, and England won’t be keen to lose another for a while.

Excellent bowling, this. Four dots induce Root to drive, but he doesn’t move his feet, instead swaying back, then attempting to get forward too late, even once he’s edged behind. Gone.

17th over England 121-2 (Ali 72, Root 2) Moeen’s had enough of this tip-tapping, so takes two hops down the track, reclines on one knee, and verily smites a gargantuan six over midwicket and into the crowd, followed by another - a tickle in comparison, but six nonetheless.

16th over England 108-2 (Ali 60, Root 1) “Huawei” asks one of the ads on the sightscreen, and pertinently so. I, for one, do not know. Joe Root is in, and he’ll not be wanting to hang around - he’s off the mark second ball, bunting to cover. And then, the last ball is a bouncer, behind Moeen’s back, and yet, somehow, not wide.

“The late 90s/early 00s Kiwis was the spiritual home of the bits and pieces player,” reckons Eamonn Maloney. “Gavin Larsen! To be unkind, even many of their non-bowling batsmen during that era were a bit bitty (looking at you Roger Twose).”

And so it begins. Bell’s bat is somehow drawn to one that’s slung away and is shaping away. But it bounces more than expected, so he helpfully guides the ball directly into Mahela’s hands at first slip.

15th over England 107-1 (Ali 60, Bell 35) Herath is back, and England are well placed to handle him - both Moeen and Bell are light on their feet and play the ball late. There’s not a lot of turn, neither, and Herath takes one on the finger as Ali shuffles outside one and plays - the ball goes past the bowler, who dives, and might actually have done better than poke it on its way.

14th over England 101-1 (Ali 58, Bell 31) So, has Moeen run out of moxie, is he playing safe, or what? He’s leaving balls he’d have caned to the fence, or halfarsedly playing, so, after performing the latter, tries to force the next one - from Perera - over cover; it drops just short of Mendis, who didn’t exactly advance with alacrity.

“I reckon 220 all out in the 45th over,” emails Sam Hedges. “Your commentary seems to be devoid of the usual OBO dark humour. Have you been on the mood enlightener at lunch?”

13th over England 96-1 (Ali 56, Bell 29) Bell waits for one from Dilshan - it’s wide, outside off, and bounces - so he carts it over midwicket, whereupon Thisara Perera englands into a dive that shoves it over the rope. This is a pleasure!

12th over England 90-1 (Ali 55, Bell 24) Thisara Perera replaces Mendis, and he finds a little bit of inswing which deceives Bell. Those around the bat begin a shout, but then compute the inside-edge and abort. Next, a drop-and-run - these two are enjoying this, and each other - and then, another luscious off-side drive that the outfield restricts to two.

Here’s Mark Worgan, whose mates definitely don’t call Wark Morgan (send in your spoonerisms here, please): “England 90s B&P XI- M Maynard (w) D Capel N Smith D Brown A Hollioake (c) D Reeve C White I Austin M Ealham M Alleyne C Lewis”.

11th over England 86-1 (Ali 52, Bell 23) A quiet over, but, but get a load of this: it doesn’t currently matter, because England are bossing this. And still, five from it.

“The Kiwis have some excellent bits and pieces,” notes Tom Collins. “Chris Harris (no relation I’m sure)? Does Scott Styris count or is he too good?”

10th over England 81-1 (Ali 51, Bell 19) Classic Bell, first the most velvety hop, skip and drive over mid-off for four, then a play and miss that almost costs him his leg stump.

Anyway, seeing as the batsmen have got this, what of the bowling? It’s hard to see how Woakes can prosper in Australia, where the pitches are true and demanding - even if he fits in well, what with how seamlessly a ‘y’ can be suffixed to his name. And likewise Gurney but without the redeeming feature - much as his dad Peter remains an English folk hero.

9th over England 74-1 (Ali 51, Bell 12) It’s Herath who’s given the task of stemming the torrent of runs gushing from English bats, and Bell has a second of scare, gloving one over Sangakkara’s head. They run two. And then, Moeen brings up his fifty, England’s second fastest ever, from 25 balls and with ten fours, thanks to an almighty pull over square-leg. The required rate is now below a run a ball.

8th over England 67-1 (Ali 47, Bell 8) Ajantha Mendis into the attack, and after two singles, he gives Bell one that’s slow, wide, short and flat. It’s duly clobbered over midwicket, and then an edge towards third man adds two more to the tally. Nine from the over, this is a slice of urine!

Beside me, John Ashdown gives us B&P XI’s MS Dhoni, who, at Test level, might just be the epitome of the genre.

7th over England 58-1 (Ali 46, Bell 1) Bell grabs a single, and then Ali gives himself room, stepping away to leg and swinging the ball with him, four more. Then, the same movement, but hit over the top - he doesn’t get all of it, though it’s perfectly safe - and they run two.

“Tough question,” emails Sam Cottis, “are you looking for the best of bits & pieces or the most bitty bits & pieces?For the later (and more fun) may I suggest, Ian Blackwell, Gavin Hamilton and Mark Alleyne.”

Dilshan into the attack, and with his first ball, he foxes Cook, who plays too soon and is thunked on the pad by one that hurries on. It might just have been going down - well, it probably wasn’t, but the other two probably weren’t going over either - and he walks. Is it wrong to surmise that this might help England?

6th over England 51-0 (Cook 10, Ali 40) Beefy reckons the outfield has slowed, and he should know, he’s seen a few. It’s testament to his love of pleasure that he’s there, as he always is - nary a chance missed to get out and about. Cook punches one into the offside and gets three, run hard, then Moeen crunches a drive through cover and batters a flay, flays a batter, over point for annother one-bounce four. A proper one-day batsman at the top of the order works! Amazing! And there’re four more, edged down to third man, and then fo mo, slices to fine leg. Ali has 40 off 20, or, put another way, it’s precisely time for him to bellaciously spoon one to mid-off.

5th over England 32-0 (Cook 7, Ali 24) Ali has a serenity about him that isn’t often present in English batsmen, and he clumps Mathews’ first ball for a one-bounce four in front of square on the off-side, then edges his second wide of slip for two. And he’s not finished either, standing up and back to stroke four more through the covers - imagine if England combined his touch and power with Hales’ power and power - and takes the last for the same, cut to third man and faciliated by idle fielding. 14 from the over.

“Add Chris Lewis and Craig White to your team” says Kevin Wilson - arguably harsh on both, but yep, well-earned at the same time.

4th over England 18-0 (Cook 7, Ali 10) Cook flicks one off his pads down to deep square, and Moeen steps into one a little harder - he thinks it’s going for four again, but it isn’t, because Perera chases hard, diving to whip it away from the fence at deep extra cover. Cook then chases a wide one, bottom edges a catch, Sanagakkara is sure, wide is given, review isn’t used.

Question: would it be better if the vuvuzela(s) - what is the plural? - were replaced with harmonica(s)?

3rd over England 11-0 (Cook 4, Ali 7) Apropos of him bowling, what a player Angelo Mathews now is - talking of bits and pieces types, he looked like he might be one of those for a bit. Who would go in a Bits and Pieces XI? Not poor Daffy, who was daubed thus earlier, but, to begin with, Capel, Ealham, Batty, Clarke, Reeve, Austin, Irani, Cowdrey. Anyway, Cook takes two and then one, after which Mathews serves one to hit, Moeen swipes a pull, bottom edges, and the ball raps the base of the stumps but fails to disturb the bails. Incredibly, this is entertaining.

2nd over England 8-0 (Cook 1, Ali 7) Dhammika Prasad takes the new ball from the other end, and immediately Ali shows that having a strokemaker at the top of the order is fairly sensible in a format that demands strokemaking. He uppercuts his first ball for four - it’s wide and short - then flows into a beautiful cover-drive that’s well fielded, then crunches a cut that’s well fielded. Next, they add a single each, before Ali eases another away on the offside, expecting four, getting two - the outfield is slow, enough to force fielders to chase stuff because they might just get it. England will need to run harder.

1st over England 0-0 (Cook 0, Ali 0) Quiet maiden to get us going. England mustered none of the same in their 50 efforts.

My my, hey hey, that second one in particular looked absolutely plumb. But it wasn’t!

It’s in-line, it’s straightened, it’s straight, AND IT’S JUST OVER THE TOP! IT’S FURTHER OVER THE TOP! NOT OUT!

Out of habit?


It’s in-line, it’s straightened, it’s straight, AND IT’S JUST OVER THE TOP! NOT OUT!

Out of pride?


And play.

“...this is set up perfectly for Ravi Bopara to narrowly and heroically fail get England the win (again),” emails Charlie Bird.

I’d take that, it’s something to do. It’s not the hope, it’s the soul-defiling trudge through 50 overs without any hint at success that I can’t stand, as John Cleese’s character said in Clockwise.

Here’s Sam Kelly on hat-tricks: “While not officially defined, a hat-trick traditionally involves 3 wickets from consecutive balls in the same match (but can be split over innings in a test or first class match). As such, the answer to Andy Gledhill’s question is probably Jermain Lawson’s hat-trick against Australia which took place across both innings between 2nd-5th of May, 2003.”

Eng have never won an ODI chasing 310+. No team has chased 300+ to win an ODI in SL. Eng's highest score in SL is 234. SL 317-6 from 50 ovs

“Just a few mistakes”, says Marcus Trescothick of England’s efforts. Seventeen of them, to begin with.

There we were, tantalised. Each time Sri Lanka were in, they pulled themselves back out, hinting at a total that appeared manageable, that we’d expect every other side to chase down, that we’d expect England to spend a long time getting nowhere near.

Here we are untantalised. Chris Woakes conceded 21 runs from the penultimate over, and, with his pals, conceded 17 wides in the innings, cementing a total that is unmanageable, that we’d expect every other side to chase down sometimes, that we expect England to spend a long time getting nowhere near all the time.

Right, that’s it from me for now. Thanks to the rain there’s a shortened break now, after which Daniel Harris will be your guide to England’s dismally hilarious collapse/historic record-breaking run chase.*

*Delete as appropriate.**

Do you think Sri Lanka will fancy defending this? I think Sri Lanka will fancy defending this.

50th over: Sri Lanka 317-6 (B Mendis 30, Thirimanne 26) Gurney takes responsibility for the final over. A yorker is squirted away for two by Thirimanne and that’s followed by wide No17. It’s all a bit slash-and-squirt here, with the batsmen unable to find a clean contact or the boundary rope. Just eight from a decent over.

If the rain holds off *and* England manage to chase 300, I'll retire and become a Colombo tuk tuk driver tomorrow #SLvEng

49th over: Sri Lanka 309-6 (B Mendis 26, Thirimanne 22) Woakes kicks off the penultimate over with a miserable half-tracker on Mendis’s hips. He’s plenty good enough to help the thing up and over backward square leg for six. He follows it up with a thunking shovelly straight drive for four more that bring up the Sri Lanka 300, then a toe-ended flat-batted straight six. Twenty-one (21) runs from the over.

“Quiz question for the interval after those two Tredwell wickets,” begins quizmaster Andy Gledhill. “What’s the longest amount of time between a bowler starting and finishing his hat-trick?”

48th over: Sri Lanka 288-6 (B Mendis 9, Thirimanne 21) Gurney will bowl this over and presumably the last. Thirimanne with remarkable hand-eye coordination manages to force his arms to wait for a slower ball while the rest of his body attempts to edge to leg and picks up a couple with a flick. Another two follow and the last is overpitched and flicked away over square leg for four.

47th over: Sri Lanka 279-6 (B Mendis 8, Thirimanne 13) Thirimanne gets his feet working at last and skips down the track to Ali, lofting him inside-out over the covers for four. Fine shot. A slack misfield from the last means nine from the over.

46th over: Sri Lanka 270-6 (B Mendis 5, Thirimanne 7) Sri Lanka’s 204-2 in the 38th over has become 264-6 in the 46th. Mendis flick-pulls Woakes away for four in front of deep square leg then nudges to third man for a single.

Sri Lanka are making a right old England of this. Perera slogs, gets underneath it, and Cook takes a fabulous diving catch running back from the infield.

45th over: Sri Lanka 263-5 (T Perera 4, Thirimanne 6) Cook turns to Moeen Ali once again. Thirimanne is struggling to get his feet moving, Perera can’t quite time it and three singles are all Sri Lanka can pick up from the first five balls. From the last, Thirimanne forgets about moving his feet and decides instead to plant them a mow Ali over midwicket for four.

44th over: Sri Lanka 256-5 (T Perera 2, Thirmanne 1) That was a very, very sharp catch from Buttler to remove Jayawardene. And it leaves Sri Lanka scrambling to get up towards 300 now. Woakes returns. And this just shows the value of getting two fresh batsmen to the crease – just three singles from the over.

43rd over: Sri Lanka 253-5 (T Perera 0, Thirmanne 0) An over of two halves there – 15 runs from the first four balls, then two wickets with the last two. He’ll begin the next match on a hat-trick.

Two in two! Jaywardene is strangled down the leg side!

Tredwell skips in for his 10th and final over. Stokes – having a pretty miserable time out there all in all – misfields a Mathews mow out on the boundary to hand Sri Lanka an extra single, then can only watch as the Sri Lanka captain blasts one straight over his head for six. And he follows it up with another! A huge blow back over Tredwell’s head that clears the boundary rope by a good 10 feet. He tries to make it three in a row … but this time picks out Stokes on the rope! He makes an awkward catch look straightforward but much of the damage had already been done in that over.

42nd over: Sri Lanka 238-3 (Mathews 19, Jayawardene 54) Yikes. Stokes returns. For some reason. And he returns with a wide (the 14th of the innings if you’re keeping track). Mathews then drills him over the top of the covers for four – what a shot that was. But actually this isn’t a bad effort from Stokes in the circumstances – seven from the over.

41st over: Sri Lanka 231-3 (Mathews 14, Jayawardene 53) A slog-sweep goes for four and takes Jayawardene to his 75th ODI half century. An innings of understated brilliance.

40th over: Sri Lanka 223-3 (Mathews 11, Jayawardene 48) Moeen Ali (7-0-39-1) is back again. Mathews works a couple of singles then hammers the bowler down to cow corner for six. In all, 11 from the over.

39th over: Sri Lanka 212-3 (Mathews 2, Jayawardene 46) Tredwell returns with three dots, then Mathews, the highest runscorer in ODIs in 2014, wanders across his stumps and flicks to leg for a single. Still, good stuff from the bowler at this stage – just two from the over.

38th over: Sri Lanka 210-3 (Mathews 1, Jayawardene 45) So that brings out Angelo Mathews, the thinking OBOers current cricketing man-crush. He gets off the mark with a dab-and-scamper into the leg side. And from the last Jayawardene gets a slice of luck, outside-edging a full toss away for four.

A cracking slower ball catches the leading edge and Woakes takes a decent return catch.

37th over: Sri Lanka 204-2 (Dilshan 88, Jayawardene 41) Gurney once more. And again he uses the flailing slower ball well. But a short one gets the full treatment from Jaywardene, who flick-pulls in front of square leg for four to bring up the Sri Lanka 200. The last is launched over long on for four more.

36th over: Sri Lanka 192-2 (Dilshan 87, Jayawardene 32) Woakes again. Midway through the over he sends down the 11th wide of the innings. Jayawardene then almost picks out Bopara on the deep square leg boundary but is relieved to see the ball drop a yard or two short. Six from the over. There haven’t been any fireworks for a while, but this pair have never been bogged down. The singles have always trickled in.

35th over: Sri Lanka 186-2 (Dilshan 84, Jayawardene 30) Sri Lanka should top the 300 mark we were talking about earlier on from here. Gurney returns and sends down a couple of dots at Jayawardene, the second a nicely disguised slower ball. His big flailing action really works well with the slower ball – the flail stays at 100%, but the delivery speed drops appreciably. This is his best over of the day in the end – just three runs from it.

34th over: Sri Lanka 183-2 (Dilshan 82, Jayawardene 29) Sri Lanka take the batting Powerplay, so Moeen Ali – who was about to come on – is sent back to the boundary and Chris Woakes returns. He mixes it up nicely, restricting the batsmen to four singles.

33rd over: Sri Lanka 179-2 (Dilshan 80, Jayawardene 27) Stokes (2-0-20-0), who took a bit of tap from Perera earlier, returns and returns with a pair of wides. He’s really struggling: another would-be wide is helped on to fine leg for four by Jayawardene. This might have been his last over of this match – Cook can find another 17 overs from elsewhere.

32nd over: Sri Lanka 170-2 (Dilshan 79, Jayawardene 21) There’s an element of calm before the storm here as Sri Lanka milk like it’s the eighth day of Christmas and England’s best two bowlers of the innings so far keep things nice and tidy. Five, all in singles, off this Tredwell over.

31st over: Sri Lanka 165-2 (Dilshan 77, Jayawardene 18) Three from Bopara’s latest.

“Speaking of left-armers, what do you make of Daniel Vettori’s shock return to Test cricket, in a largely pointless final test to a series against Pakistan that New Zealand can’t win?” wonders Edmund King. “Reckless? Courageous? A sign of the end times? Or simply recognition of the complete lack of other real spinning options available to New Zealand right now? It still doesn’t seem to have done NZ any good, who have only taken 3 wickets on the first day of the Test match, but still … Vettori! In whites! Swoon!” It’s great to see. I just hope he knows what he’s doing.

30th over: Sri Lanka 162-2 (Dilshan 76, Jayawardene 16) I’m being followed around today by someone constantly eating a bacon sandwich. The aroma has been in my nostrils all day. Must be time for lunch soon. More risk-free nudging and nurdling
from the batsmen as Tredwell keeps things tight.

29th over: Sri Lanka 156-2 (Dilshan 74, Jayawardene 12) Bopara comes back again and beats the outside edge of Jayawardene, who has looked pretty scratchy thus far. Though scratchy Jayawardene is still better to watch than 90% of batsmen in full flow. RavBop has bowled pretty well today and this is another decent over – four from it, the last two courtesy of a lovely little late dab from Jayawardene.

28th over: Sri Lanka 152-2 (Dilshan 74, Jayawardene 8) Tredwell, with six overs still up his sleeve, returns. Jayawardene dances down the track and looks to belt him down to cow corner … and Eoin Morgan is this far away from taking a stunning diving catch at midwicket. Instead he has to settle for simple preventing the boundary. And from the last Dilshan, beginning to eye a run-a-ball century, heads down the pitch and plays a wonderful inside-out lofted drive over extra cover for four.

27th over: Sri Lanka 146-2 (Dilshan 69, Jayawardene 7) Gurney (5-0-28-0), grimacing like he’s rumbling in for his 29th over of the day, continues. He beats a groping Jayawardene with one that slants across the right-hander, but follows that up with a full, wide one that the batsman drives for three. Gurney has been about as consistent as The Great Escape* (Blur album rather than Steve McQueen film).

*The OBO: referencing music from the mid-90s since, um, the late 90s.

26th over: Sri Lanka 140-2 (Dilshan 67, Jayawardene 3) Dilshan dances down the track to Moeen Ali and lofts him down the ground for a one-bounce four. Six from the over in all.

25th over: Sri Lanka 134-2 (Dilshan 62, Jayawardene 2) With England back in the game (just about) Gurney returns. This is a crucial spell for the left-armer … and two of his first three deliveries are leg-side wides. He comes back well though once he sorts his line out, tucking Dilshan up a couple of times then beating the outside edge. But then he slides down leg side again. Five runs from the over, only one of them off the bat.

24th over: Sri Lanka 129-2 (Dilshan 62, Jayawardene 1) Well, well, well. That was a cracking delivery from Moeen Ali, drifting across the batsman, pitching on leg stump, then ripping back to beat the bat and hit pad right in front of middle stump.

Moeen Ali was convinced & although Sangakkara reviewed the out decision, he's sent on his way - lbw for 2. SL 128-2

Dilshan puts umpire Palliyaguruge on his backside, thumping an Ali full toss at head height back down the crease. Once he dusts himself down he indicates four. And next ball he raises his finger after Ali thwacks Sangakarra on the pad. Sangakarra reviews it immediately but there was nothing wrong with it at all.

23rd over: Sri Lanka 122-1 (Dilshan 57, Sangakkara 1) Sangakkara gets off the mark with a single chopped down to third man. And Bopara flummoxes Dilshan with the last. Better stuff from England all round.

This is the problem with this team selection – Cook simply doesn’t have a wicket-taker to turn to here. Oh, but hang on … he doesn’t need one. Sri Lanka have provided the breakthrough for him. Perera and Dilshan get themselves in a right old tangle (with Dilshan culpable I’d say) and the batsmen end up at the same end. Dilshan stands his ground and Perera is run out by Buttler.

22nd over: Sri Lanka 119-0 (Dilshan 56, K Perera 59) Ali (4-0-18-0) continues. A dance down the pitch from Dilshan + a loft back over the bowler’s head + a Ravi Bopara misfield on the boundary = four more for Sri Lanka. That really doesn’t help.

21st over: Sri Lanka 111-0 (Dilshan 50, K Perera 58) Time for Ravi Bopara and his variations. He’s the seventh England bowler used today, which you could hold up either as a sign of desperation or as an example of Cook’s willingness to utilise every aspect of his resources. Depends on your point of view.
Dilshan brings up his half century with a fortuitous inside edge. Then – cripes! – we nearly have a wicket, with Perera just misjudging a thunk over wide midwicket and watching nervously as Tredwell gets his fingertips to it. A Collingwood might have leapt to take that, a Broad or Finn might have simply stood and plucked it from the air. But it was just out of Tredwell’s range.

20th over: Sri Lanka 106-0 (Dilshan 48, K Perera 55) Ali drags one too short this time and Dilshan is able to carve him through point and away for four more. Ali yelps an appeal as Dilshan is whacked on the pad, but it’s going down. Mind you, that’s the first cause for yelping England have had in quite a while.

This is looking a bit bleak.

19th over: Sri Lanka 101-0 (Dilshan 43, K Perera 55) This is a very good shot from Perera, who spots the gap in the deep and lofts his sweep over the man at square leg. Beautiful stuff. And very, very smart batting. Seven off the Root over.

18th over: Sri Lanka 94-0 (Dilshan 41, K Perera 50) Ali continues after the refreshment break. And speaking of refreshment: “If Phil Powell really wants to subject himself to this abject England I’d suggest he looks in at Philomena’s on Great Queen Street,” writes Jonathan McCauley-Oliver. “Loads of screens so if by 2pm the cricket is going as badly as it looks now, he can always catch up on how Newcastle Jets in the Australian A League.”

Again it’s good tight stuff from Ali, though Perera is able to chop the last away for a couple that bring up his 50. It’s come off 62 balls.

17th over: Sri Lanka 91-0 (Dilshan 40, K Perera 48) Joe Root gets the chance to turn his arm over. Five singles from the first five deliveries, then Perera picks out the fielder with a sweep. And that’s drinks.

16th over: Sri Lanka 86-0 (Dilshan 37, K Perera 46) Today’s soundtrack is the dying elephant whine of the vuvuzela (or Sri Lankan equivalent). Dilshan unfurls the scoop for the first time but doesn’t quite get enough on it so only earns a single. It’s decent stuff from Ali, though Dilshan is able to pick up five from the over.

15th over: Sri Lanka 81-0 (Dilshan 32, K Perera 46) Nudge, nurdle, nudge, nurdle, nurdly nudge, nudgey nurdle. England, though, have regained a little control and for the second time Tredwell spins one past Perera’s outside edge.

14th over: Sri Lanka 79-0 (Dilshan 31, K Perera 45) Spin at both ends as Moeen Ali enters the fray. It’s tidy enough until the fifth ball, which slips down for a leg-side wide. Five from the over.

13th over: Sri Lanka 74-0 (Dilshan 28, K Perera 44) Tredwell continues and he sends down the best over of the innings so far. Just a single from it.

“Since the last time England played cricket, my midweek sport watching boozer of choice has sadly shut down,” begins Phil Powell. “We’re planning to road test a new venue today, but the delayed start has thrown my timings out of kilter. As it looks like Sri Lanka will bat out their overs, what time would you expect the innings to end? Also, if any of the OBO community fancy recommending a quiet place to watch cricket on TV away from prying eyes in the Covent Garden area of London Town, I’ll add it to the list of possibles.” Roughly 2pm I’d say. So it might be a late lunch. Best grab a satsuma or something.

12th over: Sri Lanka 73-0 (Dilshan 27, K Perera 44) Stokes drags another one short and it just sits up and begs to be smacked. Perera obliges, thumping wide of long on for four, then he clips off the pads for four more to fine leg as Stokes over compensates. And Perera makes it three from three with a beautifully brutal (or possibly brutally beautiful) club over mid on. Twelve from the over.

11th over: Sri Lanka 61-0 (Dilshan 27, K Perera 32) Tredwell again and again he finds a modicum of turn. Nevertheless, the batsmen are able to milk four singles.

10th over: Sri Lanka 57-0 (Dilshan 25, K Perera 30) A double change: Stokes replaces Gurney. Perera whips a length ball over wide midwicket for a couple to bring up the 50 partnership. The batsmen then ask Stokes to remove some white strapping from his arm. Stokes does so without complaint. So not quite this …

9th over: Sri Lanka 49-0 (Dilshan 25, K Perera 22) Here comes James Tredwell for the first time today. And this is promising – he turns the second ball past Perera’s outside edge. And this is rather less so – he drags one far too short and gets slapped through the covers for three.

“They seem to have picked a bowling attack entirely composed of 4th choice bowlers who would normally be selected to tie up an end and keep the economy down whilst the better bowlers take wickets,” writes Tom Van der Gucht. “Is the new plan to try and bore the opponents out?” If so, it’s not working thus far.

8th over: Sri Lanka 46-0 (Dilshan 25, K Perera 19) Perera clumps Gurney over square leg and it takes a super bit of fielding on the rope from Ben Stokes to prevent the boundary. Then we have a delay because the sponsor on the sightscreen has not correctly rotated. It’s actually an advert for …

7th over: Sri Lanka 37-0 (Dilshan 25, K Perera 10) Perera has now doubled his combined score from the three ODI’s against India but he doesn’t look in particularly good nick. Woakes looks a much better bowler when he pitches it up and varies his pace – he’s a classic first-change ODI bowler and a pretty good one, but I wonder if his styleis best suited to this opening role. Just the three singles from the over.

6th over: Sri Lanka 34-0 (Dilshan 24, K Perera 8) Gurney’s turn to bang one in short and he gets chopped over backward point for a couple. He needs to pitch it up, and next ball he does so and finds the inside edge of Perera’s bat as his reward. Then back to the short stuff at Dilshan and off to the square leg boundary once more.

5th over: Sri Lanka 26-0 (Dilshan 20, K Perera 5) My OBO cohort today, the estimable Daniel Harris, is not convinced about this XI:

If anyone knows how England expect to get wickets with this attack, I'd be glad to know too.

4th over: Sri Lanka 19-0 (Dilshan 14, K Perera 4) Gurney is one of those bowlers who facially looks absolutely knackered seven balls into his spell. This is a good thing. And it’s a better over from the left-armer this time too. Just a single from it.

3rd over: Sri Lanka 18-0 (Dilshan 14, K Perera 3) Woakes strays a little full but Perera misses out, toe-ending a cover drive for just a single. He’s even fuller from the next and Dilshan whips a low full toss away for four just in front of square. Now what has gone on here? With both looking in the direction of the ball, Dilshan has ploughed straight into Chris Woakes’s shoulder. The physio comes out to administer a bit of the old magic sponge to the batsman. The little break does Woakes a bit of good and he finishes the over with some decent line-and-length stuff.

2nd over: Sri Lanka 13-0 (Dilshan 10, K Perera 2) Harry Gurney steams in at the other end. He offers Dilshan a full delivery so juicy it should come served with a choice of sauces and is spanked through extra cover for four as a result.
A little movement from the next catches the edge, but it’s played with soft hands so the ball dies before it reaches the slip cordon.

1st over: Sri Lanka 7-0 (Dilshan 5, K Perera 2) Chris Woakes has the new ball and immediately finds a bit of bounce from this pitch, jamming the ball into the splice of Dilshan’s bat. The next again gets up and seams back onto the inside edge as the batsman looks to swat through the offside. Instead the ball squirts through to the fine leg boundary. Kusal Perera, whose three scores in the recent India ODI series were 0, 4 and 0 but who managed 56 against England for Sri Lanka A the other day, steers a too-full final ball away for a couple through midwicket.

Out stride the Sri Lanka openers. And we’re about to see some play …

“Blimey, Gurney and Woakes to open the bowling; bet this is sending shivers of fear around the world …” writes Daniel Beckell. Yes, this side has got an early 90s bits-and-pieces feel about it. If they were still playing today Ian Austin, Phil DeFreitas, Chris Lewis and Dermot Reeve would be in this XI.

The players are out on the field for the anthems. As per usual the smallest player – James Taylor in this case – has been handed the tallest mascot to stand behind. GSTQ gets two verses.

A public service announcement here from Nicola Davies:

Last year I wrote to you about my website – where I’m selling a cricket fielding positions diagram I designed to raise awareness for Time to Change, the campaign to end mental health discrimination. I also donate 10% of the proceeds to Mind (who have supported me and my family) to boot. Appearing on the marvellous over-by-over blog led to my very first orders – for which I will be eternally grateful to the Guardian!

Anywho I’m still at it, and a year on I’ve created new products and designs that all literally reek of cricket. As well providing a service for cricket fanatics looking to adorn their walls with something nice to look at, I’m also trying to encourage people to talk openly about mental health. Every order I post includes tips from Time to Change about how you can do this, and a gentle reminder to take a moment to ask someone how they’re feeling.

Well, that England side to me looks like one that will struggle to restrict Sri Lanka to a low score but might well be capable of chasing a big total.

Sri Lanka: Dilshan, K Perera, Sangakkara, Jayawardene, Mathews, Thirimanne, D Perera, J Mendis, Prasad, Herath, A Mendis.

England: Cook, Ali, Bell, Root, Morgan, Buttler, Bopara, Stokes, Woakes, Tredwell, Gurney.

Cook calls heads … and it’s is heads. England are going to have a bowl.

On Sky Russell Arnold says he is “very confident” of getting a game in today. And he should know.

What a turnaround. The toss will be at 9.30am GMT, with play due to start at 10am GMT.

England’s players are out warming up. Well, most of them.

Looks like Steven Finn won't be risked today. Still wearing tracky-bs and not participating in the warm-ups #SLvEng

The covers are indeed off but rather disappointingly the groundstaff at the R Premadasa Stadium seem to have been using some sort of semi-permeable membrane. The turf underneath is incredibly boggy.

On Sky Sports this morning Matt Prior and Ian Botham have both used the phrase “300 is now a par score”. It’s something everyone says these days, but I’m not sure that a buy it. In the past year there have been 115 ODIs. That 300 mark has been reached 28 times by the team batting first – just over 24% of the time. And of those 28 occasions, the team batting first lost only three times. So, sure, aim for 300. But it’s not ‘par’.

Just to confirm, the toss has officially been delayed. They will try to get a game in today, even if it’s a Twenty20, but they do have reserve game tomorrow. We need to get underway by 2.47pm GMT. The covers – which handily cover the entire outfield – are apparently being tentatively peeled off.

The news from Ian Ward at the ground is that it’ll take about 90 minutes to two hours to prep the ground once they get the covers off. And there’s more rain on the way.

If I was a betting man, I’d say we won’t see a ball bowled today. But then I woke up with Pixies’ Debaser on a loop in my head and on the cycle ride to the office the chorus became “wanna grow up, grow up to be, a medium pacer”. So I wouldn’t necessarily listen to my opinion on anything.

In other news is that – surprise, surprise – a tad wet in Colombo …

Update from Colombo

First things first. After Tuesday’s terrible news from Australia I just want to kick off my sending the best wishes of everyone involved with the OBO and Guardian Towers to Phil Hughes. We’ve all got our fingers crossed for some positive news today.

So, the World Cup starts here. In just over 11 weeks England will rock up at the MCG for their Pool A opener against Australia. And whatever optimism has somehow been allowed to build up in the seven ODIs in Sri Lanka and the four matches of the triangular series against Australia and India will inevitably dissipate at the speed of a Mitchell Johnson yorker.

The infuriating thing about all this is that England seem to have as much good young batting talent in the squad as they at any point in recent memory. They have a bunch of batsmen, from Hales, through Ian Bell and Joe Root, Ali, Morgan, Buttler, Ballance, Stokes, even Bopara, all capable of playing match-winning innings, a cracking crop of all-rounders, and some canny old quick bowlers. Even some handy part-time spinners. Continue reading...

82. Source: Network Front | The Guardian
Item: UK growth confirmed at 0.7%, but recovery unbalanced – business live
Date: 26 November 2014, 9:34 am

Second estimate of UK GDP shows trade deficit up and business investment down

And here’s the latest Reuters take on the Greece talks in Paris:

Greece and its EU/IMF lenders failed to resolve differences over next year’s budget at talks in Paris, a Greek official said on Wednesday, raising doubts about whether Athens can meet a deadline to wrap up its bailout programme.

The two sides have been haggling over a projected budget shortfall next year, which has held up an overall deal on the final bailout review. Athens needs to strike that deal by a December 8 deadline to ensure it makes good on a pledge to quit its €240bn ($300bn) bailout by the end of the year.

And more from Paris on the concluded talks between the Greek government and its troika of lenders:

No deal in Paris, no date for #troika return and no breakthrough on fiscal gap deadlock - grim day for #Greece's #bailout exit hopes

#Greek bond yields jumped 22 bps to hit 8.2 pct today after #Greece failed to reach deal with EU/IMF on #bailout review

The next splurge of US data shows a mixed picture, with consumer sentiment up, Chicago manufacturing activity slowing and house sales disappointing.

US consumer sentiment rose in November to its highest level in more than seven years. The Thomson Reuters/University of Michigan’s final reading came in at 88.8, up from 86.9 in October but below the preliminary estimate of 89.4.

Consumers more frequently reported hearing about positive rather than negative economic developments in the November survey, with reports of improving employment the dominant news item.

Following the sharp rise in the barometer to a one year high in October it wasn’t too surprising to see activity ease somewhat in November. Overall the trend remains firm and activity looks set to pick up in the fourth quarter from the third.

The US data so far (there is more to come shortly in the form of housing, confidence and Chicago manufacturing) was not particularly re-assuring, says Rob Carnell at ING Bank:

[The data] sheds some doubt on the positive message delivered by the previous day’s upwards GDP revisions.

October durable goods orders, for which the key focus is the core goods orders ex-defence and ex-aircraft, dipped 1.3% month on month, taking the three-month annualised trend down from 11.2% in September, to only 2.7% in October. Core capital goods shipments also declined, though not as much. These two categories usually give a rough approximation to quarterly business investment in equipment and software published in the GDP data. This is therefore a weak start to the fourth quarter.

Robin Bew, managing director of The Economist Intelligence Unit, is also unimpressed by the nitty-gritty of today’s UK growth report.

Decent #UK GDP data but the devil is in the detail. Debt fueled consumer demand, while investment looks a bit too sickly for comfort

And.....US consumer spending only rose by 0.2% last month, missing forecasts of a 0.3% rise.

The America’s Commerce Department also reported that personal incomes rose by 0.2% in October, only half as fast as expected.

A swath of economic data from across the Atlantic just hit the wires, as Americans clear the decks ready for Thanksgiving tomorrow.


US durable goods orders rise 0.4% in October (-0.9% in September), well above RT consensus of a 0.6% decline

US durables ex transportation orders down 0.9%, biggest decline since December 2013

Time for a lunchtime recap.

Economists fear that the UK economy remains dangerously unbalanced after the second estimate of UK growth in the third quarter of 2014 was released, showing businesses cut their investments and exports fell.

Farewell rebalancing? Business investment and trade a drag on growth in Q3. Households and gov did all the work:

These trends could not extend far without putting the UK economy in jeopardy.

The economic plan of Jean-Claude Juncker echoes Alice In Wonderland #ECB #QE

#Greece #Troika 'continue intensive dialogue'. Officials now working to successfully complete review, says @EU_Commission Declan Costello


The negotiations between Greece’s government ministers and its international lenders in Paris have ended (at least for the moment), according to reports on the wires.

And the two sides do not appear to have reached agreement over Greece’s fiscal plans for 2015.

#Greece Govt & Troika conclude 2-day mtng at OECD offices in Paris. Acc to reports, differences remain ovr fiscal gap, pensions & labor law.

Readers often point out that the UK recovery has not yet reached many people, as real wages having been falling for most of the last four years.

This chart, from investment bank Citi, shows clearly that labour’s “share of the pie” has now fallen to the lowest in 16 years.

Workers' compensation as share of GDP lowest since 1998 in Q3 (56.9%) according to Michael Saunders of Citi:

It was only yesterday that Mark Carney told us the UK economy was "more balanced" A day later #GDP tells us balanced to services! #BoE

The number of people in work in the Irish Republic it at its highest since 2009, our Dublin correspondent Henry McDonald reports:
Unemployment is still falling with the jobless rate currently down to 11.% of the workforce in Ireland, according to the Central Statistics Office in Dublin.
The CSO said this is the eight successive quarter of a year where there has been an annual increase in employment.
The number of long term unemployed in Ireland is also falling from 7.6% to 6.4% from the previous quarter, the CSO said.

“The Irish Economy is growing strongly and most importantly jobs are being created. Budget 2015 was designed to strengthen and broaden this recovery to families across the country.”

In other news... property inflation in Ireland has hit its highest level in eight years, with prices up 16.3% year-on-year in October.

What cld go wrong? MT@RobinWigg: Irish prop price gains accelerate to fastest pace since 2006.

Here’s our news story on today’s UK growth data:

The latest survey of UK retail spending, from the CBI, has found that 44% of shops reported that sales this month are higher than a year ago, while 17% say they fell.

“It’s no secret that it has been a demanding year for the retail industry but shopkeepers haven’t been pulling their punches when it comes to getting shoppers through their doors – borne out with the lowest essential item inflation in five years and growing online sales.

“This latest survey shows many have been winning some rounds in what has been one of the most challenging years for both the industry, and for customers.

Our economics editor, Larry Elliott, has compared the second estimate of UK GDP to ‘peeling off an onion ring’.

The domestic economy expanded by 0.9%, with trade knocking 0.2 points off the quarterly growth rate. Consumer spending rose by 0.8% in the third quarter, while government expenditure was up by 1.1%. Business investment fell by 0.7%.

Ministers can point to the weakness of the eurozone to explain away the poor export performance. This, though, is a feeble excuse given the weakness of exports – despite the boost from a substantial depreciation of sterling – throughout this parliament.

Lee Hopley, chief economist at manufacturers group EEF, has urged George Osborne to give exporters more assistance.

“While business investment posted a bit of a dip, this isn’t yet cause for concern as surveys of intentions across the private sector seem to be holding.

The drag from net trade is, however, providing a bigger challenge to rebalancing ambitions. Next week’s Autumn Statement needs to ensure that the business environment for companies planning to invest, recruit and get into new markets are a target for further action from the Chancellor.”

There is little evidence in today’s GDP report that Britain’s economy is rebalancing, warns Mark Miller, UK analyst at the Economist Intelligence Unit.

The expenditure components do not suggest a meaningful shift to more balanced economic activity, with private consumption growth accelerating modestly during the latest quarter and exports contracting at the same pace as in the second quarter.

Amid current signs of weaker growth in the euro zone, it is far from clear this re-balancing will be achieved anytime soon.”

Marc Ostwald of ADM Investor Services says:

On the surface GDP looks OK, with growth unrevised at +0.7% quarter-on-quarter.... but the details are not good outside of the services sector’s growth of 0.8%, revised up from a preliminary reading of 0.7%

Several economists are warning that UK growth is unbalanced.

Jeremy Cook, of currency exchange company, World First, said:

“Overall growth of 0.7% is still pretty strong, especially against yesterday’s German figure of a meagre 0.1% increase in output. Unfortunately it is the make-up of this growth that has given us some cause for concern.

“Seeing consumer spending increase at 0.8% - the highest number in four years – is all well and good. Consumer spending makes up around 70% of the UK economy, so without it we would be in dire straits.

These charts explain the situation in the UK economy today.

1) The recovery from the global recession of 2008 continued in the third quarter of this year.

GDP in the UK grew steadily during the 2000s until a financial market shock affected UK and global economic growth in 2008 and 2009.

Economic growth resumed towards the end of 2009, but typically at a slower rate than the period prior to 2008. Quarterly growth in this period was also erratic, with several quarters between 2010 and 2012 recording flat or declining GDP.

Britain was not the fastest growing member of the G7 in the last quarter alone.

America’s economy expanded by almost 1% in the July-September period, according to data released yesterday.

The UK Treasury has declared that The Plan is working (does any Treasury statement not say that these days?!):

“Today’s figures show that the government’s long term economic plan is working, with the fastest annual growth in the G7 and all the main sectors of the economy growing. But the UK is not immune to weakness in the euro area and instability in global markets, so we face a critical moment for our economy.

We need to carry on working through our economic plan that is securing a resilient economy and a better future.”

You can see the full GDP report yourself, on the ONS website (right-click to open in a new tab).

Newsnight economics editor Duncan Weldon agrees that the GDP report isn’t very encouraging, even though growth was confirmed at 0.7%.

Detail of GDP stats not great for rebalancing. Exports & business investment weak, consumption strong.

The ONS also reports that Britain’s trade balance deficit widened in the last quarter, from £8.9bn in Q2 2014 to £11.2bn in Q3

And that’s because exports declined, while imports grew.

Following a 0.4% decrease in Q2 2014, exports fell by 0.4% in the latest quarter, while imports increased by 1.4%. With exports contracting and imports increasing, the net trade balance worsened when compared to the previous quarter.

And for all the talk of rebalancing the economy, consumer spending continues to help drive the recovery.

The ONS says household final consumption expenditure rose by 0.8% in Q3 2014 and has increased for thirteen consecutive quarters.

The ONS says that the drop in business investment was led by “the intellectual property products (IPP), and in particular the software component of this asset”.

This isn’t great news either: Business investment in the UK fell by 0.7% in the third quarter of the year.

That is the first drop in business investment since the second quarter of 2013, and follows 3.3% growth in Q2.

The UK construction sector grew by 0.8%, in line with the first estimate of GDP.

in the detail of that 2nd UK GDP estimate for Q3, UK services upwardly revised to 0.8% whilst ind prod revised from 0.5% to 0.2%.

The UK recovery looks less balanced, according to the data just released.

The ONS has revised up growth in the service sector in the last quarter to +0.8%, from +0.7% originally.

Breaking: The UK economy grew by 0.7% in the third quarter of this year, the Office for National Statistics says.

That’s in line with the initial estimate last month.

Here comes the second estimate of UK GDP.....

UK GDP coming up in 3 mins.... come on the UK!

Heads up: European Central Bank vice-president Vitor Constancio has declared that the ECB could start a full-blown quantitative easing programme early next year.

In a speech in London, Constancio slaps down suggestions that the ECB shouldn’t, or couldn’t, embark on sovereign QE (buying government bonds with new money).

Constancio: Argument That QE Wouldn't Work 'not Well Founded'

Constancio has upset the applecart

In the financial markets.... the pound is flat this morning at $1.571 as traders wait for the second estimate of UK GDP to be released at 9.30am.

European stock markets are up this morning. Traders say that yesterday’s strong US GDP figures, showing its economy growing by almost 4%,

No respite for Thomas Cook; shares are still down around 20% as investors wonder exactly what’s behind Harriet Green’s exit.

Green has given some intriguing interviews this year. In January she told Management Today that she won’t hang around when the time comes to leave the company:

‘CEOs spend too long in the same job,’ she says. ‘You should do what you have to do, have maybe a couple of years hugging everyone and then move on. I think that adds up to six or seven years, not 16 or 17.’

Recent “babble” that she might take a peerage and a government job is nonsense. “Anyone who knows me in the least would know that a tap on the shoulder to be Lady Whatever to solve the National Health Service is not me, not how I function. I don’t like any form of supervision, let alone government and voters.”

Juncker began his appearance in the European Parliament by declaring that “Christmas has come early”, as he explained how his €315bn investment fund would work. He concluded by warning MEPs that ‘there can be no turning back”.

The BBC website has a rolling report:

Over in Strasbourg Brussels , European Commission president Jean-Claude Juncker is proudly unveiling his new multi-billion euro investment fund.

Juncker, who must be relieved to be discussing growth rather than tax avoidance, says Europe needs a “kick-start”, and this is the way to do it.

#Juncker: Every €1 put into the new fund can generate €15 in investment. €315bn not upper bound. If fund works, I think we should go beyond.

We need political support for this investment plan, not a politicisation of the plan.

Juncker on new #EU investment package: "I have a vision of a new school in Thessaloniki equipped with brand new computers".

Here’s our news story on the shenanigans at Thomas Cook:

More than £400m wiped from value of Thomas Cook as shares crash 20% on CEO Harriet Green's shock departure:

The sudden, unexpected nature of Harriet Green’s departure has clearly spooked investors:

Thos Cook shares open up down 20%!!! Why was Harriet Green relieved of her duties with such indecent haste and unsatisfactory explanations?

Shares in Thomas Cook have plunged by 20% at the start of trading, following the shock exit of CEO Harriet Green.

Investors will be right to ask questions over how her departure will affect the turnaround plan, so expect much of the price reaction today to be in connection to this.

The other issue is the turnaround plan – the warning that growth will be more moderate (i.e. slower) in the coming year is a sign that the easy bit has been done.

Frank Meysman, chairman of Thomas Cook, is facing the press (by telephone) to explain the unexpected departure of CEO Harriet Green.

He’s confirmed that Green will receive a six-month payoff, and also stated that the company needs a boss with a more detailed grasp of the industry (?!).

Thomas Cook chairman says company needs different abilities now. Strategy in place and needs someone with more travel industry knowledge.

Thomas Cook chairman says Harriet Green always knew "this job will end at some point in time".

Thomas Cook chairman says board, including Green, unanimous that now was time for her to hand over. She'll get 6 months' notice plus shares.

Thomas Cook chairman says he doesn't think Green has a new job "but she may surprise you on that one". "Maybe she will sleep a bit more."

Big news in the City this morning – Harriet Green, the businesswoman who led the turnaround of holiday chain Thomas Cook, is leaving the company with immediate effect.

Her remit was to transform the company, placing it on a sound financial footing with a solid operational team able to compete in the consumer travel market.

I always said that I would move on to another company with fresh challenges once my work was complete. That time is now.

Thomas Cook shares seen lower following FY results which indicate tougher trading for 2015 + resignation of CEO Harriet Green

Good morning, and welcome to our rolling coverage of the economy, the financial markets, the eurozone and business.

Coming up this morning... we get the second estimate of UK GDP this morning, at 9.30am. Continue reading...

83. Source: Network Front | The Guardian
Item: The Sun’s Whitehall editor not guilty of making unlawful payments to public official
Date: 26 November 2014, 8:39 am
Clodagh Hartley cleared by Old Bailey jury of unlawfully paying £18,000 for stories from HMRC official Jonathan Hall, including leak of 2010 budget

A senior journalist on the Sun’s political team has walked free from the Old Bailey after a jury found her not guilty of paying for leaks from a corrupt public official working for the tax office.

Clodagh Hartley was cleared of arranging unlawful payments of £18,000 for stories which included details of the 2010 budget, one of the government’s most closely guarded secrets. Continue reading...

84. Source: Network Front | The Guardian
Item: Ferguson, Missouri: 'What you're seeing is anger. This is bigger than Michael Brown' – video
Date: 26 November 2014, 8:39 am
Adam Gabbatt reports from Ferguson, Missouri, on Tuesday night as protests continue after a grand jury decided that policeman Darren Wilson would not face charges over the shooting of unarmed black teenager Michael Brown. Local residents give their views on the looting and arson that have accompanied the peaceful protests

• WARNING: STRONG LANGUAGE Continue reading...
Enclosure (jpeg)
85. Source: Network Front | The Guardian
Item: Yes Please by Amy Poehler review – ‘beefs, advice and memoir’
Date: 26 November 2014, 8:00 am
The American comedian is so likable that she can be forgiven for this ‘non-book’

Comedian and actor Amy Poehler spends several pages of her new book complaining about how difficult it is to write a book. “Authors pretend their stories were always shiny and perfect and just waiting to be written,” she writes. “The truth is, writing is hard and boring and occasionally great but usually not.” Her latter point is true; the former, not so much. Grumbling about writing is the main form of exercise engaged in by many authors (hey, it does get the pulse up). But, as gruelling as it is to write a book, it’s still not entirely clear that is what Poehler has done.

Yes Please arrives on printed pages sandwiched between cardboard covers and is currently lodged in the No 2 spot of the New York Times bestsellers list, so technically, yes: it is a book. However, it’s the type of title the publishing business sometimes refers to as a “non-book”, meaning that it has few of the qualities bookish people like to think of as exemplifying the form. It’s not a coherent, well-knit piece of writing organised around a central narrative or argument. It cannot stand on its own. It’s hard to imagine anyone making sense of parts of it, let alone wanting to read the whole thing, if they aren’t already familiar with Poehler’s work in film, TV and improv comedy. Whatever you call Yes Please it’s meant for those people who, upon hearing Poehler’s name, exclaim, “Oh, I love her!” Continue reading...

86. Source: Network Front | The Guardian
Item: John Allen found guilty of 26 charges of child sex abuse in care homes
Date: 26 November 2014, 7:57 am
Hotelier convicted by jury at Mold crown court for series of offences committed in residential properties in Wrexham area

A hotelier has been found guilty of 26 charges of historical sex abuse against children who lived in his string of care homes.

John Allen, 73, was convicted by a jury at Mold crown court of committing various offences at a number of residential properties in and around the Wrexham area. Continue reading...

87. Source: Network Front | The Guardian
Item: We can still get justice for Mike Brown: end the government's reckless 'ghetto' policy
Date: 26 November 2014, 5:45 am

The issue now is not Ferguson’s unfortunately violent protests. The issue is the root of the anger behind them

It has been fairly obvious since this summer that the predominate belief in Ferguson and St Louis was that Darren Wilson, the killer of Michael Brown, was not going to be indicted by his Missouri grand jury. In a rambling statement of the grand jury’s process and conclusion – which did little to inform, and lots to enrage – prosecutor Bob McCullough acted in the capacity of an attorney who abused the grand jury process as “a trial” without professional legal cross-examination.

It has been fairly obvious for quite some time now that political and legal authorities in the area had not been preparing for a trial at all. They had been preparing for civil unrest. And just as the legal authorities and police initially “mis”-reacted to the shooting, their “over”-reaction to the community’s initial protest of the killing of Michael Brown contributed to the original civil unrest in the face of mostly peaceful demonstrations. Continue reading...

88. Source: Network Front | The Guardian
Item: Gunmen kill polio workers in Pakistan
Date: 26 November 2014, 5:22 am
Two men on motorbike shoot three female workers and their driver in worst attack on health workers in two years

Gunmen have killed three female Pakistani polio workers and their driver in the most deadly attack on health workers in two years.

Teams in Pakistan working to immunise children against the disease are often targeted by Taliban militants, who say the campaign is a cover for western spies, or accuse workers of distributing vaccines designed to sterilise children. Continue reading...

89. Source: Network Front | The Guardian
Item: Northern Ireland: Labour warns DUP not to strike deal with Tories
Date: 26 November 2014, 5:21 am
Ivan Lewis calls on unionist party not to back Conservatives at next election, saying it would not be in the interests of its voters

A Democratic Unionist (DUP) party deal to prop up a minority Tory government next May would not be in the socio-economic interest of ordinary unionist voters, a shadow cabinet minister has warned.

Labour’s Northern Ireland spokesman, Ivan Lewis, has issued an appeal to the DUP not to back the Conservatives in the event of a hung parliament after the general election. Continue reading...

90. Source: Network Front | The Guardian
Item: John Gielgud-scripted gay porn movie Trouser Bar to enter production
Date: 26 November 2014, 4:13 am

BFI to support film against the wishes of the John Gielgud estate, according to producer David McGillivray

• Remembering Peter de Rome: the maker of gay erotica loved by Warhol, Gielgud and the BFI

He is known as one of the greatest ever interpreters of Shakespeare, who was anointed by the Royal Academy of Dramatic Art, awarded an Oscar and made a knight, but John Gielgud is to become known for something rather more counter-cultural: a gay porn film he wrote for Peter de Rome, which may finally go into production with the backing of the BFI.

De Rome was a film-maker who made gay pornography in New York from the 1960s onwards, at a time when homosexuality was illegal, and became the subject of the recent documentary Peter de Rome: Grandfather of Gay Porn. He died earlier this year. The film’s producer David McGillivray, in conversation at a recent retrospective of pulp director Pete Walker, revealed the hitherto unheard of collaboration between De Rome and Gielgud.

“Peter de Rome knew everybody when he was working, including John Gielgud, and John was so impressed with Peter’s work – which of course was porn – that he wrote Peter a screenplay. Nobody knows anything about this script, it’s not in the John Gielgud letters, it’s not mentioned in the biographies, it’s an unknown script. John Gielgud’s only screenplay. So next year, we are going to make that … It’s called Trouser Bar. John Gielgud was obsessed with trousers, loved corduroy and leather. And so he wrote a film set in a menswear shop.” Continue reading...

91. Source: Network Front | The Guardian
Item: Nick Clegg echoes Labour call to curb tax credits for EU migrants
Date: 26 November 2014, 3:11 am
Deputy PM shifts stance on benefits but makes clear he does not support restrictions on right of EU citizens to move freely

Nick Clegg has shifted his stance on the right of EU migrants to receive benefits, saying for the first time that some in-work tax credits should not be available to all of them.

The UK deputy prime minister’s intervention followed comments by Rachel Reeves, the shadow work and pensions secretary, before an expected speech this week by the prime minister. call-curb-tax-credits-eu-migrants">Continue reading...

92. Source: Network Front | The Guardian
Item: It took a comedian to call Bill Cosby to account
Date: 26 November 2014, 2:01 am

The rape allegations against Cosby didn’t stick until Hannibal Buress made the accusation on stage. Sometimes comedians are able to say what others can’t Continue reading...

93. Source: Network Front | The Guardian
Item: How do you sell God in the 21st century? More heaven, less hell
Date: 26 November 2014, 12:00 am

Growing up as an evangelical, I was terrified of hell. But in recent years, Christian pastors have abandoned damnation in favour of a more upbeat vision

A couple of years ago, a Chicago-based corporate-identity consultant Chris Herron gave himself the ultimate challenge: rebrand hell. It was half gag, half self-promotion, but Herron took the project seriously, considering what it would take for a place like hell to become a premier destination in the travel market. Herron decided that what hell needed was a complete brand overhaul. The new hell would feature no demons or devils, no tridents or lakes of fire. The brand name was rendered in a lower-case, bubbly blue font designed to evoke “instant accessibility and comfort”. The slogan, which was once “Abandon Hope All Ye Who Enter Here”, would be “Simply Heavenly”. The joke was posted as a “case study” on Herron’s personal website and quickly went viral in the marketing blogosphere – a testament to the power of effective branding.

I grew up in an evangelical community that wasn’t versed in these kinds of sales-pitch seductions. My family belonged to a dwindling Baptist congregation in south-east Michigan, where Sunday mornings involved listening to our pastor preach something akin to the 1819 version of hell – a real diabolical place where sinners suffered for all eternity. In the late 1980s, when most kids my age were performing interpretive dances to The Greatest Love of All and receiving enough gold stars to fill a minor galaxy, my peers and I sat in Sunday school each week, memorising scripture such as 1 Peter 5:8: “Be self-controlled and alert. Your enemy the devil prowls around like a roaring lion looking for someone to devour.”

Most of the professors at Moody Bible Institute thought the world was created in six days

Pastors who are trying to 'sell' God won’t mention hell any more than a clothes ad will call attention to child labour Continue reading...

94. Source: Network Front | The Guardian
Item: More than a taste test: just how hygienic is Mumbai's street food?
Date: 25 November 2014, 11:41 pm

Vendors cook it without wearing gloves, handle money with the same hands and leave it lying out in the open. So what happens when you send pav-bhaji to the laboratory for testing?

No matter the time of night or day, somewhere on the streets of Mumbai there is a plate of deep-fried, mashed-potato patties called vada-pav being served with green chutney; or a bowl of pav-bhaji, a spicy mixture of mashed tomatoes and vegetables garnished with a blob of butter, onion and a dash of lemon. I myself am partial to the mixture of tangy, savoury puffed rice called bhel-puri – it’s just so tastefully mouthwatering that we often ignore questions like what conditions it’s cooked in, the hygiene of the food preparer or whether they’re wearing gloves. And indeed street food sellers in Mumbai usually do not wear gloves while preparing a dish, and exchange money with the same hand.

According to the Public Health Association, only 53% of Indians wash their hands with soap after defecating; 38% do so before eating and only 30% before preparing food. Bacteria transmitted in food, like coliform, E coli, salmonella, shigella, staphylococcus aureus and pseudomonas, are major causes of infections such as diarrhea, typhoid, food poisoning, urinary tract infections and pneumonia. These bacteria are found in the feces of human and animals. They grow quickly if the food is kept in moist, warm conditions, and can enter human bodies if the vegetables or meat are not washed properly or there is faecal contamination during food production or handling. Bacteria can also reach your food through flies, exchange of cash with infected hands or through contaminated water. Continue reading...

95. Source: Network Front | The Guardian
Item: Angelina Jolie could be deterred from UK move by mansion tax
Date: 25 November 2014, 7:15 pm
Celebrity said it ‘would be really nice to have a foothold here for work’ but may be put off by tax on houses worth over £2m

After Labour leader Ed Miliband’s bruising encounter with singer Myleene Klass on the same issue, an even more formidable potential opponent of his plans for a so-called “mansion tax” on properties worth more than £2m looms large: Angelina Jolie.

The Hollywood A-lister, who has been the focus of speculation that she and her family are considering establishing a new home in the UK, said on Tuesday that such a tax “could” put her off such a move. Continue reading...

96. Source: Network Front | The Guardian
Item: Fines from bank Libor rigging may be used to close hospital disability units
Date: 25 November 2014, 6:04 pm

Report calls for new charter of rights for people with learning disabilities after Winterbourne View scandal

Ministers are giving qualified support to a report on Wednesday calling for £30m of bank fines to be used to kickstart a drive to close hospital units such as the one at the centre of the Winterbourne View scandal and move 2,600 people with learning disabilities or autism into alternative accommodation in the community.

The report from a review team set up by NHS England calls also for a new charter of rights for people with learning disabilities or autism, including a new right to challenge decisions about where they are sent to live. Continue reading...

97. Source: Network Front | The Guardian
Item: UK government urges Sepp Blatter to publish full Michael Garcia report
Date: 25 November 2014, 6:00 pm
• Culture secretary Sajid Javid writes to Fifa president
• Concerned over Fifa’s independence and transparency
• Uefa announce team of the year shortlist

The British government has intervened in the row over Michael Garcia’s report into the Controversial 2018 and 2022 World Cup bidding process, saying Fifa risks damaging the reputation of football if it does not publish it in full.

The culture secretary, Sajid Javid, has written to Fifa president Sepp Blatter in support of the FA’s call for Garcia’s report to be published in full, with appropriate redactions to protect whistleblowers. Continue reading...

98. Source: Network Front | The Guardian
Item: The law may have spoken but the Ferguson verdict is not justice
Date: 25 November 2014, 2:13 pm

The fact that people expected a white cop like Darren Wilson to escape trial shows the process is a sham

It is customary, when disturbances follow a verdict of the kind delivered by the jury-decision">Ferguson grand jury, for those in authority to buttress their appeals for calm with a higher calling: the rule of law. Without it there would be chaos; only through it can there be order. As President Barack Obama said on Monday: “We are a nation based on the rule of law so we need to accept that this was the special jury’s decision to make.”

The trouble is that the United States, for far longer than it has been a “nation of laws”, has been a nation of injustice. And in the absence of basic justice such laws can amount to little more than codified tyranny. When a white cop, Darren Wilson, shoots an unarmed black teenager, Michael Brown, dead and then is not indicted, the contradiction is glaring. For a world where it is not only legal for people to shoot you dead while you walk down the street, but where they can do so in the name of the law, is one in which some feel they have nothing to lose. And, in the words of James Baldwin: “There is nothing so dangerous as a man who has nothing to lose. You do not need 10 men. Only one will do.” Continue reading...

99. Source: Network Front | The Guardian
Item: The slow death of Soho: farewell to London's sleazy heartland
Date: 25 November 2014, 1:23 pm

For years, relentless gentrification has been squeezing the life out of the infamous district. The closure of Madame Jojo’s feels like the nail in its coffin

The news that Madame Jojo’s has had its licence revoked and the doors locked will have stirred a familiar sense of doom – not only in those who patronised that quirky club, but also in the wider fraternity of Soho lovers who feel that the place is rapidly losing its salty charm and succumbing to a wave of upward mobility. The longest queues in this part of London now tend to be outside the latest “no bookings” tapas bar, rather than for some form of entertainment that promises to flout the rules of conventional society.

My first memory of Soho was of a place called the Doll’s House in the 1960s. Every year, the grammar school I went to in Vauxhall, just south of the river, held a founder’s day service in St Martin-in-the-Fields. There was a thrill in going up to Trafalgar Square that was unconnected with that grand old church. Just round the corner was Soho, a place where, so legend had it, schoolboy dreams could come true. Soho was the place I had been specifically warned about, both by headmaster and parents: as it might have been on the old maps, “here lurk wicked things”. Accordingly, when this worthy occasion finally ground to a halt around lunchtime, the more adventurous of us schoolboys would nip down the nearest alleyway to turn our blazers inside out, thus disguising our age and employment status. Then it was straight to the Doll’s House, a strip club that allowed us in, and frequently offered a group discount. Continue reading...

100. Source: Multimedia
Item: New Directions in Digital Poetry -- Chris Funkhouser
Date: 21 January 2012, 3:50 pm
Funhouser's new book discusses, among other works, my pieces named Arteroids, dbCinema, and the Stir Fry Texts. Chris is also the author of the first book-length study of the history of digital poetry (called Prehistoric Digital Poetry).
101. Source: Victoria & Albert Museum - Art, Design, Culture
Item: V&A CultureCast: July 2006 (enhanced with images)
Date: 10 July 2006, 4:00 am
The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts.
Enclosure (m4a)
102. Source: Victoria & Albert Museum - Art, Design, Culture
Item: V&A CultureCast: July 2006 (no images)
Date: 10 July 2006, 4:00 am
The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts.
Enclosure (mp3)
103. Source: The Leonard Lopate Show from WNYC
Item: Adolescence Is Like Driving a Sports Car with Bad Brakes
Date: 27 November 2014, 11:00 pm

Dr. Laurence Steinberg, world-renowned expert on adolescent psychology, explains that that the adolescent years are key in shaping our adult lives. He argues that we need to change the way we parent, educate, and understand young people. In Age of Opportunity: Lessons from the New Science of Adolescence, Steinberg explains groundbreaking original research and looks at what the new timetable of adolescence means for parenting 13-year-olds to 20-somethings. This is a rebroadcast of a conversation that originally aired on September 24, 2014.

104. Source: The Leonard Lopate Show from WNYC
Item: Inspired By Real Congressmen, Garry Trudeau Creates a Sitcom
Date: 26 November 2014, 11:17 am

Alpha House, written by Academy Award nominee and Pulitzer Prize winner Garry Trudeau, is a comedy about four senators (John Goodman, Mark Consuelos, Clark Johnson, and Matt Malloy) who rent a house together in Washington DC. The series is inspired by real-life Congressmen who share a home in D.C.: Senator Dick Durbin, Senator Chuck Schumer, and Representative George Miller. The show began its second season on Amazon Studios on October, and in the new season, the Senators are maneuvering the hallways of Capitol Hill with a looming midterm election and an unclear political future. Three of the Republican Senators survived bruising primaries, and now facing strong Democratic challengers. They will use every trick in the book to woo voters on the road to re-election. 

Enclosure (mp3)
105. Source: The Leonard Lopate Show from WNYC
Item: Power Brokers From New York to DC to Moscow
Date: 25 November 2014, 11:00 pm

Anna Arutunyan, who traveled throughout Russia to report on modern Russian politics, writes about Vladimir Putin's political stranglehold. Academy Award nominee and Pulitzer Prize winner Garry Trudeau on his new comedy about four senators who live together in DC, Alpha House. Gilbert Gottfried on his life in comedy, films, starting a podcast, and headlining Carolines. And forty years ago, Robert Caro’s Pulitzer Prize winning book The Power Broker revealed the hidden story of how Robert Moses shaped New York City, and New York State, and he reflects on that time, and discusses how New York has changed ever since. 

106. Source: The Leonard Lopate Show from WNYC
Item: Should You Feast Responsibly on Thanksgiving, Or Just Dig In?
Date: 25 November 2014, 9:45 am

The turkey might be the star for many on Thanksgiving, but there is so much more to consider when you are cooking the meal, hosting guests, or arriving as a guest yourself. Dan Pashman, creator and host of WNYC's James Beard Award-nominated podcast The Sporkful tackles the tough Thanksgiving questions. What’s a good drink to accompany cooking thanksgiving dinner? How do you feast responsibly if you are dieting? And what do you do with all those leftovers?

Enclosure (mp3)
107. Source: The Leonard Lopate Show from WNYC
Item: National Book Award Finalists on the Lopate Show
Date: 20 November 2014, 11:00 pm

A number of the authors who've been nominated for this year's National Book Award have been guests on the Leonard Lopate show. You can listen to those conversations any time. 

Redeployment by Phil Klay won this year's award.

Age of Ambition by Evan Osnos won this year's award.
No Good men Among the Living by Anand Gopal
Can’t We Talk about Something More Pleasant? by Roz Chast
Tennessee Williams by John Lahr

108. Source: The Leonard Lopate Show from WNYC
Item: The Life of Stephen Hawking, and The Search For Life In Space
Date: 20 November 2014, 11:00 pm

David Rabe talks about the revival of his Tony Award-winning play “Sticks and Bones”; he’s joined by Holly Hunter and Bill Pullman, who star in it. Francis Lawrence discusses directing the latest “Hunger Games” film, “Mockingjay, Part 1.” Felicity Jones tells us about playing Stephen Hawking’s wife, Jane, in the new film “The Theory of Everything.” Please Explain is all about how astronomers search for extraterrestrial life in the universe.

109. Source: The Leonard Lopate Show from WNYC
Item: Ozzie and Harriet, Pulled Apart By The Vietnam War
Date: 20 November 2014, 11:00 pm

David Rabe discusses the revival of his Tony Award-winning play “Sticks and Bones,” along with Holly Hunter and Bill Pullman, who star in it. It’s the first major New York revival of the play, and it opens the New Group’s 20th Anniversary season. It’s a savagely comic portrait of an average American family pulled apart by the return of a son from the Vietnam War. It’s playing at Pershing Square Signature Center.

Enclosure (mp3)
110. Source: The Leonard Lopate Show from WNYC
Item: Remembering Mike Nichols
Date: 20 November 2014, 11:03 am

The theater and film director Mike Nichols was only one of 14 people to have won Emmy, Oscar, Tony, and Grammy awards. He made his Broadway debut with “Barefoot in the Park,” and his early films include “Who’s Afraid of Virginia Woolf?” and “The Graduate.” But he was never one to rest on his past accomplishments and always working on new projects. He was a thoughtful, engaging guest, full of insightful stories, and we were lucky enough to speak with him on our show a number of times.

He was on our show in 2012 to talk about directing Arthur Miller's "Death of a Salesman." Nichols said of the play, "It's the very heart of this country."


Mike Nichols returned in 2013, when he was directing Harold Pinter’s “Betrayal” on Broadway. He spoke about how a play is a mystery, and how directing theater is different than directing film: "I think that to make something alive, instead of on a page, is an honorable task. And it turns me on."

Mike Nichols on the Leonard Lopate Show in September 2013
Mike Nichols on the Leonard Lopate Show in September 2013
(Melissa Eagan/WNYC)


111. Source: The Leonard Lopate Show from WNYC
Item: Why is Turkey Called Turkey? Your Other Language Questions Answered
Date: 19 November 2014, 10:43 am

Our word maven, Patricia T. O’Conner, looks at the etymologies of some “New World foods” found on our Thanksgiving tables. For example, “pumpkin” comes from Greek (for “ripe gourd”) though it’s a North American vegetable. And turkey is native to North America, but in a roundabout way it became confused with the African Guinea fowl, which was thought to have come originally from Turkey. O'Conner will also answer questions about language and grammar. An updated and expanded third edition of O’Conner’s book, Woe is I: The Grammarphobe's Guide to Better English in Plain English, is available in paperback, as is  Origins of the Specious, written with Stewart Kellerman.

If you have a question about language and grammar, leave a comment or call us at 212-433-9692!

Enclosure (mp3)
112. Source: The Leonard Lopate Show from WNYC
Item: Vocalist Sheila Jordan's 70 Years in Jazz
Date: 18 November 2014, 10:25 am

Jazz singer Sheila Jordan grew up in poverty in Pennsylvania's coal-mining country and began singing as a child. She tells us about her influences—most have been instrumentalists rather than singers—and about her career in jazz. After moving to New York in the early 1950s, she married Charlie Parker's pianist, Duke Jordan, and studied with Lennie Tristano, but it was not until the early 1960s that she made her first recordings. In 2012, Jordan received the highest honor in jazz music, the National Endowment for the Arts Jazz Master Award.

Enclosure (mp3)
113. Source: The Leonard Lopate Show from WNYC
Item: Khrushchev Eats a Hot Dog and Why History Is Sometimes Comedy
Date: 17 November 2014, 11:00 pm

In the fall of 1959, at the height of the Cold War, Soviet Premier Nikita Khrushchev spent 12 days touring the United States at the invitation of President Dwight Eisenhower. Director Robert Stone tells us about his documentary “Cold War Roadshow,” along with historian William Taubman, who is featured in it. They talk about how visit was an opportunity to halt the escalating threats of the Cold War and potentially set a new course toward peaceful coexistence, and how it created a media circus as hundreds of reporters followed his every move. "Cold War Roadshow," premieres at 9PM on November 18 on PBS American Experience.

Soviet PreMier Nikita Khrushchev tastes his first American hot dog, complete with mustard, Sept 22, 1959. The Communist boss was asked what he thought of it. He replied 'OK, excellent, wonderful,'
Soviet PreMier Nikita Khrushchev tastes his first American hot dog, complete with mustard, Sept 22, 1959. The Communist boss was asked what he thought of it. He replied "OK, excellent, wonderful," but then added that it wasn't enough. 
(Credit: Courtesy of © Bettmann/ CORBIS/PBS)
Enclosure (mp3)
114. Source: National Gallery of Art | Audio
Item: Saving the Baldwin Film
Date: 21 October 2014, 8:00 am
October 2014 - Karen Thorsen and Douglas Dempsey. Karen Thorsen, director of James Baldwin: The Price of the Ticket, and cowriter Douglas Dempsey discuss the making of their award-winning documentary, the challenges of restoring the original 16 mm film elements, and the necessity of ensuring access to this powerful film during the digital age. Produced in association with Maysles Films and PBS/American Masters, The Price of the Ticket premiered in 1990 at Sundance and went on to win numerous awards at home and abroad. An emotional portrait, a social critique, and a passionate plea for human equality, its extensive vérité footage allows Baldwin to tell his own story: exploring what it means to be born black, impoverished, gay, and gifted in a world that has yet to understand that "all men are brothers." "On-camera witnesses" include the late Maya Angelou (she reads passages from the author's writings), Amiri Baraka, David Leeming, Bobby Short, and William Styron. Now considered a documentary film classic, The Price of the Ticket has been restored with the help of the Ford Foundation, Maysles Documentary Center, National Endowment for the Arts, and Stan and Joanne Marder. This conversation and the world premiere of the film's restoration took place on October 12, 2014, at the National Gallery of Art. This program was supported by Dr. Darryl Atwell and Dr. Renicha McCree to honor the 90th anniversary of the birth of James Baldwin (1924–1987), American essayist, novelist, playwright, poet, and activist.
Enclosure (mp3)
115. Source: National Gallery of Art | Audio
Item: A Sense of Place-Winslow Homer and the Maine Coast
Date: 12 August 2014, 8:00 am
August 2014 - Franklin Kelly, senior curator of American and British paintings, National Gallery of Art. On view from July 3, 2005 through February 26, 2006, Winslow Homer in the National Gallery of Art presented a survey of 53 paintings, watercolors, drawings, etchings, and wood engravings by American artist Winslow Homer (1836-1910) in the Gallery's collection. The exhibition spanned Homer's entire career, from his early Civil War painting Home Sweet Home (c. 1863) to late watercolors of tropical landscapes and his hunting scene Right and Left (1909), completed less than 2 years before his death. In this lecture recorded on January 8, 2006, Franklin Kelly describes the importance of the Maine coast in Homer's life and art. Homer spent his last 27 years living and working in a small, rugged spot called Prouts Neck, located on the Atlantic coast in southern Maine. Through works featured in the exhibition and archival photographs, Kelly illustrates how the Maine coast was an inspiring source of material to Homer throughout his career.
Enclosure (mp3)
116. Source: National Gallery of Art | Audio
Item: The Sixty-Third A. W. Mellon Lectures in the Fine Arts: Past Belief: Visions of Early Christianity in Renaissance and Reformation Europe, Part 6: Constantine and Conversion: The Roles of the First Christian Emperor
Date: 13 May 2014, 8:00 am
May 2014 - Anthony Grafton, Princeton University. In this six-part lecture series entitled Past Belief: Visions of Early Christianity in Renaissance and Reformation Europe, Anthony Grafton focuses on the efforts of artists and scholars to recreate the early history of Christianity in a period of crisis in the church from the 15th to the 17th century. In this sixth lecture, entitled "Constantine and Conversion: The Roles of the First Christian Emperor," originally delivered at the National Gallery of Art on May 11, 2014, Professor Grafton argues that in their retelling of the dramatic and exemplary life of Constantine, scholars and artists forged new forensic, historical, and multidisciplinary approaches. They used philological and antiquarian evidence to unpack a layered and incoherent body of evidence that exposed the apocryphal legends of what has been called an "inherited conglomerate." Protestant and Catholic writers concurred in their assessment that Constantine's reign marked a radical transformation of art and religion and was thus a historical moment of great consequence—yet one or two began to see Constantine in less dramatic terms, as the human, political figure that he was. The erudition and imagination of these scholars and artists in the early modern period produced sophisticated and acute views of the early church, from which we can still profit today.
Enclosure (mp3)
117. Source: National Gallery of Art | Audio
Item: Image of the Black in Western Art, Part III
Date: 4 March 2014, 7:00 am
March 2014 - Panel discussion includes David Bindman, emeritus professor of the history of art, University College London; Ruth Fine, curator (1972–2012), National Gallery of Art; Henry Louis Gates Jr., Alphonse Fletcher University Professor and director of the W.E.B. Du Bois Institute for African and African American Research, Harvard University; Richard J. Powell, John Spencer Bassett Professor of Art and Art History, Duke University; and Sharmila Sen, executive editor-at-large, Harvard University Press. Moderated by Faya Causey, head of academic programs, National Gallery of Art. In the 1960s, art collector and philanthropist Dominique de Menil began a research project and photo archive called The Image of the Black in Western Art. Through the collaboration of Harvard University Press and the W.E.B. Du Bois Institute for African and African American Research, the project nears its completion. This panel discussion commemorates the publication of the penultimate volume of the series, The Image of the Black in Western Art: The Twentieth Century: The Impact of Africa (vol. 5, part 1). The last two volumes in the series mark the 20th-century transition from the depiction of people of African descent by others to their self-representation in the US and elsewhere. In this program recorded on February 23, 2014, at the National Gallery of Art, the panelists discuss the implications of this dramatic shift in the emphasis of the volumes.
Enclosure (mp3)
118. Source: National Gallery of Art | Audio
Item: Jeff Wall on His Work
Date: 3 September 2013, 8:00 am
September 2013 - Jeff Wall, artist. Canadian-born photographer Jeff Wall first became interested in photography in the mid-1960s. He was struck by the perfectionism that characterized the practice at that time—the idea that photographs should, and must, document the world as it is. Photography seemed to be strict reportage, instead of allowing for collaboration between the photographer and subject (as with cinematography). Films were composed of a series of still photographs, but the potential for collaboration within a single photograph had not yet been realized. In this lecture recorded at the National Gallery of Art on April 17, 1999, Wall discusses his work and his relation with what he calls cinematography. He works with performers and prepares the composition to create an image of something that he has actually seen. Through the large-scale photographs for which he is best known, Wall seeks to tell a fragment of a story and allow spectators to finish the story for themselves.
Enclosure (mp3)
119. Source: National Gallery of Art | Audio
Item: Bronislava Nijinska: A Choreographer's Journey
Date: 20 August 2013, 8:00 am
August 2013 - Lynn Garafola, professor of dance, Barnard College, Columbia University. Bronislava Nijinska, the sister of famed ballet dancer and choreographer Vaslav Nijinsky, was a pioneer of the modern tradition of ballet. In spring 2013, Lynn Garafola was awarded a Guggenheim Fellowship to support her research on Nijinska. In this lecture recorded on July 7, 2013, at the National Gallery of Art, Garafola shares her latest research and thoughts about how Nijinska's life and work not only illuminated modern ballet history, but 20th century culture as a whole. In 1913 Nijinska was evicted from her brother's production The Rite of Spring for getting married, an act that he perceived as a betrayal. Afterward, although she was no longer dancing for her brother, Nijinska still played a crucial role in the dissemination of modernism. The longevity of her career eclipsed that of her brother's, and her work influenced numerous dancers and choreographers. Held in conjunction with the exhibition Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view at the Gallery from May 12 to October 6, 2013, this lecture was supported in loving memory of Shirley Casstevens.
Enclosure (mp3)
120. Source: National Gallery of Art | Audio
Item: Conversations with Collectors: Robert and Jane Meyerhoff
Date: 5 March 2013, 7:00 am
March 2013 - Robert and Jane Meyerhoff, collectors, in conversation with Irving Blum, collector and co-founder of the Ferus Gallery, Los Angeles. To celebrate the exhibition opening of The Robert and Jane Meyerhoff Collection: 1945-1995 at the National Gallery of Art on March 31, 1996, the Meyerhoffs joined Irving Blum to discuss the history and practice of their collecting. On view through July 21, 1996, the exhibition presented 194 works, almost their entire collection of post-World War II art. The Meyerhoffs' acquisitions have been based wholly on their belief in the quality of individual works and not on any preconceived theory or plan. If they were passionate about an artist, they collected his or her work in depth. Their private residence has a room dedicated to each of the following artists: Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Robert Rauschenberg, and Frank Stella. The collection is both a tribute to the extraordinarily high level of accomplishment by these artists and to the Meyerhoffs' intuition.
Enclosure (mp3)
121. Source: National Gallery of Art | Audio
Item: William H. Johnson
Date: 19 February 2013, 7:00 am
February 2013 - Gwendolyn H. Everett, assistant professor, department of art, Howard University Gwendolyn H. Everett, scholar and author of the award-winning children's book Li'L Sis and Uncle Willie: A Story Based on the Life and Paintings of William H. Johnson, provides an overview of William Henry Johnson's (1901-1970) career as part of the Five African American Artists lecture series recorded on August 3, 2003. Everett traces Johnson's determination to become an artist, despite a humble upbringing in South Carolina, to his years at a segregated elementary school where art was not part of the formal curriculum. In 1918, during the first Great Migration, Johnson moved to New York to pursue artistic training unavailable in the South. While living in Harlem and working several jobs to support himself, he was accepted into the prestigious National Academy of Design. Noted watercolorist Charles Webster Hawthorne provided critical mentorship at the academy, hired Johnson to work at the Cape Cod School of Art, and sponsored his further training in Europe. Johnson supplemented this sponsorship with prizes awarded by the academy and funds earned working for Ashcan School painter George Luks. In 1920s Paris, Johnson lived in the former studio of James McNeill Whistler and became acquainted with Henry O. Tanner, an African American expatriate artist who had achieved international acclaim and who would become a pivotal figure in Johnson's rise to prominence. Follow along as Everett illustrates Johnson's journey—marked by determination, strengthened by hard work, and bolstered by the support of influential artists—that led him to become one of the greatest American artists of the 20th century.
Enclosure (mp3)
122. Source: National Gallery of Art | Audio
Item: Artists in Residence: Henry O. Tanner in the Holy Land
Date: 12 February 2013, 7:00 am
February 2013 - Gwendolyn H. Everett, lecturer, National Gallery of Art. As part of the Artist in Residence lecture series, Gwendolyn H. Everett focused on Henry Ossawa Tanner's (1859-1937) visits to the Holy Land, and how this travel affected the later religious paintings for which he achieved international recognition. In this podcast recorded on August 9, 1987, Everett explains the formative influence of Tanner's upbringing in an educated, religious family in post-Civil War Philadelphia. Tanner's father was a minister and, later, a bishop in the African Methodist Episcopal Church, and his mother administered a Methodist school. Tanner enrolled in the Pennsylvania Academy of Fine Arts as the only African American student in 1879, graduating in 1885. His professor, the artist Thomas Eakins, encouraged a progressive method of study from live models instead of plaster casts, which profoundly affected Tanner. after 1891 Tanner resided primarily in France; by 1895 his paintings were mostly of biblical themes, and in 1897 he made his first trip to the Holy Land, where his firsthand experience led to mastery of religious subject matter. He visited the region several times to explore mosques and biblical sites, and to complete character studies of the local population, as he had learned from Eakins. Tanner invigorated religious painting with modernism and with his deeply rooted faith, achieving renown in the international art world.
Enclosure (mp3)
123. Source: National Gallery of Art | Audio
Item: Roy Lichtenstein's Kyoto Prize Lecture of 1995
Date: 29 January 2013, 7:00 am
January 2013 - Harry Cooper, curator and head, department of modern art, National Gallery of Art, with original slides courtesy of the Roy Lichtenstein Foundation © Estate of Roy Lichtenstein. On November 11, 1995, Roy Lichtenstein was in Japan to receive the Kyoto Prize from the Inamori Foundation. In accepting the award, he delivered a lecture on the evolution of his work since his Pop breakthrough of 1961. Thanks to the generosity of the artist's estate and foundation, Harry Cooper, the National Gallery of Art's curator of modern art, presented this lecture at the Gallery, with the original slides, on January 9, 2013—in honor of Roy Lichtenstein: A Retrospective, the first major exhibition of the artist's work since his death in 1997. The exhibition was on view at the Gallery from October 14, 2012, to January 13, 2013.
Enclosure (mp3)
124. Source: National Gallery of Art | Audio
Item: Architecture and Art: Creating Community
Date: 12 June 2012, 8:00 am
June 2012 - David Adjaye, principal architect, Adjaye Associates; Elizabeth Diller, principal architect, Diller Scofidio + Renfro; Tom Finkelpearl, executive director, Queens Museum of Art; Sarah Lewis, art historian, author, and curator; and Robert Storr, chairman of FAPE's Professional Fine Arts Committee and dean of the Yale School of Art. In collaboration with the Foundation for Art and Preservation in Embassies (FAPE) and in the spirit of its Leonore and Walter Annenberg Award for Diplomacy through the Arts, the National Gallery of Art hosted this annual panel discussion on May 15, 2012. Featuring noted architects David Adjaye and Elizabeth Diller, and moderated by Robert Storr, the program focused on how architecture and art bring people together in public spaces. Adjaye currently serves as the lead designer for the Smithsonian National Museum of African American History and Culture, which is slated to open on the National Mall in 2015. Diller, along with Ricardo Scofidio and Charles Renfro, recently completed the Lincoln Center for the Performing Arts Redevelopment Project. Also participating were Tom Finkelpearl, executive director of the Queens Museum of Art, which broke ground last year on an expansion that will double its size; and Sarah Lewis, a PhD candidate at Yale University who is currently finishing RISE, a book that "explores the advantage of resilience and so-called failure in successful creative human endeavors."
Enclosure (mp3)
125. Source: National Gallery of Art | Audio
Item: Solving the East/West Conundrum in Modern Chinese Art
Date: 1 May 2012, 8:00 am
May 2012 - Martin J. Powers, Sally Michelson Davidson Professor of Chinese Arts and Cultures and former director, Center for Chinese Studies, University of Michigan. At the beginning of the 20th century, artists in China found themselves in a no-win situation: if they made use of Chinese brushwork, their art was considered "traditional," and if they adapted European or modernist methods, it was called "derivative." We may call this the East/West conundrum in modern Chinese art. Against the background of a long history of cultural competition in China, Martin J. Powers explores several ways in which Chinese artists managed to transcend the East/West conundrum in recent decades. Professor Powers delivered this lecture in both English and Mandarin on February 19, 2012, at the National Gallery of Art.
Enclosure (mp3)
126. Source: National Gallery of Art | Audio
Item: Conversations with Artists: Joel Shapiro, Thoughts on the Organization of Form in Modern Sculpture
Date: 13 March 2012, 8:00 am
March 2012 - Joel Shapiro, artist. Following the installation of Joel Shapiro's Untitled (1989) in the National Gallery of Art Sculpture Garden with other major post–World War II sculptures, the artist received an invitation to curate an exhibition of his work alongside the 19th-century sculpture of Jean-Baptiste Carpeaux. In this podcast recorded on March 9, 2003, Shapiro explains that the upcoming exhibition gave him on opportunity to focus on the continuity of thought in sculpture. Although certain ideas for form in sculpture seem radical and contemporary, their ideas have already been discovered and worked with in earlier times. Shapiro finds that the development of form seems to repeat itself, although it is ever-changing, more or less focused, and contextualized by the era in which it was created.
Enclosure (mp3)
127. Source: National Gallery of Art | Audio
Item: A Sense of Place—Norman Lewis in Harlem: "An Inquiry into the Laws of Nature"
Date: 28 February 2012, 7:00 am
February 2012 - Ruth Fine, curator of special projects in modern art, National Gallery of Art. In this podcast recorded on January 15, 2006, Ruth Fine discusses the Harlem-based life and career of Norman Lewis in honor of the Martin Luther King Jr. federal holiday weekend. Lewis was born in Harlem in 1909 and died in New York at the age of 70. Except for short periods spent elsewhere, New York and, in one way or another, the Harlem community remained Lewis' home base throughout his life. Harlem changed radically during the artist's lifetime, becoming the cultural center of black America. He is considered by many to be the first African American artist fully engaged by abstraction. Lewis' drawings, paintings, and prints date from the 1930s to 1970. Supporting himself as an elevator operator, house painter, short-order chef, merchant marine, tailor, and taxi driver, Lewis worked steadily at his art. "I have sustained myself in whatever the moment called for and done what has been necessary to just exist." Lewis' art and attitudes were highly influential on the next generation of African American artists, including Melvin Edwards, Sam Gilliam, and William T. Williams
Enclosure (mp3)
128. Source: National Gallery of Art | Audio
Item: Conversations with Artists-Compositions and Collaborations: The Arts of Lou Stovall
Date: 21 February 2012, 7:00 am
February 2012 - Lou Stovall, artist, in conversation with Ruth Fine, curator of special projects in modern art, National Gallery of Art. As part of the National Gallery of Art summer lecture series Five African American Artists: Johnson-Tanner-Johnson-Stovall-Thomas, Lou Stovall participated in a Conversations with Artists program with Ruth Fine on August 3, 2003. "Compositions and Collaborations: The Arts of Lou Stovall" is a rare opportunity to hear Stovall discuss his own work and his collaborations with other artists, and to listen as he responds to questions from the audience. Stovall has been a major figure in the Washington, DC, arts community since the early 1960s, when he arrived at Howard University for his BFA program. In 1968 Stovall founded Workshop, Inc., a professional printmaking studio, where he has collaborated with more than 70 artists over the years. In addition to his own drawings and silkprints, and his collaborative printmaking projects, Stovall is a published essayist and poet.
Enclosure (mp3)
129. Source: National Gallery of Art | Audio
Item: Nazi Loot in American Collections
Date: 21 February 2012, 7:00 am
August 2012 - Nancy Yeide, head of the department of curatorial records and files, National Gallery of Art, and the Ailsa Mellon Bruce Curatorial Sabbatical Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art. The looting of cultural property by Nazi forces has been called the "Greatest Theft in History." In total, the Nazis looted more than 200,000 individual items, including paintings, sculptures, and tapestries, during World War II, primarily from Jewish owners in the occupied countries. In this lecture recorded on February 2, 2003, at the National Gallery of Art, Nancy Yeide provides the provenance of famous cases to explore how some looted art ended up in American collections and museums. Yeide also discusses how Hermann Göring, founder of the Gestapo and commander of the German Air Force, used his political and military power to amass the largest private art collection in Europe.
Enclosure (mp3)
130. Source: National Gallery of Art | Audio
Item: Florence: Days of Destruction
Date: 13 December 2011, 7:00 am
December 2011 - Bryan Draper, Collections Conservator, University of Maryland Libraries; Norvell Jones, retired Chief of the Document Conservation Branch, National Archives; and Sheila Waters, calligrapher. Recalling the 45th anniversary of the catastrophic flood of Florence in 1966, the National Gallery of Art, in association with the University of Maryland Libraries presented a rare screening of Franco Zeffirelli's Florence: Days of Destruction (Per Firenze) on November 5, 2011. The famed Italian director's sole documentary is a heartfelt call to action containing the only known footage of the flood, accented by Richard Burton's voiceover commentary. The film is in the collection of the University of Maryland Libraries, College Park. Program speakers included Bryan Draper, Collections Conservator, University of Maryland Libraries; Norvell Jones, retired Chief of the Document Conservation Branch, National Archives; and Sheila Waters, calligrapher, who participated in the conservation efforts in post-flood Florence.
Enclosure (mp3)
131. Source: National Gallery of Art | Audio
Item: Morse at the Louvre
Date: 15 November 2011, 7:00 am
November 2011 - A two-time Pulitzer Prize winning author and recipient of the National Book Award, David McCullough discusses his new book, The Greater Journey: Americans in Paris. In this podcast recorded on September 26, 2011, at the National Gallery of Art, McCullough tells the story of America's longstanding love affair with Paris through vivid portraits of dozens of significant characters. Notably, artist Samuel F. B. Morse is depicted as he worked on his masterpiece The Gallery of the Louvre. McCullough spoke at the Gallery in honor of the exhibition A New Look: Samuel F. B. Morse's "Gallery of the Louvre," on view from June 25, 2011, to July 8, 2012. The exhibition and program were coordinated with and supported by the Terra Foundation for American Art.
Enclosure (mp3)
132. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 6: Painting and Violence
Date: 30 August 2011, 8:00 am
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the sixth lecture, originally delivered at the National Gallery of Art on May 19, 2002, Professor Michael Fried argues that Caravaggio's art should be understood not simply as a monument to a revolutionary style of pictorial realism, but also as an investigation into the psychic and physical dynamic that went into its making. Fried evokes this dynamic with concepts introduced in earlier lectures, including immersion and specularity, absorption and address, painting and mirroring, and optical and bodily modes of realism�what he calls "the internal structure of the pictorial act."
Enclosure (mp3)
133. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 5: Severed Representations
Date: 30 August 2011, 8:00 am
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the fifth lecture, originally delivered at the National Gallery of Art on May 12, 2002, Professor Michael Fried discusses how the "violent" birth of the full-blown gallery picture (as seen in Judith and Holoferenes) is figured in Caravaggio's art as beheading or decapitation, an allegory for the act of painting.
Enclosure (mp3)
134. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 4: Absorption and Address
Date: 23 August 2011, 8:00 am
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the fourth lecture, originally delivered at the National Gallery of Art on May 5, 2002, Professor Michael Fried explores how two polar entities in Caravaggio's art--absorption and address--lead to the emergence of the gallery picture.
Enclosure (mp3)
135. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 3: The Invention of Absorption
Date: 16 August 2011, 8:00 am
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the third lecture, originally delivered at the National Gallery of Art on April 28, 2002, Professor Michael Fried argues that Caravaggio's depiction of his figures as so deeply engrossed in what they are doing, feeling, and thinking is revolutionary.
Enclosure (mp3)
136. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 2: Immersion and Specularity
Date: 9 August 2011, 8:00 am
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the second lecture, originally delivered at the National Gallery of Art on April 21, 2002, Professor Michael Fried addresses Caravaggio's engagement with the act of painting, and contrasts that with specular moments of detachment. Fried argues that this divided relationship lies at the heart of Caravaggio's most radical art.
Enclosure (mp3)
137. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 1: A New Type of Self-Portrait
Date: 2 August 2011, 8:00 am
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University. In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the first lecture, originally delivered at the National Gallery of Art on April 14, 2002, Professor Michael Fried opens the lecture series with a discussion of Caravaggio's Boy Bitten by a Lizard. He argues for its significance as a disguised self-portrait of the artist in the act of painting.
Enclosure (mp3)
138. Source: National Gallery of Art | Audio
Item: Calling the Earth to Witness: Paul Gauguin in the Marquesas
Date: 31 May 2011, 8:00 am
May 2011 - June Hargrove, professor of 19th-century European painting and sculpture, University of Maryland at College Park. Professor June Hargrove discusses artist Paul Gauguin's struggle in the final months of his life, after moving to the Marquesas Islands, to show the world his contributions to the creative process. Recorded on May 15, 2011, and held in conjunction with the exhibition Gauguin: Maker of Myth, this lecture examines the paintings from 1902 and attests that, for all his talk of savagery and cannibalism, Gauguin created some of his most serene masterpieces during this time.
Enclosure (mp3)
139. Source: National Gallery of Art | Audio
Item: Elson Lecture 1998: I. M. Pei in conversation with Earl A. Powell III
Date: 12 April 2011, 8:00 am
April 2011 - I. M. Pei, architect, in conversation with Earl A. Powell III, director, National Gallery of Art Legendary architect I. M. Pei appears in conversation with Gallery director Earl A. Powell III to commemorate the 20th anniversary of the opening of the East Building of the National Gallery of Art. In this podcast recorded on March 26, 1998, Pei discusses the evolution of the East Building�s design and construction from the time Pei was awarded the commission until the building was dedicated by President Jimmy Carter on June 1, 1978.
Enclosure (mp3)
140. Source: National Gallery of Art | Audio
Item: Film Design: Translating Words into Images
Date: 25 January 2011, 7:00 am
January 2011 - Patrizia von Brandenstein, Academy Award�winning production designer. Production designers define the appearance of a film, bringing to life written scripts by working with producers, directors, and their crews to achieve the desired look of a picture. Academy Award winner Patrizia von Brandenstein shared her practical knowledge of production design and used clips from several of her films, including Amadeus (1984), Six Degrees of Separation (1993), and The Last Station (2010), to illustrate the result of many years of research and visual interpretation.
Enclosure (mp3)
141. Source: National Gallery of Art | Audio
Item: Martin Puryear: "Sculpture that Tries to Describe Itself to the World"
Date: 28 September 2010, 8:00 am
September 2010 - Ruth Fine, curator of special projects in modern art, National Gallery of Art. In this podcast recorded on June 22, 2008, for the Martin Puryear retrospective exhibition opening at the National Gallery of Art, curator Ruth Fine discusses the work of District of Columbia native Martin Puryear. The retrospective included 46 sculptures made between 1975 and 2007. The first exhibition in the Gallery's history to be installed in both the East and West Buildings, it provided a unique opportunity to view Puryear's sculpture in modern and classical settings. Fine discusses the installation process for Puryear's work at the Gallery, designed in collaboration with the artist, as well as the intentions behind the placement of sculptures.
Enclosure (mp3)
142. Source: National Gallery of Art | Audio
Item: Graft by Roxy Paine
Date: 8 December 2009, 7:00 am
December 2009, Behind the Scenes - Molly Donovan, associate curator, department of modern and contemporaryart, National Gallery of Art, Washington. In 2009 the National Gallery of Art commissioned American sculptor Roxy Paine to create a stainless steel Dendroid, as the artist calls his series of treelike sculptures, for the Sculpture Garden. In this podcast produced on the occasion of the completed work�the first contemporary sculpture installed in the Sculpture Garden in the nearly 10 years since it opened�associate curator Donovan talks to host Barbara Tempchin about Graft.
Enclosure (mp3)
143. Source: National Gallery of Art | Audio
Item: Rauschenberg's Experiments in Printmaking
Date: 27 November 2007, 8:41 am
November 2007, Backstory - Guest: Charles Ritchie, associate curator of modern prints and drawings, National Gallery of Art, Host: Barbara Tempchin. Robert Rauschenberg has been at the forefront of American art for more than 50 years. His bold, innovative experiments in printmaking are the focus of an exhibition called Let the World In: Prints by Robert Rauschenberg from the National Gallery of Art and Related Collections. In this Backstory, host Barbara Tempchin and Charles Ritchie, exhibition curator, discuss the impact Rauschenberg's prints have had on artists worldwide. Produced in conjunction with the exhibition Let the World In: Prints by Robert Rauschenberg from the National Gallery of Art and Related Collections.
Enclosure (mp3)
144. Source: National Gallery of Art | Audio
Item: Telling the Edward Hopper Story
Date: 3 September 2007, 8:00 am
September 2007, Backstory - Guest: Carroll Moore, film and video producer, National Gallery of Art. The iconic paintings and artistic impact of Edward Hopper are the subject of a new documentary film that accompanies the exhibition Edward Hopper on its Boston-Washington-Chicago tour. Award-winning producer Carroll Moore speaks with Tempchin about the making of this illuminating film.
Enclosure (mp3)
Item: Fresh Talent at the Shanghai Biennale
Date: 26 November 2014, 10:02 am

It’s known as the industrial factory to the world. But in recent years, China has been shuttering and relocating a number of its manufacturing complexes, as air pollution shrouds its skies — and attracts the world’s scrutiny.

In Shanghai, this decampment of industry has inspired the theme of the city’s 10th Shanghai Biennale, “Social Factory.” The show, which opened November 23, is held for the second time in the Power Station of Art, itself a converted electric plant along the Huangpu River, and the country’s only state-funded museum for contemporary art. In the show that spans three sprawling floors — each around the size of a Wal-Mart superstore — the organizers of the Biennale take a step back to ask what forces could lead to a new social life, if the structures of industry continue to fall into disuse.   

The 70 artists in the show from across 20 countries offer enthusiastic answers, from revolutionary folksongs sung on the trails of northwest China to a cross-dressing space mission told through Cantonese opera. It’s not surprising that the works are fresh and forward-looking. A large crop of the artists are remarkably young, perhaps reflecting the youthful curatorial team, which, along with lead curator Anselm Franke, includes Hong Kong’s Cosmin Costinas and Taipei’s Freya Chou.

“It is a good moment to slow down,” Franke said at the VIP preview Saturday evening. “Where does the breathtaking development leave people and social relations?” For the past decade, Franke, who is the head of visual art and film at the Haus der Kulturen der Welt in Berlin and curated the Taipei Biennial in 2009, has been visiting Shanghai, observing its frenetic rate of change.

On opening night, ARTINFO crossed paths with a few of the young artists at the Power Station. Here’s a closer look at their works, and art’s changing role in China, outside the churn of the market.   

Ming Wong

Hours before the VIP preview, the Singaporean-born, Berlin-based artist known for his virtuosic mimicry of historical figures — real and imagined, female and male — dusted the flashing screens of his video installation, “Windows on the World,” 2014. “I think of this as the deck of a space station,” he said, cleaning paper in hand.

Across 24 screens, footage flashes of China’s lunar landings, Chinese space-themed cartoons, and scrolling computer texts outlining the cultural history of science fiction in the country. In a lower monitor, a panicked Sandra Bullock in the blockbuster movie “Gravity” orbits the earth. But here, the real star is a coiffed, rosy-cheeked Wong, tunneling through a “Solaris”-inspired setting in a natty silver space suit. The station in the film is constructed with bamboo and fabric, and the trebles of Cantonese opera wail in the background.

“I wanted to use Cantonese opera — this genre that’s traditionally locked into the past  —to talk about the future,” said the terrestrial Wong.

Today, science fiction’s popularity has reached a feverish pitch among Chinese readers — and, apparently, artists. At the Biennale, the theme is taken up in Anton Vidokle’s “Cosmos,” Yin-Ju Chen’s “Liquidation Maps,” and Shambhavi Kaul’s film collage, “Mount Song.” Their futuristic projections all borrow from the grab bag of history — including the Soviet Communist project to awaken the dead and episodes of political violence in Asian history, as interpreted through star charts. Here, there’s a call to carry the past with us as we hurdle into what’s ahead.  

Trevor Yeung

Born in 1988 in Hong Kong, Trevor Yeung is one of the show’s youngest artists, and the work he presents is also… well, green. In a wide corridor on the second floor, rows of waxy passion fruit grow beneath glowing greenhouse lights and a trestle overhang. But the healthy trellised stalks, now about human height, won’t ever reach the lattice hung above, which will continually be raised higher and higher throughout the show. Here, the grasping tendrils reflect humans’ frustrated strivings, Yeung said, while watering the plants.

“Just like in a real farm, you must tend to the plants everyday,” he explained. “But here, at the museum, we will hire outside people to do it. You have to come up with a whole new system.” It’s a particular challenge he is familiar with living in Hong Kong, where gardens are spread across city rooftops, converting a gritty landscape into lush oases and urbanites into farmers.   

In the show, the work resonates with the nearby pieces also centering around the natural world. American-born, Japan-based artist Adam Avikainen has hung indigo-dyed sheets and scarecrow dolls — evoking the missing generation of farmers in Japan who have instead migrated to cities — to a somewhat spooky effect. Chinese artist Zheng Guogu farms a plot of land in his hometown of Yangiang, collapsing the divides between the cultivator and artistic creator.  

Libbie D. Cohn and J.P. Sniadecki

For a split instant in “People’s Park” — a gorgeous documentary film touring a spirited park in Chengdu in a single 78-minute take — you catch a glimpse of the young filmmakers in the reflection of the golden-gilt poster frame. They are a bizarre sight: Cohn sits in a wheelchair wielding a handheld camera as Sniadecki pushes her, long microphones in hand, through the colorful park that’s alive with karaoke singers, open air waltzing, taichi, and energetic pop ballads. In making the film, the duo, who are associated with Harvard’s Sensory Ethnography Lab, became another of the park’s performers, filming 23 single takes over the summer of 2011. “It may be the closest we will ever feel to performing a tightrope act, with so many opportunities for something to go wrong at every moment, at every turn,” Sniadecki told ARTINFO in an email.

Earlier this year the film showed at the Whitney Biennial, but at the Biennale, it fits perfectly into Franke’s curatorial framework, recording a space that is neither organized by state or commercial concerns. “This energy felt democratic because the park was boisterous, dynamic, and self-organized; it offered a fresh contrast to many other public spaces in China,” the 24-year-old Cohn said. “The film is very much about the multiple ways of looking together,” she added.

In the poetic “Red, Blue” showing nearby, by Zhao Tao, this shared act of looking and public space gains further political meaning. Zhao films parks in Guangzhou and Bangkok; quiet moments — men sleeping on tarps, a boy lost in play — before the incipient protests. Hong Kong artist Firenze Lai paints psychological portraits of individuals in cramped quarters. Likewise, Liu Chuang depicts private spaces, reproducing the anti-burglary windows that float across the second floor.

Ho Tzu Nyen

There’s no telling if Ho Tzu Nyen’s film “Earth (Black to Comm),” 2009­­­-12, set among industrial detritus, flickering florescent lights, and dark pools, represents a scene of death or resurrection, of awakening or slumber. The 50 actors sparking life into paintings by Caravaggio, Girodet, and Gericault move with languid electricity, almost by the dictates of some unknown logic, or maybe even spirit — the word isn’t too grand to evoke. The artist is known to dive into medieval Christian theology in his celebrated film “Cloud of Unknowing,” and as with that masterpiece, “Earth” was inspired by a book of Western art history, a tome on French post-revolutionary painting.

Western art history aside, does his film have to do with his home city of Singapore? At an opening dinner, the artist explained that the film’s painstaking, labored movement reminded him of the slow hours of hot Singaporean afternoons. The many ethnicities of the actors, so intimately filmed, are unique to the island-city’s richly diverse demographic. Ho recruited the actors from a local martial arts school. When he talked about the film production, he described it as mechanic and factory-like, as he militaristically dispatched demands — something hard to imagine from the gentle, soft-spoken artist. It was completed in one day, a mere three shots. Other projects in the Biennale, like Liu Ding’s Social Realist busts and Li Xiuqin’s sculptures made in collaboration with a blind artist, likewise make the process of art-making central, and shared.

Shanghai Bienniale
Published: November 26, 2014
Item: St. Louis Museums Shut Down, Swizz Beats Asserts Art Cred, and More
Date: 26 November 2014, 8:44 am

— St. Louis Museums Shut Down: Protests against the grand jury’s failure to indict officer Darren Wilson in the death of Michael Brown are widespread and going strong, especially in Ferguson, Missouri itself. In light of the circumstances, the Missouri History Museum closed early “to allow museum staff to be with their families at this time,” according to a statement, while the St. Louis Art Museum tweeted that it would close in “response to widespread civil unrest, and out of an abundance of caution.” [Hyperallergic]

— Swizz Beats Asserts Art Cred: In an interview for Jerry Saltz’s 33-day online magazine “Seen,” rapper and producer Swizz Beats discusses his upcoming projects at SCOPE Miami, his longtime Basquiat hyping, and his prodigious art collection (see: “Chagalls and Dalís”). “People have this perception of me that because I come from music, they think I am just some famous person who now wants to do art. But I bleed this for real,” he said. [Vulture]

— Marrakech Museum Sparks Debate: The Marrakech Museum for Photography and Visual Art is set to open in 2016 and poised, if all goes according to plan, to become one of the world’s largest photography centers. But the museum—while already attracting more visitors to its current temporary space than originally anticipated—is also facing interesting challenges in a culture where some are distrustful of its main medium. “For most local people,” writes the Guardian’s Sean O’Haganphotography means one thing: the often intrusive presence of tourists with digital cameras in search of local colour.” [Guardian]

— A Jane Goodall for the Art World: Sociologist Sarah Thornton — aka the “Jane Goodall of the art world” — is the author of 2008’s “Seven Days in the Art World,” and more recently, “33 Artists in 3 Acts.” Today’s Washington Post profile gives some insight into her process of studying gallerists and their fare. New Museum artistic director Massimiliano Gioni opines, “She’s not assimilated, and that gives her the perspective and the distance to look at things with complexity.” [WP]

— Chinese Silk Breaks Auction Record: A 600-year-old imperial embroidered silk work at Christie’s Hong Kong broke the record for sale at an international auction house when Chinese collector Liu Yiqian bid approximately $45 million ($348 million Hong Kong dollars). [WSJ]

— Jeff Koons’s Crushing Realization: “When I was 17, I realised that I knew nothing about art,” admitted the artist — who went on to remind us that “a lot of people never survive that moment. They become lost. They feel like it’s already too late for them to ever participate.” [Business Insider]

— Exiting Sotheby’s CEO William Ruprecht will receive $4 million to cushion his departure. [ARTnews]

— Coloring books for grown-ups are apparently all the rage in France and now, the U.K. [Independent]

— The Smithsonian American Art Museum awarded the 2014 James Dicke Contemporary Artist Prize — and its accompanying $25,000 — to Njideka Akunyili Crosby. [ARTnews]


As She Was: The Many Portraits of Madame Cézanne

The Rotten Core of “Sunshine Noir”

Q&A: Julien Lombrail and Loïc Le Gaillard, Carpenters Workshop Gallery

Art Miami’s New Fair CONTEXT NY Will Debut in March 2015

Check our blog IN THE AIR for breaking news throughout the day.

St. Louis Art Museum
Published: November 26, 2014
Item: The Rotten Core of “Sunshine Noir”
Date: 25 November 2014, 12:08 pm

Noir was born in Southern California. The “Depression-crazed middle classes” were its first protagonists, according to the writer Mike Davis, who charts its origins to James M. Cain’s 1934 novel “The Postman Always Rings Twice,” which in its hardboiled scribbling contains the etchings of the genre that would form the basis of its cinematic counterpart: a femme fatale, a botched crime, l’amour fou. Through this and other works of the period — Horace McCoy’s 1935 “They Shoot Horses Don’t They?” along with Cain’s subsequent “Mildred Pierce” and “Double Indemnity” the most notable examples, all later made into movies — the image of the Eureka State was turned inside out, the myth reshaped from one of prosperity and opportunity into despair and corruption. Los Angeles in particular, where capital flowed more freely than water and dreams were produced on the factory line, was singled out for its parasitic charm.

As Davis notes, many of these writers were themselves on contract with Hollywood studios, making their writing subversively critical. In 1939, Nathaniel West made the connection between noir writing and the movie business more explicit when he published “The Day of the Locust,” with its caricature of silver-screen weirdoes and a literal riot at a movie premiere. But noir’s first cinematic crossovers were something different, smothered by a deluge of other influences. Film noir in its most basic sense is often thought of as the combination of hardboiled crime narratives and the jarring visual style of German Expressionism, which turned every shadow into a threatening presence. But even when an American-born director got behind the camera, as Howard Hawkes did in “The Big Sleep” (1946), the discordant elements were succumbed by the exploitation of a romantic pairing between its two stars.

Noir would travel around the globe, ending up in occupied Vienna (“The Third Man”) and Argentina (“Gilda”), and even the circus (“Nightmare Alley”). But it would always return to California. Nowhere was dirtier or more dishonest, a place where nobody is who they seem to be, a fabricated land of masks and open space and light.

“Sunshine Noir,” a new series at the Brooklyn Academy of Music running November 26 through December 9, traces this branch of noir’s emergence from out of the darkness and back into the glow cast down on the City of Angels. It has many origin points, but the most obvious can be seen in the blades of harsh sunlight cutting through the venetian blinds of Humphrey Bogart’s bungalow in Nicholas Ray’s “In a Lonely Place” (1950), screening November 29. The stone-faced actor plays Dix Steele, a Hollywood screenwriter who gets wrapped up in a murder case after a young woman he invites home turns up dead on the side of the road the next morning. But back to those window shades: It’s an early morning sun filtering in — the film takes place in a perpetual moment of emerging from sleep — a unique light that, according to the poet Carey McWilliams, “has no counterpart in the world.”

“In a Lonely Place” also explicitly, in broad daylight, exposed the seedy underbelly of the entertainment industry and ushered in a new paranoid cinematic anti-hero. The film was made just as the House Un-American Activities Committee was waging a war against Hollywood liberals, and was released two years after Alger Hiss was brought up on espionage charges. The blacklist would send many of the critical voices in Hollywood running back into the shadows; those who didn’t recede were left afraid.

It wouldn’t be until the end of the ’60s, following the Paramount Case, which dismantled the vertical integration of the studio system, and the dismissing of the Production Code in favor of the still-enforced ratings system, that Sunshine Noir would return, and the following decade would prove fruitful. Robert Mulligan’s “The Nickel Ride” (1974), screening on December 9, features a low-level working-class mob middleman (played by the playwright Jason Miller) who takes care of a block of warehouses used for storing stolen property, and whose bosses are considering whether his presence is a detriment to their faltering business. Mulligan sets his noir in the dusty industrial streets of downtown Los Angeles, far away from the spaces of commerce, where the offices are broken down and dimly lit and the crooks are indistinguishable from the construction workers at the local bar. Jacques Deray’s “The Outside Man” (1972), screening on December 7, features a French hit man (Jean-Louis Trintignant) on the run in a bleached-out L.A. of strip malls and car parks, where violence erupts during lunch break.

Roman Polanski’s “Chinatown” (1974), screening November 27-28, is pure ’70s Sunshine Noir despite being a throwback to an Old Hollywood-style detective story. Set in the late 1930s, the film follows private detective Jake Gittes (Jack Nicholson) — wearing a bright white suit that practically radiates heat — as he stumbles through the barren California desert, each step across the dry expanse uncovering a deeper and far more disturbing level of corruption among the political elite of Los Angeles than ever imagined. It’s worth noting that the director John Huston plays the villain here. With his presence, the film connects multiple dots spanning the cinematic terrain of noir, and what’s clear is that not much has changed.

But for Polanski there is also a connection to his own personal history. By looking at the past and revealing its infested underbelly, “Chinatown” is casting the harsh light of the city on the then present. This is the era of Ronald Reagan’s deinstitutionalization of the mental health system in California (one part of a larger shameful legacy he left on the state), and the string of Charles Manson-led murders, of which Polanski’s wife, the actress Sharon Tate, was a victim. Maybe things had actually gotten worse.

The cynicism of “Chinatown” opened up the floodgates for a new strain of bitter Sunshine Noir. But there were also increasing levels of pollution and the emergence of postmodern architecture in Los Angeles (the glass cylinders of the Bonaventure Hotel were constructed between 1974 and 1976) that made the city feel more inhuman. As we crossed into the 1980s, and the former Governor of California was the President of the United States, Sunshine Noir took the city’s nickname, “The Big Orange,” quite literally. William Friedkin’s “To Live and Die in L.A” (1985), screening on November 26, presents a city cast under an atomic tangerine sky as if illuminated by a Dan Flavin fluorescent glow. Demarcated lines of good and evil were completely eroded, with police officers performing robberies and artists counterfeiting money in their painting studio. Jim McBride’s pop-art remake of Godard’s “Breathless” (1983), screening on December 4, takes place in a candy colored Los Angeles where past and present, the Hollywood myth and the tarnished reality, have collided. Both films end ambiguously, portraying Los Angeles as an inescapable landscape of continual violence.

The first sign that the bitterness of the post-“Chinatown” era of Sunshine Noir was mutating once again was Brian De Palma’s “Body Double” (1984), screening December 2, which used John Lautner’s Chemosphere as the swank bachelor pad of the main character, a struggling b-movie actor, and the site where he witnesses a murder. The new sanitized Los Angeles of glass buildings is just a veneer for the city’s inherent seediness, where blood can still stain your minimalist furniture. Michael Mann’s “Heat” (1995), screening on November 6, is the prime result of this shift. The bloated crime drama fully takes place in this Los Angeles, where crimes of passion have been completely erased by crimes of commerce — everything is a transaction, everything is business. Criminals and cops can sit down for a meeting at a diner and nobody blinks and eye. They are practically interchangeable, and both sides have shootouts in the business district wearing Versace suits. Sunshine Noir takes on a different meaning here. The light of Los Angeles is a false light, illuminated from the inside of sprawling towers. A different, softer glow, but nothing has changed.

Paul Thomas Anderson’s “Inherent Vice” (2014), screening December 8, opens up a new chapter, once again looking to the past. Adapted from the novel by Thomas Pynchon, it presents a vision of Los Angeles that has not stopped believing in its own myths but completely wigged out on an overdose of them. Hippiedom is just another variation of the tangled lie of prosperity, and Pynchon’s world is one of confusion and paranoia. This is Sunshine Noir pushed to absurdist proportions, where the most far-fetched conspiracies suddenly seem possible, and the rotten core of the municipality stretches beyond the city limits. But it’s also the Sunshine Noir that speaks to our present condition. Take a look at the news and you’ll realize it’s closer to the truth than you want to admit. 

Sunshine Noir
Published: November 25, 2014
148. Source: AGO Art Matters
Item: Take Our #KidstoWork Day: An exhibition of AGO careers
Date: 10 November 2014, 12:14 pm

By Brittany Reynolds, assistant, Recruitment, Training and Volunteer Programs

Touring the Aimia | AGO Photography Prize 2014 Exhibition.
Talking marketing with Angela Olano.
In the kitchen with Chef Renee.
Goofing around in the Kids' Gallery.

On Nov. 5, 2014, eight of our employees’ Grade 9 relatives joined us for the day and had the chance to see the variety of career opportunities here at the AGO.

The day kicked off with a tour of the Aimia | AGO Photography Prize 2014 Exhibition by project assistant Danielle St-Amour, where the students learned more about different styles of photography and the importance of the Prize at the AGO.

Then they met with marketing manager Angela Olano to discuss more about promoting AGO exhibitions, and they were tasked with creating a plan to advertise the AIMIA | AGO Photography Prize to their high school peers.

To end the morning, executive sous chef Renee Bellefeuille taught the students how to prepare profiteroles to make their very own chocolate éclairs. Students also had the chance to create their own menu that would include a starter and main course before their chocolate éclair dessert.

The afternoon’s activities included a vault tour by registrar Cindy Brouse and a tour of the conservation lab by sculpture and decorative arts conservator Lisa Ellis.

Last but certainly not least, the manager of our artist-in-residence and adult programs, Paola Poletto, spoke to students about the upcoming Jean-Michel Basquiat exhibition and the group brainstormed what types of youth programs would be appealing to students in their high schools.

Thank you to all who participated in the AGO’s Take Our Kids to Work Program! This year marked the 20th anniversary of the program, which was started by The Learning Partnership in 1994 and gives Grade 9 students a headstart on their future by helping them explore career options and connecting them directly with the world of work.

Search the hashtag #KidsToWork on Twitter and Instagram to see what happened at other workplaces this year.

149. Source: AGO Art Matters
Item: Take Our #KidstoWork Day: An exhibition of AGO careers
Date: 10 November 2014, 12:14 pm

By Brittany Reynolds, assistant, Recruitment, Training and Volunteer Programs

Touring the Aimia | AGO Photography Prize 2014 Exhibition.
Talking marketing with Angela Olano.
In the kitchen with Chef Renee.
Goofing around in the Kids' Gallery.

On Nov. 5, 2014, eight of our employees’ Grade 9 relatives joined us for the day and had the chance to see the variety of career opportunities here at the AGO.

The day kicked off with a tour of the Aimia | AGO Photography Prize 2014 Exhibition by project assistant Danielle St-Amour, where the students learned more about different styles of photography and the importance of the Prize at the AGO.

Then they met with marketing manager Angela Olano to discuss more about promoting AGO exhibitions, and they were tasked with creating a plan to advertise the AIMIA | AGO Photography Prize to their high school peers.

To end the morning, executive sous chef Renee Bellefeuille taught the students how to prepare profiteroles to make their very own chocolate éclairs. Students also had the chance to create their own menu that would include a starter and main course before their chocolate éclair dessert.

The afternoon’s activities included a vault tour by registrar Cindy Brouse and a tour of the conservation lab by sculpture and decorative arts conservator Lisa Ellis.

Last but certainly not least, the manager of our artist-in-residence and adult programs, Paola Poletto, spoke to students about the upcoming Jean-Michel Basquiat exhibition and the group brainstormed what types of youth programs would be appealing to students in their high schools.

Thank you to all who participated in the AGO’s Take Our Kids to Work Program! This year marked the 20th anniversary of the program, which was started by The Learning Partnership in 1994 and gives Grade 9 students a headstart on their future by helping them explore career options and connecting them directly with the world of work.

Search the hashtag #KidsToWork on Twitter and Instagram to see what happened at other workplaces this year.

150. Source: AGO Art Matters
Item: Join us for the Aimia | AGO Photography Prize winner announcement
Date: 27 October 2014, 9:35 am
The crowd at last year's Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

The crowd at last year’s Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.

And, if you haven’t yet, cast your vote!

Image via Twitter.

Image via Twitter.

About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.

Follow Garvia on Twitter

151. Source: AGO Art Matters
Item: Join us for the Aimia | AGO Photography Prize winner announcement
Date: 27 October 2014, 9:35 am
The crowd at last year's Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

The crowd at last year’s Aimia | AGO Photography Prize winner announcement, Nov. 7, 2013.

This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.

And, if you haven’t yet, cast your vote!

Image via Twitter.

Image via Twitter.

About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.

Follow Garvia on Twitter

152. Source: AGO Art Matters
Item: Art on wheels: Meet the Aimia | AGO Photography Prize Art Truck
Date: 25 September 2014, 1:26 pm

For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.

The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.

The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.

Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:

The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.

The 2014 finalists are:

  • David Hartt (Canada);
  • Elad Lassry (Israel/USA);
  • Nandipha Mntambo (South Africa); and
  • Lisa Oppenheim (USA).

Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit and follow @AimiaAGOPrize on Twitter.

153. Source: AGO Art Matters
Item: Art on wheels: Meet the Aimia | AGO Photography Prize Art Truck
Date: 25 September 2014, 1:26 pm

For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.

The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.

The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.

Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:

The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.

The 2014 finalists are:

  • David Hartt (Canada);
  • Elad Lassry (Israel/USA);
  • Nandipha Mntambo (South Africa); and
  • Lisa Oppenheim (USA).

Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit and follow @AimiaAGOPrize on Twitter.

154. Source: e-flux » Announcements
Item: Witness of the Century
Date: 24 November 2014, 11:00 pm

Museo de Arte de Zapopan presents Witness of the Century


Witness of the Century (Testigo del siglo)

November 28, 2014–April 26, 2015

Man with Ax and Other Brief Situations
(El hombre con el hacha y otras situaciones breves)
November 28, 2014–March 1, 2015

Index International Art Book Fair
November 27, 2014–December 1, 2015

Museo de Arte de Zapopan
20 de Noviembre
Zapopan Centro
45100 Zapopan


Curated by Viviana Kuri and Humberto Moro

Witness of the Century (Testigo del siglo) originated in our preoccupation and perplexity about the adversities our global habitat is currently passing through. We know about global warming and are aware of the urgency of the issues facing humanity. Uncertainty and a sense of helplessness are constants, and yet we continue to live day by day as if nothing were happening, as if global temperatures were not rising at exponential speeds, a phenomenon that will inevitably lead to the end of our planet as we know it.

At first sight, an art exhibition would not seem to be a solution, and indeed the very existence of such exhibitions is unsustainable within the perspective of global warming. Nevertheless, in line with the studies of British historian T. J. Demos, we are convinced that exhibitions focused on art and ecology are a pressing need in these times. We hope that our present efforts may in some way contribute to strengthening public commitment to sustainability policies and generate a space in which the possibility of alternative lifestyles can be put on the table, on behalf of greater environmental justice.

This exhibition proposes a reflection on environmental issues and our ecological emergency through an analysis of contemporary human habits. Accumulation, compulsion, abuse, overconsumption, waste, obsolescence, and the loss of subjectivity in the face of uniformity of thought are some of the issues that Testigo del siglo seeks to address and explore, as symptoms of the human pathologies of our time. From November 28 to April 26, 2015.

Works by: Eduardo Abaroa, Doug Aitken, Allora and Calzadilla, Javier Barrios, François Bucher, Agnieszka Casas, Minerva Cuevas, Jose Dávila, Peter Fischli and David Weiss, Sylvie Fleury, Mario García Torres, Thomas Hirschhorn, Yoshua Okón, Gabriel Orozco, Fernando Ortega, Christodoulos Panayiotou, Philippe Parreno, Ana Quiroz, Daniela Rosell, Eduardo Sarabia, Gabriel Sierra and Superflex.

Man with Ax and Other Brief Situations (El hombre con el hacha y otras situaciones breves) constitutes an innovation in the conception of Liliana Porter’s work. This site-specific installation is adapted to one of the MAZ’s galleries. The artist uses the hall as the compositional space of the work itself: a movie-set or variety show atmosphere (such as those Porter has worked with since the 1970s), where various actions provoke “brief situations” acted out by fantastical figures.

In an unmistakable style, Porter uses video and installation to portray extraordinary situations of everyday life in an interplay of the absurd and the philosophical. From November 28 to March 1, 2015.

Casa Bosques, PA/PER View and Publish And Be Damned are pleased to present INDEX International Art Book Fair.

INDEX aims to bring to wider attention editorial projects centered around contemporary art that lack big distribution as well as open a space for dialogue and exchange within the context of Mexico.

This fair presents an exciting programme of events that include conferences, workshops, live music and more; providing a unique opportunity for editors and the wider public alike to discover, enjoy and discuss the cutting edge of art publishing today. From 27 November 2014 to 1 March, 2015.

Museo de Arte de Zapopan presents Witness of the Century
155. Source: e-flux » Announcements
Item: Allora & Calzadilla: Intervals, presented with the Philadelphia Museum of Art
Date: 24 November 2014, 11:00 pm

Philadelphia Museum of Art and The Fabric Workshop and Museum present a joint exhibition, Allora & Calzadilla: Intervals

Allora & Calzadilla, Raptor’s Rapture (still), 2012. Single channel video projection with sound, 23:30 minutes.

Allora & Calzadilla: Intervals

December 12, 2014–April 5, 2015

Philadelphia Museum of Art
The Ruth and Raymond G. Perelman Building
2525 Pennsylvania Avenue
Philadelphia, PA 19130 

T +1 215 763 8100

The Fabric Workshop and Museum
1214 Arch Street
Philadelphia, PA 19107

T +1 215 561 8888


Press preview: Thursday, December 11, 10am–2pm
(PMA 10am–11:45am / FWM 12:15–2pm)

Opening: Friday, December 12, 5–9pm
(FWM 5–7:30pm / PMA 6:30–9pm)

Artist talk: Saturday, December 13, 3pm at FWM

The Philadelphia Museum of Art (PMA) and The Fabric Workshop and Museum (FWM) will present Allora & Calzadilla: Intervals, the largest solo exhibition in the United States to date by the Puerto Rico-based collective. Included will be several new and recent projects, ranging from films and sculpture to sound pieces and performances. Since 1995, Jennifer Allora (born in 1974 in Philadelphia) and Guillermo Calzadilla (born in 1971 in Havana, Cuba) have worked in close collaboration on a conceptually rigorous body of work that focuses upon the intersections of history, material culture, and politics through a wide variety of media.

Timothy Rub, the George D. Widener Director and Chief Executive Officer of the Philadelphia Museum of Art, said: “This project celebrates a spirit of collaboration on many levels, with two artists, two museums and musical collaborators who will perform as part of the exhibition. Many people had the opportunity to become familiar with the work of Allora & Calzadilla in 2011 when they were selected to represent the United States at the Venice Biennale, and many more will be fascinated as well as delighted by the new directions their work has taken since.”

Marion Boulton Stroud, Founder and Artistic Director of The Fabric Workshop and Museum, stated: “Working with our colleagues at the Philadelphia Museum of Art, we are proud to bring this exceptional exhibition to our city, a fitting place in which to premiere new work by these creative talents.” 

Allora & Calzadilla notes, “Intervals revels in the unknowable as essential to human experience. The exhibition bears witness to incomplete presences and resonant remainders. It finds in music a measure and a reckoning with these elusive forces and the abyss that lies between.”

PMA will present three films: Apotomē (2013), Raptor’s Rapture (2012), and 3 (2013), each of which stems from the artists’ research of artifacts and a conceptual reconsideration of human relationships to them. Also presented will be a new sound work, Interludes, in which breaths commonly muted from unmixed vocal recordings will be heard. PMA will also premiere a new choral work composed by Christopher Rountree titled In the Midst of Things, performed by the Philadelphia-based choir The Crossing, and referencing Joseph Hayden’s The Creation. In addition, an orchestral performance titled A Concert for Elephants, also composed by Rountree, will revisit the music played to two elephants in 1798, staging an ensemble of 11 musicians in juxtaposition to the film Apotomē.

At FWM, a second installation of Interludes will connect the two venues. Lifespan, a new sculpture and performance work, also performed by The Crossing, will focus on a sample of the earth’s mantle estimated to be over four billion years old. The Great Silence, a new, three-channel video installation, focuses on the world’s largest radio telescope, located in Esperanza, Puerto Rico, home to the last wild population of an endangered species of parrots. In addition, a sculptural installation titled Intervals, will premiere. Composed of transparent acrylic lecterns that hold fragments of dinosaur bones at heights corresponding to the body of each animal, Intervals will offer a fractured reading of natural history.

Jennifer Allora and Guillermo Calzadilla have exhibited widely and their work is held in many public and private institutions. Recent solo exhibitions have been presented at the Nicola Trussardi Foundation, Milan (2013); Indianapolis Museum of Art (2012); the US Pavilion at the 54th Venice Biennale (2011); the Museum of Modern Art (2010); Haus der Kunst, Munich (2008); Stedelijk Museum Amsterdam (2008); and the Serpentine Galleries, London (2007). Group exhibitions in which their work has been included were Documenta 13, Kassel, Germany (2012); the 5th, 7th, and 10th Gwangju Biennials, South Korea (2004, 2008, 2014); and the 24th and the 29th São Paulo Biennial (1998, 2010), among others. Allora & Calzadilla live and work in San Juan, Puerto Rico.

For a full schedule of opening weekend events and exhibition performances, visit and

For more information, or to request images
Philadelphia Museum of Art: Norman Keyes, Director of Communications:
T +1 215 684 7862 /
The Fabric Workshop and Museum: Michele Bregande, Assistant to the Directors-Public Relations:
T +1 215 561 8888 /

Philadelphia Museum of Art and The Fabric Workshop and Museum present a joint exhibition, Allora & Calzadilla: Intervals
156. Source: e-flux » Announcements
Item: Nadia Myre wins the 2014 Sobey Art Award
Date: 24 November 2014, 11:00 pm

Nadia Myre wins the 2014 Sobey Art Award


The Curatorial Panel for the 2014 Sobey Art Award has announced that Nadia Myre, of Québec, is the recipient of the 50,000 CAD award.

The announcement was made November 19 during a gala event held at the Winnipeg Art Gallery in Winnipeg, Manitoba, hosted by Paul Kennedy of CBC Ideas.

The Award was presented to the winning artist by the 2013 Sobey winner, Duane Linklater.

Nadia Myre was chosen from a shortlist that included:
–Evan Lee
–Neil Farber and Michael Dumontier
–Chris Curreri
–Graeme Patterson

Each of these outstanding artists receives 10,000 CAD in prize money from the Sobey Art Foundation.

In commenting on Nadia Myre’s achievement, the Jury issued the following statement:

“We are pleased to announce Nadia Myre as the winner of the 2014 Sobey Art Award. Myre has built a distinctive visual vocabulary by translating her experience and that of others into works that employ traditional crafts within a contemporary, multidisciplinary practice. Her artwork creates a symbolic image of wounding and resilience that conveys something deeply human while addressing urgent social concerns.”

The 2014 Sobey Art Award Curatorial Panel consists of:
Jordan Strom, Curator, Exhibitions and Collections, Surrey Art Gallery, British Columbia
Paul Butler, Curator, Winnipeg, Manitoba
Srimoyee Mitra, Curator of Contemporary Art, Art Gallery of Windsor, Ontario
Marie-Eve Beaupré, Conservatrice de l’art québécois et canadien contemporain, Musée des beaux arts de Montréal, Québec
Pan Wendt, Curator, Confederation Centre Art Gallery, Prince Edward Island

“The Sobey Art Foundation is delighted to congratulate Nadia Myre on winning this year’s top prize along with all of the longlisted and shortlisted artists in the 2014 Sobey Art Award. On behalf of all of us, I would like to congratulate and thank all of you for your hard work and commitment to excellence,” said Rob Sobey, Chair Sobey Art Foundation. “It is has been a wonderful experience for us all to be here at the Winnipeg Art Gallery for the Award’s first exhibition in Western Canada, we look forward to many returns,” he added.

Since the inception of the Sobey Art Award in 2002, the Art Gallery of Nova Scotia has organized and administered both the Award and its accompanying exhibition. Every other year, the Award is exhibited at a Canadian Gallery or Museum outside of Halifax.

The 2014 Sobey Art Award shortlist exhibition is on view at the Winnipeg Art Gallery until January 18, 2015.

Artist bio: available at High-resolution images are available by phoning T +902 424 2903 or +902 424 7754.

About the Sobey Art Award:

About the Art Gallery of Nova Scotia:

About the Winnipeg Art Gallery:

Media contacts:
Bernard Doucet, Director, Corporate Affairs, Sobeys
115 King Street, Stellarton, Nova Scotia / T +902 752 8371 x 2301 /

Nicole Watkins Campbell, Communications Advisor, Art Gallery of Nova Scotia
T +902 424 2903 / M +902 222 1691 /

157. Source: e-flux » Announcements
Item: Call for submissions: 2015 Open Platform programme
Date: 24 November 2014, 11:00 pm

<span style=Call for submissions: Asia Art Archive 2015 Open Platform programme" />

Open Platform programme. Courtesy of Asia Art Archive.

Call for submissions: 2015 Open Platform programme

Application deadline: 9 January 2015, noon (HKT)

Asia Art Archive
233 Hollywood Road
Sheung Wan
Hong Kong


Asia Art Archive‘s third annual Open Platform programme, held in association with Art Basel Hong Kong (ABHK), is an integral part of AAA’s endeavour to enable new thinking and critical dialogue around recent art in Asia.

AAA invites cultural practitioners from all disciplines to submit proposals for Open Platform. Taking place in March 2015, a series of “meetings without walls” will be hosted at our ABHK booth. By leveraging AAA’s network, Open Platform will support researchers, curators, writers, artists, students, academics, and art organisations to further ongoing projects, catalyse new ones, or simply make connections.

Applicants may request access to our contacts to reach out to individuals they wish to invite with the option to include AAA team members. Meetings will not be recorded.

Topics of discussion should reference AAA’s concerns and research interests but we are open to suggestions. We also welcome contributions of material to enrich our collection, a free and publicly accessible physical and digital resource aiding the study of contemporary art in Asia.

Key topics
Archive, art and literature, art criticism and writing, collaboration, commons, digital humanities, exhibition histories, geographies, histories of photography, independent art spaces, keywords, oral history, patronage, pedagogy, performance art, periodicals, politics and protest, publics, vernacular

Submission guidelines
Applicants should submit a one-page proposal in English outlining the meeting topic and a list of up to eight maximum participants, including those individuals with whom you have personal contact and up to three people you wish to reach with AAA’s assistance. We will do our best to facilitate the conversation.

Application deadline: 9 January 2015, noon (HKT)
E-mail proposal submissions:

Results announcement
Successful applicants will be contacted via email by mid-January and the full Open Platform programme will be available on AAA’s website in February 2015.

All participants must cover their own costs. Upon request, AAA can provide information for travel and accommodation in Hong Kong.

Asia Art Archive is an independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. With an international Board of Directors, an Advisory Board made up of noted scholars and curators, and an in-house research team, AAA has collated one of the most valuable collections of material on contemporary art in the region—open to the public free of charge and increasingly accessible from its website. More than a static repository waiting to be discovered, AAA instigates critical thinking and dialogue for a wide range of audiences via public, research, residential and educational programmes.


Call for submissions: Asia Art Archive 2015 Open Platform programme
158. Source: e-flux » Announcements
Item: uncoupdedé #special issues
Date: 24 November 2014, 11:00 pm

uncoupdedé #special issues

Design: Frederic Teschner Studio.

#special issues



Launched in February 2013, the webzine uncoupdedé is beginning its second year. With over 40,000 visitors in a year, nearly a quarter of whom were outside France, the online magazine was well received both in France and internationally.

A collectively produced, unique object, uncoupdedé brings together contributions from 34 centres d’art (out of the 48 that make up the d.c.a network); each of them has supplied the magazine with specific commissions: critical texts, short stories, fiction, essays, epistolary exchanges, interviews, online performances, as well as works of video, sound and photography…

Over 50 personalities were invited to offer a perspective relating to the programming of each centre d’art. One after another, visual artists, filmmakers, writers, art critics, art historians, curators, philosophers, anthropologists, graphic artists and even primary school students expressed themselves in speech or in writing.

These contributions, varying widely in form and tone, together provided a new vista of the centres d’art, an amalgamation of multiple views from outside. The image that ultimately results is more like a kaleidoscope with multiple reflections than a uniform, objective cartography.

By de-hierarchising the relationship between the centres d’art, uncoupdedé provides an opportunity to reassert the egalitarian spirit in which the d.c.a wishes to work, since the diversity of this network is another of its strengths.

In the audacious spirit of a throw of the dice, each centre d’art was asked to play with a notion, like a proper name that helped interpret its DNA and its unique identity. Thus the participating centres d’art played: immersion / discrepancy / afterlife / the fiction / know-how / gap / anticipation / duo / escape / incorporation / infiltration / questioning / reversal / shift / porosity / the wait / acquaintance / resonance / the prospective / bricology / inadequacy / site / correspondence / the game / affects / complicity / oblivion / effervescence / interaction / the witnesses / mobility / distance / overflow / the logbook

Bolstered by its success and visibility, uncoupdedé is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts.

Each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedé takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind.

Autumn issue
Guest-edited by Catalina Lozano (Bogota, Colombia)

Winter issue
Guest-edited by Zasha Colah (Bombay, India)

Spring issue
Guest-edited by Moe Satt (Yangon, Myanmar)

Summer issue
Guest-edited by Manuela Moscoso (Sao Paulo, Brazil)

uncoupdedé #special issues, a project of d.c.a / the French association for the development of centres d’art


uncoupdedé #special issues
159. Source: e-flux » Announcements
Item: Joan Miró
Date: 23 November 2014, 11:00 pm

Joan Miró at Sakıp Sabancı Museum

Sakip Sabanci Museum, 2014.

Joan Miró. Women, Birds, Stars

Until February 1, 2015

Sakıp Sabancı Museum
Emirgan Mh.
Sakıp Sabancı Cd No:42
34467 Istanbul
Hours: Tuesday–Sunday 10–18h,
Wednesday and Friday 10–20h


S. U. Sakıp Sabancı Museum in Istanbul, Turkey is currently hosting a major exhibition by the Barcelona-born Catalan artist Joan Miró. The exhibition, made possible with the sponsorship of Sabancı Holding and organized in collaboration with the Joan Miró Foundation in Barcelona, the Pilar and Joan Miró Foundation, as well as the family collection in Mallorca, is open to the public until February 1, 2015.

The exhibition titled Joan Miró. Women, Birds, Stars focuses on woman, bird and star themes of the Miró, who was heavily inspired by his observations on the Mediterranean geography and people throughout his career. The exhibition provides the opportunity for viewers to understand the symbolic language of the artist through a rich selection of artworks in different mediums such as oil painting, sculpture, lithography and ceramics, focusing extensively on Miró’s mature years. In this way, the exhibition presents art enthusiasts with the rare chance to witness the various interpretations of the energy the artist drew from the Mediterranean culture for 40 years.

The exhibition showcases a spectacular selection of 125 works and personal items belonging to Joan Miró from the family collection. The vast selection is open to view alongside certain assemblage artworks, presented with all of their preparatory stages. Sakıp Sabancı Museum is proud to announce that the aforementioned features of assemblage sculptures, some paintings and ceramic works have been made available to the public for the first time in the world. The exhibition also boasts guided tours, film screenings and an exhibition book that stands as the definitive celebration of the artist’s innovative, multi-faceted world filled with mystery, wonder and poetry.

Dr. Nazan Ölçer, Director of SSM, provided information about the exhibition, saying “The exhibition aims to bring together art enthusiasts with Miró’s point of view in life and in art, as well as what differentiates his body of work.”

The exhibition is shown until February 1, 2015 and admission to the museum is free of charge on Wednesdays.

160. Source: What's New - Philadelphia Museum of Art
Item: Watch: Photojournalist David Maialetti on Paul Strand's "Portrait of an Italian Village"
David Maialetti describes the continuing allure of Luzzara, Italy, a modest town along the Po River that Paul Strand photographed in 1953. Published in a book called &quot;Un Paese: Portrait of an Italian Village&quot; in 1955, Strand&acirc;��s compelling images have had a lasting impact, particularly on the people of Luzzara. In 2014 Maialetti traveled to the town to discover what it is like today.