Brain Pickings

Posts Tagged ‘art’

26 JULY, 2011

Book of Ice: DJ Spooky’s Cross-Disciplinary Antarctica Project

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What emancipated penguins have to do with digital archives, propaganda art and the future of remix culture.

Antarctica is a strange kind of no man’s land — a territory owned by no single country, with no government, formally uninhabited and hardy inhabitable, and yet of endless allure to researchers, explorers, artists and curious minds from all over the world. It’s also the closest thing we have to a geological clock, its ice sheath reflecting the transformation of our atmosphere and climate with striking precision. In 2007, fascinated by the enigmatic continent’s peculiarities, artist, thinker and musician Paul D. Miller — whose investigation of remix culture and collaborative creation you might recall — traveled to Antarctica to shoot a film about the sound of ice. That was the start of Terra Nova: Sinfonia Antarctica — a larger multimedia project aiming to capture a dynamic portrait of this rapidly changing microcosm. The project’s latest incarnation, The Book of Ice, arrives this month — a poignant reflection on humanity’s relationship with the frozen neverland and climate change at large, by way of poetic visual and textual meditations ranging from archival images of historic exploration on the continent (including these rare photos of the first Australian expedition in 1911) to maps to timelines to hypothetical propaganda art for an imaginary Antarctica liberation movement.

Perhaps most compellingly, the project is a living testament to cross-disciplinary creativity, touching on disciplines as diverse as history, information visualization, music composition, propaganda art, media theory and more, with influences as varied as Emory Douglas, Rodchenko, Mirko Illic and Alex Steinweiss.

Today, I sit down with DJ Spooky to chat about the creative impetus behind the project, its most compelling insights, and the longer-term vision for Antarctica’s future.

q1

How did the idea for The Book of Ice, and the larger project to which it belongs, first emerge?

The Book of Ice started as graphic design music scores taken from my Terra Nova: Sinfonia Antarctica project. I wanted to fine-tune the book as an extension of some of my obsessions with climate change. The first soundtrack and symphony written about Antarctica was by Ralph Vaughan Williams in 1948, but other composers — Handel’s 1717 AD composition entitled simply “Water Music” or John Luther Adams Arctic compositions, or even more close to home John Cage’s 1936 first composition for turntables “Imaginary Landscape,” Charles Ives “Central Park in The Dark,” or Cornelius Cardew’s graphic design scores — are all influences.

I guess you could say The Book of Ice is an inter-connected, hyper-expandable/scalable museum/gallery show, book, and symphony. Simple!

q2

Antarctica – a place that no one owns, with no government or law, yet belonging to everyone – seems to be a beautiful metaphor for remix culture. Given your background, was this in any way part of the allure? How did you incorporate your work on and beliefs about remix culture into the Antarctica project?

I wanted to show the Utopian/Dystopian aspects of how graphic design interacts with geopolitics and propaganda. Me, Shep Fairey (an old friend) and Steve Heller spoke at Phaidon books a little while ago about this, from the beginnings of “The War on Terror” you can go back to stuff like DW Griffith’s “Birth of a Nation” and other texts that give people a feigned sense of oppression. My Antarctica remix project would have to include how people despoil the planet, our “commons” and what if people started to say everyone has a right to clean air and water, to having food untainted by mercury or nuclear isotopes?

q3

What has been the most startling, unexpected insight that emerged for the creative process on the project?

I guess I always naively think that if you put information in front of people, they’ll get it. They don’t. This project is Utopian in that it seems like the bleedingly obvious fact that our species might not get out of this century in too good condition is being ignored. Ice sheets are melting. Water is scarce. Global weather patterns are the most complex phenomena we’ve encountered.

Adam Smith wrote, ‘all money is a matter of belief.’ The realm of the possible is always greater than the realm of the real. I try to navigate between the two: that’s art.

q4

Can, and should, Antarctica liberate itself from the rest of the world? If so, how?

The title for the Manifesto for a People’s Republic of Antarctica comes from a science fiction book of the same title by John Calvin Batchelor. OK: nation state rises from the ruins of world geopolitics. Check. Environmental collapse, even though we know we can do better and avoid it. Check. Dumb politicians run all major nation states into the ground. Check. It’s great material for propaganda prints, but it could just as easily be a video game like Vice City or Halo. People like to have ‘narrative,’ so I thought, let’s give them something different. It would be cool to have Antarctica as strictly a “commons.”

q5

What’s next for the project, and for you as an artist and explorer?

Part 2 to the The Book of Ice / Terra Nova: Sinfonia Antarctica goes in two different directions. I’m setting up a contemporary art center in the South Pacific in the island nation of Vanuatu.

And I’m writing a group of compositions about the North Pole. Both are in development now. One of the first media spoofs of the 20th century was when Frederick A. Cook, a Brooklyn milkman who, made a film that claimed he was the first person to discover the North Pole and a fake story got put on the front of every major newspaper. There’s something very Orson Welles to that idea. I found the film, remixed it as a component of the Antarctica project DVD. You can see all of this and the material used to generate the compositions as extensions of my obsession with sampling. It’s just taken me a little further into the realm of info-aesthetics.

After all, I can basically just say music for me isn’t just music. It’s information.

The Book of Ice comes from Mark Batty Publisher and is the kind of cross-disciplinary gem we love to love.

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25 JULY, 2011

Akule: Magnificent Black-and-White Underwater Photographs

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What underwater tornadoes have to do with marine sustainability and Captain Cook’s death.

For the past 30 years, photographer Wayne Levin has been capturing the magnificence of the underwater world in spellbinding black-and-white images with equal parts mystery and awe. One day, as he was swimming to photograph the spinner dolphins of Hawaii’s Kealakekua Bay, infamous as the location of Captain Cook’s death, Levin came across what appeared to be a giant coral reef. But, as he approached it, the “reef” began to move and morph, turning out to be an enormous school of bigeyed scad fish. Levin snapped some photos and scurried to find the dolphins, but the experience stuck with him. Over time, he developed a fascination with the strange beauty and synchronicity of these fish schools and spent the next 10 years capturing them on hundreds of rolls of film.

His new book, Akule, offers a selection of his finest photographs, named after the Hawaiian word for bigeyed scads. Haunting and poetic, Levin’s work is particularly fascinating — if not melancholic — when examined in parallel with the Census of Marine Life and our efforts to reverse the damage we’ve inflicted on this whimsical microcosm.

Surrounded by Akule

Image courtesy of Wayne Levin

Puffer fish with Akule

Image courtesy of Wayne Levin

Two Amber Jacks Under Akule

Image courtesy of Wayne Levin

School of Akule by Mooring

Image courtesy of Wayne Levin

Most underwater photographers are divers first, then they get into photography to capture the beautiful scenes they see underwater. I was a photographer first. My first serious underwater photography was when I finished graduate school at Pratt in 1983. I returned to Hawaii to teach photography at University of Hawaii, and decided to photograph surfers from underwater. My first attempts were in color, but the results were very murky blue on blue. Then I switched to black and white, and everything came alive.” ~ Wayne Levin

Line of Akule

Image courtesy of Wayne Levin

Akule Tornado

Image courtesy of Wayne Levin

Rainbow Runners with Akule

Image courtesy of Wayne Levin

Great Barracuda Surrounded by Akule

Image courtesy of Wayne Levin

Akule Pinwheel

Image courtesy of Wayne Levin

I feel a sense of freedom, and I can feel myself relax, and my bodily functions slow down as I leave the anxieties of the human world behind. But the ocean has its own dangers. … So there is a freedom in being underwater, but also a responsibility to always be aware of your surroundings, and yourself.” ~ Wayne Levin

Akule is the follow-up to Wayne’s 1997 debut book, Through a Liquid Mirror, a play on the title of Lewis Carroll’s Through the Looking Glass to convey the magic and wonderment Wayne finds once he passes through the surface, just like Alice passes through the mirror into Wonderland. For more, NPR has an excellent interview with Levin.

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25 JULY, 2011

A Brief History of Film Title Sequence Design in 2 Minutes

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What elementary school geometry has to do with the cornerstones of creativity in cinema.

The art of title sequences is no stranger around here. In his graduation project, an absolutely brilliant motion graphics gem, Dutch designer and animator Jurjen Versteeg examines the history of the title sequence through an imagined documentary about the designers who revolutionized this creative medium. With winks to everyone from Georges Melies to Saul Bass to Maurice Binder in ways that capture each creator’s signature style, the film is a piece of minimalist genius.

For more on finer points of artful title sequences, you won’t go wrong with the fairly recent Creative Motion Graphic Titling for Film, Video, and the Web: Dynamic Motion Graphic Title Design.

via Quipsologies

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