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"content": "\u003cp>Last Saturday the 600 block of Divisadero — past a burgeoning Western Addition gourmet ghetto — became a temporary theater of creative endeavor. In addition to the usual cafe throngs, artists were at work on whitewashed walls, a cherry picker lift beeped while mounting a giant blue photograph on the face of a building, and pedestrian spectators milled about, snapping pics of the action with cell phones. It was a 21st-century plein air art spectacle, with boozy marketing might — the event sponsored by art-friendly, all-caps vodka brand ABSOLUT.\u003c/p>\n\u003cp>\u003cb>Open Canvas\u003c/b>, as it’s dubbed, entailed the company renting storefronts and exterior walls. Nineteen artists, most curated and from New York and LA, one the local winner of a submission contest, were provided with this temporary venue — it’ll be up for a week or so (marketing materials are unclear about dates). The Saturday afternoon launch was less about finished works than revealing the creative act publicly. Alicia McCarthy was deeply focused on a colorful abstract mural of woven painted lines being realized with a group of friends, while Los Angeles-based artist Henry Taylor got a temporary portrait studio in a side street garage, the fresh paintings collecting on the wall (he maintained ownership, FYI). Matthew McGrath and friends were installing a vertical garden on the façade of an auto shop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Matthew McGrath installing; photo: Deborah Svoboda\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Benjamin Sherry installing; photo: Deborah Svoboda\u003c/p>\n\u003cp>Public art was once most associated with civic organizations, a publicly-funded official city imperative to beautify and honor. But as the art world faces the ominous possibility that the stellar public art collection of the Detroit Institute of the Arts will potentially be auctioned off to support city coffers, the equation shifts — the private sector’s support of art has an increasingly powerful role in shaping urban life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You could, cynically view \u003cb>Open Canvas\u003c/b> as a marketing-driven petting zoo, turning the artists’ practices into an entertainment. Yet the experience was convivial. It wasn’t crassly branded with swag or blaring evidence of hard liquor (though there certainly was at the evening soirees, inside restaurants and clubs). Other than a tasteful billboard above the former BBQ restaurant (lost to eviction), and some signage in their signature typeface, this did seem to be a sunny, art-centric event. Most of the artists I spoke with felt well-treated, well-fed, and well-documented by the producers. As I chatted with Jenny Sharaf, who won the submission contest (a cash prize and prime wall space), cameras swarmed. “It’s like a reality show,” she said, like that short-lived Bravo production, \u003ci>Work of Art\u003c/i>. The cameras weren’t a deterrent; she was thrilled with the level of support.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Henry Taylor’s temporary studio wall; photo: Glen Helfand\u003c/p>\n\u003cp>Viewers were pleased, too. In Taylor’s makeshift studio a beaming Brazilian woman admitted she turned down a trip to Napa to be here. Neighborhood kids pitched in on projects, a Warby Parker-wearing bicyclist pulled over to inspect Polish-born New Yorker Olek’s knitted dollar sign composition, perhaps the most critical piece on view.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Olek’s crocheted work reads “$$$-Won’t-heart-You-Back”; photo: Deborah Svoboda\u003c/p>\n\u003cp>The investment in art here is made by private sources, not a cash-strapped municipality. The \u003ca href=\"http://www.absolut.com/us/opencanvas/\">project website rhetoric\u003c/a> couches it in inspirational terms: “With the ABSOLUT \u003cb>Open Canvas\u003c/b> initiative, ABSOLUT empowers an extraordinary group of contemporary artists to transform an unlikely setting — the street & structure of a normal city block — into an interactive outdoor art exhibition. A reminder that we can all transform our present and future if we adapt a daring spirit and use creativity to stretch everyday reality from the mundane to the extraordinary — TRANSFORM TODAY.”\u003c/p>\n\u003cp>There’s more than a little irony there, as the transformation is less visionary than economic. The neighborhood itself is in transformation, the buildings highlighted as real estate; what will become of that old deco theater/church? Art is an agent, a pattern imprinted, ephemerally, on “a normal city block” where tony restaurants and Etsy-infuenced shops show up regularly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so do events like this. Earlier in the week, ShockTop Belgian Ale, part of the Anheuser-Busch family, threw a SOMA street party for a \u003ca href=\"http://www.photobernalist.com/shock-top-san-francisco-billboard-by-stan-herd.html\">handmade billboard made of the beer’s ingredients\u003c/a>, while in late September, Levi’s traveling “public art project” \u003ca href=\"http://stationtostation.com/\">\u003cb>Station to Station\u003c/b>\u003c/a> will pull into an Oakland train station with “nomadic sculptures” by Urs Fischer, Kenneth Anger, Ernesto Neto, Carsten HÖller, and Liz Glynn. Exciting prospects all, though the implications of each are open to interpretation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You could, cynically view \u003cb>Open Canvas\u003c/b> as a marketing-driven petting zoo, turning the artists’ practices into an entertainment. Yet the experience was convivial. It wasn’t crassly branded with swag or blaring evidence of hard liquor (though there certainly was at the evening soirees, inside restaurants and clubs). Other than a tasteful billboard above the former BBQ restaurant (lost to eviction), and some signage in their signature typeface, this did seem to be a sunny, art-centric event. Most of the artists I spoke with felt well-treated, well-fed, and well-documented by the producers. As I chatted with Jenny Sharaf, who won the submission contest (a cash prize and prime wall space), cameras swarmed. “It’s like a reality show,” she said, like that short-lived Bravo production, \u003ci>Work of Art\u003c/i>. The cameras weren’t a deterrent; she was thrilled with the level of support.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Henry Taylor’s temporary studio wall; photo: Glen Helfand\u003c/p>\n\u003cp>Viewers were pleased, too. In Taylor’s makeshift studio a beaming Brazilian woman admitted she turned down a trip to Napa to be here. Neighborhood kids pitched in on projects, a Warby Parker-wearing bicyclist pulled over to inspect Polish-born New Yorker Olek’s knitted dollar sign composition, perhaps the most critical piece on view.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Olek’s crocheted work reads “$$$-Won’t-heart-You-Back”; photo: Deborah Svoboda\u003c/p>\n\u003cp>The investment in art here is made by private sources, not a cash-strapped municipality. The \u003ca href=\"http://www.absolut.com/us/opencanvas/\">project website rhetoric\u003c/a> couches it in inspirational terms: “With the ABSOLUT \u003cb>Open Canvas\u003c/b> initiative, ABSOLUT empowers an extraordinary group of contemporary artists to transform an unlikely setting — the street & structure of a normal city block — into an interactive outdoor art exhibition. A reminder that we can all transform our present and future if we adapt a daring spirit and use creativity to stretch everyday reality from the mundane to the extraordinary — TRANSFORM TODAY.”\u003c/p>\n\u003cp>There’s more than a little irony there, as the transformation is less visionary than economic. The neighborhood itself is in transformation, the buildings highlighted as real estate; what will become of that old deco theater/church? Art is an agent, a pattern imprinted, ephemerally, on “a normal city block” where tony restaurants and Etsy-infuenced shops show up regularly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so do events like this. Earlier in the week, ShockTop Belgian Ale, part of the Anheuser-Busch family, threw a SOMA street party for a \u003ca href=\"http://www.photobernalist.com/shock-top-san-francisco-billboard-by-stan-herd.html\">handmade billboard made of the beer’s ingredients\u003c/a>, while in late September, Levi’s traveling “public art project” \u003ca href=\"http://stationtostation.com/\">\u003cb>Station to Station\u003c/b>\u003c/a> will pull into an Oakland train station with “nomadic sculptures” by Urs Fischer, Kenneth Anger, Ernesto Neto, Carsten HÖller, and Liz Glynn. Exciting prospects all, though the implications of each are open to interpretation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Need a reason to stop ignoring art online? Try the HatePlow Tumblr, or Z_D_ as the page is titled, which collects the work of Portland artist Zack Dougherty, who does some interesting things with gifs — and reality. Gifs, those little animated images of pixelated dancing cats, have grown up and are becoming a format of choice for artists on the social web. And on Z_D_, gifs are scratching the boundaries of the uncanny valley between the real and the generated image.\u003c/p>\n\u003cp>All the the gifs below were published in the last few months and are shown in chronological order, though they are only a small selection of Dougherty’s output during that time. This string of works has gone from revealing the wire frame behind digital image generation, through an exploration of the aesthetics of various 3D computer modeling, animation, and rendering programs, and leaves us to sort out what was real and what was made in the computer.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/461a01bb3c117e4c47ba986c4a52d591/tumblr_mpvgkaiTvp1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The first in this collection introduces the viewer to the concept of more polygons equaling more resolution. This is a factor of digital rendering most of us are at least peripherally aware of from watching any Pixar movie: as processing power improves, computers can put more math, and thus more polygons, into a 3D model. Here the face slowly resolves, adding polygons until we might be seeing a real face, scrubbing the playhead of resolution back and forth trying to find the exact edge of ‘realness,’ and testing the “uncanny valley.”\u003c/p>\n\u003cp>The uncanny valley is a \u003ca href=\"http://en.wikipedia.org/wiki/Uncanny_valley\">concept in computer animation\u003c/a> and robotics denoting the space between comfortably real people and the cartoonish parodies of humans made to seem charming (think WALL·E or C3P0). In between lies the similar, but not exact recreation of a person whose minute differences leave him/her feeling unsettling to human observers. But the uncanny valley doesn’t only apply to human likenesses, but also to the line between real and generated objects in the images we see online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/eb3ebebe0d2c77600e65db77194c3070/tumblr_mpy1vjdRFn1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Objects can be confusingly unreal as well. Here low resolution shape is mashed up with high resolution texture, leaving the middle face out of sync along the digtial-real sliding scale. The flickering statue in the background leaves behind a trace of the computer generated object, in what otherwise might have been a standard gallery documentation shot. But the images ask more questions than they answer. Are the heads sculpturally stylized to look digital? Is the room generated too?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/aec14772b82edad57bdcd887645c8a46/tumblr_mqbriaMCHR1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Is the digitally generated image, the white network of lines, made to resemble a real world photograph or is the entire image completely generated? Is what I’m looking at physical, an actual rock from actual Earth or entirely made by the computer? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/9e716e3936dfad9e7f428e784afd8222/tumblr_mqz1spHlef1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Dougherty’s next set of real objects are twisted, scaled and otherwise left with the markings of digital manipulation (above), then completely, recognizably digital objects start showing up in real places. A plastic texture covers the roman carved face and chess piece neck balanced on top of a too-perfect, shiny grey sphere, the painted lines of the parking lot reflected in its rocking surface. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/ff71449fe2024def4fbe72ab40807a4a/tumblr_mr6tfebnkc1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The work also hints at its own relationship to previous generations of visual art, even reanimating carved busts, from back when art was, and here comes that word again, more real, carved from chunks of rock dug out of the Earth, the height of advanced technology at the time.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/90b37e9f6067d27ed83cb94f04577ecf/tumblr_mra11yxjf41r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Or a swelling cairn stuck on a modern street. Is it the elastic pull of the of the rocks or that somehow still-in-existence pay phone that makes the image unsettling — real, but not quite? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/8d497612e46f553a9100a3ac7afac7e0/tumblr_mrg1h1IKsU1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The answer to these mounting questions? The work argues that it doesn’t matter if what you are looking at is real or generated and asks you just to wait in the liminal space between things, with all its eerie quirks. Dougherty is then a conceptual realist, interested in what images look like being out of sync with what, or sometimes where, they are. This work is made for eyes that are accustomed to spotting photo manipulation in online images, for minds that see little difference between ‘real’ photographs and filtered Instagrams. It’s for all of us, online right now, reading this article, saturated with the aesthetics of digital life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The expectation of digital manipulation on everything we see allows for a more plastic relationship to real things. Z_D_ is a great example, but net art itself is blurring the harsh seam between authentic and recreation. We accept work in museums or galleries as real, and likely scarce, and thus authentic. But that’s the thing about art online, there’s no scarcity, and without scarcity our ideas of original and forgery, real and generated no longer apply.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Need a reason to stop ignoring art online? Try the HatePlow Tumblr, or Z_D_ as the page is titled, which collects the work of Portland artist Zack Dougherty, who does some interesting things with gifs — and reality. Gifs, those little animated images of pixelated dancing cats, have grown up and are becoming a format of choice for artists on the social web. And on Z_D_, gifs are scratching the boundaries of the uncanny valley between the real and the generated image.\u003c/p>\n\u003cp>All the the gifs below were published in the last few months and are shown in chronological order, though they are only a small selection of Dougherty’s output during that time. This string of works has gone from revealing the wire frame behind digital image generation, through an exploration of the aesthetics of various 3D computer modeling, animation, and rendering programs, and leaves us to sort out what was real and what was made in the computer.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/461a01bb3c117e4c47ba986c4a52d591/tumblr_mpvgkaiTvp1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The first in this collection introduces the viewer to the concept of more polygons equaling more resolution. This is a factor of digital rendering most of us are at least peripherally aware of from watching any Pixar movie: as processing power improves, computers can put more math, and thus more polygons, into a 3D model. Here the face slowly resolves, adding polygons until we might be seeing a real face, scrubbing the playhead of resolution back and forth trying to find the exact edge of ‘realness,’ and testing the “uncanny valley.”\u003c/p>\n\u003cp>The uncanny valley is a \u003ca href=\"http://en.wikipedia.org/wiki/Uncanny_valley\">concept in computer animation\u003c/a> and robotics denoting the space between comfortably real people and the cartoonish parodies of humans made to seem charming (think WALL·E or C3P0). In between lies the similar, but not exact recreation of a person whose minute differences leave him/her feeling unsettling to human observers. But the uncanny valley doesn’t only apply to human likenesses, but also to the line between real and generated objects in the images we see online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/eb3ebebe0d2c77600e65db77194c3070/tumblr_mpy1vjdRFn1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Objects can be confusingly unreal as well. Here low resolution shape is mashed up with high resolution texture, leaving the middle face out of sync along the digtial-real sliding scale. The flickering statue in the background leaves behind a trace of the computer generated object, in what otherwise might have been a standard gallery documentation shot. But the images ask more questions than they answer. Are the heads sculpturally stylized to look digital? Is the room generated too?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/aec14772b82edad57bdcd887645c8a46/tumblr_mqbriaMCHR1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Is the digitally generated image, the white network of lines, made to resemble a real world photograph or is the entire image completely generated? Is what I’m looking at physical, an actual rock from actual Earth or entirely made by the computer? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/9e716e3936dfad9e7f428e784afd8222/tumblr_mqz1spHlef1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Dougherty’s next set of real objects are twisted, scaled and otherwise left with the markings of digital manipulation (above), then completely, recognizably digital objects start showing up in real places. A plastic texture covers the roman carved face and chess piece neck balanced on top of a too-perfect, shiny grey sphere, the painted lines of the parking lot reflected in its rocking surface. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/ff71449fe2024def4fbe72ab40807a4a/tumblr_mr6tfebnkc1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The work also hints at its own relationship to previous generations of visual art, even reanimating carved busts, from back when art was, and here comes that word again, more real, carved from chunks of rock dug out of the Earth, the height of advanced technology at the time.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/90b37e9f6067d27ed83cb94f04577ecf/tumblr_mra11yxjf41r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Or a swelling cairn stuck on a modern street. Is it the elastic pull of the of the rocks or that somehow still-in-existence pay phone that makes the image unsettling — real, but not quite? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/8d497612e46f553a9100a3ac7afac7e0/tumblr_mrg1h1IKsU1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The answer to these mounting questions? The work argues that it doesn’t matter if what you are looking at is real or generated and asks you just to wait in the liminal space between things, with all its eerie quirks. Dougherty is then a conceptual realist, interested in what images look like being out of sync with what, or sometimes where, they are. This work is made for eyes that are accustomed to spotting photo manipulation in online images, for minds that see little difference between ‘real’ photographs and filtered Instagrams. It’s for all of us, online right now, reading this article, saturated with the aesthetics of digital life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The expectation of digital manipulation on everything we see allows for a more plastic relationship to real things. Z_D_ is a great example, but net art itself is blurring the harsh seam between authentic and recreation. We accept work in museums or galleries as real, and likely scarce, and thus authentic. But that’s the thing about art online, there’s no scarcity, and without scarcity our ideas of original and forgery, real and generated no longer apply.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On June 5, 2007 asthmatic waiter Craig Benzine started a YouTube channel to vent his frustrations with his day job. He, like many of the big names on YouTube today, spent his first years on the site making hundreds of videos for a subscriber base of less than 40 viewers. But with practice, even spending an entire year making a video almost every day, his channel began to grow in popularity, and as of June 2013 Benzine’s \u003ci>Wheezy Waiter\u003c/i> channel has garnered nearly half a million subscribers and more than 72.5 million total video views. So what’s all the fuss about?\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> is a sometimes daily one-man show covering everything from how to survive falling from an airplane to a treatise on the benefits of pointlessness. Episodes are brimming with a inside jokes, making recurring segments out of bagels, punching an eagle, coffee, and even breathing. The show mixes the reality of Craig’s actually living quarters with fictional additions like a removeable roof (helpful when punching eagles), a whale tank, a time machine, an alligator pit, a sky bank and most importantly a cloning machine, which Craig uses to make copies of himself.\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> episodes come in many formats: Explosion Wednesdays cover all things explosion related in the news; Interactive Adventures are choose-your-own adventure type videos; etc. But by far the most entertaining are the series of “Gary and Me” videos. Gary and Me, two of Craig’s clones, host the show when the original Craig is unavailable. The episodes debunk myths about beards, cloning, the Internet, sleep and dinosaurs, while usually degrading into arguments over the myth and outbursts of song. \u003ci>5 Myths about Dinosaurs\u003c/i>, a Gary and Me video released at the beginning of July, is frankly a masterpiece of both performance and editing.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/EcRNc7ye7W8?list=SP-9qiMf_Dqe7WBtT3HQr0Qc7IWGsRN48x\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Connoisseurs of online video will notice the long, expertly timed shots, seamless split screen, and captivating individual performances of each clone. This is what makes \u003ci>Wheezy Waiter\u003c/i> great. His performance and editing style have co-evolved to create work specific to the medium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Besides his main channel, Benzine also makes an informal daily vlog on \u003ca href=\"http://www.youtube.com/wheezynews\">\u003ci>Wheezy News\u003c/i>\u003c/a>, hosts an infrequent gaming channel, and has been the frontman for the rock band \u003ca href=\"http://www.driftlessponyclub.com/\">Driftless Pony Club\u003c/a> for going on ten years. His newest project, titled \u003ca href=\"http://www.youtube.com/user/TheGoodStuff\">\u003ci>The Good Stuff\u003c/i>\u003c/a>, releases a playlist of themed videos every week covering topics like the reality of the rock star lifestyle and the nature of origin stories. Busy man. Benzine is the ultimate self-taught creator in a field deep with creative content. His work is a must-watch for anyone interested in online video, performance or new media today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/wheezywaiter\">Check out the Wheezy Waiter channel\u003c/a> on YouTube to watch more episodes of \u003ci>Wheezy Waiter\u003c/i>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On June 5, 2007 asthmatic waiter Craig Benzine started a YouTube channel to vent his frustrations with his day job. He, like many of the big names on YouTube today, spent his first years on the site making hundreds of videos for a subscriber base of less than 40 viewers. But with practice, even spending an entire year making a video almost every day, his channel began to grow in popularity, and as of June 2013 Benzine’s \u003ci>Wheezy Waiter\u003c/i> channel has garnered nearly half a million subscribers and more than 72.5 million total video views. So what’s all the fuss about?\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> is a sometimes daily one-man show covering everything from how to survive falling from an airplane to a treatise on the benefits of pointlessness. Episodes are brimming with a inside jokes, making recurring segments out of bagels, punching an eagle, coffee, and even breathing. The show mixes the reality of Craig’s actually living quarters with fictional additions like a removeable roof (helpful when punching eagles), a whale tank, a time machine, an alligator pit, a sky bank and most importantly a cloning machine, which Craig uses to make copies of himself.\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> episodes come in many formats: Explosion Wednesdays cover all things explosion related in the news; Interactive Adventures are choose-your-own adventure type videos; etc. But by far the most entertaining are the series of “Gary and Me” videos. Gary and Me, two of Craig’s clones, host the show when the original Craig is unavailable. The episodes debunk myths about beards, cloning, the Internet, sleep and dinosaurs, while usually degrading into arguments over the myth and outbursts of song. \u003ci>5 Myths about Dinosaurs\u003c/i>, a Gary and Me video released at the beginning of July, is frankly a masterpiece of both performance and editing.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/EcRNc7ye7W8?list=SP-9qiMf_Dqe7WBtT3HQr0Qc7IWGsRN48x\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Connoisseurs of online video will notice the long, expertly timed shots, seamless split screen, and captivating individual performances of each clone. This is what makes \u003ci>Wheezy Waiter\u003c/i> great. His performance and editing style have co-evolved to create work specific to the medium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides his main channel, Benzine also makes an informal daily vlog on \u003ca href=\"http://www.youtube.com/wheezynews\">\u003ci>Wheezy News\u003c/i>\u003c/a>, hosts an infrequent gaming channel, and has been the frontman for the rock band \u003ca href=\"http://www.driftlessponyclub.com/\">Driftless Pony Club\u003c/a> for going on ten years. His newest project, titled \u003ca href=\"http://www.youtube.com/user/TheGoodStuff\">\u003ci>The Good Stuff\u003c/i>\u003c/a>, releases a playlist of themed videos every week covering topics like the reality of the rock star lifestyle and the nature of origin stories. Busy man. Benzine is the ultimate self-taught creator in a field deep with creative content. His work is a must-watch for anyone interested in online video, performance or new media today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/wheezywaiter\">Check out the Wheezy Waiter channel\u003c/a> on YouTube to watch more episodes of \u003ci>Wheezy Waiter\u003c/i>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness",
"headTitle": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness | KQED",
"content": "\u003cp>It is now widely known that George Zimmerman, a self-appointed volunteer neighborhood watchman in Sanford, Florida, shot and killed unarmed African American teen Trayvon Martin in February 2012. When police questioned Zimmerman immediately after the shooting he claimed self-defense, even though he pursued the boy against the advice of a 9-1-1 operator. Last Saturday a jury found Zimmerman not guilty of all charges stemming from the shooting and he left the courthouse innocent in the eyes of the law. The verdict induced strong reactions around the country, including an avalanche of discussion on social media, a number of protests, and, in Oakland, violent demonstrations that damaged downtown businesses. Much of the discussion has centered on systemic racism, how it impacts the lives of people of color, and villainizes youth victims.\u003c/p>\n\u003cp>Also at the center of the controversy is a discussion about Florida’s “stand your ground” or “shoot first” law. According to the \u003ca href=\"http://smartgunlaws.org/tag/stand-your-ground/\">Law Center to Prevent Gun Violence\u003c/a>, the law says that “a person who reasonably believes that deadly force is necessary to prevent imminent death or great bodily harm has \u003ci>no duty\u003c/i> to retreat from a confrontation \u003ci>outside the home\u003c/i> before engaging in deadly force.” The site goes on to say, “In reality, Florida’s law shields individuals who use deadly force to injure or kill, by granting civil and criminal immunity to any shooter who convinces a judge that he or she reasonably believed a threat existed by a preponderance of the evidence.” During closing arguments, the defense claimed that Martin had “weaponized the sidewalk” to bludgeon Zimmerman during the confrontation in which Zimmerman shot him through the heart with a concealed 9mm Kel-Tec pistol.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">Artist Stephanie Syjuco\u003c/p>\n\u003cp>Artists, writers, and activists immediately began to make work in response to the verdict. The next morning, Bay Area-based artist \u003ca href=\"http://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a> posted on Facebook an image of herself lying facedown on the cement in an empty parking lot, akin to media images of Martin’s lifeless body after the shooting. The image, she said, is “a kind of face-plant in reaction to recent political events” and went on to say, “as in the Zimmerman trial, this image takes on a \u003ca href=\"http://www.imdb.com/title/tt0042876/\">\u003ci>Rashomon\u003c/i>\u003c/a>-like effect.” The nature of what transpired is unclear, but the image is unsettling and, the artist hopes, provocative.\u003c/p>\n\u003cp>After Zimmerman was found not guilty, a flood of recrimination in the news and social media was focused on Florida’s legal system, as if the legality that enabled the verdict was limited to Florida. This distancing, this need to place Florida in a category of otherness, provided some with a sense of exoneration. Whatever is happening there is not my problem, seemed to be the prevailing message. One poster on Facebook commented, “Say what you want about Global Warming, it’s going to erase that tumor of a state known as Florida.” But in reality thirty-one states, including Florida, have adopted “Shoot First” statutes since 2005. Each generally permits the use of deadly force in self-defense in public places with no duty to retreat. The evident racism in “stand your ground” states is stunning: according to a recent study conducted by John Roman, a senior analyst at the Urban Institute’s Justice Policy Center, white people who kill black people are 354% more likely to be cleared of murder, as recently reported in the United Kingdom’s \u003ci>Daily Mail\u003c/i>. In response to the verdict, the NAACP launched a \u003ca href=\"http://www.naacp.org/page/s/doj-civil-rights-petition\">petition urging the Department of Justice to file civil rights charges against Zimmerman\u003c/a>, stating that the organization would “fight for the removal of stand your ground laws in every state,” and vowed not to rest until “racial profiling in all of its forms is outlawed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following the verdict, President Obama urged Americans to respect the jury’s verdict, noting that we are “a nation of laws.” He continued by saying, “We should ask ourselves if we’re doing all we can to stem the tide of gun violence that claims too many lives across this country on a daily basis. We should ask ourselves, as individuals and as a society, how we can prevent future tragedies like this. As citizens, that’s a job for all of us.” The President, however, offered no council on how citizens can impact gun laws, a seemingly insurmountable task after the Senate persisted in defeating a background check measure this spring that was supported by more than 90% of Americans.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Artist: Aaron Stienstra\u003c/p>\n\u003cp>Many people have begun to question how they can prevent tragedies like this by challenging their own assumptions of white privilege. Joseph Phelan, a thirty-three year old poet and writer who lived in Florida for seven years, felt compelled to initiate a discussion on this topic after attending a street march in New York where people chanted, “We are Trayvon Martin.” But after, he said, “I felt sad and I had a huge sense of failure, especially as this is happening in the lead up to the fiftieth anniversary of the March on Washington next month. What’s changed? I know that I will never be Trayvon Martin because I’m white, but I want this country to be better.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image courtesy: \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>\u003c/p>\n\u003cp>On Sunday night Phelan initiated an open public platform for dialog about racism on Tumblr called \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>, without knowing how or even if anyone would participate. Overnight a few submissions came in; over the course of the last few days more than 1,200 people have sent submissions. The majority of people post about being white and about not wanting the privileges of racism. Many others post about their experiences as African Americans with young children or about how being multi-ethnic or light skinned has allowed them to evade overt racism. The prevailing impression of the submissions, he says, is that families are complicated. So too is a conversation about racism. “What I wanted was a really deep conversation about race. I’ve never had this broad or far-reaching a conversation about race, especially with white people.”\u003c/p>\n\u003cp>Phelan has engaged a dispersed network of friends, many of whom are writers, artists, and musicians, to assist with posting submissions around the clock, including friends in Brooklyn, Miami, Tennessee, and as far away as Europe. Though the site is moderated, pretty much everything is posted, with the exception of anything racist. Phelan guesses there have been no more than fifteen submissions omitted out of the hundreds posted and in the queue to be posted.\u003c/p>\n\u003cp>But is the site really a forum for conversation or is it primarily one directional? Phelan concedes that the posts are mostly testimonials, but points out that conversations are happening in response to the site on other platforms such as Facebook or Twitter. Through the site people are, essentially, facilitating dialog in their own immediate circles about the verdict and about racism. They aren’t easy conversations to have, but it’s a place to start.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Courtesy: Just Seeds Artists’ Cooperative\u003c/p>\n\u003cp>Earlier this week, Just Seeds Artists’ Cooperative, “a decentralized network of 24 artists committed to making print and design work that reflects a radical social, environmental, and political stance,” released a free downloadable poster graphic for viral distribution depicting a portrait of Martin with text that reads, “I am Trayvon Martin and my life matters.” Smaller Spanish text at the bottom reads “Viva Oscar Grant, Viva Trayvon, Viva Los Presos En Huelga De Hambre,” the later of which refers to prisoners on hunger strike. The message draws a thread through the lives of different people, largely men of color, who have been deprived of their humanity.\u003c/p>\n\u003cp>The conversations happening right now after the Zimmerman verdict require the complete reevaluation of interconnected attitudes in American society, at the local and national level, from racism to gun laws to the penal code. Because every life matters, even, or perhaps especially those that we have failed. We can’t change what has happened, but we can make change. And we must.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad floatright]\u003c/p>\n\u003cp>Author’s note: These are but a selection of projects that have taken place over the last few days with many more underway around the country. Please share other creative projects that address the Zimmerman verdict in the comments section below to continue to expand the dialogue here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is now widely known that George Zimmerman, a self-appointed volunteer neighborhood watchman in Sanford, Florida, shot and killed unarmed African American teen Trayvon Martin in February 2012. When police questioned Zimmerman immediately after the shooting he claimed self-defense, even though he pursued the boy against the advice of a 9-1-1 operator. Last Saturday a jury found Zimmerman not guilty of all charges stemming from the shooting and he left the courthouse innocent in the eyes of the law. The verdict induced strong reactions around the country, including an avalanche of discussion on social media, a number of protests, and, in Oakland, violent demonstrations that damaged downtown businesses. Much of the discussion has centered on systemic racism, how it impacts the lives of people of color, and villainizes youth victims.\u003c/p>\n\u003cp>Also at the center of the controversy is a discussion about Florida’s “stand your ground” or “shoot first” law. According to the \u003ca href=\"http://smartgunlaws.org/tag/stand-your-ground/\">Law Center to Prevent Gun Violence\u003c/a>, the law says that “a person who reasonably believes that deadly force is necessary to prevent imminent death or great bodily harm has \u003ci>no duty\u003c/i> to retreat from a confrontation \u003ci>outside the home\u003c/i> before engaging in deadly force.” The site goes on to say, “In reality, Florida’s law shields individuals who use deadly force to injure or kill, by granting civil and criminal immunity to any shooter who convinces a judge that he or she reasonably believed a threat existed by a preponderance of the evidence.” During closing arguments, the defense claimed that Martin had “weaponized the sidewalk” to bludgeon Zimmerman during the confrontation in which Zimmerman shot him through the heart with a concealed 9mm Kel-Tec pistol.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">Artist Stephanie Syjuco\u003c/p>\n\u003cp>Artists, writers, and activists immediately began to make work in response to the verdict. The next morning, Bay Area-based artist \u003ca href=\"http://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a> posted on Facebook an image of herself lying facedown on the cement in an empty parking lot, akin to media images of Martin’s lifeless body after the shooting. The image, she said, is “a kind of face-plant in reaction to recent political events” and went on to say, “as in the Zimmerman trial, this image takes on a \u003ca href=\"http://www.imdb.com/title/tt0042876/\">\u003ci>Rashomon\u003c/i>\u003c/a>-like effect.” The nature of what transpired is unclear, but the image is unsettling and, the artist hopes, provocative.\u003c/p>\n\u003cp>After Zimmerman was found not guilty, a flood of recrimination in the news and social media was focused on Florida’s legal system, as if the legality that enabled the verdict was limited to Florida. This distancing, this need to place Florida in a category of otherness, provided some with a sense of exoneration. Whatever is happening there is not my problem, seemed to be the prevailing message. One poster on Facebook commented, “Say what you want about Global Warming, it’s going to erase that tumor of a state known as Florida.” But in reality thirty-one states, including Florida, have adopted “Shoot First” statutes since 2005. Each generally permits the use of deadly force in self-defense in public places with no duty to retreat. The evident racism in “stand your ground” states is stunning: according to a recent study conducted by John Roman, a senior analyst at the Urban Institute’s Justice Policy Center, white people who kill black people are 354% more likely to be cleared of murder, as recently reported in the United Kingdom’s \u003ci>Daily Mail\u003c/i>. In response to the verdict, the NAACP launched a \u003ca href=\"http://www.naacp.org/page/s/doj-civil-rights-petition\">petition urging the Department of Justice to file civil rights charges against Zimmerman\u003c/a>, stating that the organization would “fight for the removal of stand your ground laws in every state,” and vowed not to rest until “racial profiling in all of its forms is outlawed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following the verdict, President Obama urged Americans to respect the jury’s verdict, noting that we are “a nation of laws.” He continued by saying, “We should ask ourselves if we’re doing all we can to stem the tide of gun violence that claims too many lives across this country on a daily basis. We should ask ourselves, as individuals and as a society, how we can prevent future tragedies like this. As citizens, that’s a job for all of us.” The President, however, offered no council on how citizens can impact gun laws, a seemingly insurmountable task after the Senate persisted in defeating a background check measure this spring that was supported by more than 90% of Americans.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Artist: Aaron Stienstra\u003c/p>\n\u003cp>Many people have begun to question how they can prevent tragedies like this by challenging their own assumptions of white privilege. Joseph Phelan, a thirty-three year old poet and writer who lived in Florida for seven years, felt compelled to initiate a discussion on this topic after attending a street march in New York where people chanted, “We are Trayvon Martin.” But after, he said, “I felt sad and I had a huge sense of failure, especially as this is happening in the lead up to the fiftieth anniversary of the March on Washington next month. What’s changed? I know that I will never be Trayvon Martin because I’m white, but I want this country to be better.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image courtesy: \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>\u003c/p>\n\u003cp>On Sunday night Phelan initiated an open public platform for dialog about racism on Tumblr called \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>, without knowing how or even if anyone would participate. Overnight a few submissions came in; over the course of the last few days more than 1,200 people have sent submissions. The majority of people post about being white and about not wanting the privileges of racism. Many others post about their experiences as African Americans with young children or about how being multi-ethnic or light skinned has allowed them to evade overt racism. The prevailing impression of the submissions, he says, is that families are complicated. So too is a conversation about racism. “What I wanted was a really deep conversation about race. I’ve never had this broad or far-reaching a conversation about race, especially with white people.”\u003c/p>\n\u003cp>Phelan has engaged a dispersed network of friends, many of whom are writers, artists, and musicians, to assist with posting submissions around the clock, including friends in Brooklyn, Miami, Tennessee, and as far away as Europe. Though the site is moderated, pretty much everything is posted, with the exception of anything racist. Phelan guesses there have been no more than fifteen submissions omitted out of the hundreds posted and in the queue to be posted.\u003c/p>\n\u003cp>But is the site really a forum for conversation or is it primarily one directional? Phelan concedes that the posts are mostly testimonials, but points out that conversations are happening in response to the site on other platforms such as Facebook or Twitter. Through the site people are, essentially, facilitating dialog in their own immediate circles about the verdict and about racism. They aren’t easy conversations to have, but it’s a place to start.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Courtesy: Just Seeds Artists’ Cooperative\u003c/p>\n\u003cp>Earlier this week, Just Seeds Artists’ Cooperative, “a decentralized network of 24 artists committed to making print and design work that reflects a radical social, environmental, and political stance,” released a free downloadable poster graphic for viral distribution depicting a portrait of Martin with text that reads, “I am Trayvon Martin and my life matters.” Smaller Spanish text at the bottom reads “Viva Oscar Grant, Viva Trayvon, Viva Los Presos En Huelga De Hambre,” the later of which refers to prisoners on hunger strike. The message draws a thread through the lives of different people, largely men of color, who have been deprived of their humanity.\u003c/p>\n\u003cp>The conversations happening right now after the Zimmerman verdict require the complete reevaluation of interconnected attitudes in American society, at the local and national level, from racism to gun laws to the penal code. Because every life matters, even, or perhaps especially those that we have failed. We can’t change what has happened, but we can make change. And we must.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Author’s note: These are but a selection of projects that have taken place over the last few days with many more underway around the country. Please share other creative projects that address the Zimmerman verdict in the comments section below to continue to expand the dialogue here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for something new, and perhaps a little quirky for your next binge watch? Try \u003ci>MyMusic\u003c/i>, the brainchild of Benny and Rafi Fine, or the “Fine Brothers” as they are commonly known, a co-director, producer, writer team that has been putting content online since 2004. After spending years making \u003ca href=\"http://www.youtube.com/user/TheFineBros\">popular YouTube videos\u003c/a>, including their \u003ca href=\"http://www.youtube.com/playlist?list=PLFCAA1C9F5755B266\">\u003ci>Kids React\u003c/i>\u003c/a> videos and \u003ca href=\"http://www.youtube.com/watch?v=ILhoVf_Uz-4\">\u003ci>Spoilers\u003c/i>\u003c/a> series, the pair has created YouTube’s first weekly “transmedia” sitcom.\u003c/p>\n\u003cp>The show is a surreal mockumentary about a music news startup called “MyMusic.” Much like \u003ci>The Office\u003c/i>, it follows the work lives of MyMusic employees. Indie, the resident hipster and CEO of MyMusic, can’t be bothered to remember his workers’ real names so each character goes by the genre of music they are associated with. Idol, for example, is MyMusic’s head of social media and the queen of all things pop, including claiming to have invented the \u003ca href=\"http://memegenerator.co/instance/20127541\">‘duck face’\u003c/a> that has been sweeping selfies Internet wide. The show, which essentially focuses on the work of different kinds of people finding common ground, is brimming with silly surreal twists, including the office’s resident Bigfoot, inanimate employee “Scarfman,” who is entirely made of scarves, and a talent booker, named Dubstep, who speaks exclusively in stylized beatboxing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=rdJoTTYKCvc?list=SP963EB414824368A3&w=480&h=270]\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> was originally pitched to YouTube as a year-long weekly sitcom — a feat in itself — but it has become far more that just a scripted show. \u003ci>MyMusic\u003c/i> expanded its reach by wrapping the main show in an entire ecosystem of supporting materials. The channel is rounded out with addditional videos in which real musicians interact with the show’s fictional characters: \u003ci>MyMusic Presents\u003c/i> is a live performance series; \u003ci>MyMusic News\u003c/i> is a magazine show that covers real world music events; and \u003ci>The Mosh\u003c/i> is a scripted talkback in which the characters from the main show reply to questions fans post to the show’s various social media platforms.\u003c/p>\n\u003cp>And this is where \u003ci>MyMusic\u003c/i> becomes transmedia. The project uses social media as a creative medium, blurring reality by creating accounts for all of the show’s fictional characters. A great example happened early in the show’s first season when Metal, the MyMusic team’s newest member, started a one-man revolution protesting Indie’s failure to provide him with a desk. Locking all the other staff members in the conference room, Metal proceeded to produce all of MyMusic’s news and social media himself. The show’s Facebook, Twitter, and various other accounts reacted in real time to the fictional events on the sitcom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> is genuinely hilarious when it focuses on subtle character humor. It has a self-conscious, of-the-moment quality that will surely date quickly in the high speed evolution of online content, but that’s part of its charm. \u003ci>MyMusic\u003c/i> is deliciously hypercurrent, an emblem of the times. It’s clear the show is a massive undertaking, and with production quality high and the web series “stigma” quickly melting away, \u003ci>MyMusic\u003c/i> feels custom made, just for you, and just right for now. Season Two is slated to come out later this summer with first showings at \u003ca href=\"http://www.vidcon.com/\">Vidcon\u003c/a> in early August, there’s just enough time to catch up on Season One now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://mymusicshow.tumblr.com/\">Visit \u003ci>MyMusic\u003c/i>‘s Official Website\u003c/a> at mymusicshow.tumblr.com. Check out \u003ca href=\"http://www.youtube.com/user/MyMusicShow\">\u003ci>MyMusic\u003c/i>‘s YouTube Channel now.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for something new, and perhaps a little quirky for your next binge watch? Try \u003ci>MyMusic\u003c/i>, the brainchild of Benny and Rafi Fine, or the “Fine Brothers” as they are commonly known, a co-director, producer, writer team that has been putting content online since 2004. After spending years making \u003ca href=\"http://www.youtube.com/user/TheFineBros\">popular YouTube videos\u003c/a>, including their \u003ca href=\"http://www.youtube.com/playlist?list=PLFCAA1C9F5755B266\">\u003ci>Kids React\u003c/i>\u003c/a> videos and \u003ca href=\"http://www.youtube.com/watch?v=ILhoVf_Uz-4\">\u003ci>Spoilers\u003c/i>\u003c/a> series, the pair has created YouTube’s first weekly “transmedia” sitcom.\u003c/p>\n\u003cp>The show is a surreal mockumentary about a music news startup called “MyMusic.” Much like \u003ci>The Office\u003c/i>, it follows the work lives of MyMusic employees. Indie, the resident hipster and CEO of MyMusic, can’t be bothered to remember his workers’ real names so each character goes by the genre of music they are associated with. Idol, for example, is MyMusic’s head of social media and the queen of all things pop, including claiming to have invented the \u003ca href=\"http://memegenerator.co/instance/20127541\">‘duck face’\u003c/a> that has been sweeping selfies Internet wide. The show, which essentially focuses on the work of different kinds of people finding common ground, is brimming with silly surreal twists, including the office’s resident Bigfoot, inanimate employee “Scarfman,” who is entirely made of scarves, and a talent booker, named Dubstep, who speaks exclusively in stylized beatboxing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rdJoTTYKCvc?list=SP963EB414824368A3'\n title='//www.youtube.com/embed/rdJoTTYKCvc?list=SP963EB414824368A3'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> was originally pitched to YouTube as a year-long weekly sitcom — a feat in itself — but it has become far more that just a scripted show. \u003ci>MyMusic\u003c/i> expanded its reach by wrapping the main show in an entire ecosystem of supporting materials. The channel is rounded out with addditional videos in which real musicians interact with the show’s fictional characters: \u003ci>MyMusic Presents\u003c/i> is a live performance series; \u003ci>MyMusic News\u003c/i> is a magazine show that covers real world music events; and \u003ci>The Mosh\u003c/i> is a scripted talkback in which the characters from the main show reply to questions fans post to the show’s various social media platforms.\u003c/p>\n\u003cp>And this is where \u003ci>MyMusic\u003c/i> becomes transmedia. The project uses social media as a creative medium, blurring reality by creating accounts for all of the show’s fictional characters. A great example happened early in the show’s first season when Metal, the MyMusic team’s newest member, started a one-man revolution protesting Indie’s failure to provide him with a desk. Locking all the other staff members in the conference room, Metal proceeded to produce all of MyMusic’s news and social media himself. The show’s Facebook, Twitter, and various other accounts reacted in real time to the fictional events on the sitcom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> is genuinely hilarious when it focuses on subtle character humor. It has a self-conscious, of-the-moment quality that will surely date quickly in the high speed evolution of online content, but that’s part of its charm. \u003ci>MyMusic\u003c/i> is deliciously hypercurrent, an emblem of the times. It’s clear the show is a massive undertaking, and with production quality high and the web series “stigma” quickly melting away, \u003ci>MyMusic\u003c/i> feels custom made, just for you, and just right for now. Season Two is slated to come out later this summer with first showings at \u003ca href=\"http://www.vidcon.com/\">Vidcon\u003c/a> in early August, there’s just enough time to catch up on Season One now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://mymusicshow.tumblr.com/\">Visit \u003ci>MyMusic\u003c/i>‘s Official Website\u003c/a> at mymusicshow.tumblr.com. Check out \u003ca href=\"http://www.youtube.com/user/MyMusicShow\">\u003ci>MyMusic\u003c/i>‘s YouTube Channel now.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mr. Div is the Tumblr of Matthew DiVito, a motion graphics artist who makes multifaceted gifs. These aren’t the spazzy cartoon loops the Internet is so famous for; these images consist of animated 3D shapes with rich textures and atmospheric lighting. While beautifully made, the style is decoupled from the technical prowess involved in creating nuanced and mesmerizing digital animation. The work is neither showy nor didactic, but nostalgic for a future only found in cheesy sci-fi flicks.\u003c/p>\n\u003cp>The colors of DiVito’s rotating and blinking objects, the filmy filters, the skeuomorphic animation, and even an unselfconscious disco revelry are all marks of high quality retro-futurism, influenced not just by the present iteration of technology, but also by depictions of the future that were inspired by the 1960s’ race to the moon.\u003c/p>\n\u003cp>With new pieces coming out monthly, steady if not frequent by Internet standards, Mr. Div’s growing archive is full of beautiful and arresting pieces, but for new visitors to his feed a great place to start is \u003ci>meta_hexa\u003c/i>, published in February of this year: \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div1.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>meta_hexa\u003c/i>, 2013.\u003cbr>\u003c/center>\n\u003cp>The gif brings us back to a time before retinal displays, with large hexagonal pixels — some of them faulty — sunk in a black mesh grid. The screen is centered on a stack of isometric cubes, reminiscent of \u003ca href=\"http://www.classicgamesarcade.com/game/21652/q*bert.html\">\u003ci>Q*bert\u003c/i>\u003c/a>, which ebb and flicker. Like much of Mr.Div’s work, it abandons the pursuit of crispness encouraged by HD cameras and 3D computer animation, and instead lets the edges bleed, giving the gif a soft-focus glow. At once calling to mind the Lite-Brites of childhood and remnants of aging technology: old laptops running slowly after years of use, the lace of a shattered iPhone, or that one patch of dead pixels floating in the corner of your screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/53444911?title=0&byline=0&portrait=0&color=1b7f67\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Mr. Div’s gifs are definitely worth a look, but his recent video, \u003ci>THAT WILL BE THE DAY\u003c/i>, an audio/visual collaboration with musician Aldo Aréchar, is frankly stunning. Something of a visual space opera, \u003ci>THAT WILL BE THE DAY\u003c/i> is grand and beautiful throughout, but the most striking image may be 30 seconds in when, to a tremor of rising violins, a hallway of angled blue green lights frames the glowing ember of what could be both a plummeting spaceship and a falling star. It’s the essence of watching an epic sci-fi movie — the tragedy, the triumph, the heroic sacrifice all distilled down to shape and color and peculiar, intimate, motion. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div2.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>white_xmas\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>The gifs and video, made using a combination of After Effects and Cinema 4D, are both an expression of current technological power and a celebration of, or perhaps yearning for, its predecessors. Mr. Div’s work, which is only available online, takes advantage of, while picking apart, our screen-centered lives. Mr. Div asks us to please remember the magic offered by computers still in their infancy, and urges us to resist the screens’ subtle slide toward the mundane.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://mrdiv.tumblr.com/\">more information on Mr. Div\u003c/a>, visit mrdiv.tumblr.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mr. Div is the Tumblr of Matthew DiVito, a motion graphics artist who makes multifaceted gifs. These aren’t the spazzy cartoon loops the Internet is so famous for; these images consist of animated 3D shapes with rich textures and atmospheric lighting. While beautifully made, the style is decoupled from the technical prowess involved in creating nuanced and mesmerizing digital animation. The work is neither showy nor didactic, but nostalgic for a future only found in cheesy sci-fi flicks.\u003c/p>\n\u003cp>The colors of DiVito’s rotating and blinking objects, the filmy filters, the skeuomorphic animation, and even an unselfconscious disco revelry are all marks of high quality retro-futurism, influenced not just by the present iteration of technology, but also by depictions of the future that were inspired by the 1960s’ race to the moon.\u003c/p>\n\u003cp>With new pieces coming out monthly, steady if not frequent by Internet standards, Mr. Div’s growing archive is full of beautiful and arresting pieces, but for new visitors to his feed a great place to start is \u003ci>meta_hexa\u003c/i>, published in February of this year: \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div1.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>meta_hexa\u003c/i>, 2013.\u003cbr>\u003c/center>\n\u003cp>The gif brings us back to a time before retinal displays, with large hexagonal pixels — some of them faulty — sunk in a black mesh grid. The screen is centered on a stack of isometric cubes, reminiscent of \u003ca href=\"http://www.classicgamesarcade.com/game/21652/q*bert.html\">\u003ci>Q*bert\u003c/i>\u003c/a>, which ebb and flicker. Like much of Mr.Div’s work, it abandons the pursuit of crispness encouraged by HD cameras and 3D computer animation, and instead lets the edges bleed, giving the gif a soft-focus glow. At once calling to mind the Lite-Brites of childhood and remnants of aging technology: old laptops running slowly after years of use, the lace of a shattered iPhone, or that one patch of dead pixels floating in the corner of your screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/53444911?title=0&byline=0&portrait=0&color=1b7f67\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Mr. Div’s gifs are definitely worth a look, but his recent video, \u003ci>THAT WILL BE THE DAY\u003c/i>, an audio/visual collaboration with musician Aldo Aréchar, is frankly stunning. Something of a visual space opera, \u003ci>THAT WILL BE THE DAY\u003c/i> is grand and beautiful throughout, but the most striking image may be 30 seconds in when, to a tremor of rising violins, a hallway of angled blue green lights frames the glowing ember of what could be both a plummeting spaceship and a falling star. It’s the essence of watching an epic sci-fi movie — the tragedy, the triumph, the heroic sacrifice all distilled down to shape and color and peculiar, intimate, motion. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div2.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>white_xmas\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>The gifs and video, made using a combination of After Effects and Cinema 4D, are both an expression of current technological power and a celebration of, or perhaps yearning for, its predecessors. Mr. Div’s work, which is only available online, takes advantage of, while picking apart, our screen-centered lives. Mr. Div asks us to please remember the magic offered by computers still in their infancy, and urges us to resist the screens’ subtle slide toward the mundane.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://mrdiv.tumblr.com/\">more information on Mr. Div\u003c/a>, visit mrdiv.tumblr.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I recently sat down to chat with local graphic designer and YouTuber, Karen Kavett about her YouTube career and the changing state of online video. Karen, \u003ca href=\"https://www.youtube.com/user/xperpetualmotion\">xperpetualmotion on YouTube\u003c/a>, is the designer du jour online these days, a graduate of RISD and formerly a user experience designer at YouTube itself, she also works on book covers, posters for other popular video bloggers, musicians and authors.\u003c/p>\n\u003cp>Karen is gently shy in person, a contrast to the loud confident aspects of her personality that come out in front of the camera. Her channel, started in January of 2008, focuses mainly on crafting, graphic design and nerdery, and has grown to over 40,000 subscribers and 2.8 million views. But has her still-growing popularity changed her personal relationship to online video? Not really, she says. She is still an avid viewer and participates not only in the community of her audience but also the wider Vlogger/Nerdfighter/YouTuber fandom.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=iot5YFfyuNA&w=480&h=270]\u003c/p>\n\u003cp>We started off talking about her unique insight into the changing face of YouTube. The site was redesigned recently and some content creators are disappointed with the new approach to smaller channels. BryarlyBishop’s video \u003ca href=\"http://youtu.be/8oMezmItvcw\">Open Letter to YouTube\u003c/a> is a great example. The video accuses YouTube of pouring more money and resources into already thriving channels while leaving smaller creators to flounder. So I asked Karen her opinion on the matter. People don’t like change, she explained, but after working with the team designing the site she said, “I have a much better understanding of the site. It’s no longer a giant untouchable corporation. I know the people behind the decisions, I can picture them in meetings.”\u003c/p>\n\u003cp>She says the real trouble for new creators is not YouTube’s redesigns or lack of home page curation, but instead the appetites of incoming viewers. In a deep field Karen says, “Unless you are making the most amazing content anyone could ever see, it’s just hard to get a substantial audience to keep coming back.” She explained that the people being introduced to YouTube currently are used to more mainstream content interaction, just sitting back watching an episode and then moving on to something else. But Internet communities, and thus those subscription counters, are built on interaction, not simply watching one video, but coming back over and over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/karenkavett.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>YouTube’s decentralization of media production and consumption has simultaneously lead to a fragmentation of celebrity. Movie stars, comedians, musicians still have plenty of cache in mainstream media, as well as online, but the saturation of attention, and with it the power to draw audiences, has spread far and wide. Because the Internet specializes in the long tail of entertainment, Kavett explained, it allows geographically divergent communities interested in niche content and experiences to not only foster their own stars, but also dictate the socially acceptable level of attention. Internet celebs are not subjected to tabloid speculation, for example. When asked about her own level of recognition, she admitted to fans coming up to her, but only in the context of conventions like VidCon and LeakyCon.\u003c/p>\n\u003cp>And Kavett is a great example, just because YouTubers are separate from TV and movie performers and producers, doesn’t mean those older media have no effect on them. Los Angeles is the entertainment capital of the world and many online content creators are heading there not to break into the entertainment industry, but to be closer to each other. Collaboration is an integral part of the YouTube community and proximity makes sharing ideas, and being in each other’s videos that much easier. There has been a mass L.A. exodus of late, including all four of the Bay Area’s best known YouTubers: George Watsky, Hannah Hart, Tyler Oakley, and soon Karen herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://karenkavett.com/blog/\">more information about Kavett\u003c/a>, her designs or videos, go to karenkavett.com. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I recently sat down to chat with local graphic designer and YouTuber, Karen Kavett about her YouTube career and the changing state of online video. Karen, \u003ca href=\"https://www.youtube.com/user/xperpetualmotion\">xperpetualmotion on YouTube\u003c/a>, is the designer du jour online these days, a graduate of RISD and formerly a user experience designer at YouTube itself, she also works on book covers, posters for other popular video bloggers, musicians and authors.\u003c/p>\n\u003cp>Karen is gently shy in person, a contrast to the loud confident aspects of her personality that come out in front of the camera. Her channel, started in January of 2008, focuses mainly on crafting, graphic design and nerdery, and has grown to over 40,000 subscribers and 2.8 million views. But has her still-growing popularity changed her personal relationship to online video? Not really, she says. She is still an avid viewer and participates not only in the community of her audience but also the wider Vlogger/Nerdfighter/YouTuber fandom.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iot5YFfyuNA'\n title='//www.youtube.com/embed/iot5YFfyuNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We started off talking about her unique insight into the changing face of YouTube. The site was redesigned recently and some content creators are disappointed with the new approach to smaller channels. BryarlyBishop’s video \u003ca href=\"http://youtu.be/8oMezmItvcw\">Open Letter to YouTube\u003c/a> is a great example. The video accuses YouTube of pouring more money and resources into already thriving channels while leaving smaller creators to flounder. So I asked Karen her opinion on the matter. People don’t like change, she explained, but after working with the team designing the site she said, “I have a much better understanding of the site. It’s no longer a giant untouchable corporation. I know the people behind the decisions, I can picture them in meetings.”\u003c/p>\n\u003cp>She says the real trouble for new creators is not YouTube’s redesigns or lack of home page curation, but instead the appetites of incoming viewers. In a deep field Karen says, “Unless you are making the most amazing content anyone could ever see, it’s just hard to get a substantial audience to keep coming back.” She explained that the people being introduced to YouTube currently are used to more mainstream content interaction, just sitting back watching an episode and then moving on to something else. But Internet communities, and thus those subscription counters, are built on interaction, not simply watching one video, but coming back over and over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/karenkavett.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>YouTube’s decentralization of media production and consumption has simultaneously lead to a fragmentation of celebrity. Movie stars, comedians, musicians still have plenty of cache in mainstream media, as well as online, but the saturation of attention, and with it the power to draw audiences, has spread far and wide. Because the Internet specializes in the long tail of entertainment, Kavett explained, it allows geographically divergent communities interested in niche content and experiences to not only foster their own stars, but also dictate the socially acceptable level of attention. Internet celebs are not subjected to tabloid speculation, for example. When asked about her own level of recognition, she admitted to fans coming up to her, but only in the context of conventions like VidCon and LeakyCon.\u003c/p>\n\u003cp>And Kavett is a great example, just because YouTubers are separate from TV and movie performers and producers, doesn’t mean those older media have no effect on them. Los Angeles is the entertainment capital of the world and many online content creators are heading there not to break into the entertainment industry, but to be closer to each other. Collaboration is an integral part of the YouTube community and proximity makes sharing ideas, and being in each other’s videos that much easier. There has been a mass L.A. exodus of late, including all four of the Bay Area’s best known YouTubers: George Watsky, Hannah Hart, Tyler Oakley, and soon Karen herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://karenkavett.com/blog/\">more information about Kavett\u003c/a>, her designs or videos, go to karenkavett.com. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Guacamelee!\u003c/i>, the new action-packed platformer from \u003ca href=\"http://guacamelee.com/\">Drinkbox Studios\u003c/a>, is a beat-’em-up brawler caught between the world of the living and the world of the dead. Pre-release \u003ci>Guacamelee!\u003c/i> was nominated for an Indiecade in 2012 and a 2013 Independent Games Festival award for Excellence in Visual Art, and now the fans are raving. While the game is everything many had hoped, it does have one crucial flaw.\u003c/p>\n\u003cp>But first the good stuff. \u003ci>Guacamelee!\u003c/i> is a rich, beautiful game that draws not only its visual style from Mexican culture, but also its storyline, characters and motifs from Mexican folklore. The world is littered with colorful detail, Day of the Dead-style paintings, luchador paraphernalia, Mexico’s dwindling jaguars, textured desert environments and even those all-important cans of “Holy Frijoles.” The myriad settings and the dynamic color keep every frame of this admittedly short game a joy to experience.\u003c/p>\n\u003cp>The combat and traversal build on the classic platformer model, focused on timing and precision. The game weaves in brawler elements, successfully mixing combos and special attacks, making platforming moves necessary for combat and vice versa, resulting in a unique and fantastically fun style of game play. “Pollo Power,” a mode that allows players to swap identities and become a chicken, is worth the price of admission alone.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=f6mZ2k6UpOc&w=480&h=270]\u003c/p>\n\u003cp>Set in and around one small Mexican village, the main character, Juan Aguacate, can’t catch a break in his normal life, but when El Presidente’s daughter (Juan’s true love) is kidnapped, he sets off to save the girl and the world from an evil charro skeleton. This is where my only substantial criticism pops up. Yet another rehashing of a tired trope, a helpless women is carted off to her doom so that the man, the player, has something to fight for. It’s just lazy storytelling, so lazy in fact they didn’t even give this damsel in distress a name.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why is it not enough that an underworld badass is coming back to conquer the world with his evil armies? That seems like a good reason to fight without the gratuitous lady-napping. But this problem is systemic to all games, and it would be unfair to judge this otherwise wonderful and imaginative game entirely based on an industry-wide preference. If you are interested in just how pervasive this trope is, \u003ca href=\"http://youtu.be/X6p5AZp7r_Q\">Feminist Frequency\u003c/a> will walk you through the facts and history of gender in games.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Dispite its flaws, \u003ci>Guacamelee’s\u003c/i> glowing reception is well deserved; and the makers have been inundated with fan art including this poster by Neomonki:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guacamelee1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>Guacamelee!\u003c/i> is beautiful, with great gameplay, and a unique point of view. It is absolutely worth a play and hopefully, as the creators gain more experience, they will break with traditional tropes and make their stories just as stellar as their art and action already are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://guacamelee.com/\">more information\u003c/a>, visit guacamelee.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Guacamelee!\u003c/i>, the new action-packed platformer from \u003ca href=\"http://guacamelee.com/\">Drinkbox Studios\u003c/a>, is a beat-’em-up brawler caught between the world of the living and the world of the dead. Pre-release \u003ci>Guacamelee!\u003c/i> was nominated for an Indiecade in 2012 and a 2013 Independent Games Festival award for Excellence in Visual Art, and now the fans are raving. While the game is everything many had hoped, it does have one crucial flaw.\u003c/p>\n\u003cp>But first the good stuff. \u003ci>Guacamelee!\u003c/i> is a rich, beautiful game that draws not only its visual style from Mexican culture, but also its storyline, characters and motifs from Mexican folklore. The world is littered with colorful detail, Day of the Dead-style paintings, luchador paraphernalia, Mexico’s dwindling jaguars, textured desert environments and even those all-important cans of “Holy Frijoles.” The myriad settings and the dynamic color keep every frame of this admittedly short game a joy to experience.\u003c/p>\n\u003cp>The combat and traversal build on the classic platformer model, focused on timing and precision. The game weaves in brawler elements, successfully mixing combos and special attacks, making platforming moves necessary for combat and vice versa, resulting in a unique and fantastically fun style of game play. “Pollo Power,” a mode that allows players to swap identities and become a chicken, is worth the price of admission alone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f6mZ2k6UpOc'\n title='//www.youtube.com/embed/f6mZ2k6UpOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Set in and around one small Mexican village, the main character, Juan Aguacate, can’t catch a break in his normal life, but when El Presidente’s daughter (Juan’s true love) is kidnapped, he sets off to save the girl and the world from an evil charro skeleton. This is where my only substantial criticism pops up. Yet another rehashing of a tired trope, a helpless women is carted off to her doom so that the man, the player, has something to fight for. It’s just lazy storytelling, so lazy in fact they didn’t even give this damsel in distress a name.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why is it not enough that an underworld badass is coming back to conquer the world with his evil armies? That seems like a good reason to fight without the gratuitous lady-napping. But this problem is systemic to all games, and it would be unfair to judge this otherwise wonderful and imaginative game entirely based on an industry-wide preference. If you are interested in just how pervasive this trope is, \u003ca href=\"http://youtu.be/X6p5AZp7r_Q\">Feminist Frequency\u003c/a> will walk you through the facts and history of gender in games.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Dispite its flaws, \u003ci>Guacamelee’s\u003c/i> glowing reception is well deserved; and the makers have been inundated with fan art including this poster by Neomonki:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guacamelee1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>Guacamelee!\u003c/i> is beautiful, with great gameplay, and a unique point of view. It is absolutely worth a play and hopefully, as the creators gain more experience, they will break with traditional tropes and make their stories just as stellar as their art and action already are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://guacamelee.com/\">more information\u003c/a>, visit guacamelee.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The PBS Idea Channel is a YouTube webseries that explores the philosophical repercussions of the Internet, and the evolving relationship between art and technology. Hosted by Mike Rugnetta (@mikerugnetta), the Idea Channel is doing for Internet culture and technology what numerous cultural theorists have done in the past for burgeoning art movements or world-changing events. It is revealing the complex meaning behind the apps and games and memes and music many of us participate in everyday. The moral repercussions of certain video games; how Internet culture in the form of gifs affected our most recent election; authenticity in technologically enhanced pop music; and even questions about reality are all up for discussion on the Idea Channel.\u003c/p>\n\u003cp>Started in March of 2012, Idea Channel’s weekly videos are steadily gaining momentum, now rocking over 200k subscribers. The fast-paced editing, packed with gifs and memes, and snappy well-written dialogue reinforce its Internet-centric themes while maintaining that oh-so-YouTube intimate, personal feel.\u003c/p>\n\u003cp>Many of these topics are things that get under the skin of traditional considerations on art. For Example, PBS Idea Channel recently pondered whether Instagram’s impact on photography? The app delivers not only a stream of beautiful and well-constructed images, but also hashtags that change our experience in arguably significant ways. Idea Channel drills down to examine how the phenomenon of hashtagged metadata changes the experience of photos for the viewers. For example, what if your only experience of the photograph \u003ca href=\"http://en.wikipedia.org/wiki/Raising_the_Flag_on_Iwo_Jima\">\u003ci>Raising the Flag on Iwo Jima\u003c/i>\u003c/a> had been with #taketwo labeled along the bottom, or the \u003ca href=\"http://en.wikipedia.org/wiki/Earthrise\">first image of Earth from the moon\u003c/a> labeled with #hometown or #nofilter? \u003c/p>\n\u003cp>Or take Internet memes — the LOLcats and Rage comics of the world. Should these images be considered part of the long-standing and equally long-fought-over canon of capital-A art? Idea channel seems to think so. “People are creating images and sharing them with strangers, for the purpose of communicating their personal experiences? That my friends, is art.” What about nail art, the practice of making paintings or even tiny sculptures on fingernails. Is it just another canvas for the ideas and problems tackled in contemporary art?\u003c/p>\n\u003cp>This video, \u003ci>Is the Web Browser Replacing the Art Gallery?\u003c/i>, exemplifies the PBS Idea Channel’s fascinating programming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=rdEZjZXirbA&w=480&h=270]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Idea Channel challenges the borders of our artistic and cultural categories with videos on Super Mario Brothers as a great work of surrealist art, or Hello Kitty as a pinnacle of Modernism, but they also bring to mind moral questions as well. Did you know that the makers of \u003ci>Call of Duty\u003c/i>, the massively popular first-person military shooter, are required to license the guns in the game from actual real world gun manufacturers? The result being when you buy a copy of the game you are contributing — even if just a little bit — to the creation and perpetuation of arms. Idea Channel doesn’t say you shouldn’t buy the game exactly, just that you should understand the moral complexity hidden within the decision. For anyone interested in the present and future of art, culture and technology, PBS Idea Channel is a must see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The PBS Idea Channel is a YouTube webseries that explores the philosophical repercussions of the Internet, and the evolving relationship between art and technology. Hosted by Mike Rugnetta (@mikerugnetta), the Idea Channel is doing for Internet culture and technology what numerous cultural theorists have done in the past for burgeoning art movements or world-changing events. It is revealing the complex meaning behind the apps and games and memes and music many of us participate in everyday. The moral repercussions of certain video games; how Internet culture in the form of gifs affected our most recent election; authenticity in technologically enhanced pop music; and even questions about reality are all up for discussion on the Idea Channel.\u003c/p>\n\u003cp>Started in March of 2012, Idea Channel’s weekly videos are steadily gaining momentum, now rocking over 200k subscribers. The fast-paced editing, packed with gifs and memes, and snappy well-written dialogue reinforce its Internet-centric themes while maintaining that oh-so-YouTube intimate, personal feel.\u003c/p>\n\u003cp>Many of these topics are things that get under the skin of traditional considerations on art. For Example, PBS Idea Channel recently pondered whether Instagram’s impact on photography? The app delivers not only a stream of beautiful and well-constructed images, but also hashtags that change our experience in arguably significant ways. Idea Channel drills down to examine how the phenomenon of hashtagged metadata changes the experience of photos for the viewers. For example, what if your only experience of the photograph \u003ca href=\"http://en.wikipedia.org/wiki/Raising_the_Flag_on_Iwo_Jima\">\u003ci>Raising the Flag on Iwo Jima\u003c/i>\u003c/a> had been with #taketwo labeled along the bottom, or the \u003ca href=\"http://en.wikipedia.org/wiki/Earthrise\">first image of Earth from the moon\u003c/a> labeled with #hometown or #nofilter? \u003c/p>\n\u003cp>Or take Internet memes — the LOLcats and Rage comics of the world. Should these images be considered part of the long-standing and equally long-fought-over canon of capital-A art? Idea channel seems to think so. “People are creating images and sharing them with strangers, for the purpose of communicating their personal experiences? That my friends, is art.” What about nail art, the practice of making paintings or even tiny sculptures on fingernails. Is it just another canvas for the ideas and problems tackled in contemporary art?\u003c/p>\n\u003cp>This video, \u003ci>Is the Web Browser Replacing the Art Gallery?\u003c/i>, exemplifies the PBS Idea Channel’s fascinating programming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As Gilda Radner once said, “I base my fashion taste on what doesn’t itch.” But nonetheless, I sacrificed a perfectly good night of TV watching to escort my 11 year old to the \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">\u003c/a>California College of the Arts Fashion Show last Friday, May 17, 2013. \u003c/p>\n\u003cp>The sold out and much touted annual event showcases the thesis collections of CCA’s graduating undergraduate fashion designers. The show is juried by industry professionals and worn by runway models. And even though the designs are impressive, the show was fairly wasted on me.\u003c/p>\n\u003cp>I’m a continual disappointment –- not to mention an embarrassment — to my daughter; my wardrobe consists of Keds, Levis and old hoodies. Still, in this, my first fashion show, I was certainly in awe of what other people can pull off.\u003c/p>\n\u003cp>What I know about the world of high fashion is pretty much based on \u003ca href=\"http://www.imdb.com/title/tt0196229/\">\u003ci>Zoolander\u003c/i>\u003c/a>. When I think of risky, innovative design that pushes the envelope, I think of Carol Burnett as Scarlet O’Hara, wearing window drapes to impress Rhett Butler.\u003c/p>\n\u003cp>So I enlisted Sasha, a 13-year-old expert in the field, to help me assess the CCA showcase. She liked Carlsbad Oster’s collection, which she assessed as “fun and young.” She thought it was a very cool take on sports wear and said she would wear it. Sasha also liked Polly Lai’s collection, \u003ci>Doll in a Bubble\u003c/i>, noting that the name reflected the clothes well. They were delicate and light and summery and included terrific polka dot socks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Haven\u003c/i>, a collection from Irina Murphy, was one of Sasha’s favorites. “It was dark but not sad or evil,” Sasha said. I also liked this one — as it was the least revealing, covers a lot of skin, and I could see it in my own closet. Or, as the designer put it, “humans are fragile. My garments shelter precarious beings from the outside world.”\u003c/p>\n\u003cp>I could also see myself wearing Ann Anglim’s collection, \u003ci>Melancholia\u003c/i>. “Melancholia speaks of loneliness and suffering,” the catalog says. “The textures remind us that hiding is a form of survival.” Both Murphy and Anglim’s contributions were well-suited for the middle-aged mom.\u003c/p>\n\u003cp>Sasha aptly pointed out which ensembles were polished and well-finished, cohesive, edgy, electric, or too “matchy.” I noted that the model’s postures and facial inexpressiveness evoked parodies of their occupation. Likewise, I couldn’t help but be entertained by the high concepts shaping the designers’ visions.\u003c/p>\n\u003cp>One collection is inspired by a Mexican folk tale’s “most stark and painful moments and culminates in the concepts of sensuality, murderous sin, and remorse.” Another, titled \u003ci>Derelicte\u003c/i>, is inspired by the homeless people who make “this wonderful city so unique.” One line reflects “the mythological Greek vision of a beautiful meadow in eternal summer, the land of ethereal transitions of the beloved ones of Zeus.” The collection \u003ci>Nova\u003c/i> is fueled by “the grace of shooting stars and contracts the universe into a flash of light, electrifying the senses as it expands the mind.” (Wait, one of those was actually from \u003ci>Zoolander\u003c/i>.)\u003c/p>\n\u003cp>Tiśina T. Parker was the recipient of \u003ci>7×7\u003c/i> magazine’s Emerging Talent Award. Her collection, \u003ci>4th Dimension\u003c/i>, uses mathematical algorithms based on geometric patterns to create dresses with cut-outs that reminded me of an \u003ca href=\"http://www.imdb.com/title/tt0099487/\">Edward Scissorhands\u003c/a> aesthetic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>CCA’s 2013 Annual Fashion Show took place on May 17, 2013 at the CCA San Francisco campus. For \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">more information\u003c/a> about the show, visit cca.edu/fashion show.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Haven\u003c/i>, a collection from Irina Murphy, was one of Sasha’s favorites. “It was dark but not sad or evil,” Sasha said. I also liked this one — as it was the least revealing, covers a lot of skin, and I could see it in my own closet. Or, as the designer put it, “humans are fragile. My garments shelter precarious beings from the outside world.”\u003c/p>\n\u003cp>I could also see myself wearing Ann Anglim’s collection, \u003ci>Melancholia\u003c/i>. “Melancholia speaks of loneliness and suffering,” the catalog says. “The textures remind us that hiding is a form of survival.” Both Murphy and Anglim’s contributions were well-suited for the middle-aged mom.\u003c/p>\n\u003cp>Sasha aptly pointed out which ensembles were polished and well-finished, cohesive, edgy, electric, or too “matchy.” I noted that the model’s postures and facial inexpressiveness evoked parodies of their occupation. Likewise, I couldn’t help but be entertained by the high concepts shaping the designers’ visions.\u003c/p>\n\u003cp>One collection is inspired by a Mexican folk tale’s “most stark and painful moments and culminates in the concepts of sensuality, murderous sin, and remorse.” Another, titled \u003ci>Derelicte\u003c/i>, is inspired by the homeless people who make “this wonderful city so unique.” One line reflects “the mythological Greek vision of a beautiful meadow in eternal summer, the land of ethereal transitions of the beloved ones of Zeus.” The collection \u003ci>Nova\u003c/i> is fueled by “the grace of shooting stars and contracts the universe into a flash of light, electrifying the senses as it expands the mind.” (Wait, one of those was actually from \u003ci>Zoolander\u003c/i>.)\u003c/p>\n\u003cp>Tiśina T. Parker was the recipient of \u003ci>7×7\u003c/i> magazine’s Emerging Talent Award. Her collection, \u003ci>4th Dimension\u003c/i>, uses mathematical algorithms based on geometric patterns to create dresses with cut-outs that reminded me of an \u003ca href=\"http://www.imdb.com/title/tt0099487/\">Edward Scissorhands\u003c/a> aesthetic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>CCA’s 2013 Annual Fashion Show took place on May 17, 2013 at the CCA San Francisco campus. For \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">more information\u003c/a> about the show, visit cca.edu/fashion show.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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