originality   251

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AI art knockoff
Open source code used to create a piece up for auction, controversy ensues
art  graphics  machinelearning  ai  christies  tootme  originality 
october 2018 by nelson
Why, in China and Japan, a copy is just as good as an original | Aeon Essays
"In the West, when monuments are restored, old traces are often particularly highlighted. Original elements are treated like relics. The Far East is not familiar with this cult of the original. It has developed a completely different technique of preservation that might be more effective than conservation or restoration. This takes place through continual reproduction. This technique completely abolishes the difference between original and replica. We might also say that originals preserve themselves through copies. Nature provides the model. The organism also renews itself through continual cell-replacement. After a certain period of time, the organism is a replica of itself. The old cells are simply replaced by new cell material. In this case, the question of an original does not arise. The old dies off and is replaced by the new. Identity and renewal are not mutually exclusive. In a culture where continual reproduction represents a technique for conservation and preservation, replicas are anything but mere copies."
china  japan  copying  originality  evolution  copies  culture  2018  byung-chulhan  history  museums  cloning  korea  southkorea  buddhism  christianity  life  death 
june 2018 by robertogreco
‘The Social Network’ With Bill Simmons, Sean Fennessey, and Chris Ryan - The Ringer
bs: did zuck actually steal the harvard connection? i say no.
[cross talk]
cr: i think what this movie teaches us is it doesn't really matter
sf: yeah for the sake of conversation, yes, i mean, who cares? he won. he won. that's all that really matters. he won.
bs: i care. i'm an honorable guy. apparently unlike you two.
cr: [laughter]
sf: the thing is it's just, ask nas, no idea is original, you know. everybody has the same idea at any given time and you're always trying to figure out who can get to the bottom of it first.
cr: those guys know it too
bill-simmons  the-ringer  movies  creativity  originality  ideas  podcast 
may 2018 by actualitems
Zines are the future of media
"My favorite Nieman Lab prediction for journalism in 2018 (including this one I wrote myself [http://www.niemanlab.org/2017/12/watch-out-for-spotify/ ]) is Kawandeep Virdee’s “Zines Had It Right All Along.” [http://www.niemanlab.org/2017/12/zines-had-it-right-all-along/ ]

His actual prediction is that in 2018, digital media “will reflect more qualities that make print great.” Virdee distills a shortlist of qualities of zines and quarterly mags that he thinks are portable to digital:

• Quarterlies are a pleasure to read with a variety in layout and pacing
• They’re beautiful to hold.
• They’re less frequent, and much better.
• Even the ads are well-crafted, and trusted.
• Zines have an enormous variety.
• They’re experimental and diverse.
• This gives them a freshness and surprise.
• They’re anti-formalist; they’re relatable.

“Most sites look the same,” Virdee writes. “It can be weird and wonderful.”

The positive example he gives isn’t a text feature, but the NYT video series “Internetting with Amanda Hess.” It’s an odd choice because digital video hasn’t had much of a problem picking up on a zine aesthetic or giving us that level of freshness and surprise; it’s digital text that’s been approaching conformity.

It’s also weird that Virdee works product at Medium, which is one of the sites that, despite or maybe because of its initial splash, is kind of the poster child for the current design consensus on the web. If Virdee is making the case that Medium (and other sites) should look a lot less like Medium, that would be the most exciting thing that Medium has done in a couple of years.

The other point I’d add is that zines and quarterlies look the way they do and feel the way they feel not because of a certain design aesthetic they share, or a design consensus they break from, but because of how they’re run, who owns them, and why they’re published. They look different because they are different. So maybe we need to look at the whole package and create an… oh, I don’t know, what’s the phrase I need… an “indie web”?"
timcarmody  kawandeepvirdee  zines  publishing  blogs  blogging  digital  publications  2017  2018  quarterlies  classideas  cv  conformity  medium  media  predictions  design  originality  weirdness  aesthetics  freshness  internet  amandahess  web  online  graphicdesign  layout  webdesign  indie  indieweb  diversity  anti-formalism  relatability  surprise  variety  craft  pacing  howwewrite  howweread  print  papernet 
december 2017 by robertogreco
Not Being Original
Weekends, when friends join me for longer runs, I have a new route prepared, never the same—perhaps around the university, deep into the greenbelt, into the housing north of the lake, always different than the last. Or is that just a story I tell myself? Maybe these attempts at creating new routes simply emphasize the routineness of it all: the same movement, the same exercise. But running is not about exercise. Not exactly. Running, for those who have crossed over into obsession, is not about time or distance or health, at least not for me. Running is about routine, the same movement over and over. The so-called runner’s high, then, is the euphoria evoked by pattern, simplicity, ritual.
Prufrock  originality  writing  art  routine  running 
october 2017 by jbertsche
Is Trend Forecasting Doing More Harm to Fashion Than Good? — The Fashion Law
Worth told Forbes in 2014 that trend forecasting “used to be a real source of inspiration for designers, but now it’s just doing their job for them. You can download CAD [computer-aided design] drawings of a garment and just tweak it. It has made life too easy for people in the creative space; it has made them lazy.” [Note: Worth’s Forbes interview coincided with the launch of his new business a more customized trend forecasting service, which is not affiliated with WGSN].
fashion  originality  trends  forecast  WGSN  review  critique  TheFashionLaw  2017 
october 2017 by inspiral
A Chair Is a Chair - Triple Canopy
Judd eventually came to deride his first table as a debasement of the original artwork. In his writing, he asserted a quasi-ontological difference between furniture and sculpture; each needed to be approached on its own terms, and one should never serve as the point of departure for the other. Judd disdained “old good ideas made shiny and new” and “‘designer’ Italian furniture,” which was symptomatic of the homogenizing pull of mass production;...

The artist mandated that his artwork and furniture never be exhibited together, and that his plywood chairs not assume the preciousness likely to be associated with his plywood sculptures; chairs were, emphatically, to be used....

The fever for Judd furniture—and the apparent brand synergy—reached a zenith in the fall of 1995, when an eight-page foldout advertisement launching Calvin Klein Home, and shot against the backdrop of Marfa’s Chinati Foundation, appeared in fashion and lifestyle magazines. The first page featured pillows and gauzy sheets casually draped across a reproduction of a Judd bed frame made for the shoot. Behind the bed hung a painting by Korean artist Hyong-Keun Yunan (part of the foundation’s permanent collection), its dark tones precisely coordinated with the raw concrete floor. The next year, Martha Stewart Living published “Martha in Marfa,” a chronicle of a southwestern barbecue prepared at the Chinati Foundation on a monumental concrete grill designed by Judd and echoing the obstinate sculptures strewn about the surrounding landscape....

The fear, occasionally bordering on paranoia, of artworks being perceived as decorative has long haunted prominent strands of modernism. ...

“Calvin has always liked a Minimalist approach to art,” the vice president of Calvin Klein Home said, simply, at the time of the Chinati Foundation campaign. The Chinati Foundation spaces made for appealing backdrops because they were “spare and light” and “made the products stand out.” The VP went on to note that many of Klein’s designs were inspired by Judd’s. Some borrow obliquely from his formal vocabulary of hard-edged quadrilaterals, unadorned materials, and permutational open cubes; others are mirror-image copies or scaled reproductions....

IKEA’s LACK floating shelf is hardly distinguishable from a unit in one of Judd’s vertical stack sculptures, especially when viewed online as a minuscule JPEG. ...

Judd’s ethos of extreme reduction makes his furniture emblematic of the difficulty of copyrighting a chair or table: Functional objects cannot be copyrighted unless their aesthetic aspects can be “conceptually separated” from their utilitarian properties. In effect, this means that the only copyrightable elements of a useful object are those that appear to be tacked on to the basic form—a ballerina figurine on the base of a lamp, a swath of ivy adorning a wrought iron chair—and thus could plausibly be removed without the object failing to function. However, intellectual property law does protect utilitarian objects that were initially conceived as aesthetic works and only later took on a functional application. ... the features that distinguish Judd’s furniture (extreme formal reduction, omission of decorative elements, evacuation of the superfluous), coupled with his disavowal of any relationship to his sculpture, have made the furniture impossible to copyright....

Today, anyone can make a 3-D scan of a Judd chair with her phone and upload the resulting CAD to Thingiverse; anyone can commission a 3-D printed or plywood replica of a Judd stool via an online marketplace. Given the convergence of object, image, and data, copyright law and traditional conceptions of ownership and originality seem increasingly obsolete. The question isn’t whether something is a knock-off or an original, but what it signifies and to whom. Since 1872, the Met has allowed copyists to set up in the museum and create authorized reproductions of artworks in situ—provided that sculptures don’t exceed one cubic foot, canvases aren’t larger than thirty by thirty inches, and the size of the copy differs from the original by at least ten percent. ...

In the past few years, institutions such as the Los Angeles County Museum of Art, the Getty, the Met, and the Rijksmuseum have made high-res, reproduction-quality images of works that are in their collections and in the public domain freely available online....

Two summers ago, a spoof listing for “Donald Judd’s Loft” appeared briefly on Airbnb; it hardly felt hyperbolic. “The way people are living is very Judd,” the artist’s dealer, David Zwirner, recently told the Independent.The statement cuts both ways. The extent to which an artist’s oeuvre resonates in museums as well as in everyday life is, in a certain sense, the ultimate testament to its influence. By that measure, Judd is doubtlessly one of the most important artists of his generation. Museums and nonprofit organizations that derive income from the authorized production, reproduction, and circulation of objects indelibly imprinted with the names of authors and artists have, understandably, been slow to embrace this attitude....

an understanding of authorship borrowed from folk art might, anachronistically, be most applicable to digital culture. The imperative to clearly attribute a work to an individual is particular to our era and its dominant economic forces: It arose in Europe and the US only in the eighteenth century, amidst the rampant piracy of texts and inventions, when ideas came to be classified as personal property. In contrast, folk art has long been characterized by practices of borrowing, merging, reworking, and metabolizing generic and popular motifs with little concern for citation. Walter Benjamin remarked that folk art “passes certain themes from hand to hand, like batons, behind the back of what is known as great art.” Folk art reflects collective desires and needs, and is most often tailored to the idiosyncratic purposes of the creator or of a niche community. In practical and legal terms, contemporary reproduction technologies make it impossible to stanch the flow of images and objects; as soon as they enter into circulation, their status becomes unstable. ...

Judd’s projects in Marfa and at Spring Street sought to collapse the distinction between high art and everyday life by integrating spaces for work, study, exhibition, and domestic life; the diffusion and derivation of Judd’s impassive forms in the realms of fashion and design seem only fitting. For its part, the Judd Foundation is mostly unconcerned by all the replicas. As Hoffman told me, those who want the “real thing” will still seek it out. For this portion of the population, to recognize the gulf between Donald Judd and cheap furniture is a matter of taste; the knockoffs can only enhance the value of the original. For the rest of us, there’s always Zazzle.
intellectual_furnishings  furniture  intellectual_property  copyright  copying  originality 
august 2017 by shannon_mattern
When a 'Remix' Is Plain Ole Plagiarism - The Atlantic
Digital technologies make it easier for people to copy the work of other artists—yet the same tools make it more likely for them to get caught. The messages began rolling in on an otherwise quiet Saturday.
appropriation  art  digital  media  originality  piracy  plagiarism  remix  teaching  stream 
may 2017 by therourke
Remembering Seymour Papert « LRB blog
"We learn by making, doing, constructing. It’s great to think with objects we find in the world. But when we get to build, the great becomes awesome. And these two children, with a computer, were building something of their own in a whole new way. Seymour saw that the computer would make it easier for thinking itself to become an object of thought. When I began to interview children learning to program, I could hear how right he was. It was dramatic. One 13-year-old told me: ‘When you program a computer, you put a little piece of your mind into the computer’s mind and you come to see yourself differently.’ That is heady stuff.

Seymour called the identification of mind and object, mind and machine, the ‘ego-syntonic’ quality of programming. He used the language of syntonicity deliberately, to create a resonance between the language of computation and the language of psychoanalysis. And then he heightened the resonance by talking about body syntonicity as well. Which brings me to the boy draped around the Turtle. Seymour loved to get children to figure out how to program by ‘playing Turtle’. He loved that children could experience their ideas through the Turtle’s physical actions. That they could connect body-to-body with something that came from their mind.

We love the objects we think with; we think with the objects we love. So teach people with the objects they are in love with. And if you are a teacher, measure your success by whether your students are falling in love with their objects. Because if they are, the way they think about themselves will also be changing."

"In his explorations of the ways objects carry identity as well as ideas, you can see Seymour’s desire to take the cool studies of learning that were his Piagetian heritage and infuse them not only with ideas about making things, about action and construction, but also with ideas about feeling things, about love and connection.

At the time of the juggling lesson, Seymour was deep in his experiments into what he called ‘loud thinking’. It was what he was asking my grandfather to do. What are you trying? What are you feeling? What does it remind you of? If you want to think about thinking and the real process of learning, try to catch yourself in the act of learning. Say what comes to mind. And don’t censor yourself. If this sounds like free association in psychoanalysis, it is. (When I met Seymour, he was in analysis with Greta Bibring.) And if it sounds like it could you get you into personal, uncharted, maybe scary terrain, it could. But anxiety and ambivalence are part of learning as well. If not voiced, they block learning.

I studied psychology in the 1970s at Harvard, in William James Hall. The psychologists who studied thinking were on one floor. The psychologists who studied feeling were on another. Metaphorically, for the world of learning, Seymour asked the elevator to stop between the floors so that there could be a new conversation.

He knew that one way to start that conversation was by considering something concrete. An evocative object. He bridged the thinking/feeling divide by writing about the way his love for the gears on a toy car ignited his love of mathematics as a child. From the beginning of my time at MIT, I have asked students to write about an object they loved that became central to their thinking.

A love for science can start with love for a microscope, a modem, a mud pie, a pair of dice, a fishing rod. Plastic eggs in a twirled Easter basket reveal the power of centripetal force; experiments with baking illuminate the geology of planets. Everybody has their own version of the gears. These stories about objects bring to light something central to Seymour’s legacy. For his legacy was not only in how children learn in classrooms and out of them. It’s in using objects to help people think about how they know what they know. A focus on objects brings philosophy into everyday life.

Seymour’s ideas about the power of objects have moved from the worlds of media and education (where he nurtured them) out into larger disciplinary spaces in social science, anthropology, social theory and history. People are studying objects of clothing, objects of kitchenware, objects of science, objects of medical practice and objects of revolutionary culture, in ways that bear the trace of Seymour’s wisdom.

One of the great virtues of putting object studies at the center of learning is that nothing of great value is simple. Take Seymour’s story of the gears that brought him to mathematics. Simple? Not really. Behind those gears was Seymour’s father who gave him the toy car that held the gears. The father he loved, whom he wanted to please, but who didn’t want him to be a mathematician. He wanted him to take over the family pest-control company, so Seymour was all set to study chemical engineering. But then, he was persuaded, though not by his dad, to try a liberal arts course for a year.

Seymour interpreted this as a chance to take a year off to study mathematics and psychology – and well, from there, he became Seymour. But his father didn’t like it. Those gears were emotionally charged with conflict, ambivalence and competition. Seymour had a complex learning story. I think it contributed to his ability to nurture contradiction, innovation, originality, idiosyncracy, creativity. It contributed to the intimate, non-judgmental attention that made him a great teacher and that deep learning in digital culture requires – more and more, of all of us, in order to make more of what he began."
seymourpapert  sherrytutkle  2017  psychology  thinking  howwelearn  howweteach  teaching  education  piaget  objects  constructionism  attention  syntonicity  creativity  contradiction  ambivalence  idiosyncrasy  originality  innovation  judgement  jeanpiaget 
february 2017 by robertogreco
A Theory of Film Music - YouTube
"The question of originality is in fact one of the defining questions of film music, full stop." Pretty convinced by all this, including Hans Zimmer example of technology's influence. Also grateful for pointing out that "good" music is more than a hummable melody.
technology  film  music  videoarchive  originality 
september 2016 by madamim

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