Birmingham Museums Trust has decided to go for “open access”, the first major British museum to do so. In a pioneering move, the trust will make images of copyright-expired works of art freely available to use under a CCO Creative Commons licence. This is the most open form of licence, and essentially means that the images are now in the public domain. The trust has over 800,000 objects, spread across nine sites (…). There is a catch, but I think it’s potentially quite a clever one. The free images will be limited to 3MB in size, at a resolution of 300 dpi. Birmingham will still charge for its highest resolution images, allowing the trust to retain the possibility of raising income from more overtly commercial use of images. Far better, then, to follow Birmingham’s new model, which at a stroke ends all the costly bureaucracy behind image fees. A limit on file size is far more efficient than trying to limit usage or print runs. For most educational publishing purposes, 3MB is a high enough resolution. But if Louis Vuitton want to make more of their Old Master themed handbags, then they’ll need a higher resolution file, and will have to pay for it. – Bendor Grosvenor, Diary of an art historian: at last, some common sense for the abolition of image fees

30 July 2018 - hyperlink, web - Comments Off on Birmingham Museums Trust has decided to go for “open access”, the first major British museum to do so. In a pioneering move, the trust will make images of copyright-expired works of art freely available to use under a CCO Creative Commons licence. This is the most open form of licence, and essentially means that the images are now in the public domain. The trust has over 800,000 objects, spread across nine sites (…). There is a catch, but I think it’s potentially quite a clever one. The free images will be limited to 3MB in size, at a resolution of 300 dpi. Birmingham will still charge for its highest resolution images, allowing the trust to retain the possibility of raising income from more overtly commercial use of images. Far better, then, to follow Birmingham’s new model, which at a stroke ends all the costly bureaucracy behind image fees. A limit on file size is far more efficient than trying to limit usage or print runs. For most educational publishing purposes, 3MB is a high enough resolution. But if Louis Vuitton want to make more of their Old Master themed handbags, then they’ll need a higher resolution file, and will have to pay for it. – Bendor Grosvenor, Diary of an art historian: at last, some common sense for the abolition of image fees

wfw weekend #453

29 July 2018 - exhibition, features, weekend - Comments Off on wfw weekend #453

Dominique Gonzalez-Foerster & Perez. Cerveau

25 July 2018 - music, video - Comments Off on Dominique Gonzalez-Foerster & Perez. Cerveau

one pic tuesday. Lucia Elena Průša

17 July 2018 - exhibition - Comments Off on one pic tuesday. Lucia Elena Průša

Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017

15 July 2018 - art, publication - Comments Off on Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017

wfw weekend #452

15 July 2018 - exhibition, features, weekend - Comments Off on wfw weekend #452

wfw weekend #451

8 July 2018 - exhibition, features, weekend - Comments Off on wfw weekend #451

Jutta Koether. Trinity: Present (Phase II)

3 July 2018 - exhibition - Comments Off on Jutta Koether. Trinity: Present (Phase II)

I believe that the emotional makeup of people is a system not unlike the circulatory system or the muscular system. And if you can make a film that not only lays bare that system but is itself constructed out of those things, it would be an incredible thing to witness and to feel. – Francis Ford Coppola in conversation with Brian de Palma, Filmmakers Newsletters, May 1974

3 July 2018 - hyperlink, text, web - Comments Off on I believe that the emotional makeup of people is a system not unlike the circulatory system or the muscular system. And if you can make a film that not only lays bare that system but is itself constructed out of those things, it would be an incredible thing to witness and to feel. – Francis Ford Coppola in conversation with Brian de Palma, Filmmakers Newsletters, May 1974

John Giorno. Suicide Sutra (1973)

3 July 2018 - web - Comments Off on John Giorno. Suicide Sutra (1973)

The Italian sculptor Medardo Rosso (1858-1928), one of the few artists recognised by the Futurists as models, began in the late nineteenth century to devote his attention increasingly to photography. He photographed the reproductions of his sculptures over and over again, experimented with photographic paper, photo-plates and enlargements, until only the traces of the original image were left. When he exhibited some of his photographic experiments in Paris shortly before the turn of the century, Degas is said to have cried out: ça c’est de la peinture ! – Michaela Chiriac, The Image from the Image: The Disappearance and Appearance of Images in the Works of Marieta Chirulescu, Kunsthalle Basel, 2010

1 July 2018 - hyperlink, text - Comments Off on The Italian sculptor Medardo Rosso (1858-1928), one of the few artists recognised by the Futurists as models, began in the late nineteenth century to devote his attention increasingly to photography. He photographed the reproductions of his sculptures over and over again, experimented with photographic paper, photo-plates and enlargements, until only the traces of the original image were left. When he exhibited some of his photographic experiments in Paris shortly before the turn of the century, Degas is said to have cried out: ça c’est de la peinture ! – Michaela Chiriac, The Image from the Image: The Disappearance and Appearance of Images in the Works of Marieta Chirulescu, Kunsthalle Basel, 2010