Archives from Author: empireoflight
8″ x 10″ landscapes
Made these over the summer. Acrylic/collage on canvas.
Just made this. It’s not quite bad.
- 1lb ground beef
- 1 jar salsa
- 1 can baked beans
- 1 tbsp chili powder
- 1/2tbsp paprika
- 1tsp cumin
- 1tsp ground black pepper
- 1/2tsp salt
- 1 can beer
Brown and drain the beef. Mash it up with a fork or something.
Throw in the other ingredients. Simmer for an hour.
Contrast is the new context, which was the new content, which was the new format
In the beginning, format was king. The mere fact that we were reading something on the web made it important. It had somehow come to occupy this new medium, which in itself was novel and beautiful and confusing. Whoever put it there had to be smart, and therefore the content as well.
Then, at some point, maybe the early 2000’s, content became king. Your format is getting in the way of our content, we’d say. Enough of the tables, the flash, the jpeg-rendered text. Let us read <pre> formatted courier and be fulfilled.
Then context became king; it was more important where, when, and how readers got the content than what the content actually was. Can I read it on my iWatch? Because that’s how I read stuff nowadays. Is it RTL compatible? Pft, how dare we ignore half the world (if not more)’s readership.
Contrast is next. It’s all we have left. Is it different than what I’ve seen before? Does it stand out? In my daily sea-of-noise, what clambers to the surface, bobbing aggressively for attention like some snagged snapper float? That’s what I’ll read.
I don’t even know what that is
I read something about a 20 million dollar loss
Whose loss? How does one even lose 20 mill?
I spend the next 20 minutes looking for a new car
In the classifieds, and land on one like new
Olds, only 40k and just inspected
I call the number, Al answers
This is Al
Hi, can I see the olds?
Who is this? Jerry?
And I hang up
I settle on an editorial, someone thinks the war on milk needs to end
I’m a professor, which I suppose makes me a professional teacher. I instead like to think of myself as a professional learner. I believe that teaching is an extension of learning. It enhances learning. If I can teach you how to do something, it means I have learned it myself. There are other ways to prove this to myself; if someone is paying me to do something, there’s a pretty good chance I know how to do it. But if I can observe you doing it, as a consequence of my having taught it to you, that’s exponentially better proof that I’ve learned it.
Liking the Sharpie Pen on tracing paper
How trees work
Looking out my window at the leaves
that finally came in the last few weeks,
and having played this video game Fortnight
where you build shieldish fortresses,
I can see that my tree building a shield
so it can incubate things along its thick brown branches
behind the green ruse we use, we and our crafty cousins,
to ward off the sun who loves the green
and forgets about us, and forgives the trees
It started as I raced toward the escalator, trying to make it up to the train. They were getting on, only one of them casting a glance backward. Her eyes were deep and wet and blue and soft, the warm sun glinting from their epicenters.
Then the mechanism of things pulled me away; I noted the controverse escalator that went down, and the mocking faces riding it. Too late; the train departed, the a.m. deepened, the distant trees beckoned greenly.
From my new stuff
Art as Anthropology part 1
I often think of Picasso’s famous quote, “Art is the sum of my destructions”. I’ve always gotten that. Whenever I make art, I feel like the second I’m close to that perfect line, shade, shape or texture, there’s all this pressure that I’m gonna fuck up.
When that happens, I imagine a little Picasso sitting on my shoulder, going “So why not fuck up royally?” And I give in. It’s easy, freeing, and I embrace the fuckup. I slash the pen, gouge the surface, rip it all up.
It never quite works, though. More often than not, I end up with a pile of mess. I chastise myself for wasting my time, paint, paper, canvas. I feel like a failure in little Picasso’s eyes. “You didn’t fuck up hard enough” I can hear him saying.
The little voice is easy to dismiss. Of course I can make something nice. Not destroy it. Nurture it, coax it along in its lousy, spineless, eager-to-please formulaic predictability. Eventually I’ll end up with something having at least a few people gazing, stoking my ego-fires.
But the best stuff I’ve always made happens when I give in. The only way to find that thing, the thing I want to leave behind, is to fuck up. Intentionally. Destroy that clean line, that perfect texture, that awesome font. Force myself to do it again, but better this time. And being aware of my doing it.
Where they Bury the Bikes series
Gouache studies for bikes series
Where they bury the bicycles series
I recently read an article about someone who experienced trauma when they were very young, and how it manifested itself for the rest of his life as “the darkness”, a kind of demonic presence that was always looming.
It was a very sad read. Though a very busy person, he found no joy in work, relationships, exercise or hobbies. Eventually, he took his life.
I learned about Bills’ wide receiver Zay Jones’ incident last night, and began to think about it in that the context of “the darkness”. I wonder if he, too, has some kind of burden he carries, tied to experiences he cannot forget or wishes never happened.
I’m also torn up about all the stories coming forth regarding victims of abuse at the hands of those who should be their nurturers. The darkness that follows them must be excruciating. It’s encouraging to see them bringing their stories to the light.
If I had to define depression, it would be this darkness thing that follows you around and can’t be shaken off. I think we all experience it from time to time—something just beyond the horizon, or inching closer behind us in the rearview mirror. Most of us have learned to block it out, or ignore it. At our best, we learn to confront and defeat it. Life is tough, but we persevere.
We label people who are forced to cope with horrifying experiences, and who lack the facility to overcome the darkness, as depressed, mentally ill, unstable. First and foremost, however, they’re survivors, fighters, soldiers, heroes. They are us. We must replace words that marginalize and pigeon-hole with ones that humanize and empower. The darkness doesn’t stand a chance against community.
Operating System developers should stick to developing operating systems.
Apple and Microsoft make some of the most popular OS’s in the world: iOS, macOS, and Windows.
As software goes, that’s about it. Everything else they force down the users’ throats is pure garbage. I’m talking about iTunes, Mail, MS Office, Photo software, and the list goes on.
I honestly don’t know why this is. Google Docs is so superior to Office in every possible way. Gmail absolutely blows Apple’s Mail off the planet. iTunes is so confused about what its purpose is, so filled with layers of disconnected functionality, but it’s stuck on us users because that’s just how it is. I don’t know.
I do know that on my Macbook, Mail and iTunes and Photos are always opening unexpectedly, for a variety of reasons, none of which make much sense. It’s a shame that I can’t just make them go away completely.
Variable Width Fonts
I know very little, way less than I should, about the new variable typography stuff that’s been gaining traction and was discussed in css-tricks’ most recent shop talk episode.
However, I’m having serious skepticism about how they can replace entire font families. There’s a lot of the discerning human eye in creating various weights (and especially italic versions) of fonts. I just can’t picture how some math algorithm can make that go away.
This spring, I’ll be teaching my age-old 2D Graphics course. Every time I teach it, I spend waaaaay too much time wondering what I should include in the course content. I change it every year.
Adobe is the go-to graphics software company, and that hasn’t changed since they bought Macromedia long ago.
I started off in 2001 with one of the best books ever written on this stuff, Luann Seymour’s Design Essentials.
Not sure what Luann is up to these days, but it isn’t, and hasn’t been for a long time, making awesome books. Unfortunately, the text stopped updating after a few years of said awesomeness, and as much as I’d like to keep assigning it, Adobe has moved on. Last spring, I assigned the closest thing I could find to Luann’s Masterpiece, and it fell waaayyy short. My course ratings dipped lower than ever.
So I’m back to my age-old question: What are 2D Graphics? How do I teach students about 2D Graphics? What book should I assign; or do I have to write my own book?
We see because of light reacting with our crazy eyes and ocular nerves and brains.
But there’s a lot to learn about where that light’s coming from. It’s either being emitted or reflected.
The primary point of emitted light, for most of our existence on this planet, has been very hard, even dangerous, to look at. I’m talking about the sun. Other points are intriguing and inspiring: fire, candles, fireflies, stars, lightning, but they’ve been fleeting. We’ve never stared at them for more than a few moments, dreaming of things.
Our eyes were always concerned with reflected light. Light that revealed the skin of those we loved and feared, the places we lived and travel to, the words that formed our literature. The light that reflected off gardens that enveloped us and blades that killed us.
Our eyes now focus on emissive sources. We’ve harnessed the power of the sun and stars and flames and can represent those things with a single binary point of light. We call those points pixels, and they can be as big or small, bright or dim, red or blue as we want. They can be wherever we want them to be, and change according to our magnificent instructions. They constitute our stories.