Black Heart PressReblogged from Black Heart Press

I remember taking plates home with me after my intro to etching class. I took them home for Christmas holidays, thinking I’d work on them over the holidays. Of course, I never. 
So it’s always nice to see such dedication in others. 

blackheartpress:

Drypoint dedication

It’s finally some kind of spring in Helsinki, and the amazing Christian Bazant-Hegemark is back in town for a week of excessive printmaking. We started with day off, I took my students to Rastila Beach to celebrate the end of the term with a campfire and night swimming in the sea. 
Christian was having none of my day off shenanigans and took some plates to the beach..

Without further ado: en plein air drypoint videography.
Oh yeah

Further reading:

http://www.youtube.com/watch?v=Yk9hEpDz4ik
or 8hz higher:
http://www.youtube.com/watch?v=ThiSqefRAzY

1. Leiden UB BPL 76 A, fol. 17r (closeup) 2. Leiden UB BPL 76 A, side 3. Leiden UB BPL 76 A, fols. 16v-17r 4. Leiden UB BPL 76 A, fol. 16v-17r 5. Leiden UB BPL 76 A, fol. 16v (full) 6. Leiden UB BPL 76 A, fol. 17r 7. Leiden UB BPL 76 A, fol. 18v 8. Leiden UB BPL 76 A, fol. 19r

Erik KwakkelReblogged from Erik Kwakkel

These are gorgeous. What really caught my eye is image number 5 - looks like a scene from the nativity story. I really enjoy how the horse and the star break the pictorial frame. It really aids the composition of the piece. I know little about medieval manuscripts and art, but that seems unusual to me. Actually, it might be unusual for now even. It’s hard to get students to break that “square” frame. As a printmaker it’s rare to see amongst prints. 

Over use I am sure it would become trite but here it comes over as really original, fresh. Fresh and 12 century manuscript. That’s new for me. 

erikkwakkel:

Medieval eye candy

This manuscript is one of the treasures of Leiden University Library. It was made around 1200, likely in the north of England, and was used by the French king Louis IX (1214-70). Not when he was king, mind you, but as a child. As was common practice in medieval times, the Psalms were used for learning to read, and that is the reason why royal hands once held the object. These spectacular miniatures are found in front of the book. They are fit for a king to be: eye candy with a great historical past.

Pics: Leiden University Library, BPL 76 A (c. 1190). Photography: Julie Somers (pic 1-4), UB Leiden (pics 5-8).

rhizomedotorg: 3D-printed Guy Debord action figures (2012). Produced by McKenzie Wark, design by Peer Hansen, with technical assistance by Rachel L. A Cavalier History of Situationism: An Interview with McKenzie Wark One of the premises of The Spectacle of Disintegration is that there’s the myth of the overcoming of the spectacular form in the age of the Internet, but what it does is make it microscopic and distribute it throughout the entire media sphere, so we now have micro-spectacular relations rather than one big macro one. So if you think about the old culture industry, everybody was critical of it, but at least it fucking entertained us! You would have all those flaws that Adorno spoke about, the extorted reconciliation of the ending, the equivalence of exchange values, but at least it was offered to you as something to consume. We’ve moved from the era of the culture industry to what I would call the vulture industry, which is companies like Google. I mean, in terms of culture, they don’t make shit. They just allow you to get to stuff that somebody else made. So now we have to even entertain each other. Go on, make some cat videos! So there’s a sense that on one side there’s the outsourcing of the production of the thing, and on the other what I would call the insourcing of the production of the affect. It becomes everyone’s job, but no one is to expect to get paid for it anymore. It was always a struggle if what you wanted to do was be a creative person, to make any living at all. I don’t know if that got any worse. It was always terrible. But the conditions of its terribleness change with each technical evolution. - Wark High-res

RHIZOME DOT ORGReblogged from RHIZOME DOT ORG

rhizomedotorg:

3D-printed Guy Debord action figures (2012). Produced by McKenzie Wark, design by Peer Hansen, with technical assistance by Rachel L.

A Cavalier History of Situationism: An Interview with McKenzie Wark

One of the premises of The Spectacle of Disintegration is that there’s the myth of the overcoming of the spectacular form in the age of the Internet, but what it does is make it microscopic and distribute it throughout the entire media sphere, so we now have micro-spectacular relations rather than one big macro one. So if you think about the old culture industry, everybody was critical of it, but at least it fucking entertained us! You would have all those flaws that Adorno spoke about, the extorted reconciliation of the ending, the equivalence of exchange values, but at least it was offered to you as something to consume. We’ve moved from the era of the culture industry to what I would call the vulture industry, which is companies like Google. I mean, in terms of culture, they don’t make shit. They just allow you to get to stuff that somebody else made. So now we have to even entertain each other. Go on, make some cat videos! So there’s a sense that on one side there’s the outsourcing of the production of the thing, and on the other what I would call the insourcing of the production of the affect. It becomes everyone’s job, but no one is to expect to get paid for it anymore. It was always a struggle if what you wanted to do was be a creative person, to make any living at all. I don’t know if that got any worse. It was always terrible. But the conditions of its terribleness change with each technical evolution. - Wark