Around the same time, we each moved from Seattle to different parts of the world : I moved to Alaska and he moved to Mexico City. Over the next 4-5 years, we visited each other regular and I had the good fortune of watching him evolve from a naturally gifted painter into a focused and even more talented artist.
To boot, he’s an amazing educator, the kind of teacher I’m jealous his students get to have. World-traveled, intuitive, imaginative, playful and wise beyond his years - he’s a bona fide compliment to the practice.
Recently, Bergey was featured in Art and Letter, a monthly webzine focused on Architecture, Art and Design.
My pal Steve turned me on to this essay, written in 1999 by Neil Stephenson.
Highly recommended.
Here’s an excerpt :
If I can risk a broad generalization, most of the people who go to Disney World have zero interest in absorbing new ideas from books. Which sounds snide, but listen: they have no qualms about being presented with ideas in other forms. Disney World is stuffed with environmental messages now, and the guides at Animal Kingdom can talk your ear off about biology.
If you followed those tourists home, you might find art, but it would be the sort of unsigned folk art that’s for sale in Disney World’s African- and Asian-themed stores. In general they only seem comfortable with media that have been ratified by great age, massive popular acceptance, or both.
In this world, artists are like the anonymous, illiterate stone carvers who built the great cathedrals of Europe and then faded away into unmarked graves in the churchyard. The cathedral as a whole is awesome and stirring in spite, and possibly because, of the fact that we have no idea who built it. When we walk through it we are communing not with individual stone carvers but with an entire culture.
Disney World works the same way. If you are an intellectual type, a reader or writer of books, the nicest thing you can say about this is that the execution is superb. But it’s easy to find the whole environment a little creepy, because something is missing: the translation of all its content into clear explicit written words, the attribution of the ideas to specific people. You can’t argue with it. It seems as if a hell of a lot might be being glossed over, as if Disney World might be putting one over on us, and possibly getting away with all kinds of buried assumptions and muddled thinking.
But this is precisely the same as what is lost in the transition from the command-line interface to the GUI.
Disney and Apple/Microsoft are in the same business: short-circuiting laborious, explicit verbal communication with expensively designed interfaces. Disney is a sort of user interface unto itself–and more than just graphical. Let’s call it a Sensorial Interface. It can be applied to anything in the world, real or imagined, albeit at staggering expense.
If you wish, you can download and read his essay in its entirety here.
I submitted Tag to IFP for their Spotlight on Documentaries competition right before we left for Juneau - literally just in time to meet their deadline [special thanks to Z].
I’m hoping to be one of 75 films selected for admission to their Lab in order to develop it into a truly great film with a potential $10,000 in funding for post-production.
Some of you may remember this rather unorthodox, though, significant event in online history :
Machinima (pronounced /məˈʃiːnəmə/ or /məˈʃɪnəmə/), a portmanteau of machine cinema, is a collection of associated production techniques whereby computer-generated imagery (CGI) is rendered using real-time, interactive 3-D engines, such as those of games, instead of professional 3D animation software. Engines from first-person shooter and role-playing simulation video games are typically used. Consequently, the rendering can be done in real-time using PCs (either using the computer of the creator or the viewer), rather than with complex 3D engines using huge render farms. Usually, machinima productions are produced using the tools (demo recording, camera angle, level editor, script editor, etc.) and resources (backgrounds, levels, characters, skins, etc.) available in a game.
Machinima is an example of emergent gameplay, a process of putting game tools to unexpected ends, and of artistic computer game modification. The real-time nature of machinima means that established techniques from traditional film-making can be reapplied in a virtual environment. As a result, production tends to be cheaper and more rapid than in keyframed CGI animation. It can also produce more professional appearing production than is possible with traditional at-home techniques of live video tape, or stop action using live actors, hand drawn animation or toy props.
As machinima begins to break out of the underground community of gamers and becomes more widely recognized by mainstream audiences, tools are being developed to allow for faster and easier creation of machinima productions. A number of upcoming machinima products are expected to provide machinimators with original assets, as well as advanced features such as a timeline, gesture and sound creation, and precise camera tools.
Although most often used to produce recordings that are later edited as in conventional film, machinima techniques have also occasionally been used for theatre. A New York improvisational comedy group called the ILL Clan voice and puppet their characters before a virtual camera to produce machinima displayed on a screen to a live audience.
