What's a MIAVIAYOU?
MIAMI BLACK
Me likes this photo of a black cat in Little River in Miami. It's from MIAVIAYOU. It's a blog with a full-flex collective of Miami locals with an eye for distinctive flavor. It just started so wait to see more cool videos and random art photos. YeeeYoooo!
Super Bowl of Cereal: S'mores Crunch
My Super Bowl of cereal
whatever happened to S'mores Crunch cereal? Man, I loved this when I was a kid. If it was only 1985 again. General Mills fucks up everything. Kellogg's can't even clean up your mess.
S'mores Grahams (a.k.a. S'mores Crunch) was a short-lived cereal produced by General Mills. This cereal was similar to Golden Grahams with a blend of chocolate mixed in. It consisted of chocolate graham cracker cereal pieces and tiny marshmallows pieces similar to those found in packets of powdered hot chocolate mix. It was launched in 1982 and discontinued in 1988. General Mills later resumed S'mores Grahams production throughout the late 1990s, but it has since been re-discontinued.
The cereal's mascot was the S'morecerer (an animated sorcerer). Ads with this mascot would feature a couple of kids trying to get to the cereal but then encountering a conflict (such as getting chased by a lion or their sail getting hit by lightning), then the S'morecerer would appear and transport them right to the cereal. It would usually end with one of the kids saying the tagline, "Can I have s'more?"
The prize in every box of S'mores Grahams for many years was a small pack of Starburstcandies.
Kellogg's introduced a similar cereal in 2003. This version (named Smorz) featured larger marshmallows and "puffs" as the cereal-base, as opposed to the Golden Grahams style pieces of S'mores Grahams.
S'MORES CRUNCH: BACKGROUND
Via: Wiki
Discontinued
Winner
Fancy Photography
Fancyphotography
1. People would say that I’m …..
Easy to get along with
2. When I wake up in the morning I…
Take a shower, brush my teeth, and go on facebook (laughs)
3. I wish..
That I had patience
4. If I had a million dollars..
I would go shopping & buy camera equipment
5. My biggest fear is..
Why live in fear, I say take life as it comes at you
6. What makes you happy
Doing what I love to do make me happy
7. What super power would you have
Invisibility
8. 1st thing you notice about the opposite sex
How they dress
9. Describe your life in one word
Amazingly-Weird
when I first started taking pictures it wasn't a big deal to me, and when I looked back on my first picture it really didn't make me feel any way. as I got better and more creative my work made me so overly excited that I had to show everyone what I did. -Fancy
"I feel as though my work could inspire not only me but a lot of people. Thinking and not limiting yourself can bring a lot of good things to your life. And if being different, creative, and weird makes you stand out then your minor goal has been completed." -Fancy
Never Settle for Ordinary
Someone that is too busy for you. Doesn't deserve you. Someone that won't drive an extra hour doesn't deserve an extra minute of your time.
LOVE LESSONS
Battle of the Sexes
IS THIS TRUE?
I'm glad I'm a woman, yes I am, I don’t live off of Budweiser, beer nuts & Spam. I don’t brag to my buddies about my erections. I will not drive to Hell before I ask for directions. I don’t get wasted at parties & act like a clown & I know how to put the damn toilet seat down! I wont grab your hooters, I wont pinch your butt, my belt buckle is not hidden beneath my beer gut. I don’t go around "readjusting" my crotch or yell like Tarzan when my head-board gets a notch. I don’t belch in public, I don’t scratch my behind.
I'm a woman you see, I'm just not that kind! I'm glad I'm a woman, I'm so glad I could sing. I don’t have body hair like shag carpeting. It doesn’t grow from my ears or cover my back. When I lean over you can’t see 3 inches of crack. What's on my head doesn’t leave with my comb. I’II never buy a toupee to cover my dome. Or have a few hairs pulled from over the side. I'm a woman, you know. I’m got far too much pride! I honestly think it’s a privilege for me to have these two boobs & squat when I pee. I don’t live to play golf & shoot basketball. I don’t swagger & spit like a Neanderthal. I wont tell you my wife just does not understand. Stick my hand in my pocket to hide that gold band or tell you a story to make you sigh & weep then screw you, roll over & fall sound asleep!
Yes, I'm glad I'm a woman you see you can forget all about that old penis envy. I don’t long for male bonding, I don’t cruise for chicks, join the Hair Club For Men, or think with my dick. I'm a woman by chance & I'm thankful it's true. I'm so glad I'm a woman & not a man like you!
I'M A MAN!
I'm glad I'm a man, you better believe. I don’t live off of yogurt, diet coke, or cottage cheese. I don’t bitch to my girlfriends about the size of my breasts. I can get where I want to north, south, east or west.
I don't get wasted after only 2 beers & when I do drink I don't end up in tears. I wont spend hours deciding what to wear, I spend 5 minutes max fixing my hair & I don't go around checking my refection in everything shiny from every direction. I don't whine in public & make us leave early & when you ask why get all bitter & surly. I'm glad I'm a man, I'm so glad I could sing. I don't have to sit around for that ring. I don't gossip about friends or stab them in the back. I don't carry our differences into the sack. I'll never go psycho & threaten to kill you or think every guy out there's trying to steal you.
I'm rational, reasonable, & logical too. I know what the time is & I know what to do. I honestly think its a privilege for me to have these two balls & stand when I pee. I live to watch sports & play all sorts of games. It's more fun than women after all. I wont cry if you figure out it's not going to work. I wont remain bitter & call you a jerk. Feel free to use me for immediate pleasure. I wont assume it's permanent by any measure. Yes, I'm glad I'm a man, a man you see I'm glad I'm not capable of child delivery. I don't get all bitchy every 28 days.
I'm glad that my gender gets me a much bigger raise. I'm a man by chance & I'm thankful it's true. I'm so glad I'm a man & not a woman like you!
SMELL MY FINGER
SWEET AND NICE
AREN'T STEREOTYPES THE BEST? EVEN MORE SO WHEN IT'S ABOUT THE SEXES. HERE WE GO WITH THE BATTLE OF THE SEXES. LETS GO!!
Frame[work]
Beginning.
I struggle with each project. That may seem like an obvious statement, but I can't emphasize enough the crippling self-doubt, depression, anxiety, and paranioa that accompany each and every moment of attempted creation.
My assignment is simply to create a performance. Simple. Easy. Paralyzing.
What I face now is the objective of sculpting not simply a video, but a video system. It needs to answer questions, so many of which I don't even know to ask yet. A few questions, however, are immediately accessible via traumatic conditioning over the course of several years:
1. Why live?* (That's 'live' as in 'live performance'--don't worry, we haven't reached that breaking point yet.) What makes this performance more worthwhile because it is live? Is there a need for me to be manipulating something in real time? What am I saying, visually, that needs to be said in the moment? Is it truly live if I am using pre-rendered visual sources? Is there a point at which it is no longer live? (My answer to this is usually: Yes. The point at which I can no longer ruin a performance).
2. What am I adding to the story? Is there something that the performer can't say him or herself? Am I illustrating something pertinent? Adding to the value of this experience? Or am I simply distracting from the audio, making what could be very full and meaningful somehow cheaper?
3. How does it connect? One of the easiest ways to make this connection is to use a live video feed. It draws instant parallels, it's instantaneous feedback, and people understand it. But what then? What am I saying that the audience can't already see?
4. What is the meaning? Does anyone care that they are experiencing stimuli on two planes rather than one? Arguably, they're already watching something--a performance. Who am I to draw their eye away?
5. Who is it for? Am I creating something for the audience? Am I doing this for myself? A greater good? The artistic aether?
*
I consulted my thesaurus in the hopes of finding a less confusing word. it offered, prolifically, the following:
Unexploded, explosive, active; unstable, volatile, hot, glowing, red hot, aglow; burning, alight, flaming, aflame, blazing, ignited, on fire.
ANTONYMS inactive.
Thanks a lot, words.
Nevertheless, I begin. And I'm beginning with two parameters: Time and Feedback. I begin with Jitter.
I know some things, believe it or not. I know that people like live feeds. You see it at clubs where everyone is indulging themselves with food and drink and music that makes them want to dance horizontally. Their sweaty, glazed faces mirrored back at them on a big screen, they love it. I want to represent time and identity in this performance, but it's not enough to simply project the singer's face onto the screen. What visuals allow us to do is to buffer moments. Just as we can play back audio samples, referencing what came before it, so can we reference back to movements, gestures, scenes.
My first step in this system is to create a framework within which to reference history.
My second step is to enhance the framework with feedback abilities. Why feedback? Because it's an easy way to manipulate visuals in a way that doesn't involve introducing new sources, that's why. You're feeding something into itself to output a new product. Adding this capability keeps the patch self-contained and self-sufficient.
To the left is a low-quality recording of this patch. What it should demonstrate is a single video source, set first to delay, and then to feed back, and then to rotate before being set back to normal.
My third step is to wonder what, exactly, I've made. One could argue that I've made a poor-man's version of the iTunes visualizer. Well, you know what I say to that? I say:
"Stop arguing with me, no one likes a contrarian."
I say I've made a framework in which to explore what has come before, and that exploration is twofold: buffering and navigating frames, and feeding a system back into itself. It's one source, spread over time and space, and manipulated into new forms.
February 6, 2012
Spacetime
Music = Material Over Time.
Video = Material Over Space.
What an idea. This notion, a stripped down statement, builds some interesting parallels between systems that are wildly different. Art, any kind of art, is simply material over a grander fabric of time and space. They can, of course be argued into each other: video can not exist in a place with no time, and music can not exist in a place with no space. Especially if that place with no space is space, in which case WOAH. WOAH. Why are you playing music in space, and WHY WASN'T I INVITED? The point, of course, being that all things are bound by time and space, and our art is designed for a place and a time. I would argue that we create in order to be proven: I was here. I existed. Remember me.
What interests me, though, as a live visual improviser, is the blending of these two systems. Audio has a rich and well-documented history of performance and improvisation, but video has been left behind. While music has lept forward into the realm of live synthesis and manipulation, the blending of electronic and acoustic, visuals have been stuck on the silver screen. Even the computational prowess of modern computers demonstrates the ridiculously uneven footing--Want to mix 24 channels of audio live? No problem! Want to mix 4 video sources? Might want to consider upgrading that RAM.
Progress, though, is being made, and it's being made quickly. I think of VJs playing to clubs, or visual artists hired to travel with bands and create what essentially equates to a live music video. The increase in parameters controlled by aural triggers, mapping sounds to visuals.
We are creatures of stimulus, we startle at noise and are captivated by color. There was an era of visuals in which sound was the outcast. Where 'silent films' weren't know by that name, they were just 'films.' Now we have a plethora of tools with which to merge fields, and no guidebook to reference.
Bruce McClure's Donostia is a great example of a very primal audiovisual connection.
Luke DuBois' Digits takes the simplest form of video performance (live visual feedback) and uses manipulations of time and color to enhance the audience experience.
Amon Tobin uses a VJ-style and 3-dimensional visual mapping to transform a space, synched with audio.
February 4, 2012
Hirst: Explains the Spot Paintings
A rhinestone-wearing Damien Hirst explains the theory and thought behind his infamous spot paintings in the latest short from filmmaker Matt Black. The legendary British artist, made famous by submerging mammals in formaldehyde and creating jaw-droppingly expensive jewel-encrusted skulls, has become one of the most prolific and lucrative names in contemporary art. The Complete Spot Paintings, 1986-2011, his series of 331 white canvasses imbued with rows of multicolored dots, are currently on display at all 11 of mega-gallerist Larry Gagosian’s sites around the globe. Manufactured largely by Hirst’s army of assistants, the paintings range in size and detail, with the most recent, completed in 2011, containing some 25,781 spots each 1mm in diameter; no single color is ever repeated on a canvas. Black first encountered Hirst’s hyper-symmetrical series in the mid 1990s, and found that his opinion on the works slowly developed from ambivalence to fascination. “When you are in a room full of them, they are overwhelming and disturbing; these dots staring at you creates a real sense of anxiety,” says Black. “His work always has an aggressiveness, and these are no exception.”
Damien Hirst: On the Spot
The Industrious Art Star Occupies Gagosian Galleries
Worldwide with His Complete Spot Paintings
Via: Nowness
Welcome
Welcome to my performance diary.
It is here that I'll be recording my thoughts, reflections, and progress in the pursuit of my Master's degree at Queen's University. This ezine is being created to fulfill the requirement of a diary for my performance module, where I will be working to create a large-scale audiovisual performance. My hope is to expose, in some small way, the difficulties, successes, and inspirations that are inevitable prices of admission when creating new work.
Ideas I look forward to exploring:
-Live performance, and the role of visuals
-Improvisation and its social dynamics
-The history of audiovisual interaction
-Current audiovisual composers and their work processes, methodologies, and poieses
-What inspires, and why
Ideas I will be forced to explore, regardless of how I feel about them:
-Writer's [Artist's] block
-Situations in which visuals are detrimental to performance
-Deadlines, expectations, and pressures
Disclaimer: Fair Warning
-The works presented here will be equal parts mine (amateur, self-indulgent, and perhaps, if we're lucky, successful) and professional (artists that actually know what they're doing).
-The thoughts put forth will be also be equal parts mine (judgemental, opinionated, and completely and unabashedly biased) and expert (academics who actually know what they're talking about, with footnotes and other fancy things real adults make use of).
-Finally, my personal reflections on inspiration and process may be random, jumbled, and/or profound beyond my wildest dreams. I make no promises of coherence, relevence, or any other value of worth, other than this: I'll do my best to not blog while drinking. Let's get started.
February 3, 2012
n
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Ira Chernova
Model : Ira Chernova top 2 Photos by: Nikolay Biryukov
IRA CHERNOVA
Brooklyn based
Photographer / Model
and this is some of IRA CHERNOVA's PHOTOGRAPHY
source: weheartit.com / Ira Chernova's photography-public shared album in Fb
model: Ira Chernova, Photo by Tony Stamolis, NYC'11
source: weheartit.com
what
See what a difference makes
Make your blog look super freaking cool
Leave the coding to the Internet nerds :)
Resize, edit and position everything with just your mouse.
is beautiful
Others blogs are awful
Other blogs are fugly
is elegant
Others blogs are bland
Others blogs are mediocre
is powerful
Other blogs require
<?php echo “html”; ?>
Other blogs are Booooring
Post title...
Change is in the bag!
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season headache!
Braids
BOX BRAIDS BACK!!
There are many updo's you can do for the professional setting. Youtube is covered with tutorials for them. Ive done a few looks on my blog...check it out...although I have had kinky twists and senegalese twists its the same idea) as far as breakage.
Have the stylist not braid around your edges "tightly"...and keep your edges AND nape well moisturized.
I kept my twists in for 4.5 weeks ! growth! My hair does not have issues with breakage after taking out the twists...
As for washing the longer the hair the heavier during wash so you may benefit from dry shampoo.
MOISTURE MOISTURE MOISTURE MOISTUR MOISTURE!!!
There are so many updo's you can do for the professional setting.
In celebration of braids and their awesomeness, and also to providesome inspiration for those considering braids
In Celebration Of Braids And Their Awesomeness!!
Post title...
ON THE COLOR SCALE BETWEEN RED AND YELLOW ORANGE IS PLACED.
BLACKIE
Spring 2012 color trends
Everyone approaches color differently. While our wardrobes are usually dominated by one or two of them, often when we shop we’re partial to investing in some seasonal colors. Read our spring 2012 colors guide to find out which colors are dominating the minds of designers when they set about creating 2012′s fashions.
I am very excited to meet the New Year. I’m hoping that the Year of the Dragon will provide me more opportunities to express my passion for fashion. I will leave 2011 behind with a promise of hope, faith and strength. I will also explore the fashion world with resilience and diligence so that I will become a catalyst of change, specifically in the field of sustainable fashion.
Alysha Nett: Lunch Break
PIZZA TIME!
Damn, as always I love Alysha Nett. Always looking good doin' the day to day!
Via: Poldberg
F Blogs and F You
This is how I feel
tonight...
(so leave me alone!)
Please Come Back
David Choe x Facebook
$200MILLION in stock market float via:dailymail.co.uk
who took shares instead of cash
who took shares instead of cash
DAVID CHOE, 35- Graffiti Artist
for painting Facebook's first HQ seven years ago, now making
A graffiti artist who painted the walls of Facebook's first headquarters seven years ago is set for a bumper payday of $200million after he agreed to take Facebook stock instead of cash for his work.
David Choe, 35, was asked to paint the offices in Palo Alto, California, in 2005, and was offered the choice by then-president Sean Parker of being paid a few thousand cash or the equivalent in shares. Now, after a blockbuster $5billion Facebook stock exchange flotation moved a step closer last night, he is one of at least 1,000 company employees finally on their way to becoming millionaires. viadailymail.co.uk
and this is his art in Facebook Headquarters building
Mark Zuckerberg collabing with David Choe at Facebook HQ.
Executive Producer: Wang Newton via: You tube