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Everything posted by jfutral

  1. And dance: https://www.dancemagazine.com/dance-performances-online-2645501079.html?rebelltitem=19#rebelltitem19 Joe
  2. If you are into shadow puppetry, these guys are some kind of hotness. http://manualcinema.com/watch Joe
  3. This from Opera America: https://operaamerica.org/applications/schedule/index.aspx Joe
  4. Also, a ton of dance and theatre companies are streaming old performances for free. Joe
  5. I've simply been hitting the museum websites plus the Google art project. I have to admit, this is the one thing I miss about touring—visiting so many art museums first hand. Joe
  6. Them Open Theists. You just can't trust them. Joe
  7. Amazing work, interesting (often tragic) biography. Joe
  8. Which is why I do think, in terms of "art as a consumable", or popular art, AI may well out do or even replace human creativity. There is a clear outcome expected—to sell as much as possible to as many people as possible. Computers are not concerned about selling their soul to "the man". Will that economy free up the human artists? If the marketers and producers are looking for money, will they stop looking for humans to abuse and take advantage of? Will they stop asking humans to create for free "for the exposure"? Or will exposure become even more elusive? Joe
  9. I like how Christie's frames this discussion in their headline, https://www.christies.com/features/A-collaboration-between-two-artists-one-human-one-a-machine-9332-1.aspx that AI is a medium, not the actual artist. But, of course, this is not how the AI world sees this, nor other AI creative endeavors such as in these articles: https://www.smithsonianmag.com/science-nature/these-abstract-portraits-were-painted-by-an-artificial-intelligence-program-180947590/ https://arxiv.org/abs/1706.07068 https://futurism.com/a-new-ai-can-write-music-as-well-as-a-human-composer
  10. Objectivity is always subjective, or at least relative. We consider Bach one of the greats now. He wasn't when he was alive. It took Mendelssohn to rediscover Bach. Vermeer was lost to time until centuries later. Was he considered one of the greats in his time? We don't know that much about him, though we keep scouring history to learn. We think he was someone respected enough to be an adjudicator of other art and artists. Will they still be considered some of the greats in the future? Probably, but ultimately it doesn't really matter. I won't be around to care (in 100 years, all new people).
  11. HolyCow what a great thread. I have nothing but the utmost respect for everyone here and what they have posted. I haven't read thoroughly yet, but I am inspired to add my no-cents/sense worth. As for myself, I am solidly (as much as I can find consistent definitions) in the Nones, veering into the Dones. I, too, have the conservative evangelical background—So. Baptist, Presbyterian, Columbia Bible College influenced, non-denom, Word of Faith (never as a believer in Word of Faith, just hanging with my neighbors), Pentacostal melange. I've been involved in the arts my whole life, been a pro
  12. In light of today's political environment and contemporary ideas, I found this an interesting article. Still not sure what to think. I mean, I know what I think, but I don't know how to keep obvious work of an artist within a specific context of appreciating art, but not really appreciating the content. I wouldn't hang it in my house, but from an art history perspective I think it has its place. Does it have a place in a museum? https://medium.com/@yewtree2/balthus-sexualized-children-7af1feeed76b Joe
  13. And then there's this: http://arstechnica.com/tech-policy/2016/11/court-says-secretly-filming-nude-young-girls-in-bathroom-isnt-child-porn/ "I know porn when I see it". Well, apparently not always. [ETA] An actual quote from the article (not my associative quote above) "The court added that the video producer's 'subjective intent or purpose of sexual arousal or gratification' is immaterial." Joe
  14. As much as I try to avoid reductionism, I think it is as simple as more people hate Hillary than hate Trump. Additionally, more people hate Hillary more, than the people who hate Trump, and I think that includes others who normally vote Democrat. I don't think it had anything to do with candidate positions or policy or political correctness or other intellectualizations. How do you lose against Trump? How do you win if you are Hillary? I got nothin' to much say about the evangelical vote for Trump. Makes no sense to me. Either people are lying to us or lying to themselves. Either way, peo
  15. Living in Atlanta and working with companies like Kenny Leon's True Colors Theatre and also Jomandi in the old days, I've lit a number of his plays and worked a number of the August Wilson Monologue competitions. His works have always enthralled me. They are tough plays to direct well, much less act convincingly. I never met him, but I have worked with a couple of his protege's and others who knew him quite well. I don't know his thoughts on segregated theatre, but since I work with some of those "segregated" theatres my take is that they are important in the same way that "black lives ma
  16. You mean adult themes, nudity, and sex like in the bible? What I have found to be true more often than not is that your work as an actor will exist within the context of your life. How you live your life beyond the role you play will be the anchor of your witness. Your life is what will lead non-believers to think of you as a hypocrite or not, not the words you say in a play. The only people I have found that would consider that you talk the talk but don't walk the walk are other Christians. If that is the witness you are concerned about, sure, okay, let your bio speak for you. Personally
  17. Don't get me wrong. I don't actually think the influence is, in and of itself, bad or wrong. It is just largely unrecognized or denied, whether it is a Benthamite view of art (music in particular) or even just a poor understanding of art and culture overall. The problems of art in the Church are pretty much the same problems outside the Church. And, ironically, a lot of the problems the Church has outside the Church are the same problems of art, or at lest philosophically. Joe
  18. Not to drift off topic, or at least not too far, I was drawn to, at one time, and am sympathetic to Mako's Culture Care movement. But even with this I find a certain exclusiveness in the approach. The voices seem to have to be particular voices with a particular bent, almost click-ish. I can't put my finger on it. With regard to arts advocacy and culture, and maybe to the point of this discussion, I don't think the Church realizes how much we are influenced by culture at large, no matter how much we try to espouse "in the world, but not of it". Maybe both the Church and the non-Church are
  19. I think you are conflating a couple of issues. First is time frames. How Lewis may be regarded, within Christian circles and without, now is not the same as in his lifetime. And truly may address the OP and the quoted writer's issues, as far as I'm concerned (complete with today's broadly accepted or contested presuppositions compared to Lewis's time). And writing overtly about Christian themes in just about any 20th century setting will always have political and career implications. But that doesn't mean he didn't speak to a broad audience, and that he wasn't heard and engaged, certainly
  20. I think Justin pretty much nailed it. I think you and likely Jacobs are trying to parse out differences that ultimately still all collide. How does one speak to everyone when everyone either isn't listening or just plain doesn't care? Which leaves only two possible points, why is everyone not listening and/or how exactly is one speaking to everyone that everyone should listen? I think both points exist in tension. On the one hand there really is a much broader group of speakers which in itself will create some sort of fragmentation. People can't listen to everyone, so they become selectiv
  21. I interviewed one of my favourite artists around today a couple years ago, Suzy Schultz. Just thought I'd share it with you guys. Not sure why it never occurred to me until now. But there you go. She is a figurative painter at a time when abstract is pretty much the only thing selling. As much a fan of abstract that I am, I find her work extremely compelling. Hearing her words were equally so. She is talented and articulate. If you want to skip the interview, here is her site. Joe
  22. Another article to ponder. http://www.cnn.com/2016/07/15/health/porn-public-health-crisis/index.html Joe
  23. I'll start with my conclusion. What NBooth said. Of course I know what else Lewis said in the essay. I brought it up, not to support a position, but as another voice and perspective on what I think are the questions we choose to face, our choices in framing the discussion, when discussing pornography. Also, I think Lewis undermines his conclusions precisely on his process. He is both right and wrong. You don't have to see pornography when viewing pornography, no matter how difficult the laden intent in the work might make such an examination. Propaganda is not intrinsically bad art by nat
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