Media

Color test pattern sweater. Stand by, continued

etourneau:

— National Geographic Traveler

In 1919 a young man named Max Glucksman decided to construct a theater house that would be both grand and splendid. Newly immigrated to Buenos Aires, Glucksman was a visionary who saw his dream realized and opened his new theater, appropriately named The Grand Splendid. For years the theater presented Argentines with performances of all kinds and local greats such as Gardel and Corsini graced the stage. In 1924 Glucksman began broadcasting Radio Splendid from the fourth floor of the building, and his recording company Odeon recorded some of the early Tango greats. In the late twenties the theater was converted into a movie house and in 1929 showed the first movies ever presented with sound.

— El Ateneo in Buenos Aires - A bookstore to end all bookstores

Happy St. Patrick’s Day. The Invisible Edge: Happy St. Patrick’s Day from the Edge

He could walk down your street. Girls could not resist his stare. The Modern Lovers - Pablo Picasso (via LORVentura)

The important answer isn’t how many times you should flip your burger but what cooking method you should use in the first place. Juiciest burgers are cooked first in the oven, then finished on a hot grill or skillet. Brilliant!

The three things I’m tired of: psychology, bureaucracy, and commentary.

Blaming to excuse.

No matter how you understand people, only one thing cures the heart or the head. Unconditional love has nothing to take apart and mends every broken heart, eventually. So if we already know this is the answer, let’s not waste any more time by taking apart questions.

Stop pointing fingers; learn to forgive others. Stop making excuses; learn to forgive yourself.

The word “psychobabble” appears in dictionaries and spell check software, but “psychobullshit” does not.

Institutional blaming and excusing.

It appears to take a crisis to cure what ails institutions. A few renegades can bully their way through, but they won’t stop to cure the system for everyone else. The people of the system don’t often support efficieincy in the system.

Better to beg foregiveness than ask permission, but only if you have money. Actually, either way, you need the money.

Unforgiveable: Delaying action to tell people what you do.

People talk about doing, or about what is done. Few do anything original.

Most of what I read, hear, or watch is about something else I could read, hear, or watch directly. Reporters forecast to supplement what they report. Analysts discuss the strategy of politics and sports, or explain markets, science, and history. Later they explain why they were actually wrong. I could watch two hours of trailers, featurettes, and reviews for every two hour movie.

Two thumbs: Most of what I have to say to the world is about what other people do or say.

The Allegheny College Art Galleries’ “The Art of Persuasion,” an exhibition exploring attempts to sway public opinion through visual culture closes next week on March 16.  The exhibition, part of Allegheny’s Year of Social Change, features the college’s permanent collection of World War I and World War II posters, serigraphs from Puerto Rico’s Division of Community Education, photographs from the Farm Security Administration, and contemporary work by illustrator and political cartoonist Ward Sutton.

Gallery goers are greeted as the enter the show with one of the most iconic propaganda posters, Fred Strothman’s “Beat Back the Hun” from 1918. Publicity campaigns for the Treasury Department's Liberty Loan bonds produced some of the war's most compelling - and gruesome - posters. The Liberty Bond posters were inflammatory, but highly effective.  Many posters promoted German hatred, such as this one, showing a blood-thirsty Hun looking over war-torn Europe and across the Atlantic Ocean to America. The bayonet drips blood and the “Hun's” face is grey, dead, inhuman.

There’s a large cognitive jump from the Liberty Bond posters to the Serigraphs from Puerto Rico’s Division of Community Education. The origins of the Division of Community Education (DIVEDCO) are closely tied to Puerto Rico’s complicated relationship with the United States. DIVEDCO had strong connections to President Franklin Roosevelt’s New Deal. Its early organizers — Edwin Rosskam, Jack Delano and Irene Delano — all had experience in the Farm Security Administration. While sharing the form of New Deal projects, however, the work and substance of DIVEDCO reflected the particularities of Puerto Rico and broader trends within Latin American art and politics.

Huracan (1958) by Jose Manuel Figueroa appeals to the woodcut WPA style.  It’s a poster promoting a PSA style film about hurricane awareness. More importantly, its design shows the progression of the persuasive poster form as it begins drawing on the popular aesthetics of movie posters. A personal favorite was 5 cuentos de miedo by Lorenzo Homar (1955) promoting a booklet about the benefits of using science rather than superstition – here woodcut style figures are paired with a vibrant red background.

By 1965, that style had been replaced by posters that use more of David Klein’s TWA travel posters – bright flat colors and blocky figures and architecture. It’s a more abstract vision of progress much different from the classical figures that start the show.

One of the themes of the show is the power of the graphic images, not only in the posters themselves, but also in the media they advertise. Carlos Osorio’s Juan sin Seso – advertises a film depicting the story of a rural man’s confusion and loss of critical thinking abilities caused by modern advertising. Here in the poster, an advertising collage shows through the light robin egg blue of the poster’s background suggesting an ever present hum of consumerism existing just beneath the surface of consciousness, diverting and distorting. And yet there’s a meta argument here as well, as the posters and photos and comic included in the exhibit are using the same technique but for the “right” reasons.

The exhibit also includes FSA photos ranging from the abstract photos of Jack Delores model airplanes decorating Chicago’s Union Station ceiling

to more iconic ones like Walker Evans’ portrait of Bud Fields’ family in Hale County Alabama and washstand with oil lamp both featured in Let Us Now Praise Famous Men:

The FSA selection also includes four Dorthea Lange images including selections that highlight Lange’s skill at using cropping to bring out ironic realities of American Life such as “Next Time, Try the Train, Relax” 

Finally, ending the exhibit are World War II propaganda posters include the still shocking, “This Happens Every Three Minutes Stay on the Job and Get it Over ”  depicting a dead GI where he fell, Thompson submachine gun just out of the reach of his hands, clothes splattered with blood, face hidden by the angle of his fall, but his rough hands and torn fingernails still visible; his ammunition and pack flung about him. How unlike our own wartime reality with the dissonant dichotomy of embedded reports and soldiers connected home though the internet umbilical cord, and the still recent controversy over the depiction of flag draped coffins.

Like Juan we are carefully cocooned fom the death directed towards us and sponsored by us. Over 50 years , it seems we are no more savvy, but have an easier time creating our own reality. Sutton’s cartoons at the beginning of the show would be better realized at the end of show – suggesting how we far we have come.  today, we use our time to debate the persuasiveness of campaign designs and the aesthetics of campaign posters.  We are too polite, too sensitive to allow the brute persuasiveness of the early 20th century posters into our sphere.  How would we react to a contemporary posters declaiming “Beat Back the Hajji with Liberty Bonds”? How  uncomfortable have we become with animalistic, tribal nature inside of us and how we itch when it’s prickly nature punctures our created life and values?

The Art of Persuasion,” an exhibition exploring attempts to sway public opinion through visual culture until March 16. Gallery hours are Tuesday through Friday, 12:30-5 p.m.; Saturday, 1:30-5 p.m.; and Sunday, 2-4 p.m.

The Art Galleries are wheelchair accessible and located in Doane Hall of Art, east of North Main Street between College and John Streets.

For more information, call (814) 332-4365 or visit www.allegheny.edu/artgalleries.

Read the titles to get a new story. Sorted Books by Nina Katchadourian (via)

“So far, March = thaw.” snow - woolgathering

OK Go leaves EMI, forms own record label. (via )

Will Paracadute (pah-rah-cah-DU-tay) be the next Apple Corps?

andreadisaster:

nicopolitan:

“If knowing is half the battle, the other half must be Googling.”

Truth.