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Terry College of Business, 2001.
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Join the discussion, or learn more about the themes and selected works o...
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Join the discussion, or learn more about the themes and selected works of art related to "Pen and Parchment: Drawing in the Middle Ages" on view at the Met June 2 - August 23, 2009: http://blog.metmu...
Edward Tufte, professor emeritus of political sciences, statistics, and computer science, Yale University, and the leading authority on information design, discusses how drawings from the Middle Ages exhibit "graphical excellence." Melanie Holcomb, associate curator, Department of Medieval Art and The Cloisters Museum and Gardens, introduces the talk.
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We installed this piece (many cranes and rigging operations) in the bitt...
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We installed this piece (many cranes and rigging operations) in the bitter cold in January 2004. I'm grateful to Tallix (a foundry in Beacon, New York) and to United Concrete (Yalesville, Connecticut) for all their help.
It is called "Larkin's Twig" because several years before the installation Graham Larkin, then a graduate student in Art History at Harvard, worked as my intellectual assistant, teaching me some art history and providing materials to read and think about in a kind of correspondence course and tutorial. When Graham came to visit, he would bring a little something each time, such as a book or, once, a beautiful twig about 12 inches high with a very nice natural geometry and graceful, but not mechanically graceful, curves. For years, Larkin's twig sat in an honored place in our library and then in our kitchen.
Why not make the twig 32 times bigger? How will it scale up? Should X, Y, and Z scale up differently? (Yes) What should the material be? How will the steel rust? What parts should be revised, extended, modified, reshaped? How is it to hit the land? How will it belong in the natural environment of the landscape? In relation to trees, land contours, and other pieces in the field? What is the proper orientation of the piece and the resulting cast shadows? How will shadows vary in different seasons of the year? How can mock-ups be built to test ideas out? What about structural engineering issues? A Cooper's Hawk perched on a two-thirds scale wooden mockup, will that happen on the steel and do we add a bird-perch? What does it all mean? And so on.
For more on Larkin's Twig and other artwork by Edward Tufte visit http://edwardtuft...
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Synchronized by Criticmizer
it was painstakingly hard to sync every few s...
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Synchronized by Criticmizer
it was painstakingly hard to sync every few seconds of this video. Promotional Performance Syncd to Studio Recording
Are you ready Steve? Uh-huh Andy? Yeah Mick? Okay Alright fellas - let's go!
Oh it's been getting so hard Living with the things you do to me Well things are getting so strange I'd like to tell you everything I see
Oh, I see a man in the back as a matter of fact His eyes were as red as the sun And the girl in the corner that no one ignores Cause she thinks she's the passionate one
Oh Yeah! It was like lightning Everybody was frightening And the music was soothing And they all started grooving
CHORUS Yeah, Yeah, Yeah-Yeah-Yeah And the man in the back said everyone attack And it turned into a ballroom blitz And the girl in the corner said boy I want to warn you It'll turn into a ballroom blitz Ballroom blitz, ballroom blitz, ballroom blitz, ballroom blitz
Oh reaching out for something Touching nothing's all I ever do Oh I softly call you over When you appear there's nothing left of you
And the man in the back is ready to crack As he raises his hands to the sky And the girl in the corner is everyone's mourner She could kill you with a wink of her eye
Oh Yeah! It was electric So frantically hectic And the band started leaving Cause they all stopped breathing
CHORUS Repeat
Guitar Solo
Oh Yeah! It was like lightning Everybody was frightening And the music was soothing And they all started grooving
CHORUS Repeat
It's it's ballroom blitz It's it's ballroom blitz It's it's ballroom blitz Yeah, it's ballroom blitz
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