Susan Rogers, by her own admission, is a rare bird. A female producer and sound engineer in an industry dominated by men, her drive and commitment would land her side by side with Prince as his star soared. She came to work with him in Paisley Park as an audio technician right before he would begin Purple Rain, and she’d stay working with him and becoming his sound engineer through his commercial peak; recording Parade, Around the World in a Day, The Black Album, and Sign O the Times. But Prince isn’t the only part of Susan Rogers’ story. In 1988 she left Minneapolis, and would go on to produce some of the biggest hits of the 90’s before taking the money from that to go back to school, and become a Professor at one of the world’s most prestigious music schools. Her name is synonymous with Prince, but the story of how Susan got there, and what she did after this legendary collaboration, is just as fascinating. From finding her musical tribe as a kid in Orange County, to recording some of the most loved songs of all time, and diving into the neuroscience of why we connect with song, this is a brilliant conversation with a curious mind, and living legend. James Brown - Papa's Got a Brand New Bag Prince - Let's Go Crazy Geggy Tah - Whoever You Are Barenaked Ladies - One Week Wilson Pickett - In the Midnight Hour

https://www.abc.net.au/radio/programs/take-5/susan-rogers-take-5/12421040

When I heard about the tragic murder of 18-year-old Nia Wilson, who was stabbed to death in an unprovoked attack in Oakland last month, I could feel my heart begin to bleed. My community of black women were grieving yet again.

The mood in the room after an early Sundance screening of Adam Bhala Lough’s The New Radical was polite, but a little icy.

Official video for DJ Pone's Heart Swing from the upcoming album ‘Radiant'. ITUNES : smarturl.it/HeartSwingIT STREAM : smarturl.it/HeartSwingST Director - Paul Trillo Director of Photography - Greg Wilson Produced by - Lihu Roter (Particle3) & Tessa Travis (Project Fathom) Talent - Tyler Phillips & Emily Terndrup Production Manager - Sarah Benjamin Stylist - Helen Anstis Make Up - Bri Trischitta Assistant Editor - Ned Paige Editor and VFX - Paul TrilloCast: Paul Trillo, Gregory Wilson and Project FathomTags: heart swing, dj pone, heart, swing, love, green screen, green screen suits, weird love, love making, filmmaking, suits, body parts, bodies, blobs, head, shoulders, knees, toes, music video and music

Cody Wilson’s Ghost Gunner milling machine makes the most crucial element of an assault rifle. It costs just $1,500 and there’s a waiting list to get it.

I am privileged to be involved in Ways of Something: an incredible collaboration between artist Lorna Mills and (currently) 85 artists. Episode 3 will have its World Premiere at The Photographer’s Gallery, London, on February 12th 2015. 85 web-based artists remake John Berger’s historic documentary ‘Ways of Seeing’ (1972) one minute at a time. Originally commissioned by The One Minutes, at Sandberg Instituut in Amsterdam and compiled by Lorna Mills, the episodes present a sequence of 3D renderings, filmic remixes, videos and webcam performances which subvert the tropes of art history in an entertaining and overwhelming way. Followed by a Q&A between Julia van Mourik, director of The One Minutes and Lorna Mills via Skype.

Artists in Episode 1 1: Daniel Temkin, 2: Rollin Leonard, 3: Sara Ludy, 4: Rhett Jones, 5: Jaakko Pallasvuo, 6: Dafna Ganani, 7: Jennifer Chan, 8: Rea McNamara, 9: Theodore Darst, 10: Matthew Williamson, 11: Hector Llanquin, 12: Christina Entcheva, 13: V5MT, 14: Marisa Olson, 15: Joe McKay, 16: Carla Gannis, 17: Nicholas O’Brien, 18: Eva Papamargariti, 19: Rosa Menkman, 20: Kristin Lucas, 21: Jeremy Bailey & Kristen D. Schaffer, 22: Giselle Zatonyl, 23: Paul Wong, 24: Alfredo Salazar-Caro, 25: Sally McKay, 26: RM Vaughan & Keith Cole, 27: Andrew Benson, 28: Christian Petersen, 29: Faith Holland, 30: Jennifer McMackon Artists in Episode 2 1: Kevin Heckart, 2: Geraldine Juarez, 3: Gaby Cepeda, 4: Angela Washko, 5: Emilie Gervais, 6: LaTurbo Avedon, 7: Lyla Rye, 8: Mattie Hillock, 9: Antonio Roberts, 10: Georges Jacotey, 11: Daniel Rourke, 12: Sandra Rechico & Annie Onyi Cheung, 13: Yoshi Sodeoka, 14: Alma Alloro, 15: LoVid, 16: Andrea Crespo, 17: Ad Minoliti, 18: Arjun Ram Srivatsa, 19: Carrie Gates, 20: Isabella Streffen, 21: Esteban Ottaso, 22: ZIL & ZOY, 23: Hyo Myoung Kim, 24: Jesse Darling, 25: Tristan Stevens, 26: Erica Lapadat-Janzen, 27: Claudia Hart, 28: Anthony Antonellis Artists in Episode 3 1: Carine Santi-Weil, 2: Nicolas Sassoon, 3: Tom Sherman, 4: Kim Asendorf and Ole Fach, 5: Rafaela Kino, 6: Alex McLeod, 7: Kate Wilson and Lynne Slater, 8: Aleksandra Domanović, 9: Systaime, 10: Erik Zepka, 11: Adam Ferriss, 12: Rodell Warner and Arnaldo James, 13: Debora Delmar, 14: Brenna Murphy, 15: Nick Briz, 16: Carlos Sáez, 17: Jenn E Norton, 18: Juliette Bonneviot, 19: Luis Nava, 20: Vince McKelvie; 21: Claudia Maté 22: Evan Roth, 23: Shana Moulton, 24: Sabrina Ratté, 25: Jordan Tannahill, 26: Vasily Zaitsev feat.MON3Y.us, 27: Ann Hirsch REVIEWS - Read an interview with Lorna Mills about Ways Of Something on The Creators Project. Read here. - Ben Davis wrote an essay looking at the first two episodes on artnet. Read here. - The project was also featured by Animal New York here.

Julia van Mourik is an independent curator and editor, based in Amsterdam. Since 1999, she has produced visual arts projects and has composed programmes and publications, exploring new possibilities for presenting the moving image. She is Director of The One Minutes, a place for artists to experiment, to produce and to present within the inexorable limit of 60 seconds, hosted by Sandberg Instituut, Masters of Art and Design in Amsterdam (NL). She is also director of the Lost & Found programme, where artists show material that doesn’t fit comfortably into regular gallery contexts, that seems out of place. And she is Adviser to the to the Dutch Cultural Media Fund, promoting the development and production of high-quality artistic programmes by the national public broadcasting corporations. Lorna Mills has actively exhibited her work internationally in both solo and group exhibitions since the early 1990’s. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated GIFs incorporated into restrained off-line installation work. She has also co-curated monthly group animated GIF projections with Rea McNamara for the Sheroes performance series in Toronto, a group GIF projection event When Analog Was Periodical in Berlin co-curated with Anthony Antonellis, and a touring four person GIF installation, :::Zip The Bright:::, that originated at Trinity Square Video in Toronto. In June 2013, Mills opened a solo exhibition ‘The Axis of Something’ at TRANSFER, her work was exhibited by the gallery at the Moving Image Art Fair NYC in March 2014, and her second solo show for TRANSFER is currently in development for 2015.  Her most recent solo project was Ungentrified a large GIF projection installation at OCADU in Toronto for Nuit Blanche. £7 / £4 concs Episodes 1 and 2 are produced by The One Minutes at the Sandberg Instituut in Amsterdam. Episode 3 is produced by Lorna Mills.        

Writer: yannisnikolakopoulos@gmail.com Not affiliated in any way with the links below, but it might be of interest: http://act.350.org/signup/banksdivest_aus_may2014/ http://www.pushyourparents.org http://www.climatebonds.net/2014/04/world-bank-issues-aud300m/ Actors: Anne Wilson, Peter McAllum, Will Young

From the neo-gothic follies of 18th-century aristocrats to the blasted cityscapes of contemporary Detroit, ruins have long obsessed artists Jane and Louise Wilson’s photograph of a ruined German gun emplacement in Normandy, 2006©Jane and Louise Wilson Once upon a time, gazing at ruins was c

RICH AND SEEMINGLY BOUNDLESS as the creative arts seem to be, each is filtered through the narrow biological channels of human cognition. Our sensory world, what we can learn unaided about reality external to our bodies, is pitifully small. Our vision is limited to a tiny segment of the electromagnetic spectrum, where wave frequencies in their fullness range from gamma radiation at the upper end, downward to the ultralow frequency used in some specialized forms of communication. We see only a tiny bit in the middle of the whole, which we refer to as the “visual spectrum.” Our optical apparatus divides this accessible piece into the fuzzy divisions we call colors. Just beyond blue in frequency is ultraviolet, which insects can see but we cannot. Of the sound frequencies all around us we hear only a few. Bats orient with the echoes of ultrasound, at a frequency too high for our ears, and elephants communicate with grumbling at frequencies too low.

We can’t stop talking about Jonathan Lethem’s essay in this month’s Harper’s. If you haven’t read it, you really should. Nothing that follows in this post will be nearly as interesting. Go ahead. And this post will still be here when you return. You know you want to. plagiarism

Caught [Digirebelle / Flickr]

Nearly every word of this essay about cultural borrowing and reworking was stolen — er, appropriated — from some other source and then cobbled together with a big dose of Lethem magic to form a cohesive whole. Even the “I”s aren’t Jonathan Lethem; they’re Jonathan Rosen writing in The Talmud and the Internet about John Donne, or William Gibson in a Wired article about William Burroughs, or David Foster Wallace on a grad school seminar, or Brian Wilson in a Beach Boys song.

Alan Wilson Watts (January 6, 1915 – November 16, 1973) was a British philosopher, writer, speaker, and student of comparative religion. He was best known as an interpreter and popularizer of Asian philosophies for a Western audience.

He wrote more than 25 books and numerous articles on subjects such as personal identity, the true nature of reality, higher consciousness, meaning of life, concepts and images of God and the non-material pursuit of happiness. In his books he relates his experience to scientific knowledge and to the teachings of Eastern and Western religion and philosophy.

Charles Lutwidge Dodgson, better known as Lewis Carroll, was a mathematician at Oxford University for most of his life. His fanciful “Alice’s Adventures in Wonderland” and “Through the Looking Glass” are quite familiar to us, as, to a lesser extent, are his photographs of young children. In “Lewis Carroll in Numberland,” the distinguished British mathematician Robin Wilson has filled a perceived gap in the writings about Carroll by describing in a straightforward, jabberwocky-free fashion the author’s mathematical accomplishments, both professional and popular.