Curiosity #CKTK

Manufacturing Consent: The Political Economy of the Mass Media (1988), by Edward S. Herman and Noam Chomsky, proposes that the mass communication media of the U.S. "are effective and powerful ideological institutions that carry out a system-supportive propaganda function, by reliance on market forces, internalized assumptions, and self-censorship, and without overt coercion", by means of the propaganda model of communication. The title derives from the phrase "the manufacture of consent," employed in the book Public Opinion (1922), by Walter Lippmann (1889–1974). Chomsky credits the origin of the book to the impetus of Alex Carey, the Australian social psychologist, to whom he and co-author E. S. Herman dedicated the book. Four years after publication, Manufacturing Consent: The political Economy of the Mass Media was adapted to the cinema as Manufacturing Consent: Noam Chomsky and the Media (1992), a documentary presentation of the propaganda-model of co

Working in collaboration with the conservation and collections departments of The Prado Museum, Madrid, The Louvre, Paris and The National Gallery, London, the artist scanned X-ray, infrared and ultra-violet renditions of Old Master paintings – including works by Uccello, van Dyck, Rubens, Delacroix, Goya and Velazquez amongst others. Monochromatic and energetic, the resulting photographs possess a graphic power strangely suggestive of the New York School artists, or a Gerhard Richter abstract. The title of the new series, LEAD, refers to the presence of the metal in 17th and 18th century paint. This is what the X-rays show, bouncing back off lead pigments and transforming the paintings from recognisable images into otherworldly scenes, as if the viewer is given access to a separate reality below the surface paint. Guijarro has taken a scientific process used to demystify the paintings, and in doing so made them more unknowable, blurring the divisions between science and art.

Back in October I went to see a Q&A with Amp Fiddler at Amsterdam Dance Event. He talked about introducing J Dilla to the MPC, and played some OG files he received from Dilla decades ago: deconstructing Dilla beats for the—shamelessly small—crowd of 30-ish people. And by way of the iconic Slum Village tracks “Players”, “The Look Of Love” & “Fall In Love”, Amp gave a Dilla for dummies crash course on why his beats sound so musical, warm and full of soul. This new video by Vox made me think of that lecture: J Dilla Beats 101. The video is a 10-minute introduction on how J Dilla humanized the MPC3000. It’s a basic yet good watch on how he didn’t quantize his beats, insights on sampling Gap Mangione, Giorgio Moroder & The Escorts, and extending samples, using track examples such as “E=MC2”, “Fall In Love”, “Lazer Gunne Funke” & The Pharcyde’s “Runnin'”. As drum machine pioneer Roger Linn puts it in the original MPC3000 manual: “(…) In this light,

Minimalism: A Documentary About the Important Things examines the many flavors of minimalism by taking the audience inside the lives of minimalists from all walks of life—families, entrepreneurs, architects, artists, journalists, scientists, and even a former Wall Street broker—all of whom are striving to live a meaningful life with less.