I don’t need him, or anyone, to love me. All I care about is that he gets better and lives happily.

A neat rallying cry for open access.

This shit is stone cold.

In this episode, I am introducing another music generator app that can talk and hookup into Blender via OSC signals

I love OpenSoundControl. :) Also, it’s really interesting seeing a five-year old Bespoke.

When it is her turn to be in charge, Kristen creates a new recipe that she and her mother cook together

A very surreal picture book; one that’s slightly amoral at that given that teaching children that starting fires in the kitchen is probably not great.

A story as old as time.

Where has all the weirdness gone?

Very well argued.

Our super-safe environments may fundamentally shift our psychology. When you’re born into a land of milk and honey, it makes sense to adopt what ecologists refer to as a “slow life history strategy”—instead of driving drunk and having unprotected sex, you go to Pilates and worry about your 401(k). People who are playing life on slow mode care a lot more about whether their lives end, and they care a lot more about whether their lives get ruined. Everything’s gotta last: your joints, your skin, and most importantly, your reputation. That makes it way less enticing to screw around, lest you screw up the rest of your time on Earth.

Wonder if this explains a lot of my bugbears and obsessions.

You always want to strictly control how your food is harvested, stored, and prepared. But what happens when any step in that process goes seriously wrong?

Nina Cosford is a freelance illustrator based in Hastings, UK.

She has illustrated over twenty published books and has worked with numerous brands including Apple, HBO, WaterAid, TATE, Google, UN Refugee Agency, Radio Times, H&M, Lonely Planet and Netflix. Her work became particularly well-known after she collaborated with Lena Dunham and HBO on the award-winning TV show GIRLS, which sparked a huge interest in the girl-centric zeitgeist of today. She has over 325,000 followers on Instagram and was recently named one of the Top 20 Female Illustrators by Stylist Magazine

We introduce a versatile method for finding prime numbers that display surprisingly intricate visual patterns— hypothetically, any desired pattern is possible, with only mild distortion. We use this method to locate several examples of large prime numbers that are, in and of themselves, self-referential works of art.

Nice image corrupter. Works best with low-to-medium resolution JPEGs and GIFs.

The images on this page are created using the standard iterative series of the Mandelbrot, that is, iterate the function zn+1 = zn2 + z0 where z0 is each point in the image plane (complex plane). However, instead of recording the behavior of the series at each point z0 we now consider only those points that escape to infinity and we create a density plot of the terms in the series. The result then is a 2D density plot of the trajectories that escape to infinity. The following shows the buddhabrot for that part of the complex plane that is interesting.

Beautiful illustrations.

Didier William (Born 1983 in Port-au-Prince, Haiti) creates fantastical figurative paintings on wooden panels that incorporate carving, collage, and traditional Haitian iconography to explore themes of personal belonging and transnationalism.

In Gwo Tet, a large, central figure hunches over a grainy wooden floor, their arms raised above their head in a defensive gesture. To the upper left, four hands extend menacingly from beyond the edges of the panel as if beckoning or casting a spell on the central figure. In Haitian Creole, gwo tét means “big head,” a phrase used pejoratively. William candidly notes that many of his works reconstruct memories of traumatic events. In this case, Gwo Tet depicts an episode where the artist was ridiculed on his walk home from school.

Queer Haitian artist!

From early breakthroughs to mature formal experiments, How High the Moon is the first retrospective to trace the evolution of Stanley Whitney’s wholly unique and powerful abstractions over the course of his 50-year career. The exhibition’s title is inspired by the 1940 song penned by Nancy Hamilton and Morgan Lewis, which became a jazz standard that has conveyed enchantment, longing, and, in some interpretations, has reached for the sublime.

Think most of it went over my head, but it was interesting to see his style seemingly settle into uniformity and his political and jazz influences.

In Doors (2022), Marclay stitches together hundreds of short film clips featuring the opening and closing of doors. More than a decade in the making, the moving image collage draws from nearly all genres of narrative cinema ranging from French New Wave to Hollywood blockbusters. Carefully edited by Marclay, the visual narrative follows actors entering new spaces, with each door marking an editing point and transitioning between films and soundscapes. The work suggests a labyrinthine journey where protagonists get lost and found again. Marclay describes the video as sculptural – a “mental architecture that the viewer might or might not follow and get lost in.”

Insane amount of cinematography and mindfuckery in one little thing. No reason to be as excellent as it is.