TagArt

Why Animated GIFs are the New “Hello World”

404 animated gif

New from me at Wired, meet revisit.link, the “Hello World” of web services:

Basically, all the site’s image effects are stored by a community of developers, much like any other open source software. Anyone can not only use these effects, but build their own and share them with the community by way of the code hosting and collaboration site GitHub. “Since everyone likes glitch art and animated GIFs, it’s a creative outlet for developers to create something new that’s outside their usual field,” say Jen Fong-Adwent, the creator of revisit.link. “But it’s also a way for new people to learn basics.”

If you’re building a modern web service, you aren’t just creating a program that will run on one machine. You have to learn how to deploy code to online servers, and teach your programs to talk with other applications. revisit.link is a good way to learn these skills, since the effects servers are simple and lightweight and can be written in any language. And once a server is built, the developer can learn how to use GitHub and how to make small changes to someone else’s code and submit those changes for review—all in a low-pressure environment with a very low barrier to entry.

Full Story: Out in the Open: How Animated GIFs Can Turn You Into a Web Coder

You can play with it here, or view a strea, of examples here.

See also: glitchgifs Tumblr

The Art of CRXTO

The Temporary Autonomous Zone

CRXTO is an Argintine artist. Above is a piece inspired by Hakim Bey’s Temporary Autonomous Zone. Below is Technoccult’s long lost patron Tezcatlipoca. Below that is the Yagán spirit Curspi.

You can find more on his site and even more on his (sometimes NSFW) Flickr account.

(via Sorry Zorrito)

Tezcatlipoca by Crxto

Curspi by crxto

RIP H.R. Giger, 1940 – 2014

rip-giger

swissinfo reports:

The renowned Swiss artist H.R. Giger has died at the age of 74, as a result of injuries sustained in a fall. Giger, who passed away in a Zurich hospital, was most famous for the alien monster he created for the movie of the same name.
The terrifying creature and sets he created for Ridley Scott’s film earned him an Oscar for special effects in 1980. In the art world, Giger is appreciated for his wide body of work in the fantastic realism and surrealistic genres.

Full Story: swissinfo: ‘Alien’ creator H.R. Giger is dead

One hundred years later, why is George Herriman’s Krazy Kat still so radical?

Krazy Ka

But some years later, Hearst came across another strip that truly captured his imagination. With this comic he cut against his usual razor instincts for business and made what appear to be irrational decisions: he spent far more money on it than even the artist—and certainly the public—thought it was worth, and he issued the artist a stunning no-strings-attached lifetime contract that guaranteed George Herriman complete creative freedom. [...]

While the setup is not altogether different than other strips that appeared alongside Krazy Kat, Herriman’s comic transmogrified into something radical. By refusing to settle into the very formula it invites upon itself, Krazy Kat works the same way a hallucination does—or a dream, a vision. That is, in both language and pictures, it contains multiple realities at once. It is a typical playful strip featuring anthropomorphic characters and a theater of physical lunacy, and, at the same time, it is pioneering art that literally breaks outside the box with compositional innovations and astoundingly good drawing. [...]

Unusually, Krazy Kat’s admirers included artists, writers, and art critics. Poet e.e. cummings wrote the introduction to the very first collection of Krazy Kat strips. Willem de Kooning was an avid fan, especially of the fanciful southwestern landscapes. So was Walt Disney. After Herriman’s death, Disney wrote to the artist’s daughter: “As one of the pioneers in the cartoon business, his contributions to it were so numerous that they may well never be estimated.”

H.L. Mencken loved Krazy Kat too, as did Gertrude Stein and T.S. Eliot. Jack Kerouac said the strip was a precursor to the Beat Generation, with common roots in “the glee of America, the honesty of America, its wild and self-believing individuality.” Even President Woodrow Wilson was a noted fan.

In what is almost certainly the first instance of an art critic taking comics seriously as art, Gilbert Seldes devoted a whole chapter to the strip in his 1924 book, The Seven Lively Arts. He wrote that the strip was “the most amusing and fantastic and satisfactory work of art produced in America today.”

Full Story: Guernica Magazine: Krazy Komik

Watch These Artists Build a City, Page By Page

think-of-a-city

think-of-a-city2

“Think of a City is a new storytelling project, where a number of artists from around the world build a city, page by page.” It’s like an exquisite corpse — each artist draws a page then hands it off to the next. The project was created by Alison Sampson and Ian MacEwan.

Contributors will include: Brandon Graham, Sarah Horrocks, Morgan Jeske, Ales Kot, Jamie McKelvie and many more.

Watch it unfold on Tumblr.

Free Sci-Fi Comic: The Azimuth Job

The Azmuth Job

“The Azimuth Job” is a short comic by Sean Witzke, Technoccult-pal Ian MacEwan, Sloane Leong and Jared Lewis. It will be published as a backup series in Brandon Graham‘s Prophet series at Image.

Check out the rest of it on Ian’s blog.

Previously:

My interview with Brandon Graham

Witzke on David Bowie and Watchmen

Ian’s other comic, The Yankee

The Street Art of Chemis

Street art by Chemis

Chemis is a Czech street artist. The piece above is from Copenhagen, and the hole is real.

More Chemis art at Art Crimes

Coming Soon: OMNI Magazine Art Gallery and Book

OMNI cover by HR Giger November 1978

Vice’s Claire Evans just got to check out the largest known collection of OMNI related ephemera in the world and shares some interesting news (emphasis mine, since I almost missed this):

OMNI was bankrolled by a fountain of cash generated by Penthouse. And by bankrolled, I mean bankrolled: the most shocking thing I found in Jeremy’s filing cabinets wasn’t the Penthouse negatives but stacks of magazines annotated with invoices detailing how much each contributor was paid. For the issue dated November 1989, Guccione’s company, General Media Incorporated, spent $16,843.65 on illustrations – solar sails, airbrushed mazes, a silhouette of Neptune pressed up against an inky sky. It goes without saying, but I’ll say it anyway, that this sum eclipses the entire monthly operating budgets of many modern magazines.

This is because Bob loved art. His mansions in Manhattan and on the Hudson river were both filled with old masters and paintings by the hundreds of artists he tapped to illustrate OMNI and Penthouse. “Design was everything for Bob,” Jane said. No matter if they were selecting pictorials for Penthouse or laying out the sleek, futuristic pages of OMNI, it was the same. “I knew in the end, we would thinking about that vertical, that horizontal, we’d be thinking about that perfect placement, we’d be thinking about design, color, light.” When Guccione’s empire crumbled – General Media went bankrupt in 2003 – his personal assets were liquidated to pay off debts. The Van Goghs, Modiglianis, Picassos, and Renoirs went to the auction house; the rest of the artworks – sexy pictures and science fiction landscapes alike – were scattered to the wind. [...]

OMNI is returning with a vengeance. An exhibition of its art is in the works, some of which I saw: original lithographs and paintings from the magazine, artworks that Jeremy et al. have been tracking down at huge cost. The warehouse now stashes 53 surrealistic oils and fantasy landscapes and contains works by Rafal Olbinski, Robert Kittila, Jon Berkey, Tsuneo Sanda, and Bruce Jensen. Coming up: a book of this collected artwork, released by Powerhouse Books; a panel at the Toronto Fan Expo; and eventually booths at conventions around the country.

Full Story: Vice: OMNI Magazine Will Rise Again

(via Abe)

I bought a stash of OMNI magazines on eBay a couple years ago and it was totally worth it. But you can read scans online for free at Archive.org. If you don’t know where to start, here’s a list of issues with William Gibson stories and here’s the famous issue seen above, with an H.R. Giger cover and an interview with Future Shock author Alvin Toffler conducted by Guccione, a “Computer Lib” article by Ted “Xanadu” Nelson, John Lily on dolphins, fiction by Greg Bear and more.

Or dive into the Fortean index of OMNI to find particular topics of interest.

See Also:

Boing Boing: Memories of OMNI Magazine

Arm Cannons and Futurism, an Interview With the Creators of Light Years Away

lab_Lightyears_004

After a while, most serialized webcomics start to look the same. Just about every series seems to strike a similar balance of influences from anime and western animation. But not Light Years Away, which draws inspiration from European sci-fi comics by artists like Moebius and Tanino Liberatore.

LYA is set in a world where many — perhaps most — people have cybernetic implants. But there’s a growing, violent anti-implant movement called the Puritans. The first story arc, Escape from Prison Planet, tells the story of Milo, a repeat offender doing time on an off-planet penal colony, where he ends up in the middle of a prison gang war between the Puritans and the implantees. Soon, however, he finds out there’s something bigger going on.

I talked with writer Ethan Ede and artist Adam Rosenlund — the Boise, Idaho based duo behind the series — about webcomics, the future of the series and other projects they have in the hopper.

Ethan Ede and Adam Rosenlund
Left: Ethan Ede Right: Adam Rosenlund

Klint Finley: First, I’m curious why you guys self-published online. Did you shop it around to publishers first?

Ethan: We self-published this story because we wanted to do it our way. Having control over our product is very important to us, that’s one of the reasons there are no ads on the site, because that is content we can’t control. At the time when we started Light Years Away we were shopping several products around to publishers and we wanted to put something out in the meantime. We actually picked LYA because it is the least like the stories we normally tell.

Adam: As well as the story being built for the format. We were kind of frustrated at the pitch process when we decided on LYA. We just wanted to get some stories out there and read, and at the time, no one was buying science fiction. The market was in contraction, and publishers were reticent to take a chance on what we were selling.

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Web Comic About Transgendered Life: Magic Girlfriend Eyes

Magic Girlfriend Eyes

girlfriend-eyes2

By Cuteosphere

(via Theremina)

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