As part of an interview series with artists and speakers featured at the CODAME ART+TECH Festival , I recently chatted with 3D artist Mark Klink.
This year’s CODAME ART+TECH Festival, codenamed #ARTOBOTS, examines the increasingly tangible sphere of robotics, automation, and artificial intelligence in the modern world. Through 4 days of installations, workshops, and lectures, this conference will showcase developments from the vanguard of art and technology.
Mark and I discussed everything from his background as a multi-occupation self-taught technologist and longtime multimedia artist, to his reactions to the state of pop culture as it depicts and relates to robots and artificial intelligence, two enduring themes in his work.
I recently returned home from my first-ever visit to Juneau, Alaska. Though it wasn’t an optimal time of year to visit, it was the time I had available, so I decided to go for it. I was eager to see my friend Katy (whose bravery in totally rebooting her life in a new place I admire so much) and to see some glaciers and Northern lights. Lucky for me, I got everything I wanted – close-up views of Mendenhall Glacier, a beautiful night sky light show, some refreshing hiking in the rain, and I even caught a glimpse of a moose. I’ll return one of these years in August, when the bears and salmon do.
Moonrise is a print and web magazine about babes and ritual.
Moonrise is created, edited, and designed by Missy J. Kennedy, who I found and met online while combing the ferociously beautiful vastness of the feminist-artist-writer-internets. I’m so glad I did.
I’ve got a piece of writing in issue number 2. Find it in the deeply nostalgic and personal section called, “Our Grandmas, Ourselves.” Also, the print magazine is gorgeous and well-produced and you should definitely order a copy while they’re available.
Written in 1962, Rachel Carson’s book, Silent Spring, was and still is nothing short of revolutionary in its importance. The first piece of writing that clearly collected and synthesized the existing work of environmental scientists and ecologists on the harmful effects of pesticides and insecticides in the environment, Silent Spring was a profound wake up call, an alarm bell, a highly effective call to arms for a new environmental conservation movement. Today, it is an essential document of the beginning of that movement and an education in basic ecology for the student looking to better understand our planet.
Should you ever feel in need of proof that one dedicated person can seriously change the world, this book may be it. Rachel Carson, an American marine biologist who began her career at the U.S. Bureau of Fisheries writing humble educational radio scripts, used a combination of poetic prose and relentlessly damning evidence from the study of the natural world to do two things in Silent Spring: First, to illustrate the beauty, preciousness and incomprehensible wonders of nature. And second, to condemn and tear apart, beyond any shadow of doubt, the cavalier use of toxic chemicals for “control” of insects, pests and unwanted plants on farms, in gardens, along roadsides and elsewhere.
Since the early 2000’s, I’ve been fascinated with artist James Turrell. You might even call me a fangirl. While some look at art like his–art that makes use of so much empty space–and see the Emperor’s new clothes and a whole lot of nothing, I get ecstatically stoked about it. I was pretty damn ecstatic recently when I learned that my visit to Boston last month would allow me time to visit “Into The Light” – the current Turrell exhibition at the Mass MoCA.
Since the 1960’s, Turrell has been exploring the realms of the untouchable: light. Enlisting architecture and LEDs, enclosed and open spaces, negative space and the sky itself, Turrell has sought to take intangible natural forces and make them physical. His works vary in medium, size and shape, yet the impact of a Turrell is an identifiable phenomenon that becomes familiar once you’ve been in their presence. That impact is all-consuming, enveloping and awe-inspiring.
On Thursday, September 14th, 2017, the San Francisco chapter of the Columbia Venture Community will host CVC’s biggest West Coast event of the year: Columbia Startup Demo Night! We always look forward to this opportunity to meet, mingle and shine the spotlight on innovative startups from the Bay Area. This time, six startups, all with at least one founder who graduated from Columbia, will take the stage to demo their startup and compete for a cash prize in front of a panel of experienced judges.
As we gear up for the event, we’re speaking with all our Demo Night founding teams so that we can share their diverse, inspiring stories with the CVC community.
We all learn about the Holocaust when we’re children. I learned about it when I was quite young, in grade school. Childhood lessons on the Holocaust and the persecution of Jews in Germany often center on the most gruesome atrocities, the concentration camps and the ovens and the torture of people.
It is understandable why that is so. These things are so terrible to imagine, they seem to bear repeating to make sure that future generations know they happened.
But they are not the entirety of the horrors of the Holocaust. And there is a danger to the way these atrocities are so often taught to school children. They’re taught in such as way as to isolate them from our current reality, and that is dangerous because when we hear about them, we might believe that we live in a different time, where such things are the product of a madman’s racism, and being so singular, would never happen again.