"Tom Waits narrates this whimsical, fast-moving introduction to the life and work of West-Coast conceptual artist John Baldessari. The film was directed by Henry Joost and Ariel Schulman, the creative team behind Catfish and Paranormal Activity 3. It was made for the Los Angeles County Museum of Art’s inaugural Art & Film Gala, held last November in honor of Baldessari and Clint Eastwood. Baldessari mixes a variety of media in his art, including sculpture, painting, printmaking and video. “His work,” writes Elisabeth Roark of Grove Art Online, “is characterized by a consciousness of language evident in his use of puns, semantics based on the structuralism of Claude Lévi-Strauss and by the incorporation of material drawn from popular culture.” When Joost and Schulman ask Baldessari how he will be remembered 100 years hence, he says dryly, “I’m the guy who puts dots over people’s faces.”"

"Facebook’s management team has always been on-message. But now that it’s a publicly traded company, we can expect that candid, unplanned comments to the press are gone for good. That’s why we hit up the best source for the inside scoop on Facebook — one that’s no longer there. Dustin Moskovitz may have left Facebook to launch his own startup, Asana, but he’s still got plenty to say about the company he co-founded with Mark Zuckerberg."

"we tell stories to continue ourselves..."

"Kevin Rose and Instagram founder Kevin Systrom sit down to chat about Systrom's growing up with computers, his time spent at Stanford, and landing an internship at a startup destined to be worth billions. This ultimately led to launching his own startup which is now 15 million users strong and one of the fastest growing social networks on the planet!"

"There's basically one thing you have to do: you have to make every single detail perfect, and you have to limit the number of details."

"David Heinemeier Hansson is a partner at 37signals, a privately-held Chicago-based company committed to building the best web-based tools possible with the least number of features necessary."

"“Nobody could make a movie better than Stanley Kubrick–in history,” says Steven Spielberg in this revealing 1999 interview with British filmmaker Paul Joyce. Spielberg sat down with Joyce just four months after Kubrick’s sudden death from a heart attack. He talks about the emotional effect Kubrick’s films had on him when he was a young man, the friendship the two men shared after Spielberg became successful, and Kubrick’s James Joyce-like ability to reinvent himself with each new work. “He was a chameleon,” Spielberg says. “He never made the same picture twice. Every single picture is a different genre, a different story, a different risk. The only thing that bonded all of his films was the incredible virtuoso that he was with craft.”

"Citizen Kane blazed many new trails. The cinematography, the story telling, the special effects, the soundtrack — they were all innovative. And they were all woven into an artistic whole by a 26 year old director making his first film. Years later, Welles explained the alchemy of Kane. Ignorance, he said, was perhaps the genius of the film. “I didn’t know what you couldn’t do. I didn’t deliberately set out to invent anything. It just seemed to me, why not? And there is a great gift that ignorance has to bring to anything. That was the gift I brought to Kane, ignorance.”

"In a world first, zookeeper Rohan Cleave captured the amazing hatching process of a critically endangered Lord Howe Island Stick Insect at Melbourne Zoo. The eggs incubate for over 6 months and until now the hatching process has never been witnessed. If you didn't see it you wouldn't believe it could fit in that egg!"

"Our speaker at the March 2012 Portland/CreativeMornings was Aaron James Draplin (draplin.com). The event was generously hosted by Ziba (ziba.com) and sponsored by 52 Limited (52ltd.com). Many thanks to Pro Photo Supply (prophotosupply.com) for lending us the gear to capture the talk and to Paul Searle (psearle.com) for shooting and editing this video."

"They've won countless awards for their graphic work, but now it's time to dive behind what makes America's most venerated general interest newspaper stand a world apart. Graphics director Steve Duenes and his team of 30-some journalists at The New York Times turn around images at a breakneck daily, if not an hourly, pace, sorting and sifting through reportage to provide the clearest visualization of data possible."

"So the talk became “Waving at the machines”, a 50-minute, 120-slide vector through the idea, an idea that still seems massive and nebulous, but which it is possible to fire a laser through and illuminate some motes. I’m not sure I managed to phrase the camouflage stuff quite right, and the need for an ending always feels like a cop-out, but nevertheless, I cover many of the bases. (Web Directions have also transcribed the entire talk, should you be so crazy as to attempt to read it.)"

"James Bridle talks about literature and storytelling when everything has become digital, the construction of knowledge and collaborating with robots. Ham, spam, word salad, and what is important in a tent."

""Oldie" probably doesn't need to be ten and a half minutes long. Any of the following could've made the song "tighter": speeding up the 36 BPM/36 Chambers lurch of the backing track, having Earl Sweatshirt's momentous comeback verse as the closer, cutting out Jasper Dolphin entirely. But that's missing the point: OFWGKTA was a rap crew before they were a "Loiter Squad", so "Oldie" accomplishes what "Window" and even "Sandwitches" couldn't before. It's their definitive for-the-love posse cut, somewhere between "Protect Ya Neck" and "Make ‘Em Say Ugh" in terms of form and function. In such close quarters, their competitive camaraderie manages to accomplish what two years of outside criticism couldn't, and everyone involved from Domo Genesis to Hodgy Beats and, yes, even Jasper Dolphin sound legitimately inspired to steal the track, even if Tyler, The Creator and Earl Sweatshirt end up doing so anyway. Like much of The OF Tape Vol. 2, "Oldie" was made for both the diehards and Odd Future's own amusement. If Goblin or anything else they did in 2011 made you jump ship, though, it's the willingness to push each other here, rather than simply push buttons, that might remind you what was so exciting about these guys in the first place."

A lightweight, easy-to-use jQuery plugin for fluid width video embeds.

James Lavadour paints abstract landscapes. Following parallels with the properties of the natural world, earth and geology with that of paint and the layering or removal of paint, Lavadour's work reflects his deep relationship to the earth and landscape of eastern Oregon and at the same time his continuous curiosity with the painting process.

Fascinating footage of testing the drug in Communist Czechoslovakia a highlight of One World film ‘The Substance – Albert Hofmann’s LSD’

“This year’s Biennial enchants—albeit darkly, in some cases,” writes Peter Schjeldahl, in his review of the 2012 Whitney Biennial. In this audio slide show, Schjeldahl describes the exhibition and analyzes a selection of its works, including one of his favorites, a series of paintings by Nicole Eisenmann.

"
As is often the case with a hit rap song, lots of people have been putting remix verses over the beat Chauncey "Hit-Boy" Hollis made for Jay-Z and Kanye West's smash "Ni**as In Paris." Everyone from T.I. to Chris Brown to Young Jeezy to Busta Rhymes to Aziz Ansari to a now-famous guy on the subway have taken the tune and making something new. This, though, is the best by far. Yasiin Bey, the rapper formerly known as Mos Def, flips the original's flaunting of wealth into a trenchant commentary on poverty."

Richard Serra in conversation with exhibition co-curator Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture, SFMOMA, on October 13, 2011.

Curator Michael Auping discusses the symbolism of the hooded figures in paintings by Philip Guston.

Artist Philip Guston discusses his paintings while at work in his studio.

It was A$AP Rocky‘s first time in Atlanta and he was shown crazy love by DJ Drama as he stopped by the Hot 107.9 for an interview. The Harlem native and Complex February/March cover boy was asked about everything from his influences to working with ScHoolboy Q and what it was like to meet Rakim.

Bret Victor invents tools that enable people to understand and create. He has designed experimental UI concepts at Apple, interactive data graphics for Al Gore, and musical instruments at Alesis.

UNDER THE LINE is an independent platform for video and short films.

We use it as an instrument for communication between designers, photographers, models, editors, audience and clients. Usually we find additional interesting information under the line. UNDER THE LINE is just like that. We publish interviews, portraits, music promos, fashion and videos in general, with a certain personal attitude and strong point of view.

“I see no reason to not make a self-portrait each day,” the photographer says. “I’m always around and always free. It’s kind of like going to the gym—it flexes your muscles and keeps you in shape.”

SOPA and PIPA : What SOPA and PIPA are at face value and what they could end up enabling

Hotspur and Argyle is a film production company specialising in television commercials. It was set up at the beginning of 2002 by Theo Delaney and Danny Fleet who shared a wealth of experience in commercials-making and a strong desire for the creative freedom that their own set-up could give them. Hotspur and Argyle makes all kinds of commercials for Britain, Europe and America. The company was named after Delaney’s favourite boyhood comic and Fleet’s favourite boyhood jumper.

Today in New York, Amazon introduced Silk, an all-new web browser powered by Amazon Web Services (AWS) and available exclusively on the just announced Kindle Fire. You might be asking, “A browser? Do we really need another one?” As you’ll see in the video below, Silk isn’t just another browser. We sought from the start to tap into the power and capabilities of the AWS infrastructure to overcome the limitations of typical mobile browsers. Instead of a device-siloed software application, Amazon Silk deploys a split-architecture. All of the browser subsystems are present on your Kindle Fire as well as on the AWS cloud computing platform. Each time you load a web page, Silk makes a dynamic decision about which of these subsystems will run locally and which will execute remotely. In short, Amazon Silk extends the boundaries of the browser, coupling the capabilities and interactivity of your local device with the massive computing power, memory, and network connectivity of our cloud.

I've reduced the future of the internet to six verbs.

*Screening

*Interacting

*Sharing

*Flowing

*Accessing

*Generating

These stand for six large-scale trends moving through and comprising this new media. I expanded the notions in this 25-minute talk I did recently for Wired, at their Nextwork gathering in NYC. You can watch the video here.

Publication is the creation of a public. It is an essentially political act.

Anselm Kiefer: over your cities grass will grow
directed by sophie fiennes