“One of those two Zippo lighters was in Franklin D. Roosevelt’s pocket when he was assassinated. And one wasn’t. One has historicity, a hell of a lot of it. As much as any object ever had. And one has nothing. Can you feel it? … You can’t. You can’t tell which is which. There’s no ‘mystical plasmic presence,’ no ‘aura’ around it.” —Philip K. Dick, The Man in the High Castle Continue reading →
“Although he is now a god, he is still the same lovable young man we’ve always known. I can attest to that. And to enable his relationships with all of us to continue exactly as they were, he has decided, for convenience, to retain his mortal form. Oh and by the way his sister Drusilla’s become a godess. Any questions?” —Macro, in the BBC’s I, Claudius Continue reading →
I’m publishing this work as an example for my application for the Tate IK Prize 2015. My project—Tate Britain Unbound—would digitize and publish as many modern-era, public domain sculptures in Tate Britain’s collection as the project’s budget allows, along the lines of my Through A Scanner, Skulpturhalle project. This Eric Gill capture is a demonstration both of what’s feasible, and of my sincere interest in increasing access to Tate Britain’s collection. Continue reading →
“[T]he mere knowledge that such a work could be created and still exists in the world makes me feel twice the person I was … If I can get hold of a good cast of this Medusa, I shall bring it back with me…”—Goethe, Italian Journey
“Did I ever tell you about the time I designed a uniform for tank crewmen? It was green leather, it had red stripes, and a row of brass buttons down across here. And topped off by a gold football helmet. The Army rejected it, of course. Goddamn, it was beautiful.”—Patton
“The trouble with tech: You get tempted to do some seductive but counterproductive things, just because you can … Hokey digital mashups, I believe, run counter to promoting deeper understanding of the works in @MetMuseum’s collection.”—Lee Rosenbaum, @CultureGrrl
“[Kore 678] is attired in a travesty of the Ionic costume betraying faulty imitation … The garments fit so closely to the body behind as to suggest absolute nudity. Here again we have unintelligent imitation.”—Guy Dickins, Catalogue Of The Acropolis Museum, 1912
“It makes no difference what men think of war… War endures. As well ask men what they think of stone. War was always here. Before man was, war waited for him. The ultimate trade awaiting its ultimate practitioner.”—Cormac McCarthy, Blood Meridian
“Supreme western works of art, like Oedipus Rex and Hamlet, preserve their indeterminacy through all interpretation. They are morally ungraspable. Even the Venus de Milo gained everything by losing her arms.” — Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson
In response to Thingiverse’s “Capture Your Town” challenge I’ve captured several locations in Anaheim; “my town”, broadly speaking, being Southern California. These are significant locations here, for horrible reasons:
The first 3D photoscan is of an ephemeral memorial marking the location where Manuel Diaz was shot to death by Anaheim police on July 21, 2012, at 704 North Anna Drive.
I spent several hours scanning sculptures at the Norton Simon Museum in Los Angeles in June 2012. I was very happy that their 1905 cast of Auguste Rodin’s 1877 The Walking Man scanned the best: a seminal piece from a movement dedicated to seeing and expressing the world in new ways, with new eyes…
When The Getty Center first opened its doors in 1997, a local billionaire remarked that it was “too good for Los Angeles.” Luckily, the J. Paul Getty Museum knows better. Nothing is too good for Los Angeles, and no works of art are too good for the people who admire them.
For thousands of years, powerful people have commissioned artists to venture into museums, churches, temples, and ruins around the world to make copies for their private collections. Today, with 3D scanning, photo-stitching, and printing, that tradition is poised to evolve and spread faithful reproductions of treasured artwork far beyond the walls of elite palaces.
A crude little portrait of a crude little man—MPAA Chairman and CEO Chris Dodd, emblazoned with the 09F9 AACS encryption key. I created this object and published a torrent of it on The Pirate Bay as soon as those crazy bastards announced their “physibles” category on January 23, 2012. The torrent is here. Print it, and behold the visage of yesteryear.