Discover the little paper world constructed by artist Charles Young who conceived of the idea as a 365-day creative project to explore different architectural forms through paper, every single day for a year. Except… it turns out he never stopped. The tiny paper metropolis has now grown to 635 buildings, many with moving parts that Young expertly animates and shares daily on his Tumblr. The entire papercraft city will be on view from November 10-26, 2016 at the NEoN Digital Arts Festival in Dundee, Scotland.
WHY CODING IS A BIG DEAL
Google started Made with Code because increasingly more aspects in our lives are powered by technology, yet women aren’t represented in the roles that make technology happen.
If the community can inspire girls to see that code can help them pursue their passions, whatever they may be, then hopefully they will begin to contribute their voices to the field of technology for the benefit of us all.
They can’t draw worth a darn, they walk like drunks, and they definitely can’t talk right. No, I do not want “basgetti” for dinner.
They fail at everything they try. They fall down. They hit their heads.
They are ridiculous, persistent to a fault, exhausting, outlandish, wild, and sometimes downright annoying.
But that’s only because nobody’s told them to grow up yet.
“I think somewhere along the way, we just forget how to suck.”
This gem came out of a conversation I had on Anchor the other day.
“We forget how to suck.”
Yeah, I’ll say.
Our students are shuffled into “honors” and “remedial” classes on the basis of one test in middle school.
Our career tracks are dumbed down to “do this and then do it better and then do it until you die.”
Our hobbies are “frivolous.”
What’s the point of sucking when you could WIN! Winning, after all, is what life is all about.
Be an idiot
When Netflix tried to sell to Blockbuster they were laughed out of the room
“The Internet is a fad” people said, probably chortling through fat cigars. “You must be joking!”
I’m probably the worst with directions. I leave for a place and then pull up the map on the fly. If it’s wrong, I have no chance. If I think I know where something is, that’s a very good indicator I’m within 100 miles of an address.
Not quite as accurate as Siri, but hey.
Do you know what else I used to be terrible at? Writing. The pitch to my college newspaper had approximately one hundred million red marks through it. They let me in anyway because I had “potential.”
(As I later learned, it was actually because they had no staff. It’s fine, though. I’m not too proud to take pity).
I was terrible for a long time. Longer than I should have been. Recently some people have told me I’m not terrible, but now my definition of “terrible” changed so who knows if I will ever get over it?
Such is art.
Be a dreamer
It’s odd, because somehow artists have gotten caught up in this entrepreneurial fad. Like we can hustle our way to a creative breakthrough.
But dreaming is not productive. It’s not supposed to be. But we try and pigeonhole it anyway. We have brainstorming exercises or idea sessions or creative collaboration events or whatever activity fits the buzzword of the moment.
Do you know what’s funny about people who are dreaming, though?
They are asleep.
Unaware of the world and unaware of a problem. Indifferent to business and hustle and work. Incapable of worry or stress.
You can’t dream on purpose.
That’s the whole point.
Be an explorer
And here’s the thing about exploration — it’s hard.
People are trying to go to Mars now. That’s hard.
In the 1800’s people went through grizzly bears and mountains and dissentary and eating squirrels to make their way out West. That was hard. (Trust me, I played and beat the Oregon Trail. I get it.)
Frontiers, whether literal or figurative, are difficult to reach.
But almost always worth it.
Be a self starter
Nobody will take your art deeper than you can. Not a guru. Not a role model. Not a mentor. Not your boss. Not your spouse.
And that’s hard too. Because some days you won’t feel like it. Some days you won’t feel like putting in your 750 words or mocking up a new design orjournaling.
Also, it’s lonely. People start to identify you by your work instead of your being.
And you go deeper still.
“I don’t get it,” they’ll say.
And you go deeper still.
“You don’t have to do this all the time, you know,” they’ll say.
Nobody will make you do it. But you’ll go deeper still.
Be an outcast
Creative people generally don’t fit in. That’s okay though. At least we can all not fit in together.
Here’s an interesting thing about the Internet — you are no longer condemned by geography.
What are you going to do with that freedom?
Be a kid
“I want to grow up”
We were at summer camp, where Max shot an arrow for the first time, climbed a rope up a rock wall, and made a friendship bracelet for his sister.
In the same day.
He did all of these things terribly. By the end of the summer, of course, he was better at them. 3 years later, he was an expert, and didn’t remember ever meeting me.
Walter Gropius, “Bauhaus Manifesto and Program” (1919)
The ultimate aim of all visual arts is the complete building! To embellish buildings was once the noblest function of the fine arts; they were the indispensable components of great architecture. Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as “salon art.” The old schools of art were unable to produce this unity; how could they, since art cannot be taught. They must be merged once more with the workshop. The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again. When young people who take a joy in artistic creation once more begin their life’s work by learning a trade, then the unproductive “artist” will no longer be condemned to deficient artistry, for their skill will now be preserved for the crafts, in which they will be able to achieve excellence. Architects, sculptors, painters, we all must return to the crafts! For art is not a “profession.” There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. In rare moments of inspiration, transcending the consciousness of his will, the grace of heaven may cause his work to blossom into art. But proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination.
Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.
Program of the Staatliche Bauhaus In Weimar
The Staatliche Bauhaus resulted from the merger of the former Grand-Ducal Saxon Academy of Art with the former Grand-Ducal Saxon School of Arts and Crafts in conjunction with a newly affiliated department of architecture
Aims of the Bauhaus
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the
disciplines of practical art-sculpture, painting, handicrafts, and the crafts-as inseparable
components of a new architecture. The ultimate, if distant, aim of the Bauhaus is the unified
work of art-the great structure-in which there is no distinction between monumental and
The Bauhaus wants to educate architects, painters, and sculptors of all levels, according
to their capabilities, to become competent craftsmen or independent creative artists and to form a
working community of leading and future artist-craftsmen. These men, of kindred spirit, will
know how to design buildings harmoniously in their entirety-structure, finishing, ornamentation,
Principles of the Bauhaus
Art rises above all methods; in itself it cannot be taught, but the crafts certainly can be. Architects, painters, and sculptors are craftsmen in the true sense of the word; hence, a thorough 2 training in the crafts, acquired in workshops and in experimental and practical sites, is required of all students as the indispensable basis for all artistic production. Our own workshops are to be gradually built up, and apprenticeship agreements with outside workshops will be concluded. The school is the servant of the workshop, and will one day be absorbed in it. Therefore there will be no teachers or pupils in the Bauhaus but masters, journeymen, and apprentices. The manner of teaching arises from the character of the workshop: Organic forms developed from manual skills.
Avoidance of all rigidity; priority of creativity; freedom of individuality, but strict study
Master and journeyman examinations, according to the Guild Statutes, held before the
Council of Masters of the Bauhaus or before outside masters.
Collaboration by the students in the work of the masters. Securing of commissions, also
Mutual planning of extensive, Utopian structural designs-public buildings and buildings
for worship-aimed at the future. Collaboration of all masters and students-architects, painters,
sculptors-on these designs with the object of gradually achieving a harmony of all the component
elements and parts that make up architecture.
Constant contact with the leaders of the crafts and industries of the country. Contact with public life, with the people, through exhibitions and other activities.
New research into the nature of the exhibitions, to solve the problem of displaying visual work and sculpture within the framework of architecture.
Encouragement of friendly relations between masters and students outside of work; therefore plays. lectures, poetry, music, costume parties. Establishment of a cheerful ceremonial
at these gatherings.
Range of Instruction
Instruction at the Bauhaus includes all practical and scientific areas of creative work.
including all branches of the crafts.
Students are trained in a craft (1) as well as in drawing and painting (2) and science and theory (3) Craft training-either in our own, gradually enlarging workshops or in outside workshops to which the student is bound by apprenticeship agreement-includes:
a) sculptors, stonemasons, stucco workers, woodcarvers, ceramic workers, plaster casters,
b) blacksmiths, locksmiths, founders, metal turners,
e) etchers. wood engravers, lithographers, art printers, enchasers,
Craft training forms the basis of all teaching at the Bauhaus. Every student must learn a craft.
Gropius, 1919 Bauhaus Manifesto
2. Training in drawing and painting includes:
a) free-hand sketching from memory and imagination,
b) drawing and painting of heads, live models. and animals,
c) drawing and painting of landscapes, figures, plants, and still lives,
e) execution of murals, panel pictures, and religious shrines,
f) design of ornaments,
h) construction and projection drawing,
i) design of exteriors, gardens, and interiors,
j) design of furniture and practical articles.
3. Training in science and theory includes:
a) art history-not presented in the sense of a history of styles, but rather to further active
understanding of historical working methods and techniques,
b) science of materials,
c) anatomy-from the living model,
d) physical and chemical theory of color,
e) rational painting methods,
f) basic concepts of bookkeeping, contract negotiations, personnel,
g) individual lectures on subjects of general interest in all areas of art and science.
Divisions of Instruction
The training is divided into three courses of instruction:
I. course for apprentices,
II. course for journeymen,
III. course for junior masters.
The instruction of the individual is left to the discretion of each master within the
framework of the general program and the work schedule, which is revised every semester. In
order to give the students as versatile and comprehensive a technical and artistic training as
possible, the work schedule will be so arranged that every architect, painter, and sculptor-to-be is
able to participate in part of the other courses. Admission
Any person of good repute, without regard to age or sex, whose previous education is deemed adequate by the Council of Masters, will be admitted, as far as space permits. The tuition fee is 180 marks per year (It will gradually disappear entirely with increasing earnings of the Bauhaus). A nonrecurring admission fee of 20 marks is also to be paid. Foreign students pay double fees. Address inquiries to the Secretariat of the Staatliche Bauhaus in Weimar. April 1919.
The administration of the Staatliche Bauhaus in Weimar:
Day of the Dead or Día de Muertos is a holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican ancestry living in other places, especially the United States. It is acknowledged internationally in many other cultures.
The multi-day holiday focuses on gatherings of family and friends…
The multi-day holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died, and help support their spiritual journey. In 2008 the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.
The holiday is sometimes called Día de los Muertos in Anglophone countries, a back-translation of its original name, Día de Muertos. It is particularly celebrated in Mexico where the day is a public holiday. Prior to Spanish colonization in the 16th century, the celebration took place at the beginning of summer. Gradually it was associated with October 31, November 1 and November 2 to coincide with the Western Christian triduum ofAllhallowtide: All Saints’ Eve, All Saints’ Day, and All Souls’ Day. Traditions connected with the holiday include building private altars calledofrendas, honoring the deceased using sugar skulls, marigolds, and the favorite foods and beverages of the departed, and visiting graves with these as gifts. Visitors also leave possessions of the deceased at the graves.
Scholars trace the origins of the modern Mexican holiday to indigenous observances dating back hundreds of years and to an Aztec festival dedicated to the goddess Mictecacihuatl. The holiday has spread throughout the world, being absorbed within other deep traditions for honoring the dead. It has become a national symbol and as such is taught (for educational purposes) in the nation’s schools. Many families celebrate a traditional “All Saints’ Day” associated with the Catholic Church.
Originally, the Day of the Dead as such was not celebrated in northern Mexico, where it was unknown until the 20th century because its indigenous people had different traditions. The people and the church rejected it as a day related to syncretizing pagan elements with Catholic Christianity. They held the traditional ‘All Saints’ Day’ in the same way as other Christians in the world. There was limited Mesoamerican influence in this region, and relatively few indigenous inhabitants from the regions of Southern Mexico, where the holiday was celebrated. In the early 21st century in northern Mexico, Día de Muertos is observed because the Mexican government made it a national holiday based on educational policies from the 1960s; it has introduced this holiday as a unifying national tradition based on indigenous traditions.
The Mexican Day of the Dead celebration is similar to other culture’s observances of a time to honor the dead. The Spanish tradition included festivals and parades, as well as gatherings of families at cemeteries to pray for their deceased loved ones at the end of the day.