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Paik’s Video Study is a 700-piece archive of the work of Nam June Paik

This is what media art nerd YouTube looks like – a heaven for fans of the transformative output of Nam Jun Paik, organized by the artist himself, in both English and Korean. Via Cosmin TRG.

The post Paik’s Video Study is a 700-piece archive of the work of Nam June Paik appeared first on CDM Create Digital Music.

Faded Instruments has a line of candy-colored 1U tools – easy modular stocking stuffers

Faded Instruments is a boutique builder from artist Doron Sadja, who’s making the most of 1U with cute, candy-colored, passive, and really inexpensive tools you can add to any 1U row. #1UTuesday continues -

The post Faded Instruments has a line of candy-colored 1U tools – easy modular stocking stuffers appeared first on CDM Create Digital Music.

The latest 1U tool is a DJ-style innofader crossfader from intellijel

It crossfades. It controls. It’s a mixer. It’s stereo. It’s mono. Intellijel continues to spawn new module ideas in the 1U format they created – now with a crossfader module. That may get the attention of anyone who hadn’t taken 1U seriously yet.

The post The latest 1U tool is a DJ-style innofader crossfader from intellijel appeared first on CDM Create Digital Music.

Review of ‘Like Water: A Cultural History of Bruce Lee’ by Daryl Joji Maeda

 

Daryl Joji Maeda, Like Water: A Cultural History of Bruce Lee  (New York: NYU Press, 2022), 336 pp.

 

Reviewed by Paul Bowman, Cardiff University

 

 

Bruce Lee died at 32 years old in Hong Kong on 20th July 1973. He was the biggest box office star in Asia, a rising star in the West, and was on the verge of unprecedented international fame with the imminent release of his fourth martial arts film, Enter the Dragon, the first ever Hong Kong and American co-production. Nonetheless, almost thirty years later, the sports journalist Davis Miller noted, in the biography The Tao of Bruce Lee, that Lee was perhaps the most famous name of the twentieth century about whom we know the least. The irony is that this assertion was made in a publication on Bruce Lee that was itself one of an almost constant stream of publications on Bruce Lee that have appeared since his death. But the point was valid: Bruce Lee was extremely well-known, but only in a textual and not a biographical sense. His films, images, words and sounds were (and remain) staples of popular culture. But his biography was unclear. Hence interpretations of his cultural significance could really only be tethered to textual analysis of his film and television work, his writings and his martial arts legacy (or what others had made of that legacy).

 

In the two decades since Miller made his observation about the lack of serious research into Bruce Lee, a great deal has changed. The hagiography, myth-making and maintenance of ‘Bruce Lee the legend’ remain active enterprises across media and various forms of publication. In fact, Bruce Lee myth-peddling has demonstrably increased in recent years, as evidenced by the growth of a belated 21st century interest in Bruce Lee in mainland China (as seen in numerous new TV series ‘about’ Lee), the development of Bruce Lee museums and cultural institutions in Hong Kong, the erection of monuments around the world, and of course the mythic beatification of Bruce Lee’s kung fu teacher Ip Man in a growing series of dynamically fanciful films made by several different directors since 2008.

 

But, at the same time, over recent years, several trajectories of serious scholarship have forged new paths into the body of texts and tangles of ideas and arguments about Bruce Lee. Some of these are purely biographical, with Matthew Polly’s 2018 book, Bruce Lee, A Life, standing as the ultimate achievement in that genre. Various others connect the textual Bruce Lee either to other texts (clarifying his borrowings from and contributions to film and media) or to cultural and political movements and changes more broadly (showing how Bruce Lee’s ideas and images fed from and back into larger national, international and even global movements in history).

 

Daryl Joji Maeda’s 2022 study, Like Water: A Cultural History of Bruce Lee (NYU Press) attempts to span much of this terrain, tying Lee’s personal biography to both his immediate cultural context and broader movements in history, all the while developing a clear argument about his cultural significance. In this, Maeda’s work is very satisfying. In reading it, I came to think of the work’s two major strategies as juxtaposition and back-filling. In other words, biographical events in Lee’s life are situated in the context of larger political, legislative, economic and historical movements and processes (juxtaposition), and information about almost all of the other names, characters and historical events connected with Lee is provided in abundance. I think of this as ‘back-filling’ because while so many of the names connected with Bruce Lee (family, friends, students, actors, writers, filmmakers, etc.) are now vaguely familiar by association, few biographers have thought to dig into these other characters’ narratives. Maeda, however, back-fills all of this thoroughly, in order to produce a cultural history that is historically and biographically well-referenced, combined with academic interpretations of key aspects of Lee’s film, television and writing – new readings that are developed in full light of the facts of his time and place.

 

In this respect, the work picks up the baton carried in the development of biographical knowledge about Lee by Matthew Polly, and links this with studies that emphasize Lee’s importance for anti-racist, civil rights and postcolonial movements around the world, such as the works of Vijay Prashad and M. T. Kato. And this is the strength of Like Water: A Cultural History of Bruce Lee. For, in situating Lee in relation to certain currents of economic, political and military history in both the USA and Hong Kong, Maeda goes a long way to articulating precisely the possible connections between Bruce Lee and progressive cultural and political movements that so many other scholars, activists and fans have gestured to.

 

However, this strength is also its main weakness. For, there are at least two possible criticisms of Maeda’s overarching approach. Firstly, like any cultural history, Maeda’s narrative – rich and compelling as it often is – is necessarily selective. And Maeda’s selection criteria cannot be disconnected from very contemporary debates. Accordingly, to echo a point made by Walter Benjamin in ‘The Task of the Translator’, Bruce Lee’s cultural-political status is established by refracting it through or translating it into the concerns and terms of the now. All of which is arguably fine, as many of the cultural-political and civil rights struggles of Lee’s era continue to this day. However, a second criticism is perhaps stronger. Namely, in advancing an argument about and an account of an ideologically progressive Bruce Lee, whose beliefs, actions and interventions are all to be regarded as resolutely cosmopolitan, anti-racist, egalitarian and ethico-politically principled, Maeda never pauses to consider any counter-narrative or alternative argument. Thus, Lee is always placed on what many scholars will inevitably regard of ‘the right side’ of history. No attention is given to the possible ways in which he could just as easily be interpreted as a kind of ideal proto-neoliberal subject, a jobbing entrepreneur, a self-help guru, a self-interested and self-serving individualist, an apolitical dedicated follower of fashion, or an unfaithful drug-abusing celebrity, for instance.

 

Far be it from me to suggest that any of these possible counter-arguments have a stronger claim on the truth. But they are all there. Furthermore, if Maeda wants to place the ethnically Chinese, Hong Kong raised, but American adult Bruce Lee positively within a genealogical narrative that culminates in Black Lives Matter today, surely it is equally reasonable to ask how this fast-car, fast-living, jet-setting film star might fare when appraised in terms of other, equally contemporary narratives, such as those that lead to #MeToo, #bodypositivity or indeed our current environmental crises, to gesture to only a few other contemporary concerns.

 

Nonetheless, Maeda’s contribution is significant. The book is an easy and enjoyable read, but it is at the same time a major contribution our understanding of the biography, the context of the work, and the many culturally significant aspects of Bruce Lee, from his fight for fame to the nature of his contributions to film, popular philosophy and physical culture. As we approach the half century mark of Bruce Lee’s definitive and almost simultaneous global entrance and physical exit from the world, it is good to see the coming together of so much biographical and cultural detail, so that, finally, students and researchers of film, media, ethnicity, culture, migration and martial arts can make an informed assessment of the importance and contributions of ‘the Little Dragon’ to contemporary transnational popular culture.

 

 

NB: The theme of the July 2024 conference of the Martial Arts Studies Research Network is 50 Years After Bruce Lee: Asian Martial Arts Onscreen and Off

 


MARTIAL ARTS STUDIES RESEARCH NETWORK
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The best Cyber Monday deals you can get now on synths, plug-ins, and more

Cyber Week continues – and most of the deals we picked Friday are still good today. So here’s part two of the guide to “deals your credit card doesn’t want you to know about” – hand-picked from plug-ins to hardware.

The post The best Cyber Monday deals you can get now on synths, plug-ins, and more appeared first on CDM Create Digital Music.

MadMapper 5.2 is here, with more lasers! (and DMX CSV, Xbox controllers, and Kinect)

The best-known projection mapping tool now lets you do more with lasers. Oh, and if you’re not qualified to mess with those, there’s a bunch of other stuff, too.

The post MadMapper 5.2 is here, with more lasers! (and DMX CSV, Xbox controllers, and Kinect) appeared first on CDM Create Digital Music.

SAND hosts your iOS plug-ins, sequences them with patterns, records them

SAND does what Abledon’t.* If you miss plug-in hosting in Ableton Note, here’s a whole app built around sequencing and recording your instrument plug-ins on iOS.

The post SAND hosts your iOS plug-ins, sequences them with patterns, records them appeared first on CDM Create Digital Music.

7e édition de « Volumique », le salon créatif de l’École de design ????

Annonce de l’ÉDL :

« Une initiative festive de finissant.e.s de l’Universite? Laval

Que?bec, le 16 novembre 2022 — C’est avec fe?brilite? que les e?tudiant.e.s finissant.e.s des baccalaure?ats en design graphique et design de produits de l’Universite? Laval annoncent qu’ils uniront leur talent le 7 de?cembre prochain pour pre?senter la 7e édition du marche? Volumique (a? partir de 17 h). Cette foire festive de design unique, qui regroupe des produits conc?us et fabrique?s spe?cialement pour cette occasion par les e?tudiant.e.s, sera l’occasion de lever un verre a? l’inge?niosite? et l’audace des cre?atifs de demain, tout en leur permettant d’amasser les sous ne?cessaires a? la tenue de leur premie?re exposition.

Ouvert au grand public dans le hall de l’e?difice La Fabrique au coeur du quartier Saint-Roch, Volumique offrira la chance — pour un soir seulement ! — de se procurer des objets hors de l’ordinaire et de conception locale. Pour la cuisine, pour des solutions rangement ou une touche ludique, les objets faits main seront disponibles en se?rie limite?e ou en un seul exemplaire, qui sera alors mis a? l’encan.

Avec de la musique live, des performances surprises, un bar et un encan silencieux, ce marche?-e?ve?nement permettra a? toutes les personnes pre?sentes de profiter d’un avant-gou?t des fe?tes, ou? la rencontre avec la rele?ve de demain sera au coeur du plaisir.

Implique?.e.s a? chaque e?tape du de?ploiement et de la re?ussite de cette soire?e, les e?tudiant.e.s mobilise?.e.s derrie?re cette initiative amasseront avec cette activite? une partie des fonds ne?cessaires a? la tenue de Premie?re Expo, leur toute premie?re exposition, pre?vue a? la mi-mai a? La Fabrique. Une autre bonne raison de placer la cre?ativite? sous le sapin.

Marche? Volumique
7 de?cembre 2022, a? partir de 17 h
Hall de l’e?difice La Fabrique
Entre?e par le 250, rue de Sainte-He?le?ne »

Pour consulter le communiqué de presse original…

Pour consulter la page Facebook de l’événement…


Pour visiter le site internet de l’École de design de l’Université Laval…

Cet article 7e édition de « Volumique », le salon créatif de l’École de design ???? est apparu en premier sur Kollectif.

Conférence « Édifices et artifice / Impostor Cities » avec Thomas Balaban et David Theodore ????

De la part de l’ÉAUM :

« INVITATION
Mardi 6 décembre 2022, 17h30, amphithéâtre 1120 du Pavillon de la Faculté de l’aménagement

Conférence publique de l’École d’architecture de l’UdeM avec

  • Thomas Balaban, professeur agrégé et fondateur de l’agence d’architecture T.B.A.
  • David Theodore, Associate professor, Director, Peter Guo-hua Fu School of Architecture, McGill University

Édifices et artifice / Impostor Cities

Édifices et artifice / Impostor Cities est un projet de recherche sur l’identité culturelle et le « faire semblant ». Conçu pour une prestigieuse exposition mondiale, le projet braque les projecteurs sur les édifices et les lieux canadiens qui ont discrètement façonné nos récits cinématographiques. Réalisé avec David Theodore, directeur de l’École d’architecture de l’Université McGill et titulaire de la Chaire de recherche du Canada en architecture, santé et numérique, Édifices et artifice est une contreproposition ludique à la croyance fondamentale que l’architecture est ancrée dans la géographie, le climat et l’histoire. Elle soulève la question : “Si une rue à Vancouver peut jouer le rôle de Prague en matinée et de New Delhi en après-midi, et si l’usine torontoise de traitement des eaux R.C. Harris incarne inévitablement un hôpital ou une prison, qu’est-ce que cela signifie?”. Édifices et artifice nous montre comment l’architecture canadienne se substitue avec brio à d’autres lieux, et pousse une réflexion sur la signification de l’architecture et de l’identité de nos lieux dans ce monde connecté par les médias et nos écrans.

Thomas Balaban est professeur agrégé à l’École d’architecture de l’Université de Montréal et fondateur de l’agence d’architecture T B A. En partenariat avec Jennifer Thorogood, le studio montréalais allie pratique et recherche et produit des travaux uniques qui reflètent l’identité de nos villes tout en proposant de nouvelles trajectoires pour leur aménagement.

David Theodore est titulaire de la Chaire de recherche du Canada en architecture, santé et numérique à l’École d’architecture de l’Université McGill. Il codirige aussi le projet « Emerging Digital Methods for Architectural Research » à la Peter Guo-hua Fu School of Architecture. Critique dans le domaine du design ainsi que journaliste, il a notamment écrit pour les publications suivantes : RIBA Journal, Frame, Log, et le Harvard Design Magazine. Il est aussi corédacteur au Journal of Architectural Education.

Note aux membres OAQ : cette activité peut être admissible pour votre dossier de formation continue. Pour recevoir une attestation de présence veuillez-vous inscrire au préalable (lien d’inscription : https://catalogue.amenagement.umontreal.ca/) »

Pour consulter l’affiche de la conférence…


Pour visiter le site internet de l’École d’architecture de l’Université de Montréal…

Cet article Conférence « Édifices et artifice / Impostor Cities » avec Thomas Balaban et David Theodore ???? est apparu en premier sur Kollectif.

La firme dévoile sa nouvelle image de marque

Communiqué de presse de la part de LMAD :

« La firme d’architecture et de design a choisi de revoir son image de marque pour réaffirmer son leadership dans le domaine de l’architecture et du design

Québec, le 24 novembre 2022 – LemayMichaud marque un changement pleinement assumé en renouvelant son image de marque et en se dotant d’un tout nouveau logo. Réalisée par son équipe interne de design graphique, la nouvelle image est le résultat d’une année de travail visant à refléter son évolution et réaffirmer son positionnement comme leader dans le monde de l’architecture et du design.

Pensée et travaillée par les talents à l’interne
La refonte de la nouvelle identité a été réalisée par l’équipe interne de LemayMichaud. Cette décision a été toute naturelle pour les associé.e.s. La firme, qui offre elle-même des services de design graphique à ses clients, avait toutes l’expertise et les connaissances au sein de l’équipe pour produire ce type de mandat. D’autant plus que lorsqu’un tel projet est mis en place, la connaissance fine du produit et du service est un atout majeur pour la refonte.

« Créer l’émotion est un état d’esprit qui nous nourrit et depuis toujours, cette notion est présente dans chacune de nos actions, que ce soit lors de la conception d’un bâtiment, d’un lieu de vie ou de l’élaboration d’un univers graphique. Qui de mieux que des membres de notre équipe pour transposer cette façon de faire dans la création de notre nouvelle image! », souligne Marie-Christine Baillargeon, architecte associée principale chez LemayMichaud.

Un nouveau logo nourrit par la force d’un nom
LemayMichaud : le fusionnement des noms reflète à la fois l’unité, la collaboration, la complicité, la transdisciplinarité, tout en faisant un clin d’oeil à son histoire et sa notoriété de plus de 43 ans. À son nom s’additionne un symbole : un monogramme réunissant le L et le M, provoquant ainsi un jeu de forme-contreforme grâce à l’alliance de trois solides piliers. Il évoque à son tour, par sa composition abstraite, l’amalgame indissociable de l’architecture et du design, disciplines intimement liées depuis la fondation de la firme.

« Nous croyons à la fois à l’intemporalité visuelle graphique et à la justesse de son expression. Pour nous, se doter d’une nouvelle image représente aussi une façon de l’actualiser tout en maintenant notoriété et caractère », explique Étienne Savaria, directeur design graphique chez LemayMichaud. »

Pour consulter le communiqué de presse original…

Pour consulter les nouvelles déclinaisons de l’image de marque…


Pour visiter le (nouveau) site internet de LemayMichaud…

 

Cet article La firme dévoile sa nouvelle image de marque est apparu en premier sur Kollectif.

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