Everyone’s getting creative these days – here’s a video my 11 year old did. Of course it’s Minecraft-related.
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Everyone’s getting creative these days – here’s a video my 11 year old did. Of course it’s Minecraft-related.
In the Style of Me is a project intended to provide an art challenge to any and all artists, crafters, photographers, sculptors and other creatives.

To participate all you have to do is submit a photo, scan or digital illustration of a piece of art you have done that is your interpretation of another famous work of art – but in your own style. For instance, you could collage the Venus Di Milo, sketch your version of a Rousseau, or sculpt “The Scream”.
For those that need a little more prodding or inspiration, each week an artist will be chosen for participants to ‘Style’.
The season will run from March 21st until December 23rd. Submissions will be accepted until December 23rd 2012.
Go here to join in the fun!
Alchemy gets a bad rap these days, seen only as a primitive version of chemistry – its practitioners greedy fools thinking they could turn lead into gold.
The truth is that Alchemy was an early attempt to understand how the world worked, and it blended ideas from religion and science.
Some Alchemists believed that if they understood enough about the elemental forces in nature, they would be able to create the philosopher’s stone, which would be able to turn base matter into gold. Other Alchemists were driven more by the quest for spiritual enlightenment, and saw their proto-chemistry experiments as a reflection of an inner journey.
A guy called Adam McLean has put together a massive site dedicated to the subject. If you’re interested in philosophy or chemistry (or Hermeticism, or the Tarot) go have a look.
Religious people often claim that atheists can’t possibly have a moral compass that will guide us to behave well, since we have no God to tell us what is right and what’s wrong.
I find it ironic, therefore, to read in today’s Age an article about a Rabbi at a Jewish college here in Melbourne who “has changed his evidence about his knowledge of alleged paedophilia and conceded he was aware in the early 2000s of rumours that a former security guard had molested children”.
Suffice it to say that the subject of the rumours was not immediately reported to the police.
What would you do if there were rumours that a member of your staff was molesting children at your school? Just keep an eye on him and hope you hear nothing more? Or get the police involved and have it properly investigated?
I don’t know about you, but I’d call the police in, because the consequence of not getting to the bottom of it immediately would be that kids in my care might be at risk of sexual abuse.
I think my moral compass is in pretty good order.
How did the Rabbi not consider this his top priority? Was his moral compass broken?
We can only guess at what religous justification he may have had for acting as he did. Perhaps religion had nothing to do with his decision. Either way, given that further molesting is alleged to have occurred later, it’s at the very least a spectacular failure of judgement, don’t you think?
I’ve been developing for the web since 1994, and in that time I’ve seen technologies come and go. Some have been truly bad ideas from the start (like the blink tag). Others filled a genuine need (like Flash).
Back in the mid-nineties, I dabbled a lot with Macromedia Director. I spent countless hours building a thing I called the ColourZoomer, which loaded an image and then let you interactively change the colours, zoom and crop it. I learned a lot about OO programming doing that.
I also built an application called “The Alchemist“, which was like a ColourZoomer on steroids. It let you load images and videos, and layer them together and do nifty things like move them around independently while leaving trails of pixels behind. Here are some images I made with it:
It also could load images from and update itself over the web. I was convinced this was how all applications would be one day.
Sadly, these days my ColourZoomer and Alchemist apps are non-functional (unless you happen to have a very old PC or Mac lying about) because they relied on proprietary technology (Shockwave for Director) from a single company (Macromedia). Over time, that company was bought by Adobe, and priorities changed. Director was dropped, and plugin and runtime support followed suit.
The moral of the story is, don’t buy into a single vendor’s marketing about how their technology is a sure bet. Companies with shareholders to feed are always going to drop any proprietary technologies, no matter how vigorously they’ve promoted them, when it’s in the interests of their shareholders to do so.
That’s why I always use standards-based technology where possible and am loving the resurgence of interest in, and the new power of, HTML(5).
Welcome to the new Alchemy site.
The last version of this site was designed in 1997, so this new one is a total reset – 15 years in the making.
When this site started in 1995, if you wanted an image gallery you built it yourself. So I did. Now, there are nice ones that you can have for free and that look much nicer than what I was able to build back then.
Back in 1995, I decided to run this site as a communal gallery so I built the capability to allow other people to upload their own artwork for display. At the time this was a novel idea (I was doing it before DeviantArt came along, and all the others that later sprang up). I also built some online tools for doing image manipulation, using the netpbm library. So, for a while there this site was pretty cutting-edge, and provided a useful service to other artists.
These days there are so many sites where artists can upload, modify and show their work that I decided that I’d drop all that from this new version and just host my own work.
So, this site reset represents the end of an era, but the start of a new one. From now, this is going to be a site where I just put stuff I’ve done – artwork but also music, combined with the occasional blog post.
If you are an artist who used to be hosted on the old site – you can still visit it if you want. Thanks for being a part of it, and best of luck for the future!
Also, here are the nearly 10 years worth of comments.
It seems to me that a lot of the problems caused by democracy (corruption, lack of representation, mindless politicking, fear and loathing campaigns, dog-whistling, short-termism etc) are attributable to the fact that our parliamentry system is based on very old technology – the idea that the only way the voice of the people can be heard is for those people to be organised by geographical areas where all will vote for a single person who will go and represent them and their area in a parliament somewhere.
What this causes is a concentration of power in the hands of a few, most of whom we actually know very little about, do not really trust, and who often actually *fail* to represent our views, essentially rendering us powerless. The types of people who seek office are also often the very people least suited to serving the public good – instead they are egotistical and power-seeking, and too often prone to engaging in corrupt or unethical behaviour to maintain their positions in the system.
So the first challenge is to reduce the power of individual representatives and parties, in favour of more direct representation of our individual views.
We will still need some sort of system to receive and collate those views, and to coordinated the functions of government, but it should also be a system that does not require career politicians to keep running.
By using technology to collect and collate the views of the people *directly* we would have a much more democratic system. And by stripping away the power from politicians, politics will start to attract only those ones that want to do it for the right reasons, ie that they have a *genuine* desire to make life as good as it can be for as many people as possible.
Another problem inherent in democracy is that it accords an effectively equal weight to the vote of every person on every issue. I think this is a mistake, and one which inherently we all understand to be a mistake because we understand that not everyone is equally qualified to make decisions about particular questions.
Here’s an obvious analogy: if you’re sick, you go to an expert and allow them to diagnose your symptoms and give you advice on how to get better. You don’t go to a builder (who you may well trust to build you a house) or a baker. You ask the expert for their opinion, and trust them to know what they are talking about.
Most of us are also sane enough to know that we, individually, don’t know everything and are happy to defer to someone we think knows more about a subject than we do. That’s not to say that there is not a large grey area in each of these where we all might like our *opinions* to be taken into account, but we are, I think, generally prepared to accept that our opinions don’t make us experts in a particular field and that they should be weighted accordingly.
So the second challenge is to find a system that allows expertise about a subject to add weight to the votes of those experts.
I believe technology could be employed to address both of these challenges and that the resulting system could lead to better representation, less corruption and better decision-making.
I believe such a system could introduce the sort of weighting of opinion based on expertise that would make democracy much better able to yield wise decisions.
Finally, I also believe such a system could prove popular, as it enables everyone to feel that their abilities and skills will be taken into account when they vote on particular issues.
Discuss.
Do you see, mesdames et messieurs, the contents of my shop? It is full of great works. The human spirit has been squeezed dry by their creation. They stand here, mute but immutable; silent evidence; the fingerprints of the human soul.
You can see it in every stroke. The soul is the work’s shadow. It is set in the hardened paint like the figures frozen at Pompeii, or the silhouettes of those vaporised at Hiroshima.
What price shall I put on them?
I’m interested in how a “realistic” image captured by a camera can evolve into something more abstract. Digital photography is my chosen medium because it gives me new ways of looking at and working with images. With it I can take an image through different colour spaces, rotate its hues, change its luminosity, blur it, bend it and blend it.
To me, a lot of computer art seems flat and lifeless. I think this is because it doesn’t make reference to anything that I understand as being real, that I have experience of. I find it hard to get interested in images a computer can create by itself. Computers are powerful tools but they can’t be trusted to make aesthetic decisions. Would you let a hammer build you a house?
We all have creative souls, don’t we?
We create, we procreate, we recreate; we can’t help it -
we are too afraid of dying to stand still. Too afraid of being forgotten.
When the bomb comes we want to leave our mark on the ground.
We want people who come after us to say
“Oh look, there was a human being here once.”
Given my enthusiasm for technology, it might seem ironic that nearly all of my images originate from nature. This is because I love the forms and textures that occur in nature. Nature has a knack for creating them that is hard to beat. It’s shapes and forms are compelling to us, to which any gallery will bear witness.
I am interested in the power that these forms have to prick our psyches, to challenge our way of seeing the world. I think that the relative absence (coy avoidance?) of the male form and representation of the male as sexual being in art is an interesting counterpoint to the way men see themselves today, especially in reference to the ‘sexual revolution’.
Even destruction is a form of creation. That’s why we have come up with such
fancy ways of destroying ourselves. It is a creative pursuit like any other.
I am not very original. I am smoking myself to death.
When I work on an image I try to extract the essence of the subject, or at least the essence of my response to it. I search for the stuff which must be amplified and drawn out before it can be seen.
This war of attrition against the distractions of the whole lets me focus on the seminal in an image. It brings the attention down to the salient, the telling.
A portrait of the artist. As a middle-aged man.
I strain my eyes to see something more.
Nothing is revealed.
Disappointed.
Ashamed.
Don’t my paintings reveal me?
Isn’t there a life there, rich and full?
I did them all; can’t you see me there?
To browse through my work, choose Art from the menu up the top. I hope you enjoy your visit. If you feel like getting in touch with me, leave a comment.
The quotes used above are from my play, “Con-Artist” © Guy Morton 1991