DIGITAL MOSAICS

THE AESTHETICS OF CYBERSPACE

This study of the impact of emerging technologies on the arts is instructive and informative, but lapses into elitist ramblings by its end. In this tour of various virtual worlds—from audio to animation, from a virtual re-creation of San Francisco to the animated flocking birds that were the basis for the swarming bats in Batman Returns—Holtzman (Digital Mantras, 1994) does a marvelous job of showing that ``the most exciting aspect of using computers as creative partners is the possibility of creating completely new worlds, worlds unimaginable before computers.'' He has a knack for taking relatively difficult concepts—for example, the use of fractals (random, computer-generated polygons) in producing lifelike, three-dimensional graphics of mountains, flowers, or chameleons—and making them understandable to the novice. Particularly interesting are his reviews of virtual-reality products that allow the user to control all audiovisual aspects of the environment. At a few points in his narrative, Holtzman shows his fluency in the experimental literature of Jorge Luis Borges, and on the subject of hypertext, he evokes the deconstructionist aesthetic of Derrida and the ``cut-up'' technique of Burroughs to show how nonlinear text is revolutionizing the literary world. This is cleverly illustrated by Holtzman's unannounced change to a Douglas Coupland style in which his own remarks are punctuated by quotes from Marshall McLuhan, the ``patron saint of the digerati.'' But new literature is also the main problem area for Holtzman. Commenting on what some literary critics see as a real threat to traditional narrative, Holtzman glibly states, ``Whatever the book's future is, clearly its role will never be the same. The book has lost its preeminence.'' Somewhat conciliatory but ultimately unapologetic, Holtzman seems to be blowing ``Taps'' for the print media. The tone of disregard notwithstanding, this is, for the most part, a fun read with generally positive implications for the audiovisual arts. (illustrations, not seen)

Pub Date: July 1, 1997

ISBN: 0-684-83207-0

Page Count: 208

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 1997

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

HUMANS OF NEW YORK

STORIES

Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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A succinct, passionate guide to fostering creativity.

HOW TO BE AN ARTIST

A noted critic advises us to dance to the music of art.

Senior art critic at New York Magazine and winner of the 2018 Pulitzer Prize in Criticism, Saltz (Seeing Out Louder, 2009, etc.) became a writer only after a decadeslong battle with “demons who preached defeat.” Hoping to spare others the struggle that he experienced, he offers ebullient, practical, and wise counsel to those who wonder, “How can I be an artist?” and who “take that leap of faith to rise above the cacophony of external messages and internal fears.” In a slim volume profusely illustrated with works by a wide range of artists, Saltz encourages readers to think, work, and see like an artist. He urges would-be artists to hone their power of perception: “Looking hard isn’t just about looking long; it’s about allowing yourself to be rapt.” Looking hard yields rich sources of visual interest and also illuminates “the mysteries of your taste and eye.” The author urges artists to work consistently and early, “within the first two hours of the day,” before “the pesky demons of daily life” exert their negative influence. Thoughtful exercises underscore his assertions. To get readers thinking about genre and convention, for example, Saltz presents illustrations of nudes by artists including Goya, Matisse, Florine Stettheimer, and Manet. “Forget the subject matter,” he writes, “what is each of these paintings actually saying?” One exercise instructs readers to make a simple drawing and then remake it in an entirely different style: Egyptian, Chinese ink-drawing, cave painting, and the styles of other artists, like Keith Haring and Georgia O’Keeffe. Freely experiment with “different sizes, tools, materials, subjects, anything,” he writes. “Don’t resist something if you’re afraid it’s taking you far afield of your usual direction. That’s the wild animal in you, feeding.” Although much of his advice is pertinent to amateur artists, Saltz also rings in on how to navigate the art world, compose an artist’s statement, deal with rejection, find a community of artists, and beat back demons. Above all, he advises, “Work, Work, Work.”

A succinct, passionate guide to fostering creativity.

Pub Date: March 17, 2020

ISBN: 978-0-593-08646-9

Page Count: 144

Publisher: Riverhead

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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