camoufleur

That's like saying you can "replicate" Shakespeare because you can type. Copying something that's already been done is surely the bare minimum here.

I think that's their point. I think the proper (Spanish) pronunciation is gwah-dah-loo-peh.

Racket is such a sadistic way to introduce programming. It's disgusting what they've done

Are you saying that painters become proficient (even great?) from copying from life? I don't understand what you mean here. I don't believe there has ever been an artist that hasn't been influenced by art, discussed art, and personally known other artists.

On the other hand, you should also be willing to criticize an artist's intentions and goals in themselves

To me at least, being human-focused and sensitive enough to be a novelist is contrary to being a web personality selling questionable financial advice... If the research is actually valuable, shouldn't your advice to the novelist be to exploit it directly?

Has reading fiction ever been considered an 'intellectual' past time?

But on the other hand, if at some point you become unable to respond (artistically) to your biting self-criticism, there's the danger of ceasing production entirely. Then five years go by.

My hunch is the author has more experience with tweets than articles - tweets in crypto communities often comprise a single run-on sentence packed with keywords and (counter-cultural) intelligence-signaling.

More or less the theory behind Finnegans Wake

Your comment makes a lot of sense to me. But I think that "Today there were many crows, hundreds of them flying through the air" is your definition of data, not a story. Mentioning having to duck is either a detail (more data) or an event in an incomplete story e.g. if you go on to explain how you made a truce with the crows. There's information in the crow statement only if it communicates more than a proclamation that you went on a walk. People often hate when people tell them their dreams because it's (nonsensical) data mistaken for a story. There's no information.

AFAIK it's mostly remembered for being a 4-player FPS at a time when those were rare for consoles. It was an above average movie tie-in game, but famously doesn't hold up to the sleepover-tinted nostalgia. E.g. the 4-player mode runs at single digit frames per second and the controls are far from ideal for players used to modern dual analog stick controllers

"Stuck in time" is a positive. Why should I pay attention to a writer who's constantly changing their mind and retracting their work?

I assumed it was pin-chin, but "Thomas Pinecone" is too much fun to not to slip in every once in a while.

Reminds me of last 30 minutes of the film Cremaster 3, in which a man scales the inside of the Guggenheim, rock-climbing style, stopping on each floor to confront some sort a challenge from a group (line dancers, hardcore punk bands, a famous sculptor) as an abstract retelling of a Masonic origin myth.

Think of it this way: props from the original Star Wars films fetch millions of dollars at auction. Most movie fans and even most Star Wars fans would never pay that much for a prop. But you can understand wanting to own part of a piece of history. Now, consider these paintings are props for a movie you haven't seen yet, a movie called 'the history of art'. Perhaps if these pieces had a significance to you beyond their visual appearance, it would make more sense why they could be so valuable (to a very small minority).

Some of the ideas/predictions I thought were relevant:

- Technologists will mistake a novel method for novel results

- The art world will see it as a fad on which to capitalize

- The masses will use it as a new way to communicate, and art will spring forth naturally

After the Holy Mountain in 1973, it wasn't until 1989 he made another proper 'Jodorowsky' movie. Then until the 2010s when he was able to make two more films from crowdfunding. I don't think his films have made much money at all, compared to someone like Lynch who was able to get movies made for a long time.

Yes, that's a fine start.

However to me 'home' implies either some level of authority/ownership or a relationship with an owner. From my understanding it's much more difficult to run a Mastodon instance than a Discord server so most new users are encouraged to join the big instances. Without a connection to their 'home,' I think the metaphor breaks down. It seems for most people the choice is between joining a general purpose instance or a 'clique' instance focused on a particular identity or subculture.

People don't want formal allegiances to subreddits, Discord servers, or email providers; these are just the spaces they visit and tools they use. And why should I tell a home manager to block someone when I can block them myself?

Discord borrowed the term from online gaming, as its initial target audience was gamers.

Models like 'subreddit,' 'Discord server,' and 'Facebook group' are simple to grasp because they are stand-ins for physical spaces. Posts are made or read in these specific communal contexts.

To my understanding, Mastodon instances don't fit this model. The most common analogy I see is an email provider, but the mental model most email users operate with is sending a letter to another person. It's not clear what the comparison means beyond 'you can sign up on any instance and people on other instances can see your posts,' which is only part of the story, only partially true, and way too technical.

For Mastodon to catch on there needs to be an intuitive metaphor. It cannot be 'Twitter but X' or 'email but Y'. Twitter itself has the 'town square' metaphor. What is Mastodon?

As an outsider to the art world myself, like most of us, some of the article's framing seemed strange to me--like the goal was to craft a narrative for potentially lucrative art deals. It's a very 'safe' story to tell now that the artist is dead.

- How is he an outsider artist if he has a Masters of Fine Arts in photography? He may be self-taught at painting but at the end of the day every artist is self-taught. The author seems to acknowledge some of the bias of the term, but either 99.9% of artists in history are outsider artists (e.g. don't make a living from participation in an 'art world') or the here it means 'societal outsider'.

- Why instantly dismiss the comparison to NFTs? Spending millions for a painting, likely done in one session, by an artist almost solely known online, has little to do with the aesthetic value of the painting. Most of what you're buying is a story, the story in the article.

Also, unrelated, I had a strong hunch from the quote at the beginning of the article that he was autistic. I had a similar perspective thing in middle school, imagining how effects in nature would be simulated in Source engine games lol.

It's also an autistic trait to care less about external feedback than most people. I related to the artist in the article and can't help but wonder what would happen if I properly sought fame or notoriety as an artist. It's both appealing and against my nature.

With television you turn it on and there are a few mediocre choices you can tune out. On streaming platforms you have to specifically select a program to watch. When Gen Z watches/listens to something in the background it's much more likely to be a long YouTube video or a podcast.

"http://ai." works in Chrome

Not necessarily. I did a neuropsychological evaluation because I suspected I had ADHD (I do) and it was causing me trouble. I was also diagnosed with autism/asperger's which isn't a significant source of stress for me and that wasn't why I was diagnosed with it.

The music site RateYourMusic has a hierarchical genre tree. They might organize it like this:

- beef [meta]

- - beef (co-parent: meat)

- - vegan beef (co-parent: vegetarian faux meat)

If Lisp was the only language I'd never program again

I was quite surprised to learn he began Calvin and Hobbes at only age 27 and quit by 37

Miyazaki's family owned an airplane parts manufacturing company during WWII. In the 80s he contributed manga and illustrations of airplanes and tanks to a hobby magazine Model Graphix. One of these short manga, published 1989, he adapted into Porco Rosso. I don't know if the creators of Talespin would have had access to it but it is possible

I think what I'm trying to say is that anime is just one of dozens of influences that go into any given project. A director (animation or large-scale live-action) will use dozens of films and film scenes for references in planning scenes or art direction. None of the 90s directors' films in the article have that much to do with anime besides The Matrix. Deeming anime 'the root' of all current film or animation is going way too far. Especially when you can scratch the surface of any famous anime and find Hollywood again (as well as dozens of other influences of course).

Yeah the article completely omits the perspectives of the Japanese anime creators. I'm sure that many of them worship live-action American films to the same degree that the article's quoted directors do anime.

The lack of recognition of this fact and the conflation of 'everything' with animation probably speaks to most animation fans' general refusal to engage with other film traditions. Do Studio Ghibli fans care to know what Miyazaki's favorite films are? I guarentee almost none of them are anime or even animated