Experimental Cinema: Maya Deren

Maya Deren was one of America's greatest experimental filmmakers. Her work which was both allusive and surreal explored the visceral and sensuous as well as the symbolic and the magical. Meshes of the Afternoon which is available through YouTube still stands as one of the most important films of the 1940's, although her reputation only took off after her death in 1961. She was a seminal figure and continues to exert a strong influence on the independent cinema of the 21st century. Her influence also extends into other artistic disciplines and her book Divine Horsemen: The Living Gods of Haiti continues to be read even though many of its ethnographic assumptions are naive and sometimes contradictory.

Christo Did Not Recreate Ottawa

The Politics of Art

© Ron Burnett

Ceramics in the material world

Over the last ten years I have watched ceramics evolve at Emily Carr from a craft-oriented practice and discipline into an exciting art form. A book published in 1988, Ceramic Theory and Cultural Process By Dean E. Arnold links this evolution to the role that ceramics plays in archeology and to the many ways in which the past is 'uncovered' through artifacts and other objects. For me, the "art" is precisely in the material practice, in the ability of creators to transform the earth, clay and water into many different forms. The technology of firing and then applying colour to the object is a science, but the shape and shaping process is about sculpture, space, density and function. "There are many factors that affect the qualities of clays, such as mineral composition, degrees of crystallinity, plasticity, particle size and the amount of soluble salts, exchangeable cations, and non-plastics present. (Page 21)

In ceramics, ideas are eternally wedded to the ancient vessel; at some level, the process of any ceramic piece begins and ends on this note. The history of contemporary ceramics possesses countless riffs on the way a surface can appear from hyper-realistic, exact replicas of actual objects to enhanced natural surfaces of earthen glazes. Indeed, the surface invention is limited only to the imagination, skill, and experience of the artist, manipulating attributes of the clay vessel form that has been a steadfast tradition for thousands of years. (Akio Takamori: Between Clouds of Memory by Lara Taubman)

Here are some well-formulated questions that were asked about digital culture and ceramics in 1999: "After all, even in a digital era, artists are faced with the task of giving material form to their thoughts, intuitions, and ideas. Clay — along with the other physical materials — remains an ideal medium for this, whenever justified by concept. What might be the positive or negative significance of digitalization or dematerialization to artists working with a ‘natural’ and solid material like clay? Does digitalization provide stimulus for artistic concepts that are executed in clay? Does ceramics have something to say to digitalization or do the two worlds remain separate? Will ceramics become less physical, ‘lighter’ in the high-tech era? Or is it a medium par excellence that will keep both feet firmly on the ground and that meets the unchanging human need for self-expression in material form — perhaps now more than ever?" (BEYOND GRAVITY: CERAMICS IN A DIGITAL CULTURE Ceramic Millennium 99 — Workshop's — Hertogenbosch)

Some useful links

Chicago Art Resource

Leo Burnett (not related)

Video Editing on the Web

Fab Labs

The Helen Hamlyn Research Centre works to advance a socially inclusive approach to design through practical research and projects with industry

The Center for Universal Design: Our mission is to improve environments and products through design innovation, research, education and design assistance.