For years I’ve told people that those of my cohort don’t have memory problems or “senior moments” ― our models just come with smaller hard drives and less RAM. Seems some new evidence supports that proposition. […]
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Follow me on Mastodon:
@adcoleman@hcommons.social
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We need to preserve anonymity in some situations― that’s what makes whistle-blowing possible, among other things. But no reputable print periodical would publish unsigned letters to the editor; they require a verifiable sender, though they’ll withhold a name on request if there’s a good reason for it. No reason that online forums, and the comments section of periodicals and blogs, shouldn’t subscribe to the same standards. […] What doesn’t get talked about during the periodic uproars over a painter’s appropriation of a photographer’s work are the numerous situations in which the shoe’s on the other foot. So photographers’ commonplace practice of basing photographs on works of graphic art, often in detail and faithful to the originals, is celebrated, not condemned, by the very same community that objects, vociferously, when painters and other graphic artists imitate or derive iconography from photographic images. What inexplicable double standard operates here? […] If it’s acceptable (or not) for painters to work from photographs, and to replicate closely or paraphrase broadly the iconography of photos, do photographers get to do (or not do) the same with paintings? And, if they do, why do all the complaints about image appropriation seem to come from the photography side of the spectrum? […] |
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Spring Fever 2014: Bits & Pieces
The creation of this class of academic migrant workers — “paid an average of $2,000-$3,000 per class, with few to no benefits,” Arik Greenberg of PBS points out — profits the post-secondary education industry enormously, by making it a buyers’ market for teaching jobs as well as by ensuring that grateful, easily replaceable adjuncts aware of their precarious positions within that system will not likely rock the boat in any way. […]