analog is digital

Rayvon Fouché Director and Professor American Studies Purdue University My scholarly foundation is in the interdisciplinary field of Science & Technology Studies. These are my miscellaneous thoughts on how technoscientific change influences society and culture.

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[npr]

Step into one of the nation’s top art museums, and most of the works you’ll see were made by men.

The Baltimore Museum of Art has decided to make a bold step to correct that imbalance: next year, the museum will only purchase works made by female-identifying artists.

“This how you raise awareness and shift the identity of an institution,” museum director Christopher Bedford told The Baltimore Sun. “You don’t just purchase one painting by a female artist of color and hang it on the wall next to a painting by Mark Rothko. To rectify centuries of imbalance, you have to do something radical.”

The policy will only apply to works purchased by the museum, not gifts. The number of works purchased by the museum each year varies, and works are bought on a rolling basis.

The move is part of a larger initiative launched in October called 2020 Vision, a series of 22 exhibits at the museum celebrating female-identifying artists. The initiative includes 13 solo exhibitions and seven thematic shows, with more being planned. Next year marks a century since women were guaranteed the right to vote in the United States, with the ratification of the 19th Amendment.

The Baltimore Museum of Art has 95,000 works, including the world’s largest collection of works by Henri Matisse.

Its collections include 3,800 works by women artists and designers – just 4% of its holdings.

Baltimore Museum Of Art Will Only Buy Works By Women Next Year

Image: The Baltimore Museum of Art Caption: The Baltimore Museum of Art will only buy works by women next year, as part of a yearlong series exhibiting art by women. Amy Sherald’s Planes, rockets, and the spaces in between (2018) is among the 3,800 works by women in the museum’s collection

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Not sure this is the future I want, but may be the one we get...

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I guess we are here now...

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[npr]

Mark Guiliana is a drummer renowned for his chameleon-like ways with pulse — whether he’s leading his acoustic jazz quartet, playing in a duo with Brad Mehldau or providing the back beat behind David Bowie’s final album, Blackstar. Now, Guiliana is in another mutation mode, shifting his focus from acoustic jazz sounds to explore an exciting realm of electro-jazz.

In this concert film from Rough Trade in New York City, the multi-faceted artist celebrates the release of Beat Music! Beat Music! Beat Music! (Motéma Music). The show, which kicked off a European tour, featured the psychedelic musical interplay of BIGYUKI and Nick Semrad on synthesizers, Chris Morrissey on electric bass, and Guiliana on electronics and drums. This special performance features long-time co-Bowie conspirator Jason Lindner on the melodica.

Guiliana started Beat Music! in his basement in New Jersey a decade ago, as an underground, community-oriented musical experiment. The story behind this fascinating music comes alive in a new podcast episode of WBGO’s The Checkout.

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spontaneous synchronization 

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Mueller report forced Congress to find PCs with disc drives.  You just have to love this....

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Anamorphic Sculpture

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“Caster Semenya is a brand, and many brands possess competitive advantages.”

Not sure I like the idea of reducing athletes/people to “brands,” but it is an interesting argument.

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Should Sport Let Go of the Idea of Binary Sexes?

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The Obsession With Caster Semenya's Body Was Racist From The Very Beginning

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