Australia pretty much now has the dubious honour of being internationally known as a racist culture. Our ever-tightening immigration policy (I defy anyone to prove that Rudd has taken any steps since ousting Howard to make a real difference for immigrants) is vindicated by right-wing media, telling us that ‘we’re full’ – we couldn’t possibly let anyone else into the country, because they will clearly take our jobs, rape our daughters and generally blow everything up around us.
No doubt I sound facetious with that comment, but it doesn’t take much digging to see that this is a view held by many Australians. It’s not one that is confined to our country either. Dateline broadcast an interesting piece last night on the rise and rise of the British National Party (BNP). To be honest, it’s not the views of the people leading this party that concern me, it’s the groundswell of support they’re getting from the middle class that’s truly frightening. What would have been considered extremist politics up until recently, has been fueled by difficult economic circumstances, disappointment and disillusionment in elected government and of course, the sensationalist media.
As you can see from the above shot, we don’t have room (or budget) for any sprawling 80’s glam rock outfits, sorry. If you’re a Sydney-sider, chances are you’ve been to the markets before and know the kind of thing that goes down well there anyway. So if you think you fit the bill, get in touch with your details and a link to some of your tunes.
“Wow,” I hear you say, “I have no idea what that means.” Well, you should probably take a look at the link then – it explains the license in surprisingly clear terms. This is one of the wonderful points about Creative Commons licensing: it doesn’t hide behind difficult to understand terminology. Your rights as a creator of material, as well as your rights as a consumer of material, couldn’t really be presented more effectively. In the case of the license I have chosen for this site:
You are free:
to Share – to copy, distribute and transmit the work
to Remix – to adapt the work
Under the following conditions:
Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.
There are also some other points with Creative Commons licensing, which still uphold ideas like fair use and moral rights.
Another Uni Journal missed - another graph representation.
There’s nothing like having no repercussions to destroy my blog posts. Yep, another week passes by without any journal entries.
Whilst I’m never going to make any brash promises like “it won’t happen again”, I will make sure that I get them out there next week. Bottom line is: when I’m not getting marks for these posts, assignments and freelance work are always going to take precedent. Unless I’m procrastinating. Which is likely.
On the subject of YouTube sensations (like the aforementioned Boyle), it seems that Google continues to encourage participation in their mammoth social video site, by deciding to offer more users a slice of the advertising pie. It will be interesting to see how this model of entertainment delivery unfolds, even whilst YouTube isn’t turning a profit.
We were split into smaller groups for more intimate consultations this week. This was a good opportunity to ask questions specific to our concepts and have something as close to one-on-one teaching as you’re likely to get at uni.
Unfortunately, I didn’t get a chance to make the most out of my consultation. Quite literally no-one responded to the (roughly one dozen) emails I sent out, asking for dancers/performers and so my project is still currently just a ‘proof of concept’.
This is actually a really big problem – I need to begin collaborating with performers, because this is where ideas for direction of sound and music will come from. Not to mention having the chance to deal with unforeseen problems, especially around the interaction with sound and visuals.
No Work No Eat, by Blanding Sloan. Thankfully, I'm not faced with the same problems.
For all the romantic notions of being a kid and running home to watch cartoons on the ABC after school, it’s not often that these shows really live up to the memories. There is of course the exception of Sesame Street, but those guys are on crack – I’m sure of it.
Whenever I see those old shows again, I’m often more than a little disappointed and wish they had’ve stayed with my other rose-coloured childhood memories. And don’t get me started on modern kids television – that stuff is so off the wall, I don’t even know where to begin.
Thankfully, there are exceptions, and Misseri Studio is definitely one. They have graciously put some of my old favourites up on YouTube, including A.E.I.O.U. and The Red And The Blue. Check it out…
One of my perennial favourite blogs, ISO50, has just posted a general guide for colour management. This is an area that really seems to have been glossed over in my education, so it’s great to see an attempt to present these concepts in a straightforward manner.
Colour, and colour management, is nothing short of a science and any artist or designer (whether you work in print or on screen) wanting to learn more about it should definitely check out this post.
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