The Near-Sighted Monkey

Dear Students,

Biz giving you an (extra credit) beat of the day!

If you are alone when you watch this, I KNOW you will be trying it!

Yum yum

(Suck your teeth)

Yum yum

(Suck your teeth)

Sincerely,

Professor Bootsy

Dear Students,

This kickass video comes to us from classmate Stritchy.

And it is killin’ me. (Not softly)

Prof. Bootsy

What do songs sung in English sound like to people who speak Italian?

This song is deliberately meant to sound to its intended Italian audience like English spoken with an American accent, but the lyrics are actually pure gibberish, with the exception of the words “all right”, spelled in the internet-posted video as “oll raigth”. Celentano’s intention with the song was to explore communications barriers. “Ever since I started singing, I was very influenced by American music and everything Americans did. So at a certain point, because I like American slang — which, for a singer, is much easier to sing than Italian — I thought that I would write a song which would only have as its theme the inability to communicate. And to do this, I had to write a song where the lyrics didn’t mean anything.”

http://en.wikipedia.org/wiki/Prisencolinensinainciusol

Dear Students,

" Man, I really don’t know you."

Extra Credit: Pick any 60 seconds of this video and draw it in four panels in on sheet of 8.5 x11 inch paper.  Start with non-photo blue, draw borders, draw these two guys, keep the dialog sharp! accurate! Ink it in. I will be so happy!

Sincerely,

Prof. Bootsy!

Dear Students.
Extra credit.
How many creatures/characters can you find in this painting. What size are they? Draw them in your comp inside of  frame.
Sincerely,
Prof. Bootsy
justanothermasterpiece:

Helen Frankenthaler.

Dear Students.

Extra credit.

How many creatures/characters can you find in this painting. What size are they? Draw them in your comp inside of  frame.

Sincerely,

Prof. Bootsy

justanothermasterpiece:

Helen Frankenthaler.

Dearest Students,

Hell’s Bells.

Can you DIG it?

I knew that you could!

Extra Credit. Do drawings from this. Watch it and then hit the spacebar and give yourself three minutes to draw the picture in non photo blue. Draw not just the character but everything in the frame. The ground. The walls. The flames! You can see so much more about how pictures work when you draw everything in the frame.  Hell’s Bells!  I love the drawing in this cartoon.

Professor Bootsy

Little comics everywhere

lol-post:

yip-yip-yip-yip-yiphttp://lol-post.tumblr.com/

Little comics everywhere

lol-post:

yip-yip-yip-yip-yip
http://lol-post.tumblr.com/

Dear Students,

Aw. Wesley Willis!

Sincerely,

Prof Bootsy

Dear Students

For extra-credit, draw your frame and use your non photo blue pencil to help you see/touch all the edges/details of this being from tip to toe. You will see so much more when you draw what you see and and it will stay in your memory. And it will begin to look back at you. Not in a way you can’t handle. But look at the shape of that shadow at this being’s feet. Little sparrow.

Ink it in any way you like. Color it as you want. Wish for such footwear.

Sincerely,

Professor Bootsy

mortem-et-necromantia:

Tibetan Skeleton Dancers, 1925.


Cave art and harpoon tips show African roots of our creative genius  

Robin McKie

The Observer, Saturday 11 October 2014 16.30 EDT
The discovery of wall paintings in Indonesian caves suggests that the human ability to express ourselves began before we trekked out of Africa

On the third-floor corridor of the Smithsonian Natural History Museum in Washington, in a battered metal locker, archaeologist Alison Brooks has filed away two small cardboard boxes. Each contains several toothbrush-sized instruments made of bone. With their delicate serrated blades, these would have been highly effective weapons.
Nor is there doubt about their targets – for the exquisitely carved blades were found under nine feet of mud at Katanda, on the banks of the Semliki river in the Democratic Republic of the Congo. “These were harpoon heads,” said Brooks. “Some of the best I have come across.”
The little weapons, found by Brooks and her husband, John Yellen, more than a decade ago, show evidence of remarkable craftsmanship. Yet they are more than 90,000 years old. In fact, they are some of the earliest instruments ever shaped by modern humans using a material other than stone or wood.
It is an intriguing combination – startling sophistication mixed with deep antiquity – and it gives the blades considerable importance to science, says Brooks. They show, she believes, that our species’s final intellectual transition, from apeman to modern human, must have occurred at a different time and place than previously thought.
In the past, it was reckoned that men and women acquired their full intellectual potential and artistic grace only when they reached Europe 40,000 years ago, having trekked out of Africa between 60,000 and 70,000 years ago on a journey that also took us to Asia, Indonesia, and Australia. Until then, Homo sapiens was not quite the full Monty when it came to art and invention, it was argued. After all, it was only in Europe that we began making complex tools and started to paint magnificent versions of lions, mammoths and horses on cave walls such as those found at Chauvet and Lascaux in France.
However, the work of Brooks and Yellen, in common with a growing number of other scientists, suggests this notion is incorrect. She believes Homo sapiens reached its full intellectual and artistic potential much longer ago and much deeper in our prehistory: possibly more than 100,000 years ago when we were still evolving in Africa. In other words, our technological and artistic roots are far deeper than we believed, an error that came about because, for a long time, we lacked any evidence in Africa that could confirm our intellectual antiquity.
But as the years have gone by, other scientists – working in the wake of the opening up of South Africa after the end of apartheid – have made further intriguing discoveries to support this theory: tiny 70,000-year-old flint points, which may be the first arrows ever made, and beautifully crafted pieces of ochre that suggested works of arts and jewellery were being created at this time. Other finds indicate human beings had learned how to use heat to treat rocks in order to make intricate quartz blades, a technology that was previously thought to have been a recent European invention.
Hand stencils. Photograph: Kinez Riza/AFP/Getty Images
All of this work pointed to ancient African origins for the soul of human art and inventiveness though the evidence was not completely emphatic, researchers acknowledged. However, that lack of conviction changed last week when an Australian-Indonesian team of researchers published a paper in Nature that provided details of a set of striking works of figurative art that had been painted on rock walls in Indonesia and which were found to be as old as many of the great paintings made by our European ancestors in Spain and France, including those at Chauvet and Lascaux.
These newly dated paintings adorn the walls of caves and shelters at the foot of spectacular limestone towers near Maros in south-west Sulawesi and include hand stencils, created by spraying or spitting a mouthful of paint over an outstretched hand, as well as images of animals such as the pig-deer or babirusa.
While most of the animals in the paintings are identifiable, the artists have also exaggerated aspects of the beasts, perhaps to accentuate features that interested them, said Adam Brumm, from the University of Wollongong in New South Wales, Australia, and a co-author of the study. “The paintings are feats of great imagination and they provide the first real insight into the artistic culture and symbolic conventions of early modern humans in Asia.”
The crucial point is that the discovery shows that cave art, often considered the greatest achievement of Stone Age humans, was being made at opposite ends of the Old World at about the same time, a point stressed by the researchers’ leader, Maxime Aubert, another Wollongong researcher. “This suggests these practices have deeper origins, perhaps in Africa before our species left this continent and spread across the globe.”
It is a view that is backed by Chris Stringer, of the Natural History Museum, London. “It has been argued that the final spark that brought modern humans to their full intellectual status only occurred when we entered Europe,” he said. “But this discovery shows modern humans were behaving with the same sophistication in Indonesia. If nothing else, that should allow us to move away from Eurocentric ideas on the development of figurative art to consider the alternative possibility that such artistic expression was a fundamental part of human nature 60,000 years ago when we still lived in Africa.”
When Aubert and his team began their work in Sulawesi it was thought that the paintings, which were first discovered in 1950, were only about 10,000 years old. Their real antiquity – now shown to be between 35,000 and 39,000 years old – indicates that they compare closely in age to the oldest known rock art in Europe: 40,800 years old for a painting in El Castillo cavern, Spain, while great French cave paintings of Chauvet have been dated as being around 35,300 to 38,800 years old. “The bottom line is that cave art was practised in Europe and in south-east Asia at about the same time,” said Wil Roebroeks, of Leiden University, Netherlands, in a commentary in Nature about the Aubert group’s research.
Images of animals Photograph: Kinez Riza/AFP/Getty Images
In other words the artistic genius responsible for Chauvet and Lascaux was not some newly acquired prowess that we picked up as we entered Europe but was part of our African birthright. As the art critic John Berger once remarked about Europe’s ancient rock art paintings: “There was grace from the start.” Science now suggests how right he was. That grace came from our African roots.
This point is backed by Stringer. “It is sometimes claimed that it was our entry to Europe that provided the final trigger that brought about the flowering of our full artistic ability. But we now have convincing evidence to show that this capacity was in evidence half a world away at the same time. Either you assume modern humans suddenly achieved that full creativity on two separate occasions or you take the view that we already had achieved that status before we left Africa and that we took our creativity with us on our journey round the globe.”
In the wake of the Sulawesi discoveries, scientists are now looking at the ages of other rock paintings around the globe including highly complex cave art that has been found in Australia but which has confounded scientists to date them. These could have ages of around 40,000-50,000 years, researchers suggest.
Certainly, the idea that the roots of human intellect, our capacity for symbolic reasoning, our inventiveness and our ability to create works of figurative art, are part of our African birthright now looks much stronger. In short, our minds were shaped by our evolution on the continent, a view summed up Chris Henshilwood of the University of Witwatersand, in Johannesburg: “African people, from whom we are all descended, were modern in their behaviour long before they got to Europe.”
DATING THE PAINTINGS
The team, which was led by Maxime Aubert, an archaeologist at the University of Wollongong in New South Wales, used a technique called uranium-thorium dating to calculate the age of the paintings found in seven different caves at Maros in Sulawesi, Indonesia.
Thin layers of calcite containing traces of uranium were deposited on the paintings as mineral-rich waters trickled down cave walls over thousands of years. Uranium decays into thorium at a specific rate and the team were able to calculate an accurate age of the painting by analysing levels of the two elements in the calcite. One painting – of a stencilled hand created by spraying pigment over a person’s arm – was dated as being at least 39,000 years old while one of a pig deer was dated at 35,400.
“And these are minimum ages,” said Chris Stringer, of the Natural History Museum in London. “They could be several thousand years older.”

Cave art and harpoon tips show African roots of our creative genius

The discovery of wall paintings in Indonesian caves suggests that the human ability to express ourselves began before we trekked out of Africa

On the third-floor corridor of the Smithsonian Natural History Museum in Washington, in a battered metal locker, archaeologist Alison Brooks has filed away two small cardboard boxes. Each contains several toothbrush-sized instruments made of bone. With their delicate serrated blades, these would have been highly effective weapons.

Nor is there doubt about their targets – for the exquisitely carved blades were found under nine feet of mud at Katanda, on the banks of the Semliki river in the Democratic Republic of the Congo. “These were harpoon heads,” said Brooks. “Some of the best I have come across.”

The little weapons, found by Brooks and her husband, John Yellen, more than a decade ago, show evidence of remarkable craftsmanship. Yet they are more than 90,000 years old. In fact, they are some of the earliest instruments ever shaped by modern humans using a material other than stone or wood.

It is an intriguing combination – startling sophistication mixed with deep antiquity – and it gives the blades considerable importance to science, says Brooks. They show, she believes, that our species’s final intellectual transition, from apeman to modern human, must have occurred at a different time and place than previously thought.

In the past, it was reckoned that men and women acquired their full intellectual potential and artistic grace only when they reached Europe 40,000 years ago, having trekked out of Africa between 60,000 and 70,000 years ago on a journey that also took us to Asia, Indonesia, and Australia. Until then, Homo sapiens was not quite the full Monty when it came to art and invention, it was argued. After all, it was only in Europe that we began making complex tools and started to paint magnificent versions of lions, mammoths and horses on cave walls such as those found at Chauvet and Lascaux in France.

However, the work of Brooks and Yellen, in common with a growing number of other scientists, suggests this notion is incorrect. She believes Homo sapiens reached its full intellectual and artistic potential much longer ago and much deeper in our prehistory: possibly more than 100,000 years ago when we were still evolving in Africa. In other words, our technological and artistic roots are far deeper than we believed, an error that came about because, for a long time, we lacked any evidence in Africa that could confirm our intellectual antiquity.

But as the years have gone by, other scientists – working in the wake of the opening up of South Africa after the end of apartheid – have made further intriguing discoveries to support this theory: tiny 70,000-year-old flint points, which may be the first arrows ever made, and beautifully crafted pieces of ochre that suggested works of arts and jewellery were being created at this time. Other finds indicate human beings had learned how to use heat to treat rocks in order to make intricate quartz blades, a technology that was previously thought to have been a recent European invention.

Hand stencils.Hand stencils. Photograph: Kinez Riza/AFP/Getty Images

All of this work pointed to ancient African origins for the soul of human art and inventiveness though the evidence was not completely emphatic, researchers acknowledged. However, that lack of conviction changed last week when an Australian-Indonesian team of researchers published a paper in Nature that provided details of a set of striking works of figurative art that had been painted on rock walls in Indonesia and which were found to be as old as many of the great paintings made by our European ancestors in Spain and France, including those at Chauvet and Lascaux.

These newly dated paintings adorn the walls of caves and shelters at the foot of spectacular limestone towers near Maros in south-west Sulawesi and include hand stencils, created by spraying or spitting a mouthful of paint over an outstretched hand, as well as images of animals such as the pig-deer or babirusa.

While most of the animals in the paintings are identifiable, the artists have also exaggerated aspects of the beasts, perhaps to accentuate features that interested them, said Adam Brumm, from the University of Wollongong in New South Wales, Australia, and a co-author of the study. “The paintings are feats of great imagination and they provide the first real insight into the artistic culture and symbolic conventions of early modern humans in Asia.”

The crucial point is that the discovery shows that cave art, often considered the greatest achievement of Stone Age humans, was being made at opposite ends of the Old World at about the same time, a point stressed by the researchers’ leader, Maxime Aubert, another Wollongong researcher. “This suggests these practices have deeper origins, perhaps in Africa before our species left this continent and spread across the globe.”

It is a view that is backed by Chris Stringer, of the Natural History Museum, London. “It has been argued that the final spark that brought modern humans to their full intellectual status only occurred when we entered Europe,” he said. “But this discovery shows modern humans were behaving with the same sophistication in Indonesia. If nothing else, that should allow us to move away from Eurocentric ideas on the development of figurative art to consider the alternative possibility that such artistic expression was a fundamental part of human nature 60,000 years ago when we still lived in Africa.”

When Aubert and his team began their work in Sulawesi it was thought that the paintings, which were first discovered in 1950, were only about 10,000 years old. Their real antiquity – now shown to be between 35,000 and 39,000 years old – indicates that they compare closely in age to the oldest known rock art in Europe: 40,800 years old for a painting in El Castillo cavern, Spain, while great French cave paintings of Chauvet have been dated as being around 35,300 to 38,800 years old. “The bottom line is that cave art was practised in Europe and in south-east Asia at about the same time,” said Wil Roebroeks, of Leiden University, Netherlands, in a commentary in Nature about the Aubert group’s research.

Images of animalsImages of animals Photograph: Kinez Riza/AFP/Getty Images

In other words the artistic genius responsible for Chauvet and Lascaux was not some newly acquired prowess that we picked up as we entered Europe but was part of our African birthright. As the art critic John Berger once remarked about Europe’s ancient rock art paintings: “There was grace from the start.” Science now suggests how right he was. That grace came from our African roots.

This point is backed by Stringer. “It is sometimes claimed that it was our entry to Europe that provided the final trigger that brought about the flowering of our full artistic ability. But we now have convincing evidence to show that this capacity was in evidence half a world away at the same time. Either you assume modern humans suddenly achieved that full creativity on two separate occasions or you take the view that we already had achieved that status before we left Africa and that we took our creativity with us on our journey round the globe.”

In the wake of the Sulawesi discoveries, scientists are now looking at the ages of other rock paintings around the globe including highly complex cave art that has been found in Australia but which has confounded scientists to date them. These could have ages of around 40,000-50,000 years, researchers suggest.

Certainly, the idea that the roots of human intellect, our capacity for symbolic reasoning, our inventiveness and our ability to create works of figurative art, are part of our African birthright now looks much stronger. In short, our minds were shaped by our evolution on the continent, a view summed up Chris Henshilwood of the University of Witwatersand, in Johannesburg: “African people, from whom we are all descended, were modern in their behaviour long before they got to Europe.”

DATING THE PAINTINGS

The team, which was led by Maxime Aubert, an archaeologist at the University of Wollongong in New South Wales, used a technique called uranium-thorium dating to calculate the age of the paintings found in seven different caves at Maros in Sulawesi, Indonesia.

Thin layers of calcite containing traces of uranium were deposited on the paintings as mineral-rich waters trickled down cave walls over thousands of years. Uranium decays into thorium at a specific rate and the team were able to calculate an accurate age of the painting by analysing levels of the two elements in the calcite. One painting – of a stencilled hand created by spraying pigment over a person’s arm – was dated as being at least 39,000 years old while one of a pig deer was dated at 35,400.

“And these are minimum ages,” said Chris Stringer, of the Natural History Museum in London. “They could be several thousand years older.”

Dear Students,
How many times does each person move up and down to make this formation.
Sincrely,
Professor Bootsy
lol-post:

Wat.http://lol-post.tumblr.com/

Dear Students,

How many times does each person move up and down to make this formation.

Sincrely,

Professor Bootsy

lol-post:

Wat.
http://lol-post.tumblr.com/

Dear Students,

Here are Matt G and Prof. B right before walking out on stage at the Arlington Theater in Santa Barbara last Friday night. Second picture from the brochure for the  UC Santa Barbara Arts and Lecture Series.

We showed a lot of pictures and told a lot of stories and gave each other hell and also love. Will we ever do it again? We WILL!  (more about that right here….)

I was so happy to see you all in class today! I look forward to our time together on Wednesday.

Sincerely,

Professor Bootsy

thenearsightedmonkey:

For Extra Credit….

Click on any of these photos, draw your frame, do a quick drawing in non photo blue, ink it and color it in any way you wish.

archiemcphee:

This is one of the strangest and most mysterious books on the shelves of the Archie McPhee Library. Haunted Air [Buy on Amazon], by British musician and artist Ossian Brown, is a fascinating collection of anonymous Halloween photographs taken between circa 1875 and 1955. They’re all from Brown’s personal collection and are presented without any context. In fact the only text in the entire book is the all too perfect foreword written by the inimitable David Lynch.

"The photographs in Haunted Air provide an extraordinary glimpse into the traditions of this macabre festival from ages past, and form an important document of photographic history. These are the pictures of the dead: family portraits, mementos of the treasured, now unrecognizable, and others.”

Each page contains a single bewitching photograph - a simple layout that makes the photos even creepier and more captivating. Without any background information, these haunting pieces of Americana have only each other for company. That is, until you start looking at them, wondering about them, making up stories for them. On the pages of this book, every day truly is Halloween.

[Photos from Haunted Air via NPR]

thenearsightedmonkey:

Hear Ye, Hear Ye!

A message from Professor Bootsy!

#ReMixtheDiss! Are you thinkin’ about dissertations in all various possible permutations?

So are we!

Woodstock will be hosting a Drawing Jam at the Image Lab at the Wisconsin Institutes for Discovery (UW-Madison) on Friday, Oct. 10th from 3- 4:30pm as part of a #remixthediss panel and discussion hosted by HASTAC at CUNY. 

The Image Lab will be live streaming the event during the drawing jam. Recent PhD graduates and professors who have presented their research in unique ways (scalar, comics, video, multimedia, etc) will be sharing their experiences and process.

Stop by the Image Lab to do some drawing/coloring together and listen to what these folks have to say about the possible future of methods and models for doing dissertations and research.

Friday, Oct. 10th from 3- 4:30pm

Room 1106, Wisconsin Institutes for Discovery, 330 Orchard Street, UW-Madison campus

Please share this info with anyone who might be interested.


Dear Students,

Who taught this baby how to dance?

Sincerely,

Prof Bootsy

Dear Students,

Do you hear this song your composition notebook is singing to you?

What key are you in?

Sincerely,

Professor Bootsy

coldhexes:

FADED. 

I remember your taste.