Selected Courses on Digital Art-UOWM

28 Ιανουαρίου 2013

melani

Filed under: Notes — admin @ 12:17

Calibrated Cuisine: Telenoika Dinner Party

Date:9 June 2011 – 7:00pm – 10:00pm
Venue/Location:Furtherfield
 Furtherfield will be hosting a Telematic Dinner Party at their gallery space. Invited artist Alex Haw in collaboration with Queen Mary PhD researcher Pollie Barden, will be hosting one of hisLatitudinal Cuisine Dinner Parties. The Dinner will be between invited guests in at the Furtherfield Gallery in London, UK and Telenoika in Barcelona, Spain. 
The Telematic Dinner Party is a series of events at Furtherfield for the month of June and July. The parties are running along side of the current exhibition “Made Real” Scott Kildall and Nathaniel Stern, the founders of Wikipedia Art.
Check out the Telematic Dinner Parties blog to see up coming parties and follow the progress.
If you would like to be a telematic dinner partner, contact Pollie Barden at pollie.barden[at]gmail.com
The Telematic Dinner Party is research project by Pollie Barden a PhD researcher in Media & Arts Technology at Queen Mary University of London.  It is a project is created in collobaration with Furtherfield and Latitudinal Cuisine

Filed under: Notes — admin @ 12:05

http://www.youtube-nocookie.com/embed/nGb86LQdesc?list=UUPG0zrZltiq3ImUbAP0dvTw

27 Ιανουαρίου 2013

Perfectionism (psychology)

Filed under: Notes — admin @ 11:36

Perfectionism (psychology)

From Wikipedia, the free encyclopedia
Perfectionism, in psychology, is a personality disposition characterized by an individual striving for flawlessness and setting excessively high performance standards, accompanied by overly critical self-evaluations and concerns regarding others’ evaluations.[1][2] It is best conceptualized as a multidimensional characteristic, as psychologists agree that there are many positive and negative aspects.[3] In its maladaptive form, perfectionism drives individuals to attempt to achieve an unattainable ideal, and their adaptive perfectionism can sometimes motivate them to reach their goals. In the end, they derive pleasure from doing so. When perfectionists do not reach their goals, they often fall into depression.

Contents

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[edit]Definition

Perfectionists have also been described as those who strain compulsively and unceasingly toward unobtainable goals, and who measure their self-worth with their productivity and accomplishment.[4] Pressuring oneself to achieve such unrealistic goals inevitably sets the individual up for disappointment. Perfectionists tend to be harsh critics of themselves when they do not meet the standards they set for themselves.

[edit]Normal vs. neurotic perfectionists

Hamachek was one of the first psychologists to argue for two distinct types of perfectionism, classifying people as normal perfectionists or neurotic perfectionists. Normal perfectionists pursue perfection without compromising their self-esteem, and derive pleasure from their efforts. Neurotic perfectionists strive for unrealistic goals and consistently feel dissatisfied when they cannot reach them.[5] Today researchers largely agree that these two basic types of perfectionism are distinct.[6] They have been labeled differently, and are sometimes referred to as positive striving and maladaptive evaluation concerns, active and passive perfectionism, positive and negative perfectionism, and adaptive and maladaptive perfectionism.[7] Although there is a general perfectionism that affects all realms of life, some researchers contend that levels of perfectionism are significantly different across different domains (i.e. work, academic, sport, interpersonal relationships, home life).[3]

[edit]Perfectionistic strivings vs. perfectionistic concerns

Stoeber and Otto (2006) stated that perfectionism consisted of two main dimensions: perfectionistic strivings and perfectionistic concerns.[7] Perfectionistic strivings are associated with positive aspects of perfectionism, whereas perfectionistic concerns are associated with negative aspects (see below). Healthy perfectionists yielded high scores in perfectionistic strivings and low in perfectionistic concerns, whereas unhealthy perfectionists yielded high scores in both strivings and concerns.[7] As expected, non-perfectionists demonstrated low levels of perfectionistic strivings.[7] Prompted by earlier research providing empirical evidence that perfectionism could be associated with positive aspects (specifically perfectionistic strivings),[8] they challenged the widespread belief that perfectionism is only detrimental. In fact, people with high levels of perfectionistic strivings and low levels of perfectionist concerns demonstrated more self-esteem, agreeableness, academic success, and social interaction.[7] This type of perfectionist also showed fewer psychological and somatic issues typically associated with perfectionism, namely depression, anxiety, and maladaptive coping styles.[7]
Perfectionism has also been defined as a unitary combination of a desire to be perfect, a fear of imperfection, and an emotional conviction that perfection (not “near-perfection”) is the only route to personal acceptance by others.[9] Perfectionism itself is thus never seen as healthy or adaptive.[9] Greenspon also makes a distinction between perfectionism and striving for excellence.[9][10][11][12] The difference is in the meaning given to mistakes. Those who strive—however intently—for excellence can simply take mistakes (imperfections) as incentive to work harder. Unhealthy perfectionists consider their mistakes a sign of personal defects. For these individuals, anxiety about potential failure is the reason perfectionism is felt as a burden.

[edit]Measurement

[edit]Multidimensional Perfectionism Scale (MPS)

Hewitt & Flett (1991) devised the Multidimensional Perfectionism Scale (MPS), a 45-item measure that rates three aspects of perfectionistic self-presentation: self-oriented perfectionism, other-oriented perfectionism, and socially prescribed perfectionism.[13] Self-oriented perfectionism is having irrational expectations and standards for oneself that lead to a perfectionistic motivation.[14] An example is the constant desire to achieve an ideal physical appearance out of vanity. Other-oriented perfectionism is having irrational expectations and standards for others that in turn pressure them to have perfectionistic motivations of their own. Socially prescribed perfectionism is developing perfectionistic motivations due to the belief that significant others expect them to be perfect. Parents that push their children to be successful in certain endeavors (such as athletics or academics) provide an example of this type of perfectionism, as the children feel that they must meet their parents’ lofty expectations.

[edit]Almost Perfect Scale-Revised (APS-R)

Slaney and his colleagues (1996) developed the Almost Perfect Scale-Revised (APS-R) to identify perfectionists (adaptive or maladaptive) and non-perfectionists.[15] People are classified based on their scores for High Standards, Order, and Discrepancy measures. Both adaptive and maladaptive perfectionists rate highly in High Standards and Order, but maladaptive perfectionists also rate highly in Discrepancy. Discrepancy refers to the belief that personal high standards are not being met, which is the defining negative aspect of perfectionism.[15]Maladaptive perfectionists typically yield the highest social stress and anxiety scores, reflecting their feelings of inadequacy and low self-esteem.[6] In general, the APS-R is a relatively easy instrument to administer, and can be used to identify perfectionist adolescents as well as adults, though it has yet to be proven useful for children.[6] Interestingly, in one study evaluating APS-R in an adolescent population, maladaptive perfectionists obtained higher satisfaction scores than non-perfectionists. This finding suggests that adolescents’ high standards may protect them from challenges to personal satisfaction when their standards are not met.[6] Two other forms of the APS-R measure perfectionism directed towards intimate partners (Dyadic Almost Perfect Scale) and perceived perfectionism from one’s family (Family Almost Perfect Scale).

[edit]Physical Appearance Perfectionism Scale (PAPS)

The Physical Appearance Perfectionism Scale (PAPS) explains a particular type of perfectionism – the desire for a perfect physical appearance.[3] The PAPS is a multidimensional assessment of physical appearance perfectionism that provides the most insight when the sub-scales are evaluated separately.[3] In general, the PAPS allows researchers to determine participants’ body image and self-conceptions of their looks, which is critical in present times when so much attention is paid to attractiveness and obtaining the ideal appearance.[3] The two sub-scales it uses to assess appearance concerns are Worry About Imperfection and Hope For Perfection. Those that obtain high Worry About Imperfection scores are usually greatly concerned with maladaptive aspects of perfectionism, physical appearance, and body control behavior.[3] They also demonstrate low positive self-perceptions of their appearance, whereas those scoring highly on Hope for Perfection yielded high positive self-perceptions.[3] Hope For Perfection also corresponded with impression management behaviors and striving for ambitious goals. In sum, Worry About Imperfection relates to negative aspects of appearance perfectionism, while Hope For Perfection relates to positive aspects. One limitation of using the PAPS is the lack of psychological literature evaluating its validity.[3]

[edit]Psychological implications

Daniels & Price (2000) refer to perfectionists as “ones“. Perfectionists are focused on personal integrity and can be wise, discerning and inspiring in their quest for the truth. They also tend to dissociate themselves from their flaws or what they believe are flaws (such as negative emotions) and can become hypocritical and hypercritical of others, seeking the illusion of virtue to hide their own vices.[16]
Perfectionism can be associated with various mental disorders, particularly depressionanxietyOCD, and eating disorders. However, each disorder has varying levels of the three measurements.[14] Socially prescribed perfectionism in young women has been associated with greater body-image dissatisfaction and avoidance of social situations that focus on weight and physical appearance.[17]
The book “Too Perfect: When Being in Control Gets Out of Control” by Jeanette Dewyze and Allan Mallinger contends that perfectionists have obsessive personality types.[18] Obsessive personality type is different from obsessive-compulsive disorder (OCD) in that OCD is a clinical disorder that may be associated with specific ritualized behavior. According to Mallinger and DeWyze, perfectionists are obsessives who need to feel in control at all times to protect themselves and ensure their own safety. By always being vigilant and trying extremely hard, they can ensure that they not only fail to disappoint or are beyond reproach but that they can protect against unforeseen issues caused by their environment. Vigilance refers to constant monitoring, often of the news, weather, and financial markets.[18]

[edit]Positive aspects

Perfectionism can drive people to accomplishments and provide the motivation to persevere in the face of discouragement and obstacles. Roedell (1984) argues:
“In a positive form, perfectionism can provide the driving energy which leads to great achievement. The meticulous attention to detail, necessary for scientific investigation, the commitment which pushes composers to keep working until the music realises the glorious sounds playing in the imagination, and the persistence which keeps great artists at their easels until their creation matches their conception all result from perfectionism.”[19]
Slaney and his colleagues found that adaptive perfectionists had lower levels of procrastination than non-perfectionists. In the field of positive psychology, an adaptive and healthy variation of perfectionism is referred to as Optimalism.[20]
Exceptionally talented individuals who excel in their field sometimes show signs of perfectionism. High-achieving athletes, scientists, and artists often show signs of perfectionism. For example, some contend that Michelangelo‘s perfectionism may have motivated him to painstakingly complete his masterpieces including the statue David and the Sistine Chapel. Scientists that intently pursue their interests in the laboratory are often considered perfectionists. This obsession with an end result may motivate them to work diligently and maintain an impressive work ethic. Famous figures have publicly admitted that they have perfectionist tendencies. Martha Stewart once described herself to Oprah Winfrey as a “maniacal perfectionist.”[21] An intense focus on one’s passion can lead to success.
The adaptive form of perfectionism is typically considered the positive component of this personality trait. Adaptive perfectionism includes preferences for order and organization, a persistent strive for excellence, and conscientious orientation to tasks and performance.[22] All of these characteristics are accompanied by low criticism and negativity, and high support and self-esteem.[22] The positive, adaptive forms of perfectionism are more closely associated with the Big Five personality factor of Conscientiousness, whereas maladaptive forms are more similar to Neuroticism (see below).[22]

[edit]Negative aspects

In its pathological form, perfectionism can be damaging. It can take the form of procrastination when used to postpone tasks and self-deprecation when used to excuse poor performance or to seek sympathy and affirmation from other people. In general, maladaptive perfectionists feel constant pressure to meet their high standards, which creates cognitive dissonance when one cannot meet their own expectations. Perfectionism has been associated with numerous other psychological and physiological complications as well.
Author Hillary Rettig has identified more than a dozen characteristics of perfectionists, including:[23]
  • Grandiosity – The deluded idea that things that are difficult for other people should be easy for you.
  • Focus on Product over Process – Neglecting the journey of work while fixating on the outcome.
  • Focus on External Rewards over Internal Ones
  • Deprecation of the True Processes of Creativity and Career-Building
  • Labeling – Harshly branding oneself with terms like stupid, lazy, wimpy, etc.
  • Hyperbole – Overstating the negative.

22 Ιανουαρίου 2013

Filed under: Notes — admin @ 16:11

 

πρόοδος… (?)

21 Ιανουαρίου 2013

Filed under: Notes — admin @ 15:46










  • Ask the pupils to make a sequence of drawings based on one particular image to show how it might be adapted and developed to convey the idea of change over time or to communicate the idea of movement.






  • Ask them to develop their series of drawings using line and colour to convey a particular mood, emotion or feeling. Encourage pupils to work on a variety of scales and seek out unusual interpretations.













Filed under: Notes — admin @ 15:45

Introduce the unit by discussing images that represent a variety of moods, emotions or feelings, eg panic, happiness, anger, anxiety. Ask the pupils to analyse and comment on the visual qualities of these images and to highlight key features, 

eg gesture, harmony, movement, framing. 



Ask them what they think and feel about these images

Filed under: Notes — admin @ 15:36

http://webarchive.nationalarchives.gov.uk/20061104184552/http://www.tate.org.uk/modern/exhibitions/juanmunoz/rooms/default.shtm

Section 1: Exploring and developing ideas 

  • Introduce the unit by discussing images that represent a variety of moods, emotions or feelings, eg panic, happiness, anger, anxiety. Ask the pupils to analyse and comment on the visual qualities of these images and to highlight key features, eg gesture, harmony, movement, framing. Ask them what they think and feel about these images.

View related objectives and outcomes

Section 2: Exploring and developing ideas (2) 

  • Show examples of abstract and expressionist painting. Ask the pupils to identify or interpret in each case:
    • the visual qualities of the work
    • the way that the artist has used visual qualities and techniques
    • the impact on the viewer
  • Show the pupils further examples of particular movements or styles of art, eg surrealism, fauvism, futurism, pop art. Ask them to work in pairs to analyse and comment on the examples. Ask them to identify in each case two or three key features of the work and say what kind of idea, mood or feeling is communicated by the artist and to produce a piece of writing from this.

View related objectives and outcomes

Section 3: Exploring and developing ideas (3) 

  • Ask pupils to work individually, in pairs or in groups to research in depth one particular style or movement in art. Ask them to select images and other visual reference material and store them in a sketchbook, on videotape, photographically or in electronic form.
  • Ask the pupils to make a visual analysis of one or more examples and annotate this, identifying the key features and characteristics of the work. Ask them to identify the images that are most effective in communicating ideas, considering the impact of composition and use of media.
  • Encourage the pupils to discuss and develop their ideas with each other and with you.

View related objectives and outcomes

Section 4: Exploring and developing ideas (4) 

  • Ask the pupils to make a sequence of drawings based on one particular image to show how it might be adapted and developed to convey the idea of change over time or to communicate the idea of movement.
  • Ask them to develop their series of drawings using line and colour to convey a particular mood, emotion or feeling. Encourage pupils to work on a variety of scales and seek out unusual interpretations.

View related objectives and outcomes

Section 5: Investigating and making (1) 

  • Ask the pupils to work in groups to create a moving image, using digital video and editing practices. Ask each group to discuss the images they have produced so far and choose one to develop into a moving image.
  • Ask the groups to consider who the work is for and why it will be produced, eg to explain the work of art to a young child, to advertise a product.
  • Discuss the moral and social issues related to basing their work on the work of another, eg copyright, ownership, the implications of manipulating work produced by someone else.

View related objectives and outcomes

Section 6: Investigating and making (2) 

  • Demonstrate the use of tools and processes and ask pupils to explore these, eg:
    • building a simple optical toy with drawn moving images
    • drawing on 16mm clear leader film with permanent marker pens, and projecting this to produce a moving image
    • building simple models in modelling dough and animating them, using 8mm film cameras or video cameras
    • combining drawn and painted images digitally to produce composite images, and using image manipulation packages to produce simple animations
    • using video and film to produce short sequences of moving images that convey an emotion to the viewer
  • Ask pupils to agree how they will develop the image, the techniques they will use, who will do what and how they will achieve the end result. Ask them to use moving image techniques and combine these with soundtracks.

View related objectives and outcomes

Section 7: Evaluating and developing work (1) 

  • Discuss the outcomes of pupils’ work. Consider what impact the use of film, moving images and new technology has had on the work.
  • As part of the evaluation process, ask the pupils to look at the saved images from the developmental work to see how far their work reflects their original intentions.

View related objectives and outcomes

Section 8: Evaluating and developing work (2) 

  • Ask the pupils to analyse how visual qualities have been used in their own and others’ work and how these reflect their intentions.
  • Use the evaluation to make changes to their work.

View related objectives and outcomes


Sections in this unit

This unit is divided into sections. Each section contains a sequence of activities with related objectives and outcomes. You can view this unit by moving through the sections or print/download the whole unit.
1. Exploring and developing ideas
2. Exploring and developing ideas (2)
3. Exploring and developing ideas (3)
4. Exploring and developing ideas (4)
5. Investigating and making (1)
6. Investigating and making (2)
7. Evaluating and developing work (1)
8. Evaluating and developing work (2)

2dfield

Filed under: Notes — admin @ 05:53

The 2D Field: Area

Screen Space: fixed borders that defines the new aesthetic characteristics
• Aspect ratio: relationship of screen width to screen height
• Horizontal orientation
• Standard ratios
• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)
• Digital / HDTV – 16×9 (5.33×3 or 178:1)
• Standard wide screen of motion pictures (5.33×3 or 1.85:1)
• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
(2.35:1)
• Wide-screen – format of most U.S. films
• Framing
• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height
does not emphasize one dimension over another
• works well with close-ups
• 16×9 frame
• have to pay more attention to the peripheral pictorial
elements/events
• Changing the Aspect Ratio
• Matching aspect ratio
• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones
• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)
• Cutting, stretching, squeezing
• Secondary Frames
• Masking – blacking out both sides of the screen (ex. D.W. Griffith –
Intolerance)
• Multiple screens
• Moving camera
• Object size > context
• Knowledge of object
• Relation to screen area
• Environment & scale
• Reference to a person
• Image size
• Size constancy – we perceive people and their environments as
normal sized regardless of screen size
• Image size & relative energy
• Power of image is related to screen size & format
• People & things

 The 2D Field: Forces within the Screen

Main directions
• Horizontal (ex. Renaissance architecture)
• Vertical (ex. Gothic Cathedrals)
• Horizontal/Vertical combination
• Tilting the horizontal plane
• Level horizon: stability
• Tilted horizon: dynamism
• Tilted horizon: stress
Magnetism of the Frame
• Top edge (ex. Headroom)
• Sides (ex. Positive /negative pull)
• Corners
• Centered object: even pull (ex. pull of entire frame)
• Large disc: expansion (ex. attraction of mass)
• Small disc: compression
Asymmetry of the Frame
• Up/Down diagonals
• Screen left/right asymmetry
• Tend to pay more attention to the right side than the left
• Figure & Ground
• Characteristics
• Figure is “thing like” – you perceive it as an object
• The line that separates the figure from the ground belongs to the
figure not the ground
• The figure is less stable than the ground
• The ground seems to continue behind the figure
• Superimposition – ambiguous figure/ground relationship
• Figure/Ground reversal
Psychological Closure: tendency to mentally fill in gaps in visual information to
arrive at complete & easily manageable patterns & configurations
• Gestalt – pattern that results from applying psychological closure (whole that
is larger than the psychological sum of its parts)
• Example 3 notes played together become a chord
• High & Low definition images: high definition images has more information
than a low definition image
• High – HDTV/film
• Low – standard TV
• Requires constant psychological closure
• Facilitating Closure – low definition image is helpful only if it facilitates,
rather than inhibits, closure
• Proximity – when similar elements lie in close proximity to one
another we tend to see them together
• Similarity – similar shapes are seen together
• Continuity – once a dominant line is established its direction is not
easily disturbed by other lines cutting across it
Vectors – directional forces that lend our eyes from one point to another (force
with direction & magnitude)
• Vector Field – combination of vectors operating within a single picture field;
picture field to picture field; picture sequence to picture sequence; screen to
screen; on screen to off screen events
• Vector Types
• Graphic Vector – stationary element that guides our eyes in a certain
direction
• Ambiguous direction
• Index Vector – points in a specific direction
• Vector Magnitude – determined by screen direction, graphic mass, perceived
object speed
• Z-axis vector: points toward or away from the camera
• The larger the graphic mass in motion, the higher its vector magnitude
• The faster the speed of an object the higher its vector magnitude
• Vector Directions
• Continuing Vectors – point in the same direction
• Converging Vectors – point toward each other
• Diverging Vectors – point away from each other
Chapter 8 – Structuring the 2D Field: Interplay of Screen Forces
Stabilizing the Field Through Distribution of Graphic Mass & Magnetic Force
• Graphic Weight
• Dimension
• Shape
• Orientation
• Location
• Color
• Hue
• Saturation
• Brightness
• Screen Center – most stable position of an object
• Off Center – the more the object moves off center the greater its
graphic weight and the attraction of the frame increases
• Counter weighting – achieve balance with another object of similar graphic weight

Stabilizing the Field Through Distribution of Vectors
• Structural Force of Index Vectors
• Nose room & Lead room – need to leave enough room otherwise it will feel cramped
• Nose room for index vectors
• Lead room for motion vectors
• Converging Vectors – can balance an index vector with a converging one within the same screen
• Graphic Vectors – can use mass to contain other graphic vectors Stages of Balance
• Stabile Balance – symmetrical structuring of visual elements
• Neutral Balance – graphic elements are asymmetrically distributed
• Golden Section – division of the screen into roughly 3×5 units
• Rule of Thirds – divide screen into 3 horizontal and 3 vertical fields
• Modular Units – adapted golden section proportions into a modular concept
• Labile Balance – distribution of graphic weight, frame magnetism, and vectors are pushed to their structural limit, creating a tendency for imbalance (high tension)

Object Framing
• Facilitating closure – organize structures into easily recognizable patterns
• Graphic Cues – facilitate psychological closure by arranging the vector field within the screen area so that all the vectors extend easily beyond the screen into the off screen space
• Premature Closure – improper framing can lead to early psychological closure
• Natural Dividing Lines –premature closure when framing at natural dividing lines
• Illogical Closure – tendency to group objects together into patterns regardless
of whether they belong together

The Aesthetic Edge Unusual Compositions – breaking compositional rules for emphasis
• Emphasis through off-center placement
• Emphasis through partial onscreen placement

Multiple Screens
• Increased information

Dividing the Screen: screens within a screen
• Graphic Blocks
• Secondary Screen
• 2-axis vectors in split screen
• Temporal & spatial contexts
• Temporal – when several simultaneous events are shown in separate, isolated secondary screens, the direction of the index & motion vectors within such screen is relatively unimportant
• Spatial – placement of screens in the primary screen space, and the direction of the index & motion vectors with a secondary frame become significant structural considerations

19 Ιανουαρίου 2013

Filed under: Notes — admin @ 22:11

Christ, what an asshole” seems a fitting caption for nearly every New Yorker cartoon, and yet it’s only been submitted 27 times out of well over 1.5 million entries in the magazine’s caption contest. We’ve found one place the Internet’s trolls haven’t managed to permeate.
The “CWAA” revelation dates all the way back to February 2006, from a blog post by Charles LaVoie at modernarthur.com entitled “How ‘Christ, What An Asshole!” is the Answer to the New Yorker Magazine Caption Contest” (the blog is no longer maintained, but the page is viewable via the Wayback Machine). LaVoie displays several example caption contest cartoons demonstrating the broad applicability of the phrase to near every New Yorkercartoon.
The blog entry was discovered by reddit just over 4 years later, with the most prominent entry stating “Every New Yorker cartoon can be captioned with ‘Christ, what an asshole!’ without reducing its comedy value.” Another blog, robertsinclair.net, noted that the phrase also works in the last panel of “virtually all comics, old and new.” “CWAA” remains a popular caption across artistic disciplines on the Internet.
Ars inquired at the New Yorker (a sister publication of Ars) to see how many times the phrase has actually been submitted as an entry in the caption contest. “A total of 27 times for the first 332 contests, and there were 23 contests in which it occurred,” said Bob Mankoff, cartoon editor at theNew Yorker—a mercifully low number, for a contest with a Web submission form. Mankoff noted that the average number of submissions for each contest is over 5,000, so there is remarkably little “CWAA” noise.
There are many meta-humor takes on New Yorker caption contest cartoons, said Mankoff. This includes “What a misunderstanding!,” from a blog maintained by Cory Arcangel, which Mankoff said probably fits more contests than “CWAA.” Others are “mashups with Kanye West tweetsCharlie Sheen rants, and Rick Santorum’s political pontifications,” said Mankoff. “We take no umbrage at any of these, although we don’t think that meta is necessarily beta.” We’re glad to see the Internet can goof around without making Mankoff’s job any harder.

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Filed under: Notes — admin @ 21:55
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