Art for the 21st Century and beyond
Posted on 29. Jul, 2009 by admin in Headlines and Opinions
by Gita Pather
Assigning meaning is an instinctive human response but art and especially new art is particularly illusive as theorist Theodor Adorno who most aptly encapsulated this when he stated in 1969, “It is self-evident that nothing concerning art is self-evident.”
The saying “The more things change, the more they stay the same” may not be exactly accurate anymore. Computer technology and the World Wide Web have changed the very nature of society and no one is immune to its reach and influence. The global village is a virtual cyberspace connecting information networks and people,changing radically how we think, interact, play and work.
One of the most visceral statements of this change is art. Traditional notions of art have been exploded, subverted, incorporated and fundamentally changed by an onslaught of new formats, techniques and concepts. It’s a natural response to a technology driven world and like artistes from time immemorial, new media artistes express themselves and reflect their experiences through means particular to their time.
Boundaries between traditional art forms have been stretched and squeezed like a palette of paint resulting in photographs that are not quite what they seem, films that incorporate digital special effects, whole musical compositions based purely on digitally produced sound and interactive artwork that belongs to no-one and yet everyone.
Art is intrinsically subversive – reflecting and critiquing society but new art seems even more so since it strives all at once to break down the barriers between art and audience, between tangible and intangible, rollicking merrily from being playful to serious, self reflexive to socially critical. The impulses are as diverse as the artistes who create and the tools that they use.
New Media art, digital art, netart, tradigital art, computer art, cyber art … are all terms to describe the different “art” forms that have resulted from the development of computer hardware and software. More than any other creative landscape, these forms are far more dynamic because of the constant technological advancements/refinements of computer and web technology.
Images, sound, video, algorithms, DVD and CD ROMS, animation, video games, websites are all classified as “digital art” and through interdisciplinary collaboration have spawned a whole range of art forms including performance art, installations, multimedia performance, happenings… the days of rigid definitions that circumscribe an art form are over.
Post-postmodernism… a combination of art for arts sake and art with a heart: asking questions, making statements about the world, the stranglehold of corporate monopolies, the super powers, the materialistic nature of existence in the 21st century and consumerism.
Before one can ask the question is it art, one has to define what art is and therein lies the problem. That answer / those answers have changed over time reflecting the complexities of an age shaped by very different defining forces. Viewed largely as a philosophical debate closely linked to aesthetics, notions of beauty, artistic skill, value and worth; it has profound and far-reaching implications within a particular time. Assigning aesthetic values is an instinctive practice made only by human beings but is impacted upon by a huge number of variables from sensory perceptions to the full gamut of factors that influence and shape culture like education, politics, morality and economics.
Thus theories of art abound, each reflective of a series of variables that shape a world view with both proponents and opponents resulting in theories within theories. Definitions of art include: art provides a unique insight into life, art is spiritual creating a link to the mystical and unknown, art is education, art is an experience, arts are a political and moral statement, art is a reflection of life and art is an interpretation of life.
Philosophers and theorists from Aristotle and Plato to Kant to Hegel have all posited definitions of art but perhaps it is Theodor Adorno who most aptly encapsulates the illusiveness of assigning meaning to art when he stated in 1969, “It is self-evident that nothing concerning art is self-evident.” New Media Art is a reflection of our time…so whether it is art or not is probably immaterial …
Two amazing sites to visit are www.digitalartistshandbook.org and www.artsandculture.com
Did You Know These Art Facts?
Posted on 29. Jul, 2009 by admin in Did you Know
Did you know these art facts?
• Le Rêve (The Dream) by Pablo Picasso (1932) was owned by casino magnate Steve Wynn. In 2006 he agreed to sell the painting for $139 million, but accidentally put his elbow through the canvas the day before the sale was to be completed!
• Most artists are left handed.
• Art has surpassed the stock market in appreciation over the past twenty years.
• An art collector of the Indian born British sculptor Anish Kapoor was recently awarded £350,000 in damages after an art storage company mistook a work for rubbish and threw it away.
• A woman in France was arrested and charged for kissing a Cy Twombly painting worth more than 2 million dollars. She said she was overcome with passion and just couldn’t help herself.
• The Spanish / Mexican artist Santiago Sierra created a stir with his exhibition of human excrement at London’s Lisson Gallery. The 21 blocks of excrement each measure 215 x 75 x 20cm and was collected by faeces “scavengers” in New Delhi and Jaipur, India. Apparently he was making a smelly statement.
• The World’s Smallest Sculpture was created by Willard Wigan. He used rice or grains of sand and a surgical blade to create his “micro sculpture”. They’re so small that they can fit into the eye of a needle (see picture) and he uses the hair from flies as a paint brush to decorate them!
Internet Art by Tegan Bristow
Posted on 29. Jul, 2009 by admin in Headlines and Opinions
Why is there Internet Art? My answer: it’s networked, it’s social and code is beautiful. The Internet is a medium as much as paint or marble and more significantly it is a public medium.
In April 2009, I curated a collection of Internet Art for the Joburg Art Fair (http://jafnetart.wits.ac.za). This project was more an uncovering than pure curating. I had no idea what I would find. And what I found was good.
Internet Art is a complex beast, it bit streams genre and has terabytes of themes. It’s only unifying factor is that it is online and coded. Ismail Farouke and Jaco Spies are two artists who reflect this disparity in a uniquely South African way.
Farouke is social media with a radical agenda. J-Walk (http://j-walk.co.za/s/) built with Babak Fakhamzadeh, highlights culture in the inner city. Anyone with a networked cell can navigate ‘tours’ of the city. Some tours added by Farouke feature cultural groups and their lives, from unique buildings to Ethiopian coffee-shops. Anyone can add ‘tours’ making it a unique socially developed cultural tool. (Also see Soweto Uprisings (http://www.sowetouprisings.com) & Trolley Works (http://www.trolleyworks.net))
Jaco Spies is pure aesthetics on a political edge…
Two works Palimpsist Koppie (http://www.jacospies.co.za/pal.htm) and Dissemination (http://www.jacospies.co.za/dis.htm) follow each other in Spies exploration of land politics. Both use flash in a subtle and beautiful way. While the first is pure animated code the second encourages multiple user interaction.
PS: Code refers to the typed program instructions that programmers write. The written code is then interpreted into a language that a system can read and execute.
Read more about the author: Tegan Bristow
Giuseppe Russo – showcasing SA’s talented
Posted on 29. Jul, 2009 by admin in Headlines and Opinions
Giuseppe Russo, founder of one small seed, talks to Gita Pather about creating fertile platforms one small seed at a time…
What was the inspiration/idea behind one small seed?
The idea was to showcase the South African creative movement in 2005 since nobody else was doing it at the time. I saw that South Africa was emerging in the field of design but the media was too busy talking about overseas celebrities to notice. There were a couple of existing magazines focussing purely on artists or product designers, but I wanted to have a broader, more diverse publication that would target a new mindset and not a specific demographic. Whilst doing that, I wanted obviously to create a ‘New Media’ platform, beginning with the magazine as a starting point, since a tangible product gives you a better understanding of the underlying idea. We wanted to expand quickly and extended our showcase online so as to fulfil a complete and more holistic showcase of all contemporary artists. To me, showcasing local means talking to your community. It’s making people proud of who they are and what is happening in their own country, since pride is key for a better self-esteem which in turn leads to better quality and more competitiveness. It’s essential for reaching your full creative potential, individually and as a country.
One small seed provides a platform for new creative talent – as editor and founder, what would you choose as THE cultural/creative innovation the magazine has showcased since its inception?
I can’t answer that, there is a lot going on in SA worth mentioning. Illustrators, like Louis Minnaar, the animation of Tale of How by The Black Heart Gang was amazing. A South African photographer working in New York, Sacha Waldman, is also doing an amazing job and the music industry has been exploding with high quality music and some very good rock. Well again, it has been a pleasure to be part of all of it.
What are your thoughts about the fact that media gurus argue that traditional print is rapidly being rendered obsolete in the light that you have recently launched two new online ventures, off shoots of one small seed?
Well you know the term ‘media gurus’ might be a bit extreme, perhaps giving them too much credit or authority. But yes, big publishers printing mainstream magazines for everyday people face the reality check that all the information they give to their readers is weekly or monthly information, and becomes irrelevant thereafter. They were all too busy making money and publishing as many magazines as possible for every kind of reader imaginable so they could make as much advertising revenue as possible. But let’s face it, when you come into a bookshop and you see over 200 magazines, one looking exactly the same as the other, just changing the faces of stars in between them, does something not feel a bit “wrong”? Mainstream magazines will disappear with the time, and it will, in my opinion, be inevitable. At the moment, we still have what I call the two generation clash. We have one generation who barely goes online or reads his news on his mobile phone, and the other who does only that. Once the “older” generation starts to fade into a non-lucrative target market, and technology (mobile phone, e-paper, online magazines etc) becomes a part of everyday life, there is no question that major magazines will shift their interest into publishing online only. They will be able to control their ads, targeting a specific reader profile, and even the articles will be selected for the user. Printing will be too expensive due to increasing costs in paper, ink and production. That will be the time when “niche” magazines will re-emerge, since people will then buy quality magazines for the pleasure of it and as a luxury – like a coffee table book. Saying that, one small seed puts a lot of importance on our online platforms. With our online TV, online community site, online photography magazines and soon, a complete new online magazine that will include video and sound, I feel that with technology being part of the new art world, the showcase of it will be much more complete on a multimedia platform. Interaction is also key.
This obviously excludes the factor of the emerging ‘eco-conscience’. Soon the community will not feel very comfortable wasting so much paper just on a weekly read. Something that is considered a luxury though, like a niche magazine or a coffee table book, won’t be considered as so much of a waste. People will come to prize these luxuries even more.
Computer technology is an inescapable aspect of our lives. What are your thoughts about digital art … specifically art created or viewed using computers, digital technology or the web?
We must go and redefine art to answer this properly, which I really do not want to do. I think that as long as people express themselves, consciously or subconsciously with passion, concept and integrity, digital art is as recognised as traditional art is or was. The only problem is that the viewer should be more educated and be a bit more critical, especially now with computers where everybody thinks he is an artist – they scan a picture, put a photoshop effect on it and that is it. As in communication, digital art is a matter of filtering the right one and enjoying technology at its best, but don’t swallow everything they give you.
Theorists argue that true creativity is dead and all art forms now are derivative. Do you agree?
I don’t think so, well I try to convince myself not to agree. Yes, for the majority it is derivative, but do not forget that because of new technology there will be two surviving forms of creative thinking. There is the one who will have to think in a completely new dimension to use this new technology in different conceptual ways, and there is the other, trying to contra-balance the “noisy” technological creative communication, which goes back to a very simple way of creating. That will be interesting since they will have a complete different way of approaching simplicity, since it will be a choice and not a necessity.
South Africa spans both first and third realities. What excites you about the possibilities that such diverse universes present?
Everything – the difference, the contrast, the fact that we will be forced to diversify our thinking, reaching for the left but keeping a foot down on the right, celebrating the new black but decorating it with all other colours. Diversity is key in life and this country definitely brings that part to the table.
Is there a marketing campaign that you find particularly creative? If so, please explain why?
Well there are a lot of very good campaigns in South Africa. To have to pinpoint one, it’s better I that don’t. Perhaps also because it is the last question of the interview and I must get back to work.
Christiaan Hattingh, award winning digital artist
Posted on 29. Jul, 2009 by admin in Personality Profiles
Gita Pather talks to Christiaan about his work, its mediums and meaning …
• You are an engineer but have chosen to redirect your career into multimedia, interactive art and new design. What prompted such a radical change in career?
I am still earning most of my income from engineering. Making a good enough living from digital art in South Africa is generally reserved for those working in the advertising industry, and having done my time in that sector I have made a conscious choice to remain within the engineering field and to focus my art on innovation instead of pleasing the client. I am sure within a very limited niche the expectations of the client and creative innovation may co-exist, but it only happens very rarely in my experience.
• Generate-mutate-translate, the title of a work of yours could aptly describe the impulse of a lot of digital art. What did you want to convey with this exhibition/artwork?
I suppose this work is my most successful to date, even though it is quite different from most of my current projects where I focus a lot on real-time interaction. Generate-mutate-translate is a complex work with multiple layers of meaning and engagement, and I would say the title aims at conveying something about this complexity. Firstly, it alludes to a layering of meaning, but also more literally, to a layering of processes within the digital domain. It is not easy to describe a clear-cut intention with this work, quite simply because it has evolved so much from the initial development stages that my intentions had to be flexible enough to keep track of a process that sometimes acquires a life of its own. In short, I would say that for me the work is principally about the relationship between language (which could be simplified as a form of information exchange), the evolutionary process, and even life itself – these are key concepts for understanding the workings of the “information age”. As a subtext one of my intentions could be to reveal the principle of convergence (different types of information on a single channel, different devices merging to form one device, etc) and some of the idiosyncrasies that could result from this phenomenon in the digital domain.
• SA has a plethora of artistes working within multimedia and inter-disciplinary frameworks. What do you find exciting about the current artistic endeavors within these fields?
Quite honestly, in terms of my area of interest I am not too impressed with what I see in SA. Here I am referring mainly to what is shown in the fine art/contemporary art domain and not commercial design as such. By and large I think South African art is burdened by localised political concerns and expectations. Issues such as gender and race seem to be the main source of subject matter for many artists. My focus is definitely one of a more universal nature since I believe bigger issues are also at stake, like the global relationship between humans and technology.
Apart from content or subject matter, I also find that a lot of SA artists still use very “manual” techniques, even if they work digitally. Few venture into the domain of true generative and interactive art. Artificial intelligence, for example, is often imitated rather than actually applied within an artwork. Animators also still key, tween and spend hours on manually creating an animation in a very traditional way (even if it’s 3D). I am interested in animations produced spontaneously through generative techniques, or a sound input which is linked to a motion tracker drawing an unpredictable animation on the screen, for example. I draw inspiration from sites such as generatorx.no, vvvv.org, and theverymany.net, to name a few. Generative modes of art making are virtually non-existent in SA. That is also why I appreciate endeavors such as the WITS School of Digital Arts’ interactive program and the work that Nathaniel Stern did while he was around. In my involvement with part-time teaching at UNISA and UP I try to stir an interest in advanced digital media and some of the student work that has come out of this looks promising.
• For many traditionalists, creative digital manipulation is not art. In your opinion what are the criteria to judge great, innovative/groundbreaking/seminal art forms that use computers to create or display work?
Well, I think this debate is dying a slow death. In art history courses on “new media” art you are typically faced with a mourning of the loss of the crafted object, where the artist’s hand was in contact with the artwork and so forth, but I think a lot of these debates actually originate from a perspective that is not familiar with digital technology. It is a kind of fear of the unknown. With younger generations who are increasingly exposed to digital technology it becomes less of an issue and the medium is accepted more readily.
I don’t necessarily think the criteria for judging digital art are that different from traditional benchmarks. For me, in simple terms, it must be engaging – not only its initial impression, but also the layered meanings that draw you deeper into the work. The danger with screen-based work and digital installation is often that there’s a major wow-factor that’s initially registered. It may look unusual and engaging, but when you get into the work it turns out to be very shallow and disappointing, often actually quite lame.
• Advertising and marketing are still very traditional in its applications. However some agencies do push the envelope. What ad campaign would you single out as reflective of encompassing the vast potential of the virtual world, cyberspace, digital art, like animation and so forth?
Once again I will steer clear from the “traditional” digital. A lot of animation, video and such adhere to a tried and trusted narrative and linearity which is rarely challenged. One of the most interesting campaigns I can think of was part of a BMW expo of some kind in Spain: some links – dotdotdot.it/newdot/?p=399 and vimeo.com/626876. I think purely in terms of an engaging interactive form of advertising it is quite unique.
MultiMedia Statements
Posted on 29. Jul, 2009 by admin in Avusa Media News
Taxi ranks are “colourful” places at the best of times but “Digital Manipulations” in the Baragwanath Taxi Rank by Nils Eichberg’s make quite a statement. Visit the site and see how his digitally manipulated photographs that focus on the history of colour add a hue and texture to the permanent public art installation at the Bara Taxi rank.
Soft Serve is a multimedia performance group that combines music, sound and visuals to create live gigs that aim to rock the senses, trigger major synaptic leaps whilst making statements about everything from ice cream to reality. The group are Jonathan Crossley (guitars), Janus van der Merwe (sax,keys and voice), Isaac Klawansky (drums), Stefan Henrico (bass) and Pippa Stalker (animation and visuals). Termed slightly crazy and over the top, if you want to experience their sound, hunt them down on YouTube.
Zander Blom, Jan-Henri Booyens and Michael MacGarry make up AVANT CAR GUARD, a Joburg based trio/collective whose work spans a multidisciplinary spectrum that includes photography, sculpture, performance, multiples, installation and painting. Particularly interesting is that they exhibit and author their work as a singular artist – death of the artistic ego? Self reflective and satirical, their work has been exhibited both nationally and internationally – check out their latest work that was part of the Joburg Art Fair at www.whatiftheworld.com or www.avantcarguard.com.
The Digital Time Warp by Tegan Bristow
Posted on 29. Jul, 2009 by admin in Avusa Media News
There is a general tendency in digital media to underestimate the short term and overestimate the long term. The predictions of ten years ago have been far exceeded.
Back in 2006, the now under-used Director was around and pivotal, Flash was still cool and Lev Manovich wrote an essay titled “Import/Export” about the modularity in media creation and its ability to stitch together separate elements to form a single design or film. More significantly Manovich speaks of how software allows these elements to be reused across media platforms: print, web and television. This may seem absurdly obvious, but there is a trend here that has a much broader presence.
A simple fun yet fundamental example of a recent appropriation of this theory of modulation is seen in the observance of pure code. Code is and always has been modularised. We’ve all heard of object-orientated programming right? MTV Brazil’s 2009 ID (http://www.vimeo.com/3431228) made with Processing (www.processing.org) is a perfect example of this manifesting in broadcast media. In short, a single particle system code structure has been reused with different elements (3-D, sound, colour) to create a beautiful and yet familiar effect through out. This is significant because code, the material of all media, is being addressed as a medium; the beginning of what I term the use of “code as medium”. No painter paints without a thorough understanding of pigments and no sculptor sculpts without a keen sense of the line in the marble.
MTV Brasil ID 2009 from Dimitre on Vimeo.
I would like to take this theory on another metaphorical leap…. this time into communication technologies and focus attention to the stitching together of what would seem to be diverse communication platforms. We may think that twitter, radio, blogs and music are completely different things the reality is that they are all digitised and all use the same cables and airwaves.
Another evaluation of the code as medium is the 5fm website (http://www.5fm.co.za). Praekelt Consulting have developed a seamless and user-centric website that integrates digital radio, broadcast radio, music and blogging into a single platform. It has gone beyond the attempt at UG content and has allowed the potential seamlessness of digital media to give their users/listeners a content rich, customisable experience of music, events and DJ celebrities.
- Some Geek Terminology
Code refers to the typed program instructions that programmers write. The written code is interpreted into a language that a system can read and execute. It is the basic building block of computer programs of whatever nature.
Flash is a programming technique (animation technique) that enables movies and animation to move seamlessly across a Web browser.
Object-orientated programming (OOP) refers to a type of programming that combines data structures with functions to create reusable objects e.g. a graphics programme is an example where you can draw a circle, rectangles or triangle. Applying that action to each will result in different actions. If you do a 3-D action, it would result in a sphere, box and a pyramid respectively. The most popular object-oriented programming languages are Java and C++. Simply, what OOP does is allow programmers to “copy” certain inherent functions of an object without re-programming from start.
Modular Programming is a type of programming of software that breaks down the design of a program into individual components (modules) that can be programmed and tested independently. As you can imagine, it is key to effective development and maintenance of large programs and projects. Think about how the Gautrain project – each piece of a “bridge “is built separately and then assembled to form a whole.
Read more about the author: Tegan Bristow
Here’s to orange pills and daytime TV by Brandon Faber
Posted on 29. Jul, 2009 by admin in Brandon Faber
I’m writing this, three days past deadline and infected by the Eish1 N1 (south) virus.
To my left sits Alfred the magic pig and, to my right, Fred the depressed donkey. Some might say these two abominations are creations of the bucket loads of medicine I’ve been taking – alas, I beg to differ. Alfred has taken the time to explain the inner workings of government and why nationalising our mines is actually a good idea. Fred pointed out that nothing is ever as good as it seems and that somewhere, the Pink Harpic Squad is waiting to invade our homes.
They are out there; patiently biding their time… pretty soon the emails will start flying – “Night of the Long Toilet brushes”. I suspect Zimbabwean war veterans and retired SABC board members are involved in this unprecedented attack on our way of life.
But I digress.
Combine the musings of Alfred and Fred with above mentioned new virus strain fighting for control of my frontal lobe which (for all those who failed biology, is supposed to control planning, organising, problem solving, selective attention, personality and a variety of “higher cognitive functions”, including behaviour and emotions) and you are left with a confused mess of a man that sees the value in Verimark veggie cutters and machines that mimic the sound of the ocean.
It is in this state of mental capitulation that I stumbled through the travesty that is daytime TV, and not just any daytime TV, mind you. Buckling under the pressure of morbid curiosity I descended into the dark, murky, world of the national broadcaster’s offerings:
- SABC 1 has some school education programme that I don’t understand. It has nothing to do with the language the episode is broadcast in and more to do with my level of intelligence – failing to grasp the true meaning of X and where you can find it on a cold winter’s day
- SABC 2 features a kid’s show about extreme sports where, in the audience, twenty “learners” were paid handsome bribes to be there. The host is doing a decent job but, in the front row of the two-rowed audience, the blonde chick with the nervous twitch is hogging all the attention. Lo and behold they allow her to speak. She’s into rock climbing – “nothing like it” she exclaims while her left leg seems to march to some beat only certain species of dog can hear.The camera moves to the dude sitting next to her but, unfortunately, her head has also started to swing from left to right. I fear for the safety of every person in the studio as clearly this lady is three tequilas short of a party. Someone gets a message to her because all of a sudden she quietens down. By the concentration on her face it’s clear she’s analysing the latest Julius Malema sound bite or, in fact, is holding back the world’s biggest fart
- SABC 3 and that Noleen lady is doing her thing, talking to strippers and strip club owners – at last, something I can identify with. On the couch two “dancers” are flanked by the owner of “The View”, a sexologist, and a huge woman that looks like something out of Starwars. “The mother of the stripping industry in SA” we are told. “Geez, nature can be very cruel” I think to myself as Noleen storms through a barrage of questions. “YAWN” I pop another two orange pills and was just about to see what delights the cretins at E-TV have in store when Noleen rescues the day.
“What kind of people can strip?” she asks Starwars lady. “Could I, for example, strip?”
Momma Whiteboots looks her up and down and then delivers a coup de grace for daytime viewing:
“Maybe if you charge by the kilo”. .
….I haven’t stopped laughing since.
If that is not something worth watching over and over again, nothing is. Bring on the flu and the whole animal farm to sit by my side. Bring on kak Harpic ads and those three idiots from Outsurance – this is what entertainment is all about.
Viva daytime TV!
Hot Stuff Gadgets – July
Posted on 29. Jul, 2009 by admin in Hot Stuff Gadget Review
Every month the editors of Stuff magazine choose the latest pretty, shiny gadgets for you.
Sony HX1
R7 800
www.sony.co.za
Panoramic photos are tricky. The end result may be an arresting, breathtaking picture, but the clumsy process required to snap a widescreen wonder can be fiddly. That’s why Sony has developed a new Sweep Panorama mode, which automatically stitches together a series of high-speed images as you pan the camera lens across a super-wide subject. And should you want to focus in on a specific detail, the 9MP HX1 has 20x optical zoom, as well as 1080p hi-def video to capture any moving subjects.
Acer Aspire One 751h
R6 000
www.acer.co.za
The netbook market is now as congested as the trunk of a flu-stricken elephant. They can’t get smaller without seriously compromising usability, so one way to stand out is to go bigger. Acer’s 751h comes with an Intel Atom processor, 1GB RAM, a 160GB hard drive, a multi-card reader, Wi-Fi, Bluetooth and HSDPA. There’s also an 11.6in (29.5cm), 1366×768-pixel display and claimed 8-hour battery life, but the clincher could be that combo of net connectivity and a jumbo hard drive.
eGo Portable drive
320GB (R1 300) and 500GB (R1 800)
www.iomega.co.za
The first generation of eGo drives reminded Stuff of sophisticated hip flasks, which may say more about our drinking habits than about the eGo. Sadly, the new incarnation – though more rugged and manly – has corners too rounded to serve that purpose. But Iomega has more than made up for that with a plethora of software and services that make the actual drive just the tip of the iceberg you’re buying. The eGo ships with a six-month licence for McAfee VirusScan Plus, 2GB of free storage on the MozyHome Online Backup service, and two backup packages. Maybe the next model will ship with a shot glass.
TomTom Go 630
R3 200
A great little package from TomTom. With its 4.3inch (10.1cm) widescreen and handy new twist-off mount, the 630’s natural competitor is Garmin’s excellent Nuvi 205W. Both offer extra features at entry-level prices, but we think the 630 wins its class, just because it offers decent hands-free Bluetooth, the killer app. And the twist-off mount is handy for slipping the 630 into your briefcase on business trips.
Nokia E75
R6 000
The best Nokia Communicator yet, and a compact, powerful messaging phone that is slim enough to get lost in a pocket. It’s still all about business, but with a 3.2MP camera, VGA video now at 30fps and N-Gage gaming support, there’s just a tad of crossover appeal to the E75.
The Communicator range has always enjoyed special status as the first smartphone. This incarnation cleverly advances the combination of keypads with a conventional alphanumeric outside and a slide-out Qwerty keypad for thumbing. Arguably the best combination of both must-have interfaces. Once the keyboard slides out, the interface swings sideways. This gives you more real estate on the 2.4in (6cm) QVGA display, and the soft keys remain in place with the relevant menu shortcuts. It’s a clever use of the screen – but are we justified in asking why it couldn’t be a touchscreen? The E75 does multimedia very well, and the standard 3.5mm headphone jack is a relief. You listening, Sony Ericsson?
For more information on Stuff, including upcoming features and advertising rates, click here.
Steven Felmore – Senior Finished artist and illustrator
Posted on 29. Jul, 2009 by admin in Personality Profiles
Steven Felmore – Senior Finished artist and illustrator for Berge Farrell
• What’s a typical workday for you?
Arising at 6:30 and driving from Glencairn to Newlands. I work until around 6pm, then drive home, then either making supper or playing guitar while Avril makes supper. After that I usually either work on a freelance illustration job, or I practise my classical guitar. It’s a very special Colin Cleveland 1985. I might help Avril with her CTAM (Cape Town Academy of Music) website, and on Mondays and Tuesday evenings I teach classic or electric guitar for the CTAM from 6:30 to 7:30.
• What do you enjoy most about your portfolio?
Realistic oil-painting style illustration work.
• Where would you go for the summer holidays?
Haven’t had a decent holiday for ages, but when I do, usually Hermanus.
• Describe your home environment briefly.
It’s a wooden house on the mountain in Glencairn. We are surrounded by natural fynbos and it has inspired me to start a series of oil paintings. I am busy with number 4 so far. Avril plans to compose a series of guitar works based on my fynbos paintings.
• Are you more of a TV/Radio or DVD person? Favourites?
We watch DVDs – I prefer action movies, Avril likes romance. But my best is to go to the cinema – it’s a psychological break from the stress of work.
• We live in a brand conscious society. How do you feel about that?
I have a good consciousness of branding through my years in the business. I feel the importance of a strong brand identity cannot be denied especially given the current economic situation. Companies who allocate more budget to this and not less, will have the advantage over the “wait and see” companies. For example, in supermarkets consumers are reading ingredients copy on packaging and comparing quality with similar priced product as opposed to simply reaching for what they have always bought. With such a critical market the packaging design and marketing/advertising thereof is essential for survival and growth, and this is where I come in.
• Are you a labels or off-the peg person?
I am definitely an off-the peg person. Clothes, provided it fits me and is good quality, do not have to have the “right” label – advertising in the clothing industry is aspirational and the quality is not always related to cost.
• What’s your Sunday morning read?
I don’t read on a Sunday morning!
• Which are your favourite magazines or must-buy magazines of the week?
I usually buy the car magazine, otherwise American artist and National geographic. I also like Scientific American.
• Favourite online site?
www.avrilkinsey.com
• South African hero/oine?
Mandela
• Best dining out venue?
Dixie’s or Cattle Baron
• No 1 industry peeve?
There is simply not enough money spent on good artwork. The emphasis is on speed and not quality. I am asked to do an oil painting for an illustration but it’s wanted tomorrow. So I use the digital equivalent, Painter on the Mac and I use a Wacom digitiser – but it’s simply not as good as a proper oil painting. My ideal would be to be commissioned like the old days – Howard Pyle who produced serious artworks for magazine covers – no chance of that these days…sorry to sound negative, but the question used the word “peeve”!
