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A Final Cut

When I began working on my early short-films Final Cut Pro, the editing application by Apple, was around version 4 and starting to become an industry leader for non-linear editing. Notably praised by the editor Walter Murch, it solidified its position through the high definition era. That was until version 7. The radical departure of the X design, following interface cues from more amicable and less technical software, alienated many people. It was unfortunate because, technology wise, the software was at its best. Under the hood technologies like optical flow (borrowed from the days of Apple Shake) had matured and integrated into the editing suite itself, yet the user interface felt like a poor cartoonish modernization attempt at the expense of focus and performance during the cutting process. It never got out of the way, it never felt simple. In a quite tangible sense it felt unfamiliar, as if it was an impostor trying vehemently to appear like real editing software.

Now with 10.3, released a couple weeks ago, it finally feels like it has found its way. The interface design is much more subdued, giving proper focus to the film segments themselves, and it ties a few of the novel ideas around the magnetic timeline and roles together more elegantly. I’ve yet to try the touch bar integration, but I’m looking forward to it. All in all, this last effort came as a very welcome surprise.

The underrated Mona Lisa

Jason Kottke:

Leonardo da Vinci’s Mona Lisa is overrated. Why? For starters, the director of the Louvre said that 80% of the museum’s visitors are there just to see the Mona Lisa. 80%! We’re talking about one of the finest museums in the world, overflowing with some of the world’s greatest artworks, and people come to only see one thing. Overrated.

I disagree. The reasons why people go to see this painting may be entirely frivolous; preceded by a fame that has little to do with the work itself. Yet it’s ludicrous to think the Mona Lisa is overrated (and snobbishly dismiss it) because of the kind of appropriation art tourism has made of it.

Before its modern fame, the work captivated the attention and admiration of other Renaissance artists—including Raphael—and set the tone for what was possible to achieve with portraiture. If anything, the conditions in which the work is forced to be displayed and its status as a cultural icon make it impossible to aesthetically appreciate it on its own terms. For the way it is violently consumed it is, perhaps, underrated.

The reasons why people flood the Louvre hall that contains the painting may be completely spurious but it doesn’t make the work any less remarkable. Its status as a cultural icon is inconsequential to the quality of the work.

The lucid mind of Vincent van Gogh

Last month in Canada Automattic had its annual meetup reunion. I did a short talk on some of my favourite passages from Van Gogh’s letters.

Vincent often represents the paradigmatic idea of the tortured artist, whose work is seen both as the brilliant deliriums of a madman and yet inconceivable without some kind of mental distress. It is portrayed as the great result of an illness. I believe such a vision does an incredible disservice to his work, his creative genius, and his suffering.

We have the privilege that a vast collection of his letters — mostly sent to his brother Theo — have been preserved. One of their most striking aspects is the great insight, eloquence, knowledge, serenity, and awareness that he displays in them. The evolution of his style follows a determination to find beauty and a very precise artistic expression.

All kinds of eccentric and bad things are thought and said about me, which makes me feel somewhat forlorn now and then, but on the other hand it concentrates my attention on the things that never change — that is to say, the eternal beauty of nature.

The Hague, 1882

At a time that art theory recognises as the birth of the avant-garde movements, it’s wise to recall that the artists weren’t necessarily seeking novelty, but often instead trying to return to a sense of purity and directness in their contact with the world that may had been forgotten by art.

What am I in the eyes of most people — a nonentity, an eccentric, or an unpleasant person — somebody who has no position in society and will never have; in short, the lowest of the low. All right, then — even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart. That is my ambition, based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Though I am often in the depths of misery, there is still calmness, pure harmony and music inside me.

Van Gogh tried — unsuccessfully — to create a community of artists in southern France with the purpose of working together in the pursuit of great art. An intrinsic obstacle for this effort was, in his mind, the inability of artists to collaborate:

However, I shan’t labour the point, because I realize that life carries us along so fast that we haven’t the time to talk and to work as well. That is the reason why, with unity still a long way off, we are now sailing the trackless deep in our frail little boats, all alone on the high seas of our time. Is it a renaissance? Is it a decline? We cannot judge, because we are too close to it not to be deceived by distorted perspectives.

He often writes with close attention about the works of other masters. The following is a great description of Rembrandt, for instance:

This is how Rembrandt painted angels. He does a self-portrait, old, toothless, wrinkled, wearing a cotton cap, a picture from life, in a mirror. He is dreaming, dreaming, and his brush takes up his self-portrait again, but this time from memory, and the expression on the face becomes sadder and more saddening, He dreams, dreams on, and why or how I cannot tell, but — as Socrates and Mohammed had their guardian spirits, so Rembrandt paints a supernatural angel with a da Vinci smile behind that old man who resembles himself.

And finally, the impulse behind a sense of purpose constantly emerges from his writing; a sense of figuring out what was important to him and how to develop his craft towards his ideals.

On the road that I’m on I must continue; if I do nothing, if I don’t study, if I don’t keep on trying, then I’m lost, then woe betide me. That’s how I see this, to keep on, keep on, that’s what’s needed. But what’s your ultimate goal, you’ll say. That goal will become clearer, will take shape slowly and surely, as the croquis becomes a sketch and the sketch a painting, as one works more seriously, as one digs deeper into the originally vague idea, the first fugitive, passing thought, unless it becomes firm.

A look into Calypso

A look into Calypso. Last June I spoke at WordCamp Europe in Vienna about Calypso; the JavaScript open source project that powers WordPress.com. The presentation was focused around how Calypso came to be, interesting under the hood tools we’ve developed to power a rich user experience and what lies ahead for the project.

The full talk is available to watch on WordPres.tv. Huge thanks to the organizing team for putting up a marvelous event on an incredible venue and stage, right in the Museumsquartier of Vienna.

Matías Ventura

Photo by Tammie Lister

Fellini sobre Picasso

self-portrait-1907Recorriendo hace un tiempo el museo Picasso en Barcelona recordé un comentario que Federico Fellini hizo acerca de Pablo Picasso y los artistas en relación a la libertad.

Picasso es un pintor total, absolutamente libre. Pero, paradójicamente, yo creo que para un artista la libertad total es peligrosa, en el sentido de que podría hacer hacer uso de ella, no para crear, sino para desperdiciar su propio talento creativo. Para mí, hace falta un tirano. Yo estaría de acuerdo con que existiera una autoridad estatal abstracta que me ordenase crear imágenes continua, incesantemente. — Fellini

WordCamp Europe 2016

This week I will be speaking about Calypso at the WordCamp Europe 2016 conference in Vienna. The talk will go over some of the core development values that have driven the project from the start, about what it means to not be powered by any existing “framework”, and ultimately about how the community could make use of it for their own ideas.

I redesign this place more often
than I write on it.