Art Review | 'Organizing Chaos': Chaotic Creation in Silence and Smashing Guitars
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The works featured at P.S. 1 Contemporary Art Center interact in interesting ways, most obviously in how they alternate between macrocosmic and microcosmic and between noise and silence.
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A Swedish designer takes an American idea and reinvents it.
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The Brooklyn Museum has set out all, or a great many, of its jaw-dropping objects or artworks for our delectation in its new open-storage display.
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By Munz, Tania  LORRAINE DASTON and GREGG MITMAN (eds.), Thinking with Animals: New Perspectives on Anthropomorphism. New York: Columbia University Press, 2005. Pp. vii+230. ISBN 0-2311.3038-4. Pounds 32.00, $49.50 (hardback).
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Loop-based music composition is the practice of sequencing audio samples to create the various parts of a musical work. A sample may contain only a single event such as a bass note or cymbal crash or it may contain a measured pattern of events such as a drum beat, a guitar chord progression, or even an entire piece of music. The former type is sometimes referred to as a "one-shot" sample, while a longer sampled pattern is often simply called a loop. A loop is usually created at a specific tempo in a precise time period (musical beats and measures) for exact concatenation with other loops. Sequencing a series of timed loops creates realistic tracks that can convince a listener that he or she is listening to a part specifically performed for the piece.
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To engage with an artwork, especially contemporary works, can be a daunting task.
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The exhibit âClip/Stamp/Fold: The Radical Architecture of Little Magazinesâ is a piercing critique, intended or not, of the smoothness of our contemporary design culture.
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Though the new outing that Vans Warped tour founder Kevin Lyman is launching this February is called Taste of Chaos, the event is moving forward like a well-oiled machine.
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Making Records: The Scenes Behind the Music, By Phil Ramone
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A curator of crowdsourced art talks about new media projects and how crowds produce and present art.
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Hip-hop and rock, onstage together: itâs an idea whose time has come. And gone. And come again. And gone again. And so on.
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Life hardens us and art desensitizes us. Is the culture of violence turning us into creatures without empathy? Commentary by Tony Long.
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Releases from Troupe Majidi, Mikado Lab, Vinicius Cantuaria, Mia Doi Todd and Ocrilim.
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Recently two books,          by Peter Woit         and         by Lee Smolin,          have been published questioning whether the enormous theoretical        effort applied to the problems of string theory has been        fruitful.  Both books have been reviewed in           several        popular        publications,          and generated substantial discussion both inside and outside of        the physics community.                        One response was published several days ago           by Briane Greene          on the Op-Ed page of the New York Times (also        here).  A          famously grouchy observer          called the editorial a long, wistful plea for patience.  But        what struck me most as I read it was its similarity to the           crackpot index          maintained by John Baez.  So, for fun, I scored it.
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Four groups emerge from radical resructure
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A look at three GUI front-ends for the LilyPond music notation software.
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A RubikÂs Cube of shifting sexual orientation and elaborate sex fantasies, ÂSloppy SecondsÂ gathers all the accouterments of soft pornography into a plot of stunning imbecility.