This is Tom from the 70's British sitcom The Fall And Rise of Reginald Perrin. Tom is Reggie's son-in-law. On a drive-thru safari with Reggie, his wife Elizabeth, their daughter Linda, Linda's husband Tom, and Tom and Linda's two children, Reggie as usual loses it and calls Tom "a bearded prick." Tom asks why he's a bearded prick and Reggie rants something about a playpen and Tom brewing his own wine and smoking revolting briar pipes and he built a gothic stone folly in their garden and he calls his children (something) and made them eat garlic the moment they were off the breast. Tom replies calmly, "I see, thank you." He later admits, "I think, on reflection, the safari park wasn't a very good idea."
Kang chews out Kirk. The Enterprise attacked his ship, unprovoked! Suddenly, Chekov accuses the Klingons of killing his brother, Piotre. Kang instructs his men to use the Agonizer on Chekov, forcing Kirk to surrender. But when Spock transports them all onto the Enterprise, he holds the Klingons in the transporter beam until a security team can arrive to capture them.
Kang was played by Michael Ansara who passed away a couple of weeks ago. Below is an animated gif made from the screen shots I used from the episode as reference.
Mission Statement: The purpose of this exhibit is to define Digital Imaging for Augsburg students by showing the work of artists who work within the digital medium. The exhibit will be up just prior to and during registration for Spring classes. The desired result is an increase in enrollment for the course. Background: Modern digital imaging took off in 1984 with the release of Apple's Macintosh computer. Over the next ten years, technology quickly advanced allowing digital artists to create increasingly complex and refined work; work that transcended the limitations of the medium. Today, with the intermingling of traditional and digital media, as well the continued advancement of computer technologies, it has become increasingly difficult to determine whether an image was created digitally or traditionally. This exhibit will ask early adopters, as well as more recent adopters of the digital medium to define "Digital Imaging." How and why did they begin to work digitally? How does their work relate to this medium? What media did they use before? Do they follow the digital "rules" or do they bend them, maybe even break them? What do they foresee twenty years from today?
Curators: James O'Brien and Kerry Morgan
Schedule: late October through early December 2008 (begin early November?).
Location: Christensen Center Gallery, Augsburg College, Minneapolis.
Number of pieces: 20
The work: framed digital prints (could also be an original piece of art that includes a substantial digital component within the process), video/slideshow of images and process. The work should be about or reflect the digital process (should be family-friendly; this can be communicated to the artists or can be addressed during the image selection process). The work should include a range of disciplines: editorial, children's book, animation, comic book, concept art, advertising, poster art, technical, architectural, and photography.
List of potential advisors: Lisa Cyr (artist/writer, specializing in promotion), Steven Heller (art director/writer, New York), Bunny Carter (illustrator/writer/professor, San Jose), Mark Murphy (designer/publisher, San Francisco), Nicholas Blechman (illustrator/designer, New York), Peter Bennet (illustrator/art director, Nickelodeon).
List of potential artists: _ Nancy Stahl (early adopter, Corel Painter, Adobe Illustrator, knitting machine) _ Jean Tuttle (early adopter, Adobe Illustrator, licensing) _ Nicholas Blechman (early adopter, AD New York Times Book Review) _ Ray Cesar (uses a modeling application and digital paint) _ James O'Brien (incorporates hand-made media with digital medium) _ Ryan Peltier (incorporates hand-made media, uses Adobe Photoshop for editing, coloring) _ Aesthetic Apparatus (Dan Ibara, screenprinting using Adobe Photoshop to design images) _ photographers (images should show a digital process, photo manipulation, filters, etc., could include before and after photographs) _ concept/production artists (artwork for film and television, talk to Peter Bennet at Nickelodeon, ask Carol Tinkelman about Dreamworks contact) _ children's book (ask Ted and Betsy Lewin for referrals) _ comic book artists (ask Zak, Barb, and Terry at MCAD for referrals) _ technical artists (architecture, drafting, medical, ask Tim Mendola for referrals) _ non-commercial artists (abstract, less direct message, personal work) _ animators (could exhibit a print along with video, ask Peter at Nickelodeon) ...
Promotion: postcard, poster, program, website, email (emailing business suggested by Andy Powell).
Tasks: _ meet with Kerry _ statement describing Augsburg _ artist request letter _ what to require, expect, watch out for _ insurance. _ promotion schedule and needed materials (dates due). _ write exhibit statement (what is the purpose of this exhibit beyond Augsburg, if it is answering a grander question like the definition of digital imaging as viewed by each individual artist, there would be an additional incentive for the artists to participate, could the theme be carried into a traveling exhibit?), artwork parameters (is this juried? should artists submit three potential pieces to choose from?). _ contact artists, request work, choose work. _ design program, logomark, postcard, poster. _ consider larger pool of artists and work (if for traveling exhibit, 40 pieces or more, could include more than one piece per artist). _ produce promotional pieces. _ press release (for Augsburg, local media, national media?). _ outline/plan for possible traveling exhibit (this should be done early, Kerry has just set her schedule one+ year ahead, if this show goes up somewhere else in late Winter 2010, should be scheduled one year early, consider a local gallery/museum for a larger show as the next venue). _ additional (website, book, podcast).
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I will comment on this more in a bit...
about time I did. What I find most interesting about this video is how the elephant seems to ponder where he is about to place the brush, or maybe he is just doing it as best he can. And when he darkens the line work, I wonder if that is his intention, if he is thinking that the line work isn't dark enough. Is he making a mark and then accepting it or deciding to edit it? Is he assessing his work as her paints? Or of course he could just be repeating a task he has done over and over again, or maybe there are really light lines on the paper for him to follow. But I think, after the flower painting is briefly seen in the video, it becomes clear that the elephant is just repeating learned behavior and the apparent self-assessment of his work isn't really there, or is it?
...to my new blog at TypePad.