#Machinima has its roots in the early cracker and demoscene - stunters who'd use the games' sprites to create splashscreen animations in tribute to their prowess.
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As highly customizable games like Doom hit the market, the scene intensified, excited by the prospect of actual feature film production on the cheap, assisted by game-engines.
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Pioneers like Hugh Hancock stretched the realm of possibility with incredible and heroic efforts, but Hugh died before he could see his vision bear fruit - today, major studios use game engines to animate movies and shorts all the time.
I always think of Hugh and get a little sad smile when I see this stuff in the wild. Today, I found this: a remake of Talking Heads' Once in a Lifetime starring G-Man from Half-Life, created by @CoreyLaddo.
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It's nothing short of spectacular - exactly the kind of creative, playful experiment Hugh dreamed of.
eof/
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Inside: Dystopia as clickbait; Trail of Mars; Bride of Frankenstein and the Monster; The Passenger Pigeon Manifesto; Bricked Ferrari; The Dennis Ball Show; and more!
Tonight's Attack Surface Lecture: Intersectionality: Race, Surveillance, and Tech and Its History with Malkia Cyril and Meredith Whittaker app.gopassage.com/events/cory-do…
A great hero of the copyright wars is @realdjbc, AKA Bob Cronin, creator of the amazing groundbreaking #Beastles mashups, a virtuosic combination of the Beastie Boys and The Beatles:
DRM is a system for prohibiting legal conduct that manufacturers and their shareholders don't like.
Laws like the US DMCA 1201 (and its equivalents all over the world) ban tampering with DRM, even if no copyright infringement takes place.
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That means that manufacturers can design products so that doing things that displease them requires bypassing DRM, and thus committing a felony. It amounts to "felony contempt of business model."
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The expansive language of DRM law makes it a crime to break DRM, to tell people how to break DRM, to point out defects in DRM (including defects that make products unsafe to use), or to traffick in DRM-breaking tools.
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In 2014, I gave a keynote at Museums and the Web on the suicide-mission of cultural institutions that had decided to sacrifice access - making their collections as broadly available as possible - for revenues (selling licenses to rich people).
I argued that rich people didn't want museums, they wanted to own the things the museums had in their collections; so if museums eschewed universal access to get crumbs from plutes, they'd end up with rich people slavering to dismantle them and no public to help them resist.
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Now, a group of professionals and institutions from the galleries, libraries, archives and museums (#GLAM) sector have published the "Passenger Pigeon Manifesto," in which they eloquently make the same point.
I first encountered @jmcdaid through "Uncle Buddy's Funhouse," his 1993 ground-breaking, award-winning hypertext project - one of the first CD ROMs written up in the NY Times. It was such an exciting, original, weird and artistically satisfying piece, especially the music.
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Later, John and I became writing colleagues, attending workshops together, and then friends - for decades now. His work remains weird, erudite, accessible, madcap and brilliant.
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He's just released a new album of filk/folk music: "Trail Of Mars," recorded during the plague months with an all-star set of session musicians whom John was able to contract with thanks to the unprecedented drought in musical work.