Cómo estructurar un ensayo en vídeo

por Pedro Jorge Romero el 09/05/2015

Estupenda, y corta, explicación sobre lo fundamental de un ensayo en vídeo, empleando como modelo, la película F for Fake de Orson Welles.

Y sobre la película, un buena reseña: The Art of Lying.

El reloj

por Pedro Jorge Romero el 08/05/2015

Matt Gemmell hablando de Apple Watch y su relación con los otros dispositivos:

I’m making full use of the Watch, including all the much-touted stuff like fitness tracking, sending sketches and taps to other wearers, and controlling the music in my office from my wrist. But the revelation for me has been how this little gadget – so very clearly a 1.0 product – has changed my relationship with my other devices.

In the same way that the iPhone was the first phone to really start eating away at what we used computers for, the Watch is the first wearable that’s lessened the amount of time I spend with my phone. For much of my day, the iPhone has become a sort of server, sitting quietly in a pocket, facilitating my interactions with its little brother.

Origen: Distractions – Matt Gemmell


por Pedro Jorge Romero el 06/05/2015

Land Waves

por Pedro Jorge Romero el 06/05/2015



Created by Binaura, LandWaves is a raw sonification of a 1D reaction diffusion system originally imagined as an installation and now available for iOS – the team’s first anti-app non-interactive piece designed for the app store.

Origen: LandWaves – Raw sonification of a 1D reaction diffusion system for iOS / by @_stc

The Metagame

por Pedro Jorge Romero el 06/05/2015

The Metagame, un juego de cartas para pelearse por las opiniones culturales. Vamos, como la cultura de verdad.


It’s a deck fueled by opinions and connections between the ridiculous extremes of culture. The set features 200 “culture cards” and 100 “opinion cards,” and includes suggestions for six games that range from three to thousands of players. In one of those, players construct a “metaquilt,” aligning cards in the style of dominoes to get all the sides to match up in a vaguely sensical way, such as placing Waiting for Godot alongside opinion cards for “What has the most subversive potential?” and “Would make the strangest fetish ever?” Another game suggestion is “Debate Club,” in which a group argues for the best match between a culture card and an opinion. “If the critics don’t like what you say, you are knocked out and become a critic, too,” the rules explain.

Origen: A Card Game to Debate the Absurd Extremes of Cultural Opinions

El géiser rosa

por Pedro Jorge Romero el 06/05/2015

En la lista semanal de crímenes del arte, esta curiosidad:


The Chilean, Copenhagen-based artist Marco Evaristti has been sentenced to 15 days in jail in Iceland for pouring pink food dye into the beloved Strokkur Geysir. “I do what I do be­cause I’m a painter, a landscape painter who does­n’t use a can­vas, I paint di­rectly on na­ture,” said Evaristti in his defense.

Origen: Crimes of the Art

Los superhéroes y el orientalismo

por Pedro Jorge Romero el 06/05/2015

Edward Said asks: “How does Orientalism transmit or reproduce itself from one epoch to another?”I answered last year in a PS: Political Science & Politics essay: “In the case of superheroes, it is through the unexamined repetition of fossilized conventions that encode the colonialist attitudes that helped to create the original character type and continue to define it in relation to imperial practices.” I continued the thought in the book manuscript of On the Origin of Superheroes I sent to my press for copyediting last month: “The 1930s is an Orientalist pit superheroes may never climb out of.”

Origen: Himalayan Quake « The Hooded Utilitarian

La gran mentira

por Pedro Jorge Romero el 30/04/2015

The Big Lie of Science is that it doesn’t matter who does the science, as long as the research is sound. The truth is that scientists judge each other’s work through their own prejudices, and the Lie lets them get away with it. The Lie lets people remain silent when they see their colleagues being mistreated, because “personality shouldn’t matter”. The Lie absolves us of responsibility to do anything about discrimination and hostile environments for anyone who doesn’t neatly fit the mold created for white, straight, cisgendered men and those they approve of.

Origen: The Big Lie of science | Galileo’s Pendulum

Experimentos con la tensión superficial

por Pedro Jorge Romero el 30/04/2015

No conocía muchos de ellos. Más que interesantes para hacer un día.

Origen: Physics Girl: Seven surface tension experiments | The Kid Should See This

Apple Watch sale solo de la caja

por Pedro Jorge Romero el 29/04/2015


Origen: Here’s the Apple Watch Unboxing Itself – WatchAware

El catálogo de Duchamp

por Pedro Jorge Romero el 28/04/2015

Catálogo diseñado por Duchamp para una exposición Dada. La gracia es que se suponía que el catálogo debía entregarse arrugado, formando una bola de papel:

M31427-2 001

The Dada catalogue has all 212 works listed from the exhibition at Sidney Janis Gallery in New York, including 12 by Duchamp alongside those by Max Ernst, Kurt Schwitters, Jean Arp, Man Ray, and others organized by country. Staggered alongside are four concise essays by Hans Arp, Richard Huelsenbeck, Jacques-Henry Lévesque, and Tristan Tzara, with the name of the exhibition in semi-bold, reddish orange over the black letterpress text. The layout readily recalls the kinetic feel of Duchamp’s “Nude Descending a Staircase, No. 2″ (1912), but it has as much in common with his readymades that took an object and repositioned it as art (most famously with the “Fountain” urinal, one of which was replicated in the Janis show). As Caroll Janis wrote in Art in America in 2006, when the “painstakingly produced catalogue” was printed, Duchamp reportedly “took a sheet in his hands, crushed it into a loose ball, and suggested that a trash can full of these paper balls be offered to visitors entering the vernissage” (which, as usual, he didn’t attend). The Philadelphia Museum of Art has one of these crumpled versions in its collections, with the catalogue going from printed poster, to trash, to art just by the action and context.

Origen: The Dada Catalogue Marcel Duchamp Designed to Be Thrown Away

Mahler para Spectrum

por Pedro Jorge Romero el 28/04/2015

Fascinante. La primera sinfonía de Mahler en un conjunto de ordenadores ZX Spectrum conectados en red. Siguiendo la divertida propuesta del manual original.

Muchos recordarán el Spectrum como su primer ordenador (el mío fue el ZX81. Más antiguo todavía). Por lo visto, queda todavía toda una comunidad de entusiastas de esa máquina.

(ht Xavier Riesco)

¿BoJack y los grandes datos?

por Pedro Jorge Romero el 27/04/2015

Me gusta mucho esta reflexión sobre BoJack Horseman, esa excelente serie de animación de Netflix. El argumento principal es que una serie así no debería existir, que mezcla demasiados géneros, que cambia excesivamente de registro en unos pocos minutos como para poder recibir la aprobación de una cadena normal de televisión. Sin embargo, Netflix dispone de enormes datos muy precisos sobre lo que la gente ve o deja de ver. La hipótesis es que una empresa como Netflix podía “ver” que el uso de elementos tan diversos mezclados podía trascender las divisiones demográficas habituales y satisfacer a un grupo “desconocido” hasta ese momento.

Neighed to Order: The Case of BoJack Horseman Matt Sienkiewicz / Boston College | Flow:

Our suggestion, therefore, is that at the moment of the show’s pitch and throughout the development process, Netflix may well have had reason to believe that BoJack’s strange menagerie could actually work. Armed with data about the viewing habits of its clients, the company was able to free itself from the restraints of long standing industry lore and even the limitations of blunt instruments such as genre conventions and traditional demographics. In a previous era, BoJack may well have been seen as a program full of contradictory niches, hailing small audience groups with one aspect while repelling those same groups with the next. The data, however, may well have shown that this would not be the case, suggesting that audiences for the shows BoJack draws from have more in common than is immediately apparent.
Certainly, there is the potential for the abuse of such information. If BoJack works too well, we could see a parade of increasingly ham-fisted attempts to combine popular programs in cheap, search engine-friendly ways. Though this may be unfortunate, it would also not be terribly new, of course, as copy catting has long been one of the industry’s most unappealing but profitable vices.

Es, simplemente, una hipótesis, que se fundamenta en saber que Netflix dispone efectivamente de esos datos. Evidentemente, ya se apunta en el segundo párrafo que si es así, podemos acabar con un montón de programas creados según los datos.


In the meantime, we can enjoy the freedom that BoJack displays in its mixing of genres and crossing of references. It is a strange, wondrous beast of a show, recalling Raoul Duke’s description of Dr. Gonzo in Fear and Loathing in Las Vegas: “too weird to live, too rare to die.” In a previous era, it likely would not have lived at all. Today, it exists and even thrives, perhaps less to the surprise of its benefactors than we might think.

Late Rembrandt

por Pedro Jorge Romero el 27/04/2015

Late Rembrandt es una exposición (hasta el 17 de mayo) en el Rijksmuseum de Ámsterdam:

Rembrandt’s later life was marked by tragic personal loss and financial setbacks. Yet it was also the time when he produced his best work. He experimented with paint and light, managing to bring an unprecedented emotional depth to his work. It resulted in his most daring and intimate work.

En A Generosity of Rembrandts: The Late Works at the Rijksmuseum la comentan:

The exhibition begins with a series of late self-portraits, a somber how-do-you-do in the foyer of the show. These establish what Rembrandt’s numerical age might not (he was 63 when he died): that he was playing an endgame. All half-lengths, the self-portraits depict the body in a three-quarters view, the head turned to the picture plane. In each, his face is wrinkled and pouchy, and in the 1659 self-portrait now in Washington, D.C., he seems to have taken great care to use all the crusty bits of paint on his palette to render the weathered and spotty texture of his skin in strokes of jaundice yellow and rosacea pink.

Rembrandt had reason to feel the weight of mortality and loss. He had once dominated the Amsterdam art world. His portraits were in demand by the city’s elite, he made a love match with his dealer’s higher-born niece, Saskia, and he could afford to buy a large new house in a nice part of town. By 1656, all that was over. Saskia had died after a series of difficult pregnancies; he’d had a disastrous love affair with the woman he’d hired to take care of his surviving child; and unwise spending, much of it on art and things like exotic shells, led to bankruptcy. He lived in reduced circumstances with his second love, Hendrickje, and his son Titus, but he survived them both, Hendrickje by six years, Titus by one.

Git para humanos

por Pedro Jorge Romero el 27/04/2015

Legit is a complementary command-line interface for Git, optimized for workflow simplicity. It is heavily inspired by GitHub for Mac.

Origen: Welcome | Legit (Git Workflow for Humans)

“A dream discarded”

por Pedro Jorge Romero el 27/04/2015

A dream discarded

A photo posted by @pjorge on

No molestar

por Pedro Jorge Romero el 26/04/2015

Se puede coleccionar cualquier cosa, incluso esos cartelitos de “no molestar” que hay en los hoteles. Y resulta que la variación puede ser espectacular.

As the son of a hotel manager, Edoardo Flores spent his childhood around objects many of us associate solely with the niceties of vacation. His interest in collecting “Do Not Disturb” signs didn’t come until later, when he grabbed some unique ones as business trip souvenirs. Around 1995 he began collecting in earnest, and he now owns close to 9,000 signs from 190 countries.

In a history of the collection that Flores provided to Hyperallergic, he claims that little is known about the development of the “Do Not Disturb” (DND) sign, now such a common, expected component of hotel stays. Flores speculates that the DND sign was the wise invention of one hotel manager, and that other places later emulated the practice.

Mi preferido creo que es:

Origen: The Diverse Designs of “Do Not Disturb” Signs

Play House

por Pedro Jorge Romero el 26/04/2015

Play House. Según la descripción:

Play House is an automata that generates slow hypnotic acid house through mechanisms built from LEGO Technic.

Y efectivamente, ofrece un enorme deleite visual ver ese cacharro en funcionamiento.

Su creador, Alex Allmont, tiene bastantes otras creaciones en su web, que combinan todo tipo de elementos. Dice:

My research ties together aspects of cognition and performance and I am focused on making the experience as open as possible so that the audience can get better understand what is driving the performer – or become the performer in some cases. The intention is to blur the lines and responsibilities between them in an attempt to have a deeper connection with music.

Para los aficionados a LEGO, este otro vídeo puede resultar fascinante y educativo:

LEGO Sketchbook 2013 from Alex Allmont on Vimeo.

(vía Play House | ./mediateletipos))))

Gene Wolfe

por Pedro Jorge Romero el 26/04/2015

La revista New Yorker ofrece un muy buen perfil de Gene Wolfe, el mejor escritor de ciencia ficción vivo. Su magistral El libro del sol nuevo es una lectura maravillosa y una prueba de las cumbres a las que puede llegar el género en manos de un autor sobresaliente.

Wolfe has published more than twenty-five novels and more than fifty stories, and has won some of science fiction and fantasy’s most prestigious awards. But he has rarely, if ever, been considered fully within the larger context of literature. His books contain all of the nasty genre tropes—space travel, robots, even dragons—and he hasn’t crossed into the mainstream on the strength of a TV or movie adaptation. Wolfe himself sees the trappings of science fiction and fantasy, the spaceships and so on, as simply “a sketchy outline of the things that can be done.” But even within fantasy fandom, Wolfe’s work presents difficulties. His science fiction is neither operatic nor scientifically accurate; his fantasy works are not full of clanging swords and wizardly knowledge. But ask science-fiction or fantasy authors about Gene Wolfe and they are likely to cite him as a giant in their field. Ursula K. Le Guin once called Wolfe “our Melville.”

Origen: Sci-Fi’s Difficult Genius – The New Yorker

(vía “That Notoriously Picky Publication” — Crooked Timber)

5 mètres 80

por Pedro Jorge Romero el 26/04/2015

Hay gente a la que uno simplemente debe admirar.