Pinboard (robertogreco)
https://pinboard.in/u:robertogreco/public/
recent bookmarks from robertogrecoArc from The Browser Company2022-11-05T17:49:45+00:00
https://arc.net/
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https://element.io/
robertogrecochat applications ios messaging privacy software communication android webapps macos windows linux via:elisehunchuckhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:b97e0abdc39d/'Minding the Gap': How Bing Liu Turned 12 Years of Skate Footage into the Year's Most Heartfelt Doc2018-10-20T22:37:00+00:00
https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
robertogrecoAs a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.
Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.
Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.
Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.
“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?
Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."
NFS: How did you transition to realizing that you could actually do this professionally?
Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”
NFS: That's what we're always telling people who want to break into the business: just get on set.
Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]]]>bingliu mindingthegap film filmmaking documentary srg unschooling deschooling authority authoritarianism school schooling schools learning skating skateboarding self-directed self-directedlearning howwelearn canon video domesticviolence 2018 carolblack teaching howweteach schooliness online internet webapps domestictrauma economics rustbelt society childabuse children teens youth streetculture illinois rockford friendship parenting dropouts aesthetics filmschool emulation cinematographyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:5a761392d28b/Free Photo Editor | Polarr: Smart Photo Editing2018-10-13T09:14:22+00:00
https://www.polarr.co/editor/0
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https://www.texthelp.com/en-us/products/equatio/
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https://glitch.com/
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https://superhuman.com/
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https://medium.com/the-experimental-year/designing-a-space-for-self-directed-learners-eca0eba080c5#.ys9jsloyg
robertogreco…history-art-philosophy-politics-economics-sociology-psychology-neurology…
So, how can we visualize this network of relationships?
Allow for divergence or depth anytime
At any given point in the learning experience, we can diverge into a related subject or go deeper into the existing subject, with visible signposts to what is possible next.
Magical sorting
Any extensive network comes with a great amount of noise. Being able to find what we need with any given context from the widest sources possible is a huge challenge. I have not thought this through yet, but I imagine this to be a weightage compromising of relevancy, peer ratings (users of the same network), social-network relationships (people we know) coupled with other less obvious engagement metrics."
[later: https://medium.com/the-experimental-year/designing-a-self-directed-learning-network-work-in-progress-v0-1-ad6ba3b883b0#.x9prh7tp5
"Some basics I wanted to design around:
1. Mobile first. Anybody in the world can participate and learn on the go, especially emerging markets — people with low cost mobile phones but not the more expensive desktops.
2. It is a network of learning paths, each path is represented by a stack of cards. Each card would represent a node and they can be rearranged in any manner. Anybody can create or fork one.
3. The cards will be links to external content — there is great content out there, just not easily discoverable or strung together in a cohesive manner, or people may have specific learning preferences (disliking videos, for example).
4. The network is designed for the diversity of learning. It will be weighted according to the learner’s preferences — social trust or metrics, but the goal is not to reach consensus (like wikipedia). There should not be one top quality path on Philosophy for example, but a diversity of them, and ideally a way to visualize or track their divergences. There should not be one way to learn most things.
…
New constraints were set
1. It has to be a web app.
2. Tap only, no gestures.
3. To not rely on the browser tab bar for backwards navigation.
4. No complicated animations to load any interactions or screens.
5. Render information as quickly as possible, with the lowest bandwidth/processing costs as possible. (no zooms, I guess :~\)
6. Try to keep it simple stupid.
With these, I was free from thinking about the interaction patterns, and it brought me clarity on the areas I should focus on."]]]>winnielim education self-directedlearning self-directed linear non-linear learning diversity networks webapps web online internet p2p unstructured unschooling deschooling peertopeer lcproject openstudioproject linearity nonlinear alinearhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:c18311120833/Gravit2016-06-23T20:01:59+00:00
https://www.gravit.io/
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https://www.canva.com/
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https://pixlr.com/editor/
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http://marketingland.com/google-app-streaming-web-of-apps-152449
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https://atavistinsider.atavist.com/goodbye-native-mobile-apps
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http://brick.mozilla.io/
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https://webmaker.org/appmaker
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http://www.niemanlab.org/2014/04/qa-craig-mod-on-making-writing-more-mobile-friendly-and-where-digital-publishing-is-headed/
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http://beta.thepeoplesebook.net/
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https://vimeo.com/63982137
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http://rodcorp.typepad.com/rodcorp/2013/08/a-list-of-writing-tools-is-a-displacement-activity.html
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http://www.latimes.com/entertainment/arts/culture/la-et-cm-mobile-app-art-galleries-20130802,0,636696.story
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https://www.dropbox.com/apps
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http://socialmouths.com/blog/2010/04/05/10-free-twitter-tools-i-will-use-today/
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http://googlemobile.blogspot.com/2010/04/google-services-on-ipad-and-tablet.html
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http://blog.threepress.org/2009/11/02/ibis-reader-and-bookserver/
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http://brendandawes.posterous.com/the-collectable-nature-of-iphone-apps-and-it
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http://aviary.com/tools/myna
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http://snarkmarket.com/blog/snarkives/lifehacks/tracking_your_ideas_in_time_and_space_with_the_iphone/
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http://news.cnet.com/8301-17939_109-10170333-2.html
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http://www.sitepen.com/blog/2008/07/10/touching-and-gesturing-on-the-iphone/
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http://news.cnet.com/8301-17939_109-10057209-2.html
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http://www.37signals.com/svn/posts/1143-soundcloud-expands-the-audio-player
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http://www.metroactive.com/metro/10.11.06/work-0641.html
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http://www.readwriteweb.com/archives/10_mobile_social_networks.php
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http://draw.labs.autodesk.com/ADDraw/draw.html
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http://mungbean.org/blog/?p=467
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http://daringfireball.net/2008/04/twitter_web_clients_for_the_iphone
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http://evernote.com/
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http://machinist.salon.com/feature/2008/04/16/evernote/
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http://www.makebeliefscomix.com/
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http://gizmodo.com/378361/twinkle-the-iphone-twitter-client-adds-location-features
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http://www.secretlair.com/index.php?/clickableculture/entry/google_spreadsheet_as_virtual_world/
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