“My approach is very simple—there is no artistry, I just shoot freely… My photos are often out of focus, rough, streaky, warped etc. But if you think about it, a normal human being will in one day receive an infinite number of images, and some are focused upon, other are barely seen out of the corners of one’s eye.” – Daido Moriyama     In 1971, Japanese photographer Daido Moriyama took a trip with the illustrator and painter Tadanori Yokoo to New York City for the first time. The city was home to two artists Moriyama loved: Andy Warhol and William Klein. For him, NYC was “the world itself”, a world “filled with a vague scent of mescaline, while the smell of Andy Warhol is billowing out of every street”. New York was “a far but familiar place on the other side, or in other words, ‘another country.’” He stayed at the Chelsea Hotel, visited the Museum of Modern Art Photography Study Center and spent some time looking at pictures taken by Weegee. And he shot one hundred rolls of film with a half-frame camera, giving 70 images per roll.     The Joy of Imperfection The images are Are-Bure-Boke (粗-ぶれ-ボケ), a Japanese photographic aesthetic that translates to “rough, blurred, and out-of-focus”. What we call ‘shot‘. Emerging from the postwar avant-garde scene, the style rejected technical perfection in favour of capturing raw, emotional, and authentic moments. Back in Japan, Moriyama published a portfolio of the New York images in Asahi Camera magazine (April 1926 until July 2020 and was invited to show the work at Shimizu Gallery in Tokyo in 1974. At the exhibition he brought in a photocopier and assembled images. One version became Another Country in New York, named after the 1962 novel Another Country by James Baldwin. His work appeared in the book, ’71 – NY. It includes a facsimile and English translation of a letter from Moriyama, an interview with the photographer, and passages from Baldwin’s book.     1. ‘Are’ (Grainy) This term refers to the presence of visible grain or ‘noise’ in photographs. Instead of striving for the pristine clarity and fine grain of film often associated with traditional photography, Moriyama embraces the texture and imperfections created by grain. Grain is the visible texture created through the random arrangement of silver halide crystals on photographic film which can be fine or coarse. 2. ‘Bure’ (Blurry) Embracing blur as an artistic choice, Moriyama’s work often features subjects that are intentionally out of focus. This blurriness adds a dreamlike quality to his images, encouraging viewers to engage more with the emotions and atmosphere of a scene rather than just its details. Blur in photography can occur for different reasons, for example moving the camera when making an exposure or photographing something fast moving at a slower shutter speed. 3. ‘Boke’ (Out of focus) ‘Boke’ takes the intentional blurriness a step further. This technique can create a sense of mystery and intrigue, inviting viewers to interpret the image in their own unique ways. To photograph something out of focus, a photographer can be selective with what is in focus by changing the ‘depth of field’ or they can shoot entirely out of focus by choosing no focal point at all. – Photographers Gallery     Daido Moriyama Born in 1938 in Osaka, Japan, Daido Moriyama studied photography before moving to Tokyo in 1961. To begin with, he worked as an assistant to Eikoh Hosoe, a Japanese photographer and filmmaker best known for his portrait series of the novelist Yukio Mishima. In the early 1960s Moriyama began working on his own projects, photographing human foetuses in formaldehyde (Pantomime); the U.S. military base Yokosuka; fetishism (Provoke magazine); and streets, highways, and road culture in Japan (the photobook Kariudo). He sees the photobooks as a way to “see what I’m drawn to or thinking about, how I feel about it, and what I do and don’t want to do. It’s a process by which I have to articulate my relationship to photography and prove it.” He told an interviewer for Bomb that for him, “everything was in the city. Cities are galleries, museums, libraries, movies, and theatres. I perceive cities to be all of these things, and that’s why I photograph them. They are alive with a breakneck momentum, with a vitality like an incredible creature or monster.”     “When I press the shutter, many aspects inside of me collaborate. I collaborate with the city, and then there’s the subject being photographed. And furthermore, the viewer collaborates. A photograph arises out of so many interactions.” – Daido Moriyama     “…black-and- white photography has an erotic edge for me, in a broad sense. Color doesn’t have that same erotic charge. It doesn’t have so much to do with what is being photographed; in any black-and-white image there is some variety of eroticism.If I am out wandering and I see photographs hung on the walls of a restaurant, say, if they are black and white, I get a rush! It’s really a visceral response. I haven’t yet seen a color photograph that has given me shivers.” – Daido Moriyamavia, via aperture     “For every single photo I take, some fragment of my memory has probably made its way in there. Then the viewer also projects his or her own memory onto it. Sometimes the photograph has more impact on the beholder than the taker. To be clear, I believe the three elements of documentation [記録 kiroku], memory [記憶 kioku], and commemoration [記念 kinen] are the basis of photography.” – Daido Moriyamavia, via bomb     Via: Reflex Amsterdam The post Daido Moriyama’s NYC ’71: The Essence of Street Photography appeared first on Flashbak.

Here's a look back at the surprising performers who got early TV exposure on the wild talent show.

The PDP-1 at the Computer History Museum, Mountain View, California In the early 1970s, before the first floodtide of digital consumer technology hit the market, sci-fi maven and futurist J.G. Ballard remarked that “even if we can barely tell the difference between a sparking plug and a dipstick, the car is probably the last machine whose basic technology and function we can all understand.”  Ballard’s statement may or may not hold true for you, depending on your level of aptitude with machines. The hackers and gamers whose views have come to dominate contemporary culture heartily disagreed, treating computers as only slightly more sophisticated platforms for modding and customization than small Japanese import cars, for example.      In 1960, one machine hit the market with technology so ridiculously simple it can be summed up as “blinking lights and strips of paper tape.” And yet, the PDP-1, manufactured by Ken Olsen’s Digital Equipment Corporation (DEC), can also credibly be called the first console gaming machine; the originator of modern debugging programs; the first personal computer on the market with a high-definition display; and a very early pioneer of computer art and music.  These are big claims for the PDP-1, a machine sold only 53 units, compared to IBM’s tens of thousands. If you’re waiting for, “but wait, there’s more…,” there is: the PDP-1, developed by research scientists and primarily purchased and used by research scientists, also orginated hacker culture, formulated the first principles upon which would be built today’s fortunes and empires. But the culture of the time showed few aspirations toward unenlightened techo-despotism and world domination.     At the close of the 1950s, techno-optimism reigned, and the worlds of high finance and computing operated far more independently. When engineers at DEC wanted to build their computer, venture capitalists at the firm said, “‘Don’t do computers; it’s not a good idea.’ So when they built the computer, they called it not a computer, but a PDP – a Programmed Data Processor.”  Computer scientist Lyle Bickley chuckles as he gives this short history at the Computer History Museum. Bickley knows the machine inside and out, having worked on the years-long restoration of an original PDP-1, now housed at the CHM in Mountain View, California. Behind its robin’s-egg blue and white exterior, the PDP-1 housed 4K words of 18-bit memory, upgradable with paged memory to 64K.  The machine included three peripherals: a typewriter for keyboard input and printed output, a paper tape reader to feed data into the machine, and a paper tape punch to store data it produced. Finally, a 1024 x 1024 circular cathode-ray tube display, modified from a radar unit served as another point of interactivity, along with an innovative light pen, and it was this interactivity that set DEC apart from their competitors, they believed.    Spacewar! Produced in “relatively small quantities (about 50),” notes CHM, the PDP-1’s focus on both user interfacing and affordability foreshadowed “an entirely new class of computer: the ‘minicomputer.’” While not mini by our standards, we should keep in mind that at the time computers could take up entire office buildings, with costs to match (somewhat like data centers of today…) As the world’s first commercial interactive computer, the PDP-1 was also used for process control, scientific research and graphics applications as well as to pioneer timesharing systems. The PDP-1 also made it possible for smaller businesses and laboratories to have access to much more computing power than ever before.  Later iterations of the PDP did not stay quite as “mini” (check out the size of the PDP-5), but the PDP-1 remained a reliable engine of innovation throughout the 1960s. Peter Samson fell in love with the machine as a teenager before joining DEC in 1964 to work on it himself, becoming a computer gaming legend.    Peter Samson and the first controllers and console game, 1964 Samson helped invent the game Spacewar! for the PDP-1, and can thus rightfully claim to have invented the first console video game. “Is it a stretch to call a $100,000 computer from 1959 a games console?” asks Obsolescence Guaranteed. “No.” [The PDP-1] is where the computer video game was invented: Spacewar! And it is where games controllers were first introduced. Games are still being written for the machine – hackers still exist. Peter Samson is still around as well, (see him in action here, demonstrating one of the other incredibly prescient uses of the PDP-1, generating polyphonic digital music, in this case a version of Boards of Canada’s electronic track “Olson,” as programmed by Joe Lynch. The setup may appear comically old-timey, but the results are hypnotic, both aurally and visually, as the PDP-1 uses programmed light banks, and blinks in time to music.)   Spacewar! creator Peter Samson and the PDP-1 Known as “blinking lights machines,” says Binkley, machines like the PDP-1 were notable in that “almost every flip-flop in the machine is wired to a light,” allowing operators to “enter programs through the front panel [and] see what’s going on.” Before operating systems with graphical user interfaces, computers were literally hand-operated, each operation  step-by-step by the user. The PDP-1 were also hand-wired, each logic board joined carefully by human hands.  Significantly the PDP-1’s light banks are complemented, almost as an afterthought, by a 19-inch circular 1024 by 1024 display, “that’s just crazy,” Binkley says. While graphics capacities were extremely limited at the time, one still-anonymous MIT student wrote several programs like “Snowflake,” a piece of 1959 computer art and one among several that predate Warhol’s Amiga art by over two decades.   Understandably, fascination with the PDP-1 continues, with digital emulators and physical recreations popping up all over the internet. But the cult of the Programmed Data Processor remains laughably niche next to the church of the computer, even if “chances are pretty good,” as Dan Maloney writes at Hackaday, that you’d find the PDP-1 “at the root” of all true hacker culture.    1962 Hacker Ethics, devised by PDP-1 engineers at MIT via Obsolescence Guaranteed The post The Origins of Hacker Culture, Console Gaming, Debugging, and More in One 1959 Machine: the PDP-1 appeared first on Flashbak.

The actress looks back on her marriage to 'Laugh-In' star Dick Martin and celeb friendships.

Lucille Ball became one of television’s most important comedy legends, but even she did not expect her most famous show to become a lasting part of American entertainment history. Long before reruns made the series feel timeless, Ball remembered that many people doubted whether television was the right move for her. According to MeTV, I Love Lucy surprised Ball with its success after others warned her against leaving film for the small screen. At the time, she was under contract at M-G-M, and she said people there thought she was making a mistake by moving into television with Desi Arnaz. Lucille Ball Was Surprised By The Show’s Early Success I LOVE LUCY, Lucille Ball, Desi Arnaz, candid on the set, discussing a scene before filming, 1957. Ball later admitted that she did not expect the series to last. That honesty makes the show’s legacy even more remarkable, because I Love Lucy went on to become one of the most beloved sitcoms ever made. What began as a risky career move became the project that changed her life, her marriage, and the future of television comedy. I LOVE LUCY: A COLORIZED CELEBRATION, Lucille Ball (episode ‘Lucy Does a TV Commercial,’ Season 1, aired May 5, 1952), 2019. © Fathom Events/CBS; courtesy Everett The actress said the scale of public attention caught both her and Arnaz off guard. During one tour, thousands of people reportedly gathered outside a steel fence at the Miami Airport, and the crowd became so intense that people broke through barriers. At one hotel, fans even knocked down a plate-glass window in the lobby. Ball said she and Arnaz did not understand what was happening at first, which showed how suddenly their fame had grown. Her Bond With Vivian Vance Lasted Beyond The Classic Sitcom I LOVE LUCY, from left: Lucille Ball, Desi Arnaz, ca. mid-1950s/Everett Collection The series also gave Ball one of her most meaningful creative partnerships. Vivian Vance, who played Ethel Mertz, became both a close friend and an iconic comedy partner. After Vance died in 1979, Ball admitted she missed her deeply and refused to replace her with another female comedian, honoring the friendship and chemistry that made Lucy and Ethel television legends.   That decision revealed how important their partnership had been. Ball had worked with many talented performers, but Vance held a special place in her life and career. Their timing, trust, and warmth gave the show part of its enduring heart. Looking back, Ball’s comments show how unpredictable television history can be. She did not expect the sitcom to last, yet it became a foundation for modern comedy. The success of I Love Lucy proved that audiences wanted more than polished movie stars. They wanted characters who made them laugh, relationships that felt alive, and performers brave enough to build something new. I LOVE LUCY, Desi Arnaz, Lucille Ball, Richard Keith, Vivian Vance, William Frawley, 1951-1951 Next up: Andy Griffith Tried To Recreate Mayberry Magic After His Classic Sitcom Ended The post Even Lucille Ball Did Not Realize How Big ‘I Love Lucy’ Would Become appeared first on DoYouRemember? - The Home of Nostalgia. Author, Ruth A