Belkin Doesn’t Suck

The Disinfotainment server was down for the last couple of hours due to the complete failure of my Belkin UPS. It died and shut down with absolutely no warning. I test the battery every month and it showed no signs of any problems, and then suddenly, poof, everything in my office shuts down all at once. This is not how a UPS is supposed to work, if the battery fails, it shouldn’t take down the main power circuit, it should just fail to provide power during a blackout. I don’t understand how this could happen.

I pulled the UPS and had to plug everything back into the wall sockets, which is a bit risky since thunderstorm season is approaching. I’ve got to get this unit back up and running as soon as possible. And now I discover this expensive UPS doesn’t have replaceable batteries, which is the whole reason I bought it in the first place. So I guess I’ll have to rip it apart and find some aftermarket batteries. I’m sure these batteries aren’t unique, someone has to manufacture them for Belkin. What a pain in the ass.


Update: I changed the title of this item from “Belkin Sucks” to “Belkin Doesn’t Suck” based on new information. I opened up the UPS case to look inside, and the batteries are not replaceable. That sucks. But the batteries apparently aren’t the problem, it looks like the transformer overheated and partially melted. That really sucks. Then I called Belkin, and it turns out my unit has a 3 year warranty, they’re honoring the warranty just on my word, without me even having to dig through my files to find my original receipt. My old UPS is discontinued, so they’re replacing it with a brand new model and giving me another 3 years warranty. Best of all, they’re shipping the new unit today, I’ll have it in a few days, then I can send the old unit back to Belkin for recycling and full credit against the new model. Yay!

Update Again: The replacement UPS arrived today, a week after I contacted Belkin. That time in transit is typical for shipment by ground (I don’t think you’re allowed to ship lead-acid batteries via air). It cost me $26 to send the dead UPS back, ouch. Anyway, the server should go down for a few hours sometime soon while I rewire the power plugs.

A Poem by Charles, Age 10

I was delving deep into my archives for some old records, and I found the oldest piece of personal artwork I know of, a poem and drawing I made when I was 10 years old. I can find nothing I created that is any older than this little scrap of paper. It’s a pale purple mimeograph, I vaguely recall this was from a class assignment to write a little poetry magazine. I was always scribbling little pads full of paper with airplanes on them, I was crazy about airplanes when I was a little kid. The teacher traced my drawing onto the mimeograph stencil, I’m sure she missed tracing half the tail, I certainly would not have omitted such a crucial detail.


poem.jpg

BlogTV: Please Test This Video and Leave a Comment

I am testing a new method for presenting videos on this website, and I need users to test it on PCs, to insure compatibility. This new method will allow me to put up a “poster frame” with an image from the video, so you get a little preview of what the video is about. This should make a much prettier website, but I have had some problems with Windows compatibiity, so I would especially like to hear from PC users. Note that you must have QuickTime 6 installed to see the video. Comments are up and running, so even if you’ve been discouraged in the past by my disabled comments, they will work now. If the video fails to launch, leave a brief comment about what you see, and I will be better able to debug any problems.



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Stereoscopic Computer Graphics Circa 1992

I haven’t posted anything for a while, and at times like this I like to hunt around for some old work in my archives. So here’s a computer graphics project from 1992 that I’m rather proud of. It is deceptively simple, but that is part of any artist’s repertoire, to make the difficult things seem simple.

I was first introduced to stereograms when I was a young child, my family would visit my Grandmother and she would always bring out her Victorian era stereogram viewer and old stereo photo cards showing exotic sights from around the world. Perhaps this was a bit ironic since my Grandmother was totally blind. She became blind as an adult, so perhaps she was sharing the same images she viewed as a child.

I learned to draw stereograms by hand in a perspective drawing class in my first year of art school, an arcane procedure that confounded most drawing students, but I enjoyed it immensely. Each year, a collector of stereograms came to the art building and set up a stall to sell individual stereo photo cards, I used to spend hours looking through his collection, but since I was a starving artist, I never had enough money to buy any of them. When I first got access to 3D computer graphics hardware in art school, my first project was to produce stereograms. Unfortunately, the hardware was primitive and low resolution, and the depth effects were difficult to perceive. I remember how difficult it was to get my professor to come over to the art school and see my first stereograms, since the only graphics terminals were in the Computer Science building, and artists of that time wanted nothing to do with computers. I finally managed to get him to come over for a demo, I produced stereograms of bright arcs swooping through space, an homage to a famous sculpture by Alexsandr Rodchenko. The professor devastated me with the remark “oh, that’s just technical.” That was when I decided to drop out of art school. It would be 15 years before that professor jumped on the bandwagon, and tried to make his reputation as a guru of 3D Virtual Reality. And of course, by then he had completely forgotten that I was the first artist to ever show him a stereoscopic VR image.

After dropping out of art school, it would be amost 10 years before I could afford my own computer equipment capable of rendering stereograms. I did some primitive stereoscopy experiments with Paracomp Swivel 3D, but the first application capable of doing the job properly was Specular Infini-D. One of the demo images in the Infini-D application was an animation called “virtual gear.” I viewed it and was immediately irritated, it was just a disk spinning on its axis, not a gear at all.

Now if you’re going to call your demo “virtual gear,” you have a historic precedent to live up to. One of the most famous interactive computer graphics experiments of all time was Dr. Ivan Sutherland’s Virtual Gears. Sutherland set up an interactive graphics display showing two gears, you could grab one gear with a light pen and rotate it, and the second gear would move, meshing teeth with the first, moving as perfectly as real gears would.

Gears are a graphics cliche that annoys me continually. Gears are overused as an iconic image, and are almost always badly designed. I can’t count how many times I’ve seen animated gears that would not work in reality. The gears don’t mesh, or are combined in mechanisms that would jam. I’ve even seen gears that counterrotate against each other, if they were real gears, all the gear teeth would be stripped away.

My Grandfather was an amazing tinkerer, and was always constructing clever little gadgets with gears and pulleys. My favorite gift from my Grandfather is a college textbook from the late 19th century entitled “Principles of Mechanism.” The book shows how to design gear and pulley mechanisms, and shows how to distribute power throughout an entire factory from a single-shaft waterwheel. I always enjoyed the strange diagrams and mechanisms, and was astonished how much advanced calculus went into the design of even simple gear teeth. So when I saw the Infini-D image, I immediately thought back to “Principles of Mechanism” and decided I could do better. I would design a properly meshing set of gears that was accurately based on real physics. To make it a challenge, I would make the gears different diameters with a gear ratio other than 1:1. And to add realism, I would produce it as a ray-traced 3D animation. Click on the image below to see the finished animation pop up in a new window.

Vgears

In order to design the gears properly, I had to sit down and work through quite a bit of the physics of gear design. I discovered some interesting things about gear ratios, if I designed two different diameter gears with the right ratio of teeth, both gears would return to a symmetric position after only a half rotation of the largest gear. This would allow me to produce a fully rotating animation loop without having to animate the full rotation, I could just loop the same frames twice, saving half the rendering time. Look closely at the animation, the slots in the two gears match up after the left gear rotates only 180 degrees. There are 60 frames in this animation, but it takes 120 frames to complete one full cycle. I saved 50% of the rendering time.

And it was good thing I discovered this trick, the animation took 48 hours to render on my Macintosh IIcx. I borrowed a Radius 68040 coprocessor board and the animation rendered in about 24 hours. When I bought a new PowerMac 8100/110, the render took about 20 minutes. I haven’t benchmarked this file since then, but I suspect it would render in about 30 seconds on my current dual 1Ghz G4 computer (if I could get Infini-D to run at all).

My stereoscopic rigging in Infini-D took months of fine tuning to get it to work perfectly. About that time, Specular Inc. started releasing inexpensive accessory packs for Infini-D, selling for about $100. I had previously contributed some work to Specular, producing a procedural texture generator for cloudy skies, the “Sky Library” which you see in the background of this stereogram. Sky Library was Specular’s most popular software download, and they knew of me and my work, so I started negotiating with them to sell my camera rigging as a software accessory pack, with an inexpensive plastic stereogram viewer included. I sent them several animated stereographic demos including Virtual Gears, high-resolution Iris inkjet printouts of various stereograms (which were very expensive to produce in 1992), and a freestanding stereo viewer. They had never seen stereograms and did not understand how the viewer worked, they tried to hang the metal legs over their ears, so I sent them a videotape showing how it stood up on the metal legs. I worked for months, trying to get their interest in releasing my work as a product, but they told me there was no market for my rigging, and they didn’t want to release it. I persisted, but eventually they stopped returning my calls.

A few weeks later, I received a mailing of the Specular Infini-D users’ newsletter, and was astonished at what I found. The newsletter’s feature article was about setting up stereographic camera rigging in Infini-D. The article used all the methods I had taught them, but the setup was all wrong. They had taken all my careful design, published the core concepts, but missed all the mathematical subtleties that made the images work as a stereogram. And to add insult to injury, I did not get any credit at all, they claimed they invented it all by themselves.

BlogTV Japan: Tops

Disinfotainment is back again with another video from Japan. This little piece of fluff was produced by the Japanese Ministry of Foreign Affairs, it is a short film (3min 25sec) in English, about traditional Japanese toy tops.









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I love traditional Japanese crafts, and I love toy tops, so I love this little film. It’s produced by the Ministry of Foreign Affairs, so of course it is a piece of propaganda about how Japan is exporting happiness in the form of one of their oldest traditional crafts. But if you can get past the first half of the piece, and don’t choke on the cloying tone of the narrator (who seems to be addressing 2 year old kids) you will see some lovely, innovative designs for tops.

I had a chance to play with a Japanese top on my last trip to Japan. A friend took me to a theme park in Nikko called “EdoLand,” where a woman in a kimono was demonstrating wooden tops of the style that was popular 150 years ago. I asked her to show me how to spin the top, it was was an unfamiliar shape and as big as my fist. She showed me how to wrap the thick rope around the top, and how to toss the top and make it spin. So I gave it a whirl, I tossed the top at the circular wooden platform, it bounced right off and hit the poor woman right in the stomach! I decided I better leave the tops to the little kids.

BlogTV Japan: The Social Life of Public Toilets

BlogTV is back on the air after a lengthy hiatus, while I upgraded the video delivery system. I am pleased to bring to you another strange video from FujiTV News in Japan (8min 50sec in Japanese with Japanese subtitles only) that explores the enigma of Japanese toilets.

Perhaps nothing in Japan inspires more curiousity than toilets. Everyone knows that Japanese toilets are somehow different, but there are a few misconceptions about the subject. Many people have the strange idea that Japan is a land of high-tech toilets, but that is a misconception. According to Japanese census data, it was only within the last decade that over 50% of all toilets were Western-style toilets. Until very recently, Japanese toilets were predominantly the Japanese-style squat toilets, which are not much more than a trench in the ground. Census data still shows that as many as 35% of all toilets in Japan are not hooked up to sanitary sewers, they are merely hooked up to holding tanks that must be emptied by a “honey wagon,” a tanker truck that comes around periodically to siphon off the sewage. Much to the chagrin of hapless foreigners, it is quite common to find oneself in a position where no familiar Western toilet is available, only a squat toilet. However, for the Japanese, it is also possible for someone who has never used anything but a squat toilet to find only Western toilets and not know how to use them. Even when both styles of toilets are available, many people prefer the Japanese style, since that is what they used since they were a child.

And this is where our video begins. A classroom full of kindergartners is assembled on their first day of school for an important lesson: how to use the school’s new Western toilets. Some of these children grew up in traditional homes and have never seen such a thing. The teacher explains to the giggling children how to use the new toilets, and takes the children on a tour of the newly remodeled facilities. The children love the new toilets, declaring them beautiful, and in fact, they are practically palaces of porcelain compared to typical school toilets. One student says the old toilets were stinky and he never liked to use them.

And here is the crux of our video. We switch scenes and enter the Ministry of Science and Education, where a spokesman declares that the poor quality of toilets in schools is becoming an obstacle to the education and socialization of children. Japan must not allow itself to fall behind in public toilet facilities, so the Ministry is announcing an expensive new program to upgrade toilets in all schools throughout Japan.

Let us tour some of these new facilities, starting with an elementary school in Kanazawa prefecture in north central Japan. The cameraman lingers on a crude copy of Rodin’s famous sculpture “The Thinker,” but his squatting merely foreshadows the sights we will view inside the school. We approach the newly upgraded facilities, painted a bright blue, and the announcer directs our attention to the distinctive “tokonoma,” a typically Japanese architectural feature of an inset shelf where an artistic display can be set, in this case a vase of flowers. But perhaps the announcer is attempting to divert our attention from one strange feature, a large mirror on the boys’ bathroom that allows us to see all the way into the room. There is no such mirror on the girls’ side. Inside the room, we see the ceiling mural of blue sky and white clouds, to evoke a peaceful, restful setting. A group of girls assembles and one says, “It doesn’t seem like a school bathroom!”

Let’s visit another school in Gunma Prefecture. This school has a different color scheme, but the design is even more modern. A high-tech washlet is available, as well as self-flushing urinals. But not all toilets in the school have been modernized. We see another bathroom that is more typical of the old style, with rusting steel sinks and grungy tile walls and floors. Students again express their disgust for the decaying old bathrooms.

But the Ministry of Science and Education’s toilet initiative is not designed just for convenience, it must enhance social interaction. So the new toilets are designed with benches out front, where the students can lounge around between classes. We watch through a telephoto lens from a far distance, and we see a gaggle of girls headed to the head together. They don’t enter to use the toilets, they sit out front and chat with each other. Even the teachers get into the act, chatting with small groups of boys and girls. The bathrooms have become a center of social activity within the school.

The toilets even have a unique educational component. We watch as a group of students learn how to help the disabled use the “barrier-free” bathroom. The students take turns roleplaying, learning to lift each other on and off the toilet. Perhaps some good will come from these able-bodied students learning how difficult it can be for the disabled to perform some of the most basic bodily functions, they may learn to empathize with others who are less fortunate than themselves.

Let us now travel off to another school in Mie Prefecture. This school’s bathrooms have not yet been upgraded, so we will be able to observe this most typically Japanese process of planning a public project. First, an initial site survey is performed by members of an iinkai, a committee delegated to investigate the issue. A teacher watches as the students point out their problems with the facilities. They complain about privacy, badly placed mirrors allow unobstructed views into the urinal area, the doors on the stalls do not go all the way to the ceiling so people can hop up and look over the doors. But this is merely the first step in the planning process. The full membership of the iinkai meets to prioritize the changes they would like to make.

Let’s leave the Gunma school’s preliminary iinkai and visit another school in Shiga Prefecture, to see how their upgrade process went. Eight years have gone into this plan, and with such elaborate preparations, every detail has been examined, this school’s bathrooms are the very model of a modern major upgrade. But a bathroom is mere tile and porcelain, the school principal declares that the biggest changes have come in how students think about bathrooms. And now we see the reason why, an iinkai conducted a survey of all students, to examine how they felt about the old bathrooms and what an ideal bathroom would look like. The remodeling reflects the students’ wishes, so students now feel like the bathrooms were created just for them. And in any public school, the bathrooms’ maintenance and cleaning is the responsibility of the students, so if the students don’t care about their toilets, they will not be responsible citizens and take proper measures to insure their cleanliness. We see how the students fastidiously clean the facilities, even leaving signs taped to the wall to admonish everyone to keep the place neat and tidy. Anyone who would dare to defile these porcelain halls would be wagamama, a selfish person who does not obey the social norms that are expected of every citizen. A teenage girl says it is the responsibility of the senior students to teach their juniors the proper attitudes towards the toilets, and the school’s principal proudly declares that the students will always treasure their memories of their time spent in the school’s toilets.

And as we close, the announcer repeats the central lesson of the Ministry of Science and Education’s toilet initiative. A change in the toilets also changes the attitudes of the students that use them. A remodeling of the facilities has given the students new opportunities for socialization, both through the iinkai process of development, and through the new social space created in accordance with everyone’s desires.

Yet Another Hawkeye Athlete Thug Arrested

During the recent public outcry over rapist Pierre Pierce’s latest crimes, another important news event was overlooked: Iowa football thug Antwan Allen was arrested for assault causing injury, a Class D Felony. Iowa City Police reports say that violent thug Allen assaulted a man in a drunken bar fight, striking him from behind with a cowardly sucker-punch, breaking the man’s jaw and knocking him unconscious.

The sentence for Felonious Assault Causing Injury is a prison sentence of up to 5 years, and a fine up to $7500. However, football coach Kirk Ferentz imposed his own unspecified disciplinary actions, and issued a warning to thug Allen “that if charges and a conviction followed, more measures will be taken including suspension of playing time.”

What a terrible time for poor little thug Antwan Allen. He breaks a man’s jaw and sends him to the hospital, and for his trouble, the coach says he will have to run extra laps during training, and if he’s convicted he’ll have to sit out a few games. And even worse, his moment in the spotlight is overshadowed by rapist Pierre Pierce, making thug Allen’s crimes seem amateurish in comparison. However, he will soon regain his moment in the sun, when a judge and jury deliver a more severe penalty. Thug Allen will be unable to play Iowa football for up to 5 years.

The persistent problems with violent criminal thugs on the University of Iowa’s sports teams are intolerable. Iowa sports coaches have been doing everything possible to protect their thug athletes from criminal penalties. Thug athletes have assumed they can get away with any criminal activities and be shielded by their coaches, which has lead to more and more outrageous criminality. Enough is enough.

The citizens of Iowa City and the students of the University of Iowa have spoken clearly, they have demanded the University adopt a strict policy concerning criminal actions by student athletes. The University convened a panel to suggest a new athlete conduct policy. This was obviously a stalling tactic, two years have passed since the panel convened and no new policy has even been suggested, let alone implemented.


I am calling on the University to immediately implement drastic measures against criminal athletes and the sports environment that enables their criminality. I propose the following policies.


1. Any athlete’s arrest, even a misdemeanor, will result in immediate permanent removal from the team. Reinstatement will only occur upon total exoneration by an innocent verdict (not just a plea bargain). Immediate suspension of athletic scholarship upon any arrest. Expulsion from the University upon any felony conviction.


2. Drastic cuts in coaches’ pay. Cut coaches’ pay for each player’s arrest. Iowa coaches are the highest paid state employees. They have obviously failed their mission to provide leadership for their team. Each incident of criminal behavior only demonstrates their further failure. Coaches clearly value money over morals, they have no financial incentive to keep their players in line.


3. Drastic budget cuts to football and basketball programs. The major sports teams are sucking money out of the general University budget. It is time to return that money to academic programs. This week, the University announced another budget shortfall, light bulbs are being removed from classrooms to save energy costs at the same time a $5 million renovation of the football stadium is underway. Athletics are always the last programs to receive budget cuts. As a last resort, $250,000 was cut from athletics. The University has spent 5 years trying to raise a mere $2 million for new building construction for the Arts campus, but $2 million was raised for a “Hawkeye Sports Hall of Fame” in less than a month. The University should require all contributions to sports teams or facilities to be put into the general fund. Contributions earmarked for sports programs should be considered “matching funds” and at least 50% should go towards academic, non-sports programs.


4. Team budget cuts for each teammate’s criminal action. This will clearly demonstrate to the law-abiding team members that they are all collectively responsible for the actions of their criminal teammates, and must work together to stop violent thugs from damaging the team’s and the University’s reputation.


5. End all special privileges for athletes. Just down the street from my home, the University has constructed a $4 million facility, the Gerdin Athletic Learning Center, to provide remedial tutoring for athletes who are failing their classes. But no similar facility exists for the general student population. The University has struggled for many years to find enough money in the budget to provide additional funding to academic support programs for general students, yet donors can find instantly find $4 million to prevent athletes from flunking out of school. The Gerdin Center should be returned to the general student population, make athletes use the same academic resources as any regular student. Athletes who cannot meet academic standards should be expelled like any other failing student.



The University of Iowa must recognize the problem with criminal thug athletes, and act decisively to end the problem. The University’s mission is academic, not athletic. The University must return its focus to providing the best possible education to all students, rather than providing the best possible support to athletes. If the University cannot find a balance between academics and athletics, it will not be able to attract the best students and faculty, and even athletes who are serious about education will go elsewhere. The reputation of the University is at stake. As an alumni of the University of Iowa, I cannot sit back idly and see the reputation of my school be dragged through the mud.

Rapist Pierre Pierce gets the Death Penalty

Rapist Pierre Pierce’s day of reckoning has finally arrived, he has received the Hawkeye Death Penalty, he was kicked off the University of Iowa basketball team. Once again, rapist Pierce is under investigation for heinous crimes including sexual assault, burglary, and kidnapping. Apparently he has admitted to these acts but claims he committed no crime because the victim is his girlfriend and he can do whatever he likes because he is a basketball star.

Basketball coach Steve Alford said “I regret this step has become necessary, but Pierre has betrayed the trust we placed in him when he was given a second chance two years ago.” University of Iowa President David Skorton said, “Coach Steve Alford, athletic director Bob Bowlsby and I agree that it was time to take decisive action by removing Mr. Pierce from the basketball team permanently. We agree that Mr. Pierce has violated the standards of behavior that we expect and demand from all of our student athletes.” But rapist Pierce has not been expelled from the university; the status of his basketball scholarship is unclear, but I suspect it cannot be revoked. The University has no policy on criminal activities by student athletes.

It appears that the University of Iowa is finally learning that rapist Pierce and all the other criminal thug athletes bring dishonor upon the sports program and the University. But it took repeat offenses of egregious crimes before the University would act, apparently a single incident of rape was insufficient reason to take action. Perhaps Coach Alford should think twice before giving a second chance to the next criminal thug.

It is usually the policy of the University to close ranks around their star athletes, to attack the victims and discredit them, and to handle punishment internally (like requiring the athlete thugs to run extra laps). So the full extent of rapist Pierce’s crimes must be far worse than has been disclosed. I am eagerly anticipating rapist Pierce’s upcoming career on the Anamosa State basketball team.

How To Look At Art

One of the most impressive art exhibits I ever saw was a massive Ad Reinhardt retrospective at the LA Museum of Contemporary Art in 1991. Reinhardt is considered one of the most influential artists of his time, and famous (as well as infamous) for his radical Minimalist artworks. It was amazing seeing the development of his work over his career, first with brightly colored, playful paintings, gradually shifting to his famous “black on black” minimalist works. But I was absolutely stopped in my tracks when I entered a gallery containing some of his final works, monumental black paintings.

I had heard of these paintings before but had never seen one firsthand, and now here was an entire room full, exhibited in pairs as the artist intended, each painting about 6 feet wide and 12 feet tall. The LA MOCA galleries are beautiful tall white rooms with blond wood floors, and scattered about are black leather minimalist couches by Mies van der Rohe, echoing the black paintings like little black clouds floating off the ground. It was the perfect setting to contemplate the paintings, so I sat down and slowly gazed at the paintings, trying to absorb every impression I could.

As I sat in the gallery, staring at a particular pair of paintings, a man walked by and gave me the most curious look. He stood to one side of me, looking at the paintings, and then watched me for a moment. Then he timidly walked up to me, and asked me, “excuse me, if you don’t mind me asking, what are you looking at for so long? These are nothing but black paintings.” I said “oh no, these aren’t just black paintings, why don’t you sit down here and look at them with me, and I’ll tell you all about them.”

We must have been quite a pair sitting there, a scruffy young artist in my black painter’s pants and leather jacket, and the barrel-chested middle aged man in a plaid work shirt and khaki pants with red suspenders. I told him, “look slowly at the paintings, they are far more complex than they seem with just a quick glance. Ad Reinhardt was a fanatic about technique, and these paintings aren’t just a coat of black paint on canvas, they are actually quite complex. Reinhardt ground his own pigments and made his own paint to precise specifications, and applied dozens of thin layers of paint to get the precise effect he wanted. Sometimes there are layers of color underneath a black layer, he used a whole range of colors in his black paintings. Light penetrates into the paint and reflects back out with a color cast that can’t be seen except by slowly viewing the painting. If you look at the paintings for a minute or so, you can see a faint glow of color in the black. Sometimes you can see color around the edges of the painting, like an aura. The artist intended for you to get the impression of a color without actually seeing any colored objects. Can you see the color in these paintings? Tell me, what colors are they?”

He looked at the paintings silently for a moment, and then said, “yes, I can see it now, the one on the left is red and the one on the right is blue.” I said that was the same thing I saw, and each of the pairs of paintings had a similar set of contrasting colors. He said he couldn’t believe it, he thought these were just black paintings but they really were interesting to look at.

The man thanked me and said he was glad I’d explained it to him. And I told him I was glad he enjoyed the paintings. He got up and walked around the gallery, and slowly looked at each pair of paintings, with a contemplative look on his face.

One of the reasons I like Ad Reinhardt’s minimalist black paintings is that you must sit and look at the original works, they can never be reproduced in another medium. No photograph of the paintings can ever substitute for sitting there in front of the original. I describe viewing these works as a “pilgrimage,” you go to see the painting firsthand because there is no other way to get that experience. I’ve always tried to use that effect in my own work, particularly my abstract prints, which use elaborate metallic and irridescent pigment effects that can only be seen in the original, and use whole ranges of “black color.” Unfortunately, that makes it impossible to show my best artworks on the internet, or even as a photographic reproduction or a slide. This also makes it particularly difficult for me to get an art gallery interested in selling my works. Most galleries select artists by viewing slides of their work. I wonder how successful Ad Reinhardt would have been, if he had to submit slides of his black paintings to galleries.

© Copyright 2016 Charles Eicher