Adobe has launched the Photoshop Touch SDK, enabling developers to create applications that can interact with the desktop version of Photoshop on Android, BlackBerry Tablet OS and iOS platforms.
To showcase the possibilities of the software development kit, Adobe has initially launched three Photoshop CS5 companion apps for the iPad: Adobe Color Lava for Photoshop, Adobe Eazel for Photoshop and Adobe Nav for Photoshop.
Adobe Color Lava allows users to mix colors on the iPad using their fingers as well as create color swatches and themes that can be transferred into Photoshop. Adobe Nav will be useful to professionals who are always hungry for more desktop space, enabling them to select and control Photoshop tools on the iPad, customize the Photoshop toolbar, browse up to 200 open Photoshop files and create files.
Finally, Adobe Eazel lets users create realistic paintings with their fingertips, which can be transferred (via Wi-Fi) to Photoshop.
These three apps will become available through iTunes in May, with prices ranging from $1.99 to $4.99. Developers can access the Photoshop Touch SDK today for Windows and Mac OS platforms on the Adobe Application Manager, which probably means we’ll be seeing more apps (and for other platforms besides the iOS) soon.
Saturday, Apr 16 8:00p at Memminger Auditorium, Charleston, SC
Price: $35, $25, $15 (Students $15 w/ ID)
Phone: (843) 670-4335
Don’t miss this special tribute to David Stahl. BMW, and the Charleston Symphony Chorus and Orchestra celebrate the life and legacy of Maestro Stahl with the glorious Brahms Requiem. Also featuring the College of Charleston Concert Choir, members of the Taylor Festival Choir, and other invited singers. Soloists Saundra DeAthos, Soprano, and David Templeton, Baritone, provide the feature voices to bring this Requiem to its full glory. Dr. Robert Taylor conducts 200 musicians eager to share this beautiful musical celebration of David Stahl’s many gifts to Charleston.
Leo Twiggs depicts Ku Klux Klan violence in paintings like “Woman walking toward the Atlantic”
Coinciding with the 150th anniversary of the start of the Civil War, The Gibbes presented two new exhibitions that opened last Friday.
“Stephen Marc: Passage on the Underground Railroad” is a collection of photographs exploring the Underground Railroad. The second exhibit, “A Soldiers View of Civil War Charleston,” features more than 30 paintings depicting Charleston during the war, all created by artist and Confederate soldier Conrad Wise Chapman.
The Gibbes also will host lectures by James McPherson (7 p.m. Tuesday) and Tim Bolton (6 p.m. April 14). Both lectures are free for members. Bolton’s lecture is $10 for nonmembers. Call 722-2706, ext. 22.
The city of Charleston Office of Cultural Affairs’ Civil War exhibits will also be hosting an exhibit at the City Gallery, 34 Prioleau St.
On the lower level of the gallery, there will be a collection of photographs from the Library of Congress’ archives that were taken in 1865 in Charleston, reflecting how war-torn the city was at that time.
The exhibit, called “Post Civil War Charleston — 1865: A Photographic Retrospective” showcases many well-known landmarks that are still visible today.
On the upper level of the gallery, there will be “Civil/Uncivil: The Art of Leo Twiggs,” by the Orangeburg native.
Do you see him? Beijing-based artist Liu Bolin hides in plain sight. Literally. Wearing military fatigues painted to match the scene behind him, he hopes to get us thinking about how we are shaped by our physical, social and cultural environment.
“An individual today is more likely to be controlled by or even merged into their environment,” he writes in an e-mail. With the ongoing series Hiding in the City, he wants to explore contemporary China, and to “draw people’s attention to the relationship between the grand scale of cultural development and the role of a single individual.”
Many of Liu Bolin’s images show him standing against Chinese landmarks and walls painted with words. “Uniform thoughts and the promotion of certain educational ideas are written as slogans across the walls,” he writes in an artist’s statement. “In China, we get used to those slogans. I choose to camouflage my body into the environment so that people will pay more attention to the background’s social property by erasing the meaning of my body as an individual.”
Courtesy of Liu Bolin/Eli Klein Fine Art GalleryThe artist has taken photos for his Invisible Man series all around the world, including at La Scala, the renowned opera house in Milan, Italy.
In the U.S., a country that celebrates the individual, it’s tempting to think we are above the influence of messages, either explicit or implicit, in our environment. As Liu Bolin disappears against such varied landscapes as Venetian canals, city infrastructure and shelves of soda pop, what emerges is a subtle suggestion that perhaps everything leaves a mark on us somehow.
So how does he manage to match the perspective of the scene behind him? Well, he doesn’t work alone. He digitally imposes his portrait on an image of the scene so he can see what will have to be painted, and then his assistants do the actual work of painting him as he stands still, for 3 to 4 hours. “We pay attention to every single detail, every line and color,” he writes.
By Richard Galant, CNN
April 7, 2011 12:08 p.m. EDT
New York (CNN) — The lights come up on the stage. The red curtain parts. The conductor begins leading a large chorus, its resonant voices chanting, in Latin, the words of a poem: “Light, warm and heavy as pure gold and angels sing softly to the newborn babe.”
But it’s no ordinary choir. The conductor stands in his own video rectangle suspended against a dark background on your computer screen. His chorus — all 185 voices — is arrayed before him, all the singers in their own webcam boxes, singing from their houses and apartments, in their living rooms, bedrooms and offices, at different times of day and in many countries and continents — the world’s first virtual choir.
A year ago, the release of “Lux Aurumque,” composed and conducted by Eric Whitacre, caused a YouTube sensation in the world of choral music, gaining a million views in the first two months. On Thursday evening at the Paley Center in New York, Whitacre will unveil the Virtual Choir 2.0, taking the concept to a new level of complexity, with 2,051 voices from 58 countries singing another Whitacre composition, “Sleep.” The event will be streamed live on the Paley Center’s website at 6 p.m. ET.
Whitacre received two standing ovations when he gave a talk about the Virtual Choir at the TED conference in Long Beach, California, in February. TED is a nonprofit dedicated to “Ideas Worth Spreading” which it distributes through its website, and it has a partnership with CNN.com.
The virtual chorus got its start in 2009 when a young woman named Britlin Losee posted a fan video on YouTube, singing the soprano part of “Sleep,” an a cappella composition by Whitacre.
“The video was so beautiful and moving and intimate in a way,” Whitacre recalled in an interview with CNN, “that it struck me instantly that this would be incredible if we could get 50 people to do this all at the same time, all around the world. They would sing their parts — soprano, alto, tenor, bass — upload it to YouTube and then we could cut it together and make a virtual choir.”
Whitacre recorded a silent conductor track, which he posted to YouTube. He put the music on his website for people to download for free. When the webcam videos started coming in, producer Scott Haines put all of the parts together, scrubbing the audio tracks to optimize the sound.
“The reception really caught me completely off guard. It went viral and … I started getting the craziest e-mails, including one from Chris Anderson, the head of TED here, who invited me to come speak.”
Knitting together the parts of the virtual choir requires a huge amount of technical work, and it forces him to conduct in silence while trying to imagine “the perfect performance in my head.” Still, there’s something about it that’s similar to a conventional choral performance. “The virtual choir would never replace live music or a real choir, but the same sort of focus and intent and esprit de corps is evident in both,” he said, “and at the end of the day it seems to me a genuine artistic expression.”
Is the virtual choir a stunt — or the start of something new in music? “I’m not sure where it’s going,” Whitacre said. “In my wildest dreams I think that in a few years, technology will have caught up, and my iPhone 7 or my iPhone 8 will have a live virtual choir, … a thousand singers around the world singing in real time to my conducting.”
Much of the appeal of the virtual choir is its ability to build a community. “The biggest benefit is that you can become part of a community from your kitchen or from your garage or your dorm room,” Whitacre said, “that you can connect with people, with like-minded people around the world, and you never have to leave home. I’m not saying you shouldn’t leave home and join a real choir, but this gives you a chance to connect with people all over the world.”
Whitacre’s YouTube choirs have also led to the discovery of talent, in something like the way British singer Susan Boyle came to the world’s attention through an audition for “Britain’s Got Talent.”
“I heard some singers that were just phenomenal, truly excellent, excellent musicians. The kind of singing that they’re doing, choral singing, is a little different from what Susan Boyle might do. … (She’s) singing in a solo way, trying to express something. Choral singing is more contained, and even virtually, you’re trying to be part of a group of people.
“But I certainly heard a number of people, including Melody Myers, the soprano in ‘Lux Aurumque,’ I think she should have a record deal. She’s phenomenal and she’s gotten a lot of attention from it. Just her video on YouTube has been seen something like 80,000 times.” Myers is a college student in Tennessee, Whitacre said.
He says he feels lucky to be alive at a time when more and more people are showing an interest in singing as part of a group — and when “Glee” is a popular program on television. “Maybe it’s a reaction to heavily produced pop music,” he suggested. “It’s real voices and it’s quite beautiful and genuine. It’s just fun to do. Millions and millions of people all over the world sing together in choirs and I guess now their voices are finally being heard.”