cranky vBulls 

The threaded ancient net . The snobby hobby; those who buy to brag .

The feeble threads the vBulls weave .

you are learning from those who didn’t know so came to the forum to ask…

the error you repeat may be your own… not AI’s

Death of Field–

how can I talk without pasteurizing some of my concerns . you can’t record a place without the sound of that place . 


ask around the net, you get SOCMEd responses. Remeber when the Valley valued ‘big minds’ — built upon links from stable sources. And then, boards and moated adspaces floated upon the telephonic waves, pulsing with opinions without … what? That is the training corpus; both in demeanor, tone and content. After all, STEM don’t do soft, it do software.

We arrive at the vBulls asking a 3rd party to report upon their very conjectures… gossip, reinforced by sanitizers becomes knowledge without stench. Here:

[ Which is why it should be standard practice when asking an AI for assistance that we include in the prompt something like: “include at least one trustworthy reference/source for the information you present”. It does improve the likelihood of getting good results from your query, and you can check the veracity of the data yourself before using it. ]]

WHAT IS TRUSTWORTHY

value of information
quality of sources

[ • The 2028 Timeline: The details regarding the Master Supply Agreement’s lifespan and renewals come from Eastman Kodak’s formal corporate financial filings, bankruptcy exit provisions, and industry reporting covered by outlets like PetaPixel and Digital Camera World.

  • The Legal Loophole Mechanics: The concept of bypassing the traditional yellow-box exclusivity using legacy branding (like Kodacolor or Ektapan) is a legal interpretation widely discussed by distributors and logistics experts on film communities like Photrio and Analogue Wonderland

YOU, THE FORUMS ARE THE SOURCE OF THE ERRORS. YOU ARE NOISE. AMPLIFIED Amateur feedback.

=== YOU ARE THE SOURCE OF SPECULATION… incredible. inedible egg.

swarm, collective, crowd.

— Towards Understanding Sycophancy in Language Models (Mrinank Sharma and colleagues, 2023): a documented tendency for models to shift their stated position toward whatever a user asserts, even when their original position was correct.

FOOT- aka p2:

ref: https://www.ilfordphoto.com/faqs/health-safety-faqs/

THE FOLLOWING EXTRACT IS AIMED AT COMMERCIAL/EDUCATIONAL DARKROOMS AND WILL GIVE YOU AN INDICATION OF WHAT IS REQUIRED.

 This is the UK Industry recommendation and is from a document called: “Heating, ventilating, air conditioning and refrigeration. CIBSE Guide B”( CIBSE = Chartered Institution of Building Services Engineers) “Darkrooms (photographic) 6-8 ACH (but heat gain should be assessed)

2.3.24.4 Darkrooms (photographic)

Small darkrooms for occasional use or for purely developing processes may often be ventilated naturally with a suitable light trap, although consideration should be given to providing mechanical extract using an air change rate of 6 to 8 air changes per hour. For general purpose darkrooms, however, the air change rate should be ascertained from a consideration of the heat gain from the enlarger, lights etc. plus the occupants, on the basis of a temperature rise of 5-6 K. In industrial and commercial darkrooms that have machine processing, the machines will very often have their own extract ducting, the air supply being drawn from the room itself. It will usually be necessary to provide a warmed and filtered mechanical inlet in such cases. In special cases, involving extensive washing processes, the humidity gain may be significant and require consideration.”

ACH = Air changes per hour.

  • Calculate this by multiplying HxWxD for the room in metres to give m3.
  • Measure airflow of extract vent in m/second.
  • Multiply by Vent HxW in metres to give m3 per second.
  • Multiply that by 3600 to give m3 per hour.
  • Divide flow volume by room volume to give ACH.

p2: May ’26 Review

additions [p2’s ] .. missed links and updates to prior posts.

>> link [ Seeing it in person, however, gives a more weathered impression than in photographs.
The greens are not as vivid, and the garden feels dry, even somewhat rough.
It’s best not to expect something overly decorative.
Tōfuku-ji,
A Study in Geometry and Garden Design in Kyoto

>> link [ Gabriel Antonio Reed is from New Market, Tennessee. He received his MFA from Hollins University and his PhD from the University of Tennessee, Knoxville.
“a will to change that derives from our inability to change ourselves”—Gabriel Antonio Reed
Gabriel Antonio Reed

>> link VSW [Matthew Schlanger’s image processed video works are serial constructions created with custom-built analog and digital processors. Each video is a real-time synthesized recording in which sound and image are parallel structures, often using periodic waveforms as image and sound source material. Schlanger is both an artist and a tool maker. He has been working with analog synthesizers since the 1980s, and continues to create video in his home studio in Nyack, NY.

lumpy banger https://vimeo.com/18289189?fl=pl&fe=vl&goal=0_3b0c1d68ed-eef87426d4-631039129&mc_cid=eef87426d4&mc_eid=f0298e5cc5

–Invisible Fisherman: The Art of Bill Brand
now available through VSW Press

 VSW Press is pleased to announce that our most recent Film Art Book (FAB) publication is now available in the VSW bookstore! Invisible Fisherman: The Art of Bill Brand is a 160 page artist book featuring critical essays and full color images documenting the scope, breadth and impact of Bill Brand’s creative practice in film, installation, drawing and painting. Brand is well known for his work as a filmmaker and preservationist, and this book shines a light on his lifetime studio practice of drawing and painting. Brand himself navigates his portfolio in a “studio visit” with Tara Nelson, sharing his personal history with drawing and painting as a critical approach to problem solving and creative development throughout his career. 

Click to access VSWPressSPRING-26BillBrandRelease_FINAL042126.pdf

EXPERIMENTAL CINEMA, VSW provides a walk along the path, to this: https://expcinema.org/site/en/books/invisible-fisherman-art-bill-brand
AND opening that we come to a site of many others making the swim.
https://www.billbrand.net/biography preservation of experimental cinema-video.


flexichrome — photographs are always colorized, it’s just that some tell better color lies..

i seem to repeat myself .. someone, at some time asked a question..on the web, nothing ever finishes; nothing is ever found.

flexhichrome.

just Friday (yesterday), as if by synchronicity, C found an old Flexichrome brochure among poetry magazines she was reviewing… keep, or pass along..

That refreshed my thinking about some posts I made several years ago… I wrote, but never published.

The Flexichrome process has special memories… serving as release from constraints that I was setting upon myself too early in my career to recognize as bad habits. Habit of “giving away” my eyes. to some prior, unknown visionary. Why let them set my standards?

So, maybe I will finish and release the tech post I made more than a decade ago on the process of Flexichrome.

spray bottle has been returned to her place above the wet sink in the processing room of the lab. Used to keep the lavender seeds and seedlings moist. Now, they are big enough to take on full water..

Relative humidity as well as other concepts will apply longer than the specific instance. that’s how firms as well as art schools and studios acquire and extend practice and theory awareness..
early, in fact my first reading about application of registration of masks and subs, included paper tape. when I realized that paper tape included an envelope with adhesive, I was able to revive a method from the 40s when packaging tape was widely available.. this was part of making a ‘cab,’ a carrier to hold mask and original.
The general principle must be combined, must be modified by your local current awareness; what’s available to you locally, currently. photography, all plastic Art as a practice includes a physical component, a manual component.. Our current change to a “text to image ” is part of the sense of many that we lose skills — visual art becomes removed from prior plastic concerns and privileges. The scale of the hand, the privileges granted to those practitioners with that skill diminishes when that skill no longer controls the input to the eye of the receiver..

Conception to perception is a tough path for some. particularly for those stuck forever in perpetual adolescence.