Protopiper is a computer aided, hand-held fabrication device that allows
users to sketch room-sized objects at actual scale. The key idea behind
protopiper is that it forms adhesive tape into tubes as its main
building material, rather than extruded plastic or photopolymer lines.
Since the resulting tubes are hollow they offer excellent
strength-to-weight ratio, thus scale well to large structures.
The New York Times calls artist Joaquín Torres-García “a modernist classic… lovable.” See the retrospective they call “a long time coming.”
[Installation view of Joaquín Torres-García: The Arcadian Modern at The Museum of Modern Art, New York (October 25, 2015–February 15, 2016). Photo by Jonathan Muzikar. © 2015 The Museum of Modern Art, New York]
Today, Veysey’s war-of-three-ideas framework remains vital to understanding the origins of modern higher education. Yet it represents only the first half of his dissertation and the book that would follow. The second is about what came next: Instead of choosing a single vision, universities adopted elements of all three organizational missions within a single institution, creating complicated — and often contradictory — organizations that endure to this day.
Veysey began by sketching the alien, moribund world of antebellum colleges ruled by piety and discipline. Clergymen dominated the ranks of administration while professors received little status or pay. Both groups believed that suffering benefited the mind as well as the soul, and students built their mental faculties through painful recitation of long passages in ancient Greek.
But in Veysey’s telling, those faltering, marginal institutions were soon overcome by the demands of surging industrialization. Scholars began returning from Europe with tales of Humboldtian research universities in which the independent, credentialed professor reigned supreme. At the same time, land-grant universities were expanding and pursuing a utilitarian mission of mechanical arts and practical education. The third vision was liberal education, which the English theologian John Henry Newman had described as teaching students to understand “the great outlines of knowledge, the principles on which it rests, the scale of its parts, its lights and shades, its great points and its little …”
It sounds obvious, but when people ask for advice I just tell them to make games,” he concludes. “It’s the biggest factor for me – you just get better by making more and more games. Going to university has definitely given me formal experience with programming, but the I’d say the biggest factor is analysing games, and you only get that by making and playing games. If you want to be a game developer, just make a lot of games, and never spend too long on them. Try and spend as short a time as possible on them, because this is a market that moves quickly and is utterly unpredictable. If you’re able to make games quickly, you’ve got a chance.
*Long before Lolcats there were LAL Cats.
If we are not articulate about what these games are and do, then we undermine the work of the artists behind them. When a crowd of gamers is able to collectively introduce and popularize the term “walking simulator” as a term of derision before this movement can find a broader voice, then the medium suffers a regression towards safe, conservative tastes.