MSPaintbrush and MSPaint drawing filtered/echoed in Chris Shier web app thing.
Not made in the Microsoft Store.
Weinstein further notes that he regrets that the P.T. Anderson film The Master will lose money, and notes that he should have been "a devil’s advocate instead of a cheerleader" — meaning he ought to have taken a firmer hand in controlling the cut and marketing of the movie.
In the interview, Weinstein says nothing about the "cut" of The Master, controlling it or otherwise. He says "I probably could have marketed it better" and "maybe I could have come up with a different campaign."
"Nanowaving" [mp3 removed]
Subtracted the Mazemod beats from "Maze Moderne," leaving tracks of unaccompanied percussion. Then added melody lines with synth, piano, and bass (organ) that sort of worked around those existing drum hits. This led to some shuffling and restructuring. New things I learned: how to change microtiming of sequencer steps and how to change samples for individual steps using "sample locks."
On the topic of digital expressionistic painting, here's an essay I wrote for Art Papers twelve years ago that I hadn't looked at in a while.
Very little of the thinking (ranting) there would be revised after all this time. And the digi-paintings covered look much like the work being done now.
Was advocating a multi-platform approach, not in the context of branding but in wanting visual art to be more like drum and bass and hiphop: a sampling aesthetic but also eclecticism of means, where one software program interrogates another within the same work (e.g.. Illustrator quasi-vector rubbing up against Photoshop bitmaps, text smeared into visual content, etc.).