Short summaries of 3,026 essays by Bill H. Ritchie, artist, teacher and visionary drawn from his journals written between 1969 - 2009. He structured the headings of each article according an imaginary place he calls "Emeralda," imagining ten islands on a lake where he, as a recipient of a mythical prize, is encouraged to write freely about anything that seems important to an artist, teacher and philosopher. Mindful of the use of new technologies, each essay summary has key index features which would allow a reader having a computer and optional CD/ROM to retrieve the full text of any article. Or, using freely chosen keywords of their own, find the articles which have those words in them.
Imagine you're an art student and you had the run of your art professor's private library of journals, diaries and reading notes. Would you be curious? Bill Ritchie had this experience in college in the 1960's as his art professor gave him the key to her library. It was a privilege only a few of her students enjoyed.After college Bill Ritchie became an art professor. He believes such access to his professors' libraries shaped his teaching philosophy. As an early adopter of new technologies, such as video and computers, his journals and unpublished work morphed into digital files. By the 1990's, he had mastered electronic publishing.He learned about expert systems, knowledge engineering and data mining as ways students could access their teachers' digital libraries. Although long retired from formal college, he imagined what it would be like to be an art student taking art online in a Massively Open Online Course, or MOOC, a distance-learning experience. Would one be interested in picking the art professor's brain? For example, here is one abstract of a Ritchie's 2017 'Zine article: "ps100807 - It All Began in a Cave - The invention of printmaking - The story begins in an undersea cave somewhere on the southern coast of France near what we call Cosquer. Women from a camp above the cave had meetings in the cave, singing, telling stories, and painting on the wall. This was where the first printmaking ... 924 Words.Does this sound interesting? There are hundreds more in this book. On the Internet, buried treasures await students studying art online. It's like having access to all the worlds' art teachers. In the volumes of Ritchie Mined one can drill into this professor's library to mine selections from among his musings. It's like mining for nuggets of wisdom and finding veins of strange thinking. His daughter Nellie Sunderland compiled this index of 561 entries - insights into Professor Ritchie's art and teaching philosophy and his old professor's way.
This encyclopedia has over 600 pictures and 250 stories from around the world about the Halfwood etching presses, including art and testimonials by the people who own them. In 2004, Bill Ritchie, the designer of the Halfwood etching presses, wanted to make an etching press that was beautiful and functional. After seeing the prototype, the designer remarked how beautiful it was and how he wished he had a model of it to put on his mantel. Consequently, the builder/maker delivered a quarter-scale model of the press a month later, launching the Mini-Halfwood Presses. With his Mini-sized Halfwood press, Bill was able to take part in art fairs and workshops anywhere. People were drawn to his printmaking demonstrations. Orders for presses came and a business was developed. Over twelve years, people from all over the USA and over twenty countries around the world ordered presses. With his partner's help, the Mini Halfwood Press design expanded from the six-inch-wide bed of the Mini to a twelve-inch and sizes in between. Three years in a row, Bill and the team were awarded Silver Awards from the international Italian A'Design Awards and Competition in Milan. This book was made possible by the merging of people worldwide who love prints, printmaking, and print collecting. .
This index includes more than 450 'Zine summaries of Bill H. Ritchie's private essays compiled by his daughter, Nellie Sunderland. Meant to be a way to "pick a professor's brain," each entry is an abstract of journal notes and essays on the wide-ranging interests of Professor Ritchie. Video art was one of the focusses of his teaching when he was active at the University of Washington School of Art be-tween 1966 and 1985. He writes: " Imagine you are an art student, and you are living in your professor's rental where she keeps her library. Would you be curious? Would you browse?" Ritchie experienced this in college. His painting professor, Sarah Spurgeon, gave him free run of her library. After college Bill became an art professor, like she, and believes free access to his professors' private libraries shaped his teaching philosophy. He was hired to teach printmaking, but when he realized printmaking was one of many forms of media art, he branched out to video as an art form, and then to computer graphics. His meditations on his journey are the topics covered in this index. As an early adopter of new technologies in the 1990's, he mastered electronic publishing on the Cloud. In the process he learned about expert systems, knowledge engineering, AI, and data mining. It is how students can access their teachers' digital libraries. He decided to make digital files of his private journals and un-published work. Although long retired from formal college teaching, he wonders what it would be like to be an art student experiencing distance-learning in a Massively Open Online Course - a MOOC. Would students be interested in picking an art professor's brain online? An abstract appears on the back cover of this index from an essay about a Seattle Printmaking Center concept being tossed around in 1969. On the Internet, such buried treasures may await art and history students studying online. Digital libraries like this is likened to accessing all the worlds' art teachers' private thoughts. In this Ritchie Mined series, one can drill into this professor's library to mine for ideas in selected musings - like mining for nuggets of wisdom and finding veins of his thoughts touching on many topics. Bill's daughter Nellie Sunderland compiled this index of 460 entries - insights into Professor Ritchie's art and teaching philosophy and his old professor's way.
This is the record of a professor's travels around the world in the mid-1980's. He went on a quest to document how artists were responding to technologies such as video and computer graphics. It is his account of a gamble he lost. He bet that the university he worked for would be impressed with what he brought back: A case full of videotaped interviews recorded in fifteen countries. He was sure these would bolster the school's reputation as cutting edge, reflecting the booming technology industry of the Pacific Northwest and global trends in education.After eight months' time and a personal investment of over $50,000, he returned, believing the experience would help develop a new version of his field - printmaking. "Print is the ancestor of all technology," was his claim. With the evidence in his case, would not the art department embrace the new media? Would his experience reinforce his caveat of making printmaking the core of a new curriculum in multimedia arts?He admired Buckminster Fuller who, in a 1962 speech, described his vision of mobile, time-shifted, tele-commuted, on-demand education, he presaged distance learning: "The universities are going to be wonderful places. Scholars will stay there a long time - the rest of their lives - developing more knowledge about the whole experience of man ... going around the world in an everyday routine of search and exploration. The world-experience pattern will be everywhere for all students and scholars all over the world. That is all part of the new pattern that is rushing upon us."The author was a Junior in college when Fuller said those words in Carbondale, Illinois. Never in Bill Ritchie's wildest dreams could he have imagined being one who would go around the world and live Fuller's vision. Now, twenty years after Fuller's speech, Bill was a tenured art professor at the University of Washington teaching printmaking. He also taught video art and computer graphics with a conviction that printmaking is electronic arts' ancestor. He knew that his students needed to be ready for the multimedia of the 21st Century and to think globally - like Fuller.In this book one reads the story about how Bill managed to go around-the-world on his fact-finding mission for the University of Washington. There must have been magic in the air of the 1960's and 80's to cause him take the leap. He felt certain that his quest would pay off in the long run. He was only 39, tenured and had a sabbatical in hand. His family and friends were trusting and loyal; and many agreed with his vision of the future. What did he have to lose?Risking it all, Bill refinanced his family's home mortgage, sold their car and his etching press, and closed out his art studio. He bought a state-of-the-art camcorder and, for eight months, he and his family (and a tutor for their young daughters) jetted around the globe and drove around Europe and the USA.Over the eight-months it took, he and his wife recorded 35 hours of interviews in fifteen countries. Those vintage videotapes are packed in a scarred, black suitcase. The case itself is plastered with stickers showing where they were made. These hint at the sights and sounds on the videotapes inside and that are still playable today. In this book, every minute of these tapes is described and illustrated with screenshots.Bill lost his gamble when he returned from his travels. The university had other plans. However, as Fuller predicted, search and exploration makes professors today who can teach globally. As Bill has shown in his own work, professors can self-publish educational books and eBooks on-demand and they can link their text with Internet videos and references - such as the QR code inside this book linked to a 23-minute YouTube family tape.This book is a report of what is on the videotapes, but it is also a testimony that Bill won in the long term. Was it worth it? Is there more to the story? Read this book and find out.
Short summaries of 3,026 essays by Bill H. Ritchie, artist, teacher and visionary drawn from his journals written between 1969 - 2009. He structured the headings of each article according an imaginary place he calls "Emeralda," imagining ten islands on a lake where he, as a recipient of a mythical prize, is encouraged to write freely about anything that seems important to an artist, teacher and philosopher. Mindful of the use of new technologies, each essay summary has key index features which would allow a reader having a computer and optional CD/ROM to retrieve the full text of any article. Or, using freely chosen keywords of their own, find the articles which have those words in them.
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