WATCH: Incredibly Ornate & Delightful Artist "Peep Show" Teeny Tiny House

Philly-based artist Serena Perrone works in a variety of mediums, and her piece "Fata Morgana/Mondo Nuovo" synthesizes a bunch of them all at once: Scultpture, printmaking, installation, probably others. It does so, meanwhile, in a way that's totally captivating in its DuChamp-ian, colorful micro-ness. "Fata Morgana/Mondo Nuovo is a peepshow," she says, "that presents an ambivalent narrative mythologizing the small Sicilian hill-top town of my family’s origin, employing many pre-cinematic themes and conventions to reveal a complex setting that is at once enchanting, idyllic and abysmal. True to any place, the more time spent looking, the more the curtain is drawn back to reveal hidden narratives." It's currently on view as a part of Perrone's contribution to The Print Center's 91st Annual International Competition Solo Exhibitions (through August 5, hurry!).

Listen: The Fairmount Park Twilight Music Festival Playlist

This summer, The Twilight Music Festival will populate eight Sunday evenings, deep in the heart of Fairmount Park, where MLK Jr. Drive meets the Dragon Boat Dock. And across these eight concerts from Philly-connected artists, each one promises to be its own kind of special; in fact, the series is so well-curated that we discovered it also works fantastically as its own playlist.  Curated by Greg Mungan of Johnny Brenda’s, Twilight Music Festival proceeds benefit Philly parks. “[The series] takes advantage of a gorgeous, green, public space along the Schuykill River,” he told us. “I aimed for an eclectic roster of Philly bands that reflects the rich musical diversity of the city and its residents.” And boy did he deliver. Over the run of Twilight, you’ll have the chance to check out Taylor McFerrin, Clap Your Hands Say Yeah, Sun Ra Arkestra, Worldtown Soundsystem, Bardo Pond, Grandchildren, Steve Gunn (solo) and The Dove & the Wolf. Each concert is free, and the result of a collaboration between Philly Parks & Rec, Fairmount Park Conservancy and FCM Hospitality. And, as you can hear above, each is its own recipe for a pretty magnificent Sunday night.

Whites Make Philadelphia Awful

BY JOEY SWEENEY

Earlier today, the part of Philadelphia social media that has not completely stopped paying attention to the fact that we still have daily newspapers quite rightly erupted when Philly.com published a smattering of verified reader comments bearing the headline, “Whites Make Brewerytown Better.” It was a response to an earlier piece by Ronnie Polaneczky (herself not the softest touch) about the Brewerytown neighborhood’s present and continuing struggle with gentrification. But the hamfistedness of both headline and its flaming-bag-of-dog-poo contents — presented first as plain statement of fact on the Philly.com front page and social media accounts, then altered with a “Readers respond:” slug, then shuffled off of the homepage altogether — quickly became the main story.

So much so that by the end of the day, Inquirer editorial page editor Harold Jackson (who has presided over messier moments than this and ostensibly will see more before a buyout beckons him) felt compelled to pen a mashed-up moment of profoundly needy, cringeworthy handwringing mixed with a laughable level of mansplaining. His point, if I am eking this out correctly: Guys, this is what letters pages are! We find the most vile stuff someone has said about something we wrote, then we find a few fools salty enough to stand by/verify their own drivel, and then we publish it BECAUSE DEBATE IS HEALTHY!

This is all very regrettable, but it does provide occasion for us to say something that is worth saying, something that we can and will say right here in Philly.com’s own language of simple disappointment: Whites make Philadelphia awful. Whites have made Philadelphia awful in the past, and whites are certainly making Philadelphia awful right now, as we speak. How would I know? I’m a 44-year-old white male lifelong Philadelphian, that’s how, and I say this not to be contrarian or because I’m trying to curry favor with anyone. I’m saying it because it’s a fact, and I’m tired of it.

Whites make Philadelphia awful when they turn Frank Rizzo, a deeply racist totem of old Philly, into some kind of Jesus figure. Whites make Philadelphia awful when they persist each New Year’s Day with a parade that was rooted in blackface, and can’t get their shit together to have one single year go off with finding someone new to alienate. Whites make Philadelphia awful when they spend their final years on this Earth peddling xenophobia with a side of cheesesteak, only to leave their kids to clean it up when they finally croak. Whites make Philadelphia awful when they recklessly gentrify neighborhoods and ethnic foods alike, creating lines of high and low with their own head-in-the-clouds white gaze. Whites especially make Philadelphia awful when they treat the whole city like some kind of white privilege frat party a few times a year, anchored to any holiday you might care to mention or even just the weekend.

Some of this stuff is older than us, and can only be changed by acknowledging our deeply biased sense of white Philadelphian history. Some of it, as I say, is happening right now, with people too new here to know about the long legacy of whites making Philadelphia awful. As a result, new innovations in whites making Philadelphia awful continues apace.

EXCERPT: "Playing Tetris on a Philly Skyscraper," From Andrew Ervin's Bit By Bit

BY ANDREW ERVIN

Any lingering distinction that might have still existed between video gamers and the general public was obscured even further one recent spring night here in Philadelphia. A huge segment of the city witnessed a monumental, twenty-nine-story-tall game of Tetris played on two sides of a skyscraper. The game was visible—and immediately recognizable—for miles in each direction. For one weekend, the nation’s fifth largest city, the birthplace of American democracy itself, became the staging grounds for the largest video game ever played.

By some estimates, Tetris is the bestselling video game of all time, with 100 million copies in circulation across all platforms. Many Philadelphians that weekend had likely suffered at one time or another from Tetris Syndrome, that sensation of seeing in the mind’s eye the ghost images of those seven color-coded puzzle piece shapes dropping downward and rotating neatly into rows. Invented by the Russian programmer Alexey Pajitnov in 1984, Tetris remains hugely popular to this day. It stands among the most famous and iconic video games, those that have transcended the medium and entered the public consciousness.

Over 2,500 of us bundled in hoodies and gloves and scarves, a few in Tetris-themed costumes, lined up along the Schuylkill River on opposite sides of the Cira Centre. We awaited turns to operate the joysticks affixed to laptops at two locations at ground level, where 4G wireless hotspots sent instructions to a server inside the building. Not everyone got to play, but many of those present hummed Tetris’s familiar theme music and snacked on greasy food-truck grub. We were joined by Henk Rogers, the Dutch-born video game developer responsible for the highly innovative role-playing video game The Black Onyx (1984), but who is best known for acquiring the all-important handheld-game rights from Pajitnov—at the height of the Cold War, no less. He had come to Philly to celebrate the thirtieth anniversary of the game in epic style. With him was Drexel University professor Frank J. Lee, who had made the entire spectacle possible.

The Cira Centre resembled a silver box that has been gently twisted to create sharp and seemingly crystalline angles. Its shimmering, asymmetrical sides rose in contrast from the flat industrial landscape around 30th Street Station, the city’s primary train depot. In the daytime, the glass superstructure reflected every cloud and contrail and blended more into the sky than the rest of the city. At night, even with many of the office lights still on, as the employees of a Swedish global hygiene and forest products company worked late, those Tetris shapes illuminated the surrounding area in bright colors. The amplified sound effects almost drowned out the sounds of the highway and the traffic around the Eakins Oval in front of the Philadelphia Museum of Art. At the time, museumgoers could have seen a temporary “Treasure of Korea” exhibition and even Vermeer’s “A Young Woman Seated at the Virginals,” which was making a rare visit to the city and was displayed not far from Marcel Duchamp’s Fountain.

For Philly Tech Week, Lee and his team had programed the LED-enabled, internet-connected façade of the Cira Centre. (The previous year, they had created a similarly sized game of Pong on the same building and in doing so set the Guinness World Record for the Largest Architectural Video Game ever made.) I met Lee at his university’s Expressive and Creative Interaction Technologies Center (ExCITe), where he served as Associate Professor of Digital Media and Director of the Entrepreneurial Game Studio. In sartorial contrast to most college professors I know, Lee arrived for our meeting in a t-shirt, this one bearing the wordsPONG CHAMPIONSHIP 1972. Several of his students joined us at a conference table surrounded by wall decorations featuring Pac-Man and Super Mario Bros. “I knew it was theoretically possible,” Lee told me of his Tetris installation. “I initially had the idea in 2008 and the Pong project came out in 2013.” Of that five year effort, “four years and ten months was simply convincing Brandywine Realty Trust, that owns that building, to let me hack those lights.” After finally getting permission, Lee’s team still needed to overcome numerous technical challenges, large and small. “Even if we could control those lights, if those lights were too slow then you couldn’t really create a game out of them,” he said. “If the refresh rate was one per five seconds, you can’t create anything out of that, that delay.”

To make Tetris work, they needed to establish direct VPN access to the building’s proprietary network, which controlled the lighting system, and map the physical location of each light on the building’s irregularly-shaped sides onto a grid. Then they acquired the software (via the collaborative GitHub network) that would allow them to remotely control the LEDs. Only at that point could they configure the LEDs into the appropriate shapes and colors. “Thankfully, we were able to improvise, find, or resolve the technical issues to create Pong. And once we created Pong we had all the stuff there for Tetris.” The relief and excitement still showed on his face.

The efforts of Lee and his team reminded me of many of the other game makers I had read about and spoken with while writing this book. All of them shared a commitment to innovation, to pushing past the limits of what seemed possible, and to making something beautiful and unexpected,

Excerpted from BIT BY BIT: How Video Games Transformed Our World by Andrew Ervin. Copyright 2017. Available from Basic Books, an imprint of Perseus Books, a division of PBG Publishing, LLC, a subsidiary of Hachette Book Group, Inc.