Selected Courses on Digital Art-UOWM

9 Απριλίου 2013

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Filed under: Notes — admin @ 11:54

Uploaded on Dec 18, 2010
The Blood of a Poet // Le sang d’un poète (1930)

The Blood of a Poet (French: Le Sang d’un Poete) (1930) is an avant-garde film directed by Jean Cocteau and financed by Charles, Vicomte de Noailles. Photographer Lee Miller made her only film appearance in this movie, and it also features an appearance by the famed aerialist Barbette.[1] It is the first part of the Orphic Trilogy, which is continued in Orphée (1950) and was concluded with Testament of Orpheus (1960).

Director: Jean Cocteau
Writer: Jean Cocteau
Stars: Enrique Rivero, Elizabeth Lee Miller and Pauline Carton


Architecture magazines are ruining architecture, Brooklyn-based artist and architect Vito Acconci told Dezeen at Vienna Design Week, stating that “architecture is the opposite of an image”.
Acconci believes the only difference between a piece of architecture and an image is that people can move through architecture, meaning the element of time is the crucial difference. “Architecture is not about space but about time,” he says.
Speaking to Dezeen editor-in-chief Marcus Fairs in Vienna earlier this month, the 72-year-old described how he started out as a poet in the 1960s, becoming fascinated with the way the reader uses words to navigate across the page. Later he worked as a performance artist and now runs Acconci Studio, which focuses on landscape design and architecture.
Acconci explains how he now regrets his notorious 1971 “Seedbed” performance – which saw him lie hidden beneath a ramp in the Sonnabend Gallery in New York, verbally fantasising about, and masturbating over, gallery visitors passing over him – explaining that it “ruined my career”.
Below is a transcript of the conversation, which took place in Vienna during Vienna Design Week, where Acconci chaired the jury of the inaugural NWW Design Award along with Fairs and Italian designer Fabio Novembre, who also took part in the discussion.

A Song of Love (FrenchUn chant d’amour [œ̃ ʃɑ̃ damuʁ]) is French writer Jean Genet‘s only film, which he directed in 1950. Because of its explicit (though artistically presented) homosexual content, the 26-minute movie was long banned and even disowned by Genet later in his life.
The plot is set in a French prison, where a prison guard takes voyeuristic pleasure in observing the prisoners perform masturbatory sexual acts. In two adjacent cells, there is an older Algerian-looking man and a handsome convict in his twenties. The older man is in love with the younger one, rubbing himself against the wall and sharing his cigarette smoke with his beloved through a straw.
The prison guard, apparently jealous of the prisoner’s relationship, enters the older convict’s cell, beats him, and makes him suck on his gun in an unmistakably sexual fashion. However, the inmate drifts off into a fantasy where he and his object of desire roam the countryside. In the final scene, it becomes clear that the guard’s power is no match for the intensity of attraction between the prisoners, even though their relationship is not consummated.
Genet does not use dialogue in his film, but focuses instead on close-ups of bodies, on faces, armpits, and penises. The film’s highly sexualized atmosphere has been recognized as a formative factor for works such as the films of Andy Warhol.

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