Οδηγίες από Μαρίνα Αντιόχου
21 Ιουνίου 2020
18 Ιουνίου 2020
W.E.H. Stanner, “The Dreaming”
ALCHERINGA…”dream time” of the Arunta…”The Eternal Dream Time”…(or) “The Dreaming”…of a sacred heroic time long long ago when man & nature came to be…a kind of narrative of things that once happened; a kind of charter of things that still happen; & a kind of logos or principle of order transcending everything significant…the act of dreaming, as reality & symbol, (by which)…the artist is inspired to produce a new song…(by which) the mind makes contact with whatever mystery it is that connects The Dreaming & the Here-&-Now.
–W.E.H. Stanner, “The Dreaming”
10 Μαΐου 2020
corona flowers #1: Video Art Miden : Confession
[youtube https://www.youtube.com/watch?v=xCd-fw2YVzI&w=560&h=315]
24 Απριλίου 2020
New secrets of Vermeer’s Girl with a Pearl Earring
New secrets of Vermeer’s Girl with a Pearl Earring to be revealed online next week
Mauritshuis museum’s detailed technical examination uncovers new findings on the Dutch artist’s brushwork, pigments and technique
GARETH HARRIS
23rd April 2020 11:08 BST
Girl with a Pearl Earring (around 1665) made up of images from the research project Girl in the Spotlight Photo: Sylvain Fleur
The results of an extensive technical examination of Johannes Vermeer’s Girl with a Pearl Earring (around 1665) will be announced early next week, giving new insights into how the Dutch artist painted one of the most famous works in the world. On 28 April, the Mauritshuis in The Hague will unveil a web page detailing the new findings, throwing new light on Vermeer’s brushwork, the use of pigments, and how he “built up” the painting in different layers.
An international team of conservators, scientists and researchers spent two weeks in early 2018 studying the painting in a specially constructed glass studio at the Mauritshuis, enabling members of the public to follow the forensic analysis.
The research project, known as The Girl in the Spotlight, was led by the Mauritshuis’s paintings conservator Abbie Vandivere who worked with specialists at several other institutions including the Rijksmuseum in Amsterdam and the Delft University of Technology. The painting was last examined in 1994 during a conservation treatment.
Vandivere outlines in a blog the purpose and processes of the initiative, saying: “Which materials did Vermeer use, and where did they come from? Which techniques did Vermeer use to create subtle optical effects? What did the painting look like originally, and how has it changed?” The research involved non-invasive imaging and scanning techniques, digital microscopy and paint sample analysis.
The blog contains a wealth of detail on the canvas, pigments, oil and other materials Vermeer used to create the work. In a section called “Watching Paint Dry”, she writes: “How did Vermeer make the paint that was used in the Girl with a Pearl Earring? Like most 17th-century Dutch artists, he used oil paint.” The binding medium used to paint the work is linseed oil, made from the seeds of the flax plant, she says
“The slow drying speed of oil paint allowed Vermeer to blend colours together in the Girl with a Pearl Earring, and to manipulate his paint after he applied it. To achieve the subtle blending from light to shadow, for example the translucent skin on the edge of her cheek, he used a soft dry brush to blend the wet paint after he applied it,” writes Vandivere.
In another section, she describes zooming into the surface of the painting through a microscope lens. “Our eye is drawn to the pearl, not only because it is the painting’s namesake, but because Vermeer placed it at the centre of the composition. Did you know that it might not be a pearl at all? Costume and jewellery specialists believe that it’s too big to be real. Perhaps Vermeer exaggerated it a little to make it more of a focal point of the painting… At high magnification, you can see that Vermeer painted the pearl with only a few brushstrokes of lead white.”
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Created by wearegoat
20 Ιανουαρίου 2020
18 Νοεμβρίου 2019
Hand creation and bones setup with 3ds max 2018
[youtube https://www.youtube.com/watch?v=eLjQNkMeEDE&w=560&h=315]
9 Μαΐου 2018
18 Απριλίου 2018
case studies
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“Tin Rhythm” by Celena Tang DDA Interactive Arts BFA from DDA Pratt on Vimeo.
INTERACTIVE VOICE-VISUAL INSTALLATION-DDA PRATT
Hyesoo Chang “Uncertainty Principle of the Invisible” MFA Thesis 2017 from DDA Pratt on Vimeo.
13 Νοεμβρίου 2017
[vimeo 196269431 w=640 h=360]
Max Cooper – Order from Chaos – Official Video by Maxime Causeret from Max Cooper on Vimeo.
Max Cooper – Order from Chaos – Official Video by Maxime Causeret
11 months ago
Max CooperPLUS
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I’m really excited about this video project, after the first live show it was the part that everyone was asking about – It is a beautiful humanised exploration of life and emergence, by Maxime Causeret. I hope you enjoy it as much as I do!
The idea for this part of the story started on a day when there was really heavy rain hitting the roof window at my old flat. I got out my binaural mics and put my head right up by the window with the big raindrops hitting all around. They made nice individual percussive noises, with great spatial positioning, so I decided to use them to seed a piece of music.
This track is the most explicit representation of the idea of emergence in the album, because the rhythm of the track is created by the raindrops in an emergent manner – I took the audio samples, mapped the transients for the raindrop hits, and then forced the mapped points towards the nearest drumming grid positions. This meant that the random raindrops were pushed into a quantised grid, and the result was that a percussive rhythm emerged, one that I hadn’t created myself, but was the closest rhythm to that particular section of rain.
I then played the sansula over this rain rhythm, and added lots of pads and saturation layers, finally with some vocal snippets from Kathrin deBoer to complete the track. Maxime Causeret selected this track to work with, under the brief to map the emergent rhythm to an exploration of emergence in living form.
His video shows the raindrops initially, then going into simple cellular forms and then showing the important idea of cooperation between simple cells to form more robust colonies of life. This develops into a visualisation of the idea of endosymbiosis, where simpler smaller organisms can live inside larger cells, each providing a benefit to the other, and eventually forming parts of the same organism as they evolve to be entirely dependent on each other. The video also shows competition between organisms for resources, which spurs on their evolutionary development, as each species tries to keep up with the innovations of the others. He also visualises the emergent ideas of flocking behaviour, where groups of individuals form beautiful dancing-like patterns.
Maxime also shows us a section of animated reaction-diffusion patterns, where simple chemical feedback mechanisms can yield complex flowing bands of colour – these forms of system were originally thought up by Alan Turing, and were part of the early seeds of the field of systems biology, which seeks to simulate life with computers, in order to better understand the systems producing the complexity we see in the living world. They were also the starting point of my main research area many years ago before I got lost in music! (where I began with the question of what patterns could be produced via reaction-diffusion forms of system as opposed to gene-regulatory network controlled patterning).
So it’s a rich visual treat from Maxime on many levels, I can see why so many people were asking about it after the first live show. Lots more amazing video content to come over the next few weeks.
Some words from Maxime about his process (translated from French):
Max wrote a brief text on each song to let us know his own feeling and we were free to make our own creation. I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard.
I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was hard to then put everything together. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard. Then i just have to do the real shots from my experiments.
In terms of tools, I work with Houdini. It’s a software which gives you a lot of freedom. You can easily customize tools or build your own tools. It’s famous for vfx but you have the same freedom with modelling or animation tools for cheap when you’re a freelance.
I always start with few sketches on paper for ideas. I also search for références drawings/photos/painting. In Houdini i try to setup something fast to Cook or at least fast to preview in order to animate the shots in good conditions.
The major challenge was to put everything together. There’s nothing very hard but it’s never easy to get something who “works” so it needed time to adjust things. This production was made this summer on 4 months but not at full time. I also had few other projects.
You can listen to the full album here: MaxCooper.lnk.to/Emergence
Subscribe for more here: MaxCooper.lnk.to/Subscribe
And more stuff at:
maxcooper.net
facebook.com/maxcoopermax
twitter.com/maxcoopermax
soundcloud.com/max-cooper
Maxime’s pages:
teresuac.fr/
vimeo.com/user5429327
