Selected Courses on Digital Art-UOWM

14 Δεκεμβρίου 2012

ΩΡΙΜΑΝΣΗ-ΠΑΡΑΚΜΗ-ΓΙΩΡΓΟΣ

Filed under: ISME- THE CIRCLE OF LIFE — admin @ 07:17

[youtube https://www.youtube.com/watch?v=kCC-O7PzQgQ]

ΕΝΗΛΙΚΙΩΣΗ-ΚΩΝΣΤΑΝΤΙΝΟΣ

Filed under: ISME- THE CIRCLE OF LIFE — admin @ 07:17

//www.youtube.com/get_player

                                                                                            1440Χ1080 25fps

ΘΑΝΑΤΟΣ-ΣΤΑΥΡΟΣ

Filed under: ISME- THE CIRCLE OF LIFE — admin @ 07:16

//www.youtube.com/get_player

*τιθεται ένα θέμα στροφής της ιδέας διότι:

1oν δεν μπορώ να κάνω σύνδεση στο μυαλό μου των σπασιμάτων του ποτηριού σε αυτά τα shots που έχω ποσταρει παραπάνω με την ιδέα του θανάτου.

2ον. είναι δυσκόλο να υπάρξει καθαρά η εννοια του θανατου μέσα απο μερικά τετοια πλάνα σε μια προβολη και παρακολουθηση απο ανθρώπους που δεν έχουν επαφή με το αντικείμενο, εκτός και αν όλοι οι θεατες εκείνη τη στιγμή διαβαζουν το booklet που θα λεει οτι είναι “αυτό”.

3ον μετά το περας της εξεταστικής , τωρα βρεθηκε ο χρονος να παιδέψω τα αρχεία μου,

4ον. υπήρχε αρκετη πίεση στο φετινο εξάμηνο, όσοι ειναι μεγάλα εξάμηνα το καταλαβαίνουν…

5ον λόγω σοβαρών τεχνικών προβληματων με τα software που εμπλέκονται αποφάσισα να δοκιμάσω μια εξολοκλήρου καινουρια σκηνή με καινουριο μοντελο ποτηριου κτλ διοτι τα παλιά αντιμετωπιζουν προβλήματα και δεν μπορω να αντλησω πλέον διαφορετικα πλανα και renderings με το προηγουμενο μοντελο ποτηριου.

Θα προσπαθήσω να χρησιμοποιήσω μονο μια σκηνη πλάνων αυτη τη φορά και λίγο πιο ακαθόριστη κίνηση στην καμερα (αντιμετωπιζω ηδη προβλημα με αυτο το σκελος) μιας και των υπόλοιπων παιδιων η ιδεα και η υλοποιήση κινείται σε πιο εννοιολογικά επιπεδα.Κανω υπερανθρωπη προσπαθεια να ολοκληρωσω αυτο που εχω στο μυαλό μου ζοριζοντας ηδη 2 μηχανηματα (PC) για να βγει εις περας.

ευχαριστω για την κατανοηση.

update: Ένα μικρό δείγμα ακόμα απ την ίδια σκηνή.

//www.youtube.com/get_player
update: Δυστυχώς δεν μπορώ να παραμείνω στην Φλώρινα περισσότερες μέρες και αναγκαστικά ολοκλήρωσα με τα μέχρι ώρας renderings. Δεν μπορώ να επεξεργαστω αλλού τα αρχεία μου λόγω ελλειψής υπολογιστικής ισχύος-hardware και μη συμβατό softaware.

Επίσης τα renderings ήταν σε ανάλυση 1280×720 οπότε δεν ξέρω τι απώλεια θα έχουν στην προβολή. Δεν είχα την άνεση να χρησιμοποιήσω πιο υψηλές ρυθμίσεις, και έκανα ότι καλύτερο μπορούσα για την ποιότητα της εικόνας.
Τελευταίο, εάν παρατηρηθεί μια τάση επανάληψης, είναι διότι δεν υπήρχε δυνατότητα για περισσότερες λήψεις. Είχε σεταριστεί ένα πλάνο ακόμα, το οποίο όμως αφαιρέθηκε διότι ο χρόνος που απαιτούνταν για να παραχθούν τα frames ήταν 420 περίπου ώρες επιπλέον. Με δεδομένο ότι δουλεύω 2 μηχανήματα στα όρια τους μια βδομάδα είμαι σχεδόν ικανοποιημένος απ το αποτέλεσμα.
Ελπίζω να ανταποκρίνεται στις προσδοκίες…

Τελικό λοιπόν (έχει γίνει export σε μορφή .mpg και ανάλυση 1440χ1080)

Το blog τρωει την ανάλυση όταν ανεβάζουμε εδώ τα βίντεο και δεν έχω καμία πρόθεση να το ανεβάσω στο youtube για ευνόητους λόγους, οπότε στέλνω το τελικό αρχείο μέσω του site που πρότεινε ο κύριος Μπούζας στο μέιλ του. 

ΑΝΑΡΤΗΣΕΙΣ

Filed under: PERIPLANISI — Ετικέτες: — admin @ 06:45

ΑΝΑΡΤΗΣΕΙΣ

Filed under: houses — admin @ 06:44

ΠΡΟ

Filed under: PERIPLANISI — Ετικέτες: — admin @ 06:37



ΔΕΎΤΕΡΑ 17
10.20ΠΜ-2.00ΜΜ -ΣΥΝΑΝΤΗΣΗ ΣΤΟ ΕΡΓΑΣΤΗΡΙΟ –  ΕΝΙΔΑΜΕΣΗ  ΠΑΡΑΔΟΣΗ ΥΛΙΚΟΥ 
ΠΕΡΙΕΧΟΜΕΝΑ ΠΑΡΑΔΟΣΗΣ

ΤΡΊΤΗ 18
 9.40-3.00 ΣΙΔΗΡΟΔΡΟΜΙΚΟ ΣΤΑΘΜΟΣ – ΔΙΑΔΡΟΜΗ ΦΛΩΡΙΝΑ-ΑΓΡΑ?-ΦΛΩΡΙΝΑ  ΚΑΤΑΓΡΑΦΕΣ

ΤΕΤΆΡΤΗ 19
ΛΑΙΚΗ-ΚΑΤΑΓΡΑΦΕΣ
3D WORKSHOP 14/1-17/1

ΠΕΜΠΤΗ
ΠΑΡΑΣΚΕΥΗ 21
ΣΑΒ22
ΚΥΡ23


ΛΙΣΤΑ ΓΙΑ ΚΑΤΑΓΡΑΦΕΣ ΑΠΟ ΤΙΣ ΦΩΤΙΕΣ ΚΑΙ ΤΗ ΠΡΟΕΤΙΜΑΣΙΑ
ΔΗΜΙΟΥΡΓΙΑ ΜΙΚΡΟΥ ΑΡΧΕΙΟΥ

7-8-9/1        Ε10
14-15-16/1  Ε 11
21-22-23     Ε12
28-29-30     Ε13

13 Δεκεμβρίου 2012

mare mar

Filed under: Notes,ΛΑΙΚΗ — admin @ 17:49
………………………………the intentionally problematic nature of beauty and seduction as well as works by fellow artists and architectural masterpieces such as Renaissance palaces………………………………..

MOMAPS1

Filed under: Notes — admin @ 13:43

http://www.youtube-nocookie.com/embed/FhmmxpfdjAM?list=ECBA510603FF830F25&hl=en_US

[youtube https://www.youtube.com/watch?v=EAD_0oiRZJI]

[youtube https://www.youtube.com/watch?v=1QHwwRfHRmY?list=ECBA510603FF830F25&hl=en_US]

Filed under: Notes — admin @ 08:16
Preview

Ellsworth Kelly


Ellsworth Kelly, evading critical attempts to classify him as a Color Field, hard-edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today. Kelly’s visual vocabulary is drawn from observation of the world around him—shapes and colors found in plants, architecture, shadows on a wall or a lake—and has been shaped by his interest in the spaces between places and objects and between his work and its viewers. He has said, “In my work, I don’t want you to look at the surface; I want you to look at the form, the relationships.”

Kelly (born 1923) has been the subject of major exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, and his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and Tate Modern, London. Kelly lives and works in Spencertown, New York.




<img alt="Purple Relief over Black 2002 Oil on canvas, two joined panels 80 x 77 1/2 x 2 5/8 inches; 203 x 197 x 7 cm” src=”http://prod-images.exhibit-e.com/www_matthewmarks_com/bc01b265.jpg” /><img alt="Red Black White 2004 Oil on canvas, three joined panels 84 1/4 x 59 inches; 214 x 150 cm” src=”http://prod-images.exhibit-e.com/www_matthewmarks_com/7bf68075.jpg” style=”background-color: transparent; font-size: 12px; line-height: 22px;” /><img alt="Dark Blue Relief 2008 Oil on canvas, two joined panels 80 x 80 inches; 203 x 203 cm” src=”http://prod-images.exhibit-e.com/www_matthewmarks_com/34066004.jpg” style=”background-color: transparent; font-size: 12px; line-height: 22px;” /><img alt="Yellow Relief over Red 2004 Oil on canvas, two joined panels 80 x 83 x 2 3/4 inches; 203 x 211 x 7 cm” src=”http://prod-images.exhibit-e.com/www_matthewmarks_com/f2dca94b.jpg” style=”background-color: transparent; font-size: 12px; line-height: 22px;” /><img alt="Blue Tablet 1962 Oil on canvas, two joined panels 92 x 92 x 4 1/2 inches; 234 x 234 x 12 cm” src=”http://prod-images.exhibit-e.com/www_matthewmarks_com/268d1f6f.jpg” style=”background-color: transparent; font-size: 12px; line-height: 22px;” /><img alt="Untitled 2005 Painted stainless steel and aluminum 26 x 16 x 6 feet; 8 x 5 x 2 meters” src=”http://prod-images.exhibit-e.com/www_matthewmarks_com/1837234a.jpg” style=”background-color: transparent; font-size: 12px; line-height: 22px;” />

Filed under: Notes — admin @ 07:38

59

,GHSJHGHJGKJGKKKKKGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

I scanned the yard of one of the most spectacular abandoned homes I had ever seen. It was a large two story home, most likely built sometime in the 50s or 60s. It had a large cement porch which stood high off the ground and wrapped around the front and left side of the house. There was a large stone archway at the top of the cement steps to the porch. Most of the floors were wood, but towards the back of the house several storage rooms had cement floors with large rocks mortared into a dimly lit wall. In the corner of one of the rooms a huge cylindrical pit plunged into the ground. It looked 15 feet deep, but the water in the bottom made it hard to tell.
​
I fell in love with that house the instant I saw it, and was immediately determined to do a painting in a room with three large square windows facing north, east, and west. It was almost perfect, but it was in a slightly more populated area than my usual haunt, the Salton Sea, and not all the neighbors were happy to see me.
​
Shortly after beginning work on the painting an irritated voice tumbled across the yard in the wind. The neighbor to the left of the house had heard me nailing a small board into place over one of the windows, and had begun yelling at me to leave. He was a squat man with long brown hair spilling over his shoulders in a tangled mud slide. His arms were draped over a short chain-link fence, and his pot belly pressed through the squares below. It encircled his small mobile home, and was the only thing standing between me and his dirty-white pit bull. I stood in the large square window, six feet off the ground, and yelled back, “Hang on! I’ll be right there.”
​
I bounded out the front door, down the steps, through the dried weeds of the front yard, and over several ravines that had cut through it by long forgotten rain. When I got there I breathlessly explained that I didn’t mean any harm, and I wasn’t there to party or tear things apart; I was just working on a photography project and asked if he knew who owned the home.
“Well it’s private property.”
“Yes, but do you have any idea who owns it? Again, I’m not here to cause trouble.”
“I don’t know who owns it. Look, man, I totally understand the creative process; I’m an agent for a band. So I understand you want to do your thing and all, but I’m trying to relax over here.”
“Oh, I’m sorry. I didn’t mean to make noise. That must have been annoying.”
“Yes, it was.” He looked like an upset child.
“I’ll be done by tomorrow, and I’ll be quiet, I promise.”
After a few more rounds of this conversation he relented and agreed not to call the cops.
Other, more swarmy neighbors stationed in the floor above the entry way were also less than thrilled with my presence, and they made their displeasure known by promptly stinging me. I hadn’t even been paying attention when it happened the first time. I was standing still in the yard looking down at my cell phone, punching in numbers to calculate how many pictures I would be taking over the next several hours, when I felt a sharp poisoned ass penetrate my forearm. This fucker had gone completely out of its way to attack another animal that had shown no aggression whatsoever, dying in the process. It made no goddamn sense! I felt a pang of injustice, and muttered something about the Geneva Conventions, Nazi-bees and war crimes.
​
I didn’t think much of it until the swelling became so intense that it reached all the way down to my fingers. I sent a cell phone picture to my surgeon uncle, but he just told me to wait it out. Stings in the past had never produced such a dramatic effect, and I started becoming paranoid that I might have developed an allergy. It wound up taking days for my fat-man hands to go away.
​
Not all the neighbors were so surly. Directly in front of the house was Rick’s Roadside Café. Rick himself was there to greet me the first time I entered booming, “Hello! I’m Rick, and this is my Roadside Café. I recommend the Rick Burger!” Laughing, I shook his hand, and asked about the house. He told me it had been abandoned for 20 years, and that he had no idea who owned it. Occasionally high school students went there to get high, and the cops had to kick them out, but other than that he figured it was all mine. I thanked him for the help and ordered The Rick Burger, which turned out to be delicious black magic on a bun; the best burger I’ve ever tasted.
​
The painting I was working on was a massive optical illusion. It covered a third of the room, including the ceiling, and consisted of 154 squares, which had been painted on a three-dimensional surface, but appeared to the camera as flat. It was an abstraction of a NASA diagram which predicted the single greatest piece of evidence we have for the Big Bang: cosmic background radiation. I loved that the prediction diagram was so neat and symmetrical, and the diagram of the actual evidence was so chaotic and messy. It was a successful theory with measurable evidence in nature, but it made me think that even when humans are right, we’re still kind of wrong. I couldn’t deny that I was personally attracted to the more symmetrical image, which is why I chose to paint it. Like most people I tend to breathe a sigh of relief when things are easy to understand and interpret, even if unconsciously. It struck me as both amazingly wondrous, holy shit, the big bang is real!, and slightly comical look how perfect we thought it would be. It also spoke to the mystery of existence itself, and the hidden realities all around us.
    Despite my promises to the neighbor with the bulldog, it took four days to setup, and another three days to paint with the help of my “assistants,” Stephanie (my girlfriend) and Chad (a documentary filmmaker who had been following me).​
    ​
    I recorded the painting process with stop motion and time lapse photography, but I wanted to go a step further and make the shot move after the painting was completed. I envisioned the end result as a video clip where the camera would move out the right window, rotate around three quarters of the house, down through a scary-ass root cellar, and back up through broken floor boards. The final camera view would be looking at the original painting, but behind the room in which it was painted. From this vantage you could easily see the slanted and asymmetrical build of the room I had painted. I wanted it to look like a smoothly gliding camera shot made by unaffordable (to me) Hollywood equipment. To accomplish this I shot each frame one photograph at a time, and moved the tripod a short distance between each shot. Since I had to go out the window right next to the beehive, I planned to do the shot at night while those murderous little fuckers had murderous little bee fucker dreams. Fuckers.
    ​
    On the evening of my grand plan, my eighth and final day working on the painting, the neighbor with the pit bull began yelling at me again. This time when I went over to his fence he told me he knew the owners and that he was watching the house for them. Amused, I asked him to put me in contact with them. After grumbling some unintelligible response I told him it was my very last night there. I apologized for things taking longer than I had anticipated and promised I’d really be out of his hair this time if he gave me just one more night. He wouldn’t budge. He told me I couldn’t be there, and I needed to leave before he called the cops. The thought of having to cut the project short after so much work made me sick to my stomach. He said the problem wasn’t me so much as it was my presence, which indicated to random passersby that it was okay to just go in there all willy-nilly, take a nice big hit of PCP, and murder hookers. I was starting to panic and did the only thing I could think of: plead, beg, and ask over and over. Despite his repeated insistence that I leave, I wore him down. After a lengthy exchange he finally said, “Okay, but you can’t be here after tonight.” Feeling an immense amount of relief I turned and walked to the front yard to resume work, and was promptly stung without reason. Again.
    ​
    “FUCK YOU, BEES! I’M DOING THIS SHIT ANYWAY!” I roared.
    ​
    I immediately shot a guilty look at the neighbor’s house, but thankfully he had already retreated to the opulent interior of his doublewide. If I become short of breath I might be able to drive to the fire station several
    miles down the road, and if I die it will be doing something I love, I reasoned. It was the fourth sting. I knew my arm would soon swell to at least twice its original size, but I had no choice. I pondered the possibility of a heart attack. Why else would it swell so much? I was all alone with a very long night ahead, but I wasn’t inclined to throw in the towel. I headed back into the house, ducking under the swarming bees on the porch. I put the camera on the tripod and a fresh piece of ice from the cooler on my arm, and I went to work.
    ​
    I waited until 9 pm when the stars were out and bees were not before I started moving the tripod. At first it was easy; I was angling sideways towards the right window, moving across the flat cement floor of the room, but by the time I got there I knew I was in trouble. The bottom of the window was a full six feet off the ground. I had planned to go out the side of the window, and then circle around the front of the house. The camera was on a mini-tripod in the room, and would be transitioned to one I had borrowed from my documentarian, Chad, which was setup outside the window. Chad’s tripod was fully extended at every joint, but was still a couple feet shy of the necessary height. I scrambled to find items to place under each leg to make up for the difference. Luckily there were several dresser drawers scattered around on the first floor. They covered two of the three legs. I used several gallons of stacked paint cans to elevate the third. It was difficult getting the drawers to sit flat on the ground in the weeds and brush covering the yard, but eventually I prevailed, and began my transition out of the window. It was so high that I couldn’t reach the controls of the camera from the ground, so I stood on a step ladder and braced myself against the side of the building with my foot to look through the viewfinder. I had to get the camera to a manageable height, so with every movement around the front of the house I lowered the tripod by the width of two of my fingers. I knew it wasn’t very exact, but I figured if I did it the same way every time it might be consistent enough to pass.
    ​
    Once I got the tripod off the drawers and paint cans the movements became a lot easier, but I was breathing hard from straining to see through the viewfinder and adjusting the tripod so many times. The terrain was still very rough and uneven, and I had to adjust the tripod and camera with each shot. I couldn’t take a break, because it would make the movement of the shadows, cast by a glorious half-moon, inconsistent as I moved around the house. Making the transition out of the window had taken several hours and already I could feel the blood pumping through my body. The sting on my arm was swelling at a fantastic rate. It filled the inside sleeve of the light army jacket I was wearing, stretching the fabric tight around my bicep and forearm. I was turning into a walking sausage and had gone only a small fraction of the total distance. 

    RED COLLECTIONS -http://en.wikipedia.org/wiki/Red

    Filed under: Notes — admin @ 06:59

    File:SPD logo.svg

    http://en.wikipedia.org/wiki/Red

    Seduction, Sexuality and Sin

    Red by a large margin is the color most commonly associated with seduction, sexuality, eroticism and immorality, possibly because of its close connection with passion and with danger.[96]
    Red was long seen as having a dark side, particularly in Christian theology. It was associated with sexual passion, anger, sin, and the devil,.[97] In the Old Testament of the Bible, the Book of Isaiah said: “Though your sins be as scarlet, they shall be white as snow.”[98] In the New Testament, in the Book of Revelations, the Antichrist appears as a red monster, ridden by a woman dressed in scarlet, known as the Whore of Babylon:
    “So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns. “And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: “And upon her forehead was a name written a mystery: Babylon the Great, the Mother of Harlots and of all the abominations of the earth: And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus.[99]
    Satan is often depicted as colored red and/or wearing a red costume in both iconography and popular culture.[100] By the 20th century, the devil in red had become a folk character in legends and stories. In 1915, Irving Berlin wrote a song, At the Devil’s Ball, and the devil in red appeared more often in cartoons and movies than in religious art.
    In 17th century New England, red was associated with adultery. In the 1850 novel by Nathaniel Hawthorne, The Scarlet Letter, set in a Puritan New England community, a woman is punished for adultery with ostracism, her sin represented by a red letter ‘A’ sewn onto her clothes.[101]
    Red is still commonly associated with prostitution. Prostitutes in many cities were required to wear red to announce their profession, and houses of prostitution displayed a red light. Beginning in the early 20th century, houses of prostitution were allowed only in certain specified neighborhoods, which became known as red-light districts. Large red-light districts are found today in Bangkokand Amsterdam.
    In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins.
    In both Christian and Hebrew tradition, red is also sometimes associated with murder or guilt. with “having blood on one’s hands,” or “being caught red-handed.”[102][103]
    • The Whore of Babylon, depicted in a 14th century French illuminated manuscript. The woman appears attractive, but is wearing red under her blue garment.

      •  

    • Reine de joie, (Queen of Joy), a book cover illustration by Henri de Toulouse-Lautrec (1892) about a Paris prostitute

      •  

    • Sheet music for ‘At the Devil’s Ball’, by Irving Berlin, United States, 1915.

      •  

    • The Red-light district in Amsterdam (2003).

      •  

      • Red lipstick has been worn by women as a cosmetic since Ancient Times. It was worn byCleopatra, QueenElizabeth I, and films stars such as Elizabeth Taylorand Marilyn Monroe.

        Happiness, Celebration and Ceremony

        Red is the color most commonly associated with joy and well being.[88] It is the color of celebration and ceremony. A red carpet is often used to welcome distinguished guests. Red is also traditional color of seats in opera houses and theaters. Scarlet academic gowns are worn at by new Doctors of Philosophy at degree ceremonies at Oxford University and other schools. In China, it is considered the color of good fortune and prosperity, and it is the color traditionally worn by brides. In Christian countries, it is the color traditionally worn at Christmas by Santa Claus, because in the 4th century the historic Saint Nicholas was the Greek Christian Bishop of Myra, in modern-day Turkey, and bishops then dressed in red.[89]
        • President Barack Obamaand Prime MinisterManmohan Singh of India on a red carpet at theWhite House.

          •  

        • Seats in opera houses and theaters are traditionally red. This is the Opera House in Vienna.

          •  

        • Scarlet academic gowns are worn by new Doctors of Philosophy at a degree ceremony at Oxford University.

          •  

        • In China, red is the color of happiness and celebration. The Lantern Festival in Shanghai.

          •  

        • Santa Claus traditionally wears red, because the original Saint Nicholaswas a bishop of the Greek Christian church in the 4th century.

      O MARE MARE MAR

      Filed under: Notes — admin @ 06:20

      O MARE MAR
      Δεκέμβριος 2012 λαϊκή αγορά της Φλώρινας
      να προσθέσω και το χέρι 
      και να συσχετιστεί αφενός με την έννοια της πολυτέλειας
      αλλά αι με την έννοια του μήλου αλλά και με την έννοια της γής….
      ………………………………the intentionally problematic nature of beauty and seduction as well as works by fellow artists and architectural masterpieces such as Renaissance palaces………………………………..

      Seduction

      From Wikipedia, the free encyclopedia

      Don Juan in Mozart’s opera Don Giovanni, a painting by Max Slevogt

      This article is about the process of enticing a person, to engage in sexual behaviour. 
      For other uses, see Seduction (disambiguation).
      In social science, seduction is the process of deliberately enticing a person, to lead astray, as from duty, rectitude, or the like; to corrupt, to persuade or induce to engage in sexual behaviour. The word seduction stems from Latin and means literally “to lead astray”. As a result, the term may have a positive or negative connotation. Famous seducers from history or legend include Lilith, Giacomo Casanova and the character Don Juan.[1]
      Seduction, seen negatively, involves temptation and enticement, often sexual in nature, to lead someone astray into a behavioral choice they would not have made if they were not in a state of sexual arousal. Seen positively, seduction is a synonym for the act of charming someone — male or female — by an appeal to the senses, often with the goal of reducing unfounded fears and leading to their “sexual emancipation”.[citation needed] Some sides in contemporary academic debate state that the morality of seduction depends on the long-term impacts on the individuals concerned, rather than the act itself, and may not necessarily carry the negative connotations expressed in dictionary definitions.[2]


      History

      Seduction is a popular motif in history and fiction, both as a warning of the social consequences of engaging in the behaviour or becoming its victim, and as a salute to a powerful skill. In the Bible,Eve offers the forbidden fruit to Adam. Eve is not explicitly depicted as a seductress[3] but some extra-Biblical commentary and art[4] promote this viewpoint. Eve herself was verbally seduced by the serpent, believed in Christianity to be Satan; the Sirens of Greek mythology lured sailors to their death by singing them to shipwreck; Cleopatra beguiled both Julius Caesar and Marc Antony,Dionysus was the Greek God of Seduction and wine, and Persian queen Scheherazade saved herself from execution by story-telling. Famous male seducers, their names synonymous with sexual allure, range from Genji to James Bond.
      In biblical times, because unmarried females who lost their virginity had also lost much of their value as marriage prospects, the Old Testament Book of Exodus specifies that the seducer must marry his victim or pay her father to compensate him for his loss of the marriage price: “And if a man entice a maid that is not betrothed, and lie with her, he shall surely endow her to be his wife. If her father utterly refuse to give her unto him, he shall pay money according to the dowry of virgins.”


      Either/Or

      From Wikipedia, the free encyclopedia
      For other uses, see Either/Or (disambiguation).
      Either/Or
      Simple, unadorned book cover.
      Title page of the original Danish edition from 1843.
      Author(s) Søren Kierkegaard
      Original title Enten-Eller
      Country Denmark
      Language Danish
      Series First authorship (Pseudonymous)
      Genre(s) Philosophy
      Publisher University bookshop Reitzel,Copenhagen
      Publication date February 20, 1843
      Published in English 1944 – First Translation
      Pages 800+
      Followed by Two Upbuilding Discourses, 1843
      Published in two volumes in 1843, Either/Or (original Danish title: Enten ‒ Eller) is an influential book written by the Danish philosopher Søren Kierkegaard, exploring the aesthetic and ethical “phases” or “stages” of existence.
      Either/Or portrays two life views, one consciously hedonistic, the other based on ethical duty and responsibility. Each life view is written and represented by a fictional pseudonymous author, the prose of the work depending on the life view being discussed. For example, the aesthetic life view is written in short essay form, with poetic imagery and allusions, discussing aesthetic topics such as music, seduction, drama, and beauty. The ethical life view is written as two long letters, with a more argumentative and restrained prose, discussing moral responsibility, critical reflection, andmarriage.[1] The views of the book are not neatly summarized, but are expressed as lived experiences embodied by the pseudonymous authors. The book’s central concern is the primal question asked by Aristotle, “How should we live?”[2] His motto comes from Plutarch, “The deceived is wiser than one not deceived.”[3]
      The esthetic is the personal realm of existence. Personally you have the possibility of the highest as well as the lowest. The ethical is the civic realm of existence. You can be oblivious to everything going on around you or you can get involved. An individual can go too far in these realms and lose sight of him/her self. Only religion can rescue the individual from these two realms arguing with each other all day long. The spirit has to awaken in the single individual and this book, Either and Or, is written to the single individual. Kierkegaard’s challenge is for You to “discover a second face hidden behind the one you see”[4] in yourself first, then in others.
      The Middle Ages are altogether impregnated with the idea of representation, partly conscious, partly unconscious; the total is represented by the single individual, yet in such a way that it is only a single aspect which is determined as totality, and which now appears in a single individual, who is because of this, both more and less than an individual. By the side of this individual there stands another individual, who, likewise, totally represents another aspect of life’s content, such as the knight and the scholastic, the ecclesiastic and the layman. Either/Or Part I p. 86-87 Swenson


      Elena Fiore

      From Wikipedia, the free encyclopedia
      Elena Fiore (born 26 July 1928) is an Italian film actress, best known for her roles in Lina Wertmuller films.
      Born in Naples, Elena Fiore debuted in 1972 with the breakout role of Amalia Finocchiaro, a little attractive mature woman full of sexual desires, in Wertmuller’s The Seduction of Mimi;[1] after similar roles in, among others, Love and Anarchy, Seven Beauties, Neapolitan Mystery and The Marquis of Grillo she retired from acting in the early eighties.[1]



      American Beauty (film)

      From Wikipedia, the free encyclopedia
      American Beauty
      Poster image of a woman's belly with her hand holding a rose against it.
      Theatrical release poster
      Directed by Sam Mendes
      Produced by Bruce Cohen
      Dan Jinks
      Written by Alan Ball
      Starring Kevin Spacey
      Annette Bening
      Music by Thomas Newman
      Cinematography Conrad Hall
      Editing by Tariq Anwar
      Christopher Greenbury
      Distributed by DreamWorks Pictures
      Release date(s)
      • September 17, 1999
      Running time 122 minutes
      Country United States
      Language English
      Budget $15,000,000
      Box office $356,296,601[1]
      American Beauty is a 1999 American drama film directed by Sam Mendes and written by Alan Ball. Kevin Spacey stars as office worker Lester Burnham, who has a midlife crisis when he becomes infatuated with his teenage daughter’s best friend, Angela (Mena Suvari). Annette Bening co-stars as Lester’s materialistic wife, Carolyn, and Thora Birch plays their insecure daughter, Jane; Wes Bentley, Chris Cooper, and Allison Janneyalso feature. The film has been described by academics as a satire of American middle class notions of beauty and personal satisfaction; analysis has focused on the film’s explorations of romantic and paternal love, sexuality, beauty, materialism, self-liberation, and redemption.
      Ball began writing American Beauty as a play in the early 1990s, partly inspired by the media circus around the Amy Fisher trial in 1992. He shelved the play after realizing the story would not work on stage. After several years as a television screenwriter, Ball revived the idea in 1997 when attempting to break into the film industry. The modified script had a cynical outlook that was influenced by Ball’s frustrating tenures writing for several sitcoms. Producers Dan Jinks and Bruce Cohen took American Beauty to DreamWorks; the fledgling film studio bought Ball’s script for $250,000, outbidding several other production bodies. DreamWorks financed the $15 million production and served as the North American distributor. American Beauty marked acclaimed theater director Mendes’ film debut; courted after his successful productions of the musicals Oliver! and Cabaret, Mendes was nevertheless only given the job after twenty others were considered and several “A-list” directors turned down the opportunity.
      Spacey was Mendes’ first choice for the role of Lester, even though DreamWorks had urged the director to consider better-known actors; similarly, the studio suggested several actors for the role of Carolyn until Mendes offered the part to Bening without DreamWorks’ knowledge. Principal photography took place between December 1998 and February 1999 on soundstages at the Warner Bros. backlot in Burbank, California and on location in Los Angeles. Mendes’ dominant style was deliberate and composed; he made extensive use of static shots and slow pans and zooms to generate tension. Cinematographer Conrad Hall complemented Mendes’ style with peaceful shot compositions to contrast with the turbulent on-screen events. During editing, Mendes made several changes that gave the film a less cynical tone.
      Released in North America on September 15, 1999, American Beauty was positively received by critics and audiences alike; it was the best-reviewed American film of the year and grossed over $350 million worldwide. Reviewers praised most aspects of the production, with particular emphasis on Mendes, Spacey and Ball; criticism tended to focus on the familiarity of the characters and setting. DreamWorks launched a major campaign to increase American Beauty‘s chances of Academy Award success; at the 72nd Academy Awards the following year, the film won Best Picture, Best Director, Best Actor (for Spacey), Best Original Screenplay and Best Cinematography.


      DSGHWGWRTGWRTG

      Seduction, Sexuality and Sin

      Red by a large margin is the color most commonly associated with seduction, sexuality, eroticism and immorality, possibly because of its close connection with passion and with danger.[96]
      Red was long seen as having a dark side, particularly in Christian theology. It was associated with sexual passion, anger, sin, and the devil,.[97] In the Old Testament of the Bible, the Book of Isaiah said: “Though your sins be as scarlet, they shall be white as snow.”[98] In the New Testament, in the Book of Revelations, the Antichrist appears as a red monster, ridden by a woman dressed in scarlet, known as the Whore of Babylon:
      “So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns. “And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: “And upon her forehead was a name written a mystery: Babylon the Great, the Mother of Harlots and of all the abominations of the earth: And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus.[99]
      Satan is often depicted as colored red and/or wearing a red costume in both iconography and popular culture.[100] By the 20th century, the devil in red had become a folk character in legends and stories. In 1915, Irving Berlin wrote a song, At the Devil’s Ball, and the devil in red appeared more often in cartoons and movies than in religious art.
      In 17th century New England, red was associated with adultery. In the 1850 novel by Nathaniel Hawthorne, The Scarlet Letter, set in a Puritan New England community, a woman is punished for adultery with ostracism, her sin represented by a red letter ‘A’ sewn onto her clothes.[101]
      Red is still commonly associated with prostitution. Prostitutes in many cities were required to wear red to announce their profession, and houses of prostitution displayed a red light. Beginning in the early 20th century, houses of prostitution were allowed only in certain specified neighborhoods, which became known as red-light districts. Large red-light districts are found today in Bangkokand Amsterdam.
      In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins.
      In both Christian and Hebrew tradition, red is also sometimes associated with murder or guilt. with “having blood on one’s hands,” or “being caught red-handed.”[102][103]

      Filed under: Notes — admin @ 06:13

      Ellsworth Kelly

      Ellsworth Kelly, evading critical attempts to classify him as a Color Field, hard-edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today. Kelly’s visual vocabulary is drawn from observation of the world around him—shapes and colors found in plants, architecture, shadows on a wall or a lake—and has been shaped by his interest in the spaces between places and objects and between his work and its viewers. He has said, “In my work, I don’t want you to look at the surface; I want you to look at the form, the relationships.”

      Kelly (born 1923) has been the subject of major exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, and his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and Tate Modern, London. Kelly lives and works in Spencertown, New York.

      ΚΡΕΟΠΩΛΕΙΟ

      Filed under: Notes — admin @ 05:15
      http://www.slang.gr/lemma/show/kreopoleio_19297

      1. κρεοπωλείο

      Ορισμός: 7
      Λήμμα: 8

      1. Ως εμφάνιση: Ο πολύ χοντρός άνθρωπος. Δηλαδή αυτός που έχει κρέατα όχι μόνο για τον εαυτό του, αλλά και για να πουλήσει το απόθεμα σε άλλους. Το -πωλείο εδώ μπορεί να συσχετισθεί και με το -εμπορας, λ.χ. στα κακαδέμπορας, κουραδέμπορας, όπου κάποιος εμφανίζεται να προτείνει προς πώληση αηδιαστικά μέρη του κορμιού του (και μεταφορικώς βεβαίως) ή με το αγγλικό -monger. Στο κρεοπωλείο βέβαια η έμφαση είναι περισσότερο στην περίσσεια των κρεάτων που επαρκούν και για εξαγωγή. Κυρίως λέγεται ως κινητό κρεοπωλείο.

      2. Στο μπουρδελοϊδίωμα είναι περίπου συνώνυμο του μπριζολάδικο, δηλαδή σημαίνειευαγές ίδρυμα όπου προσφέρεται πλήρες σεχ. Βέβαια πρόκειται περισσότερο για ασθενή μεταφορά παρά για παγιωμένο τεχνικό όρο, όπως το μπριζολάδικο. Μια μεταφορά, η οποία έχει κάπως ηθικολογική χροιά και καυτηριάζει το γεγονός ότι πωλείται πλήρες σεξ, ως μή όφειλε. Λ.χ. θα χαρακτηριστεί λιγότερο ως κρεοπωλείο ένα μπουρδέλο, ενώ περισσότερο ένα στριπτιτζάδικο ή μασατζίδικο ή άλλα μέρη που δεν προσφέρουν επίσημα παρόμοιες υπηρεσίες. Η μεταφορά κρεοπωλείο θίγει εν προκειμένω α) το ότι δεν υποτίθεται ότι προσφέρεται η πλήρης αυτή υπηρεσία στο εν λόγω γαμαζί, β) ότι αυτό παρ΄ όλαφ τα γίνεται με την ενθάρρυνση της διεύθυνσης του γαμαζιού και όχι από πρωτοβουλία μιας επιμέρους κορασίδας. Εφόσον βέβαια πρόκειται για απλές μεταφορές, η χρήση ποικίλλει.

      Εξάλλου, ο όρος κρεοπωλείο χρησιμοποιείται ευρύτερα ως ηθικολογική μεταφορά για να καυτηριαστεί η επίδειξη ή σεξουαλική εργαλειοποίηση ανθρώπινης σάρκας, λ.χ. και σε παραλίες, πλατείες, νυφοπάζαρα και όπου.

      – Τον φίλο σου, το κινητό κρεοπωλείο τι τον έφερες; Αφού έχει τον γκομενοδιώκτη.

      – Παλιά κάναμε και τον χαβαλέ μας στο γαμαζί, πίναμε το ποτάκι μας, λέγαμε καμιά μαλακιούλα. Τώρα που έχει γίνει κρεοπωλείο και μαζεύεται όλη η καυλοπιτσιρικαρία στην ουρά για να κουρτινιάσει, τι να ευχαριστηθείς;
      (Παράπονο πουρέιτζερ για την εκτράχυνση των γαμαζιών).

      ΞΣΨΞΔΑΣΨΗΞΨ

      Μεταφράσεις σε Αγγλικά:

      edit

      (formal) butcher’s, butcher’s shop

      Μεταφράσεις σε Γαλλικά:

      editboucherie (noun, )

      Κατά το Προεδρικό αυτό Διάταγμα νοείται:  
      α) Κρεοπώλης: Ο ιδιοκτήτης ή ο υπάλληλος κρεοπωλείου ή ο τεχνίτης εργαστηρίου
      επεξεργασίας και τυποποίησης κρέατος,  που είναι κάτοχος διπλώματος Σχολής
      Επαγγέλματος Κρέατος,  ο οποίος ασχολείται στο κρεοπωλείο ή στο εργαστήριο με
      τον τεμαχισμό,  την αποστέωση,  την περιποίηση,  την παρουσίαση ή και τη διάθεση
      για εμπορία του κρέατος των σφάγιων ζώων  (μεγάλα και μικρά μηρυκαστικά και
      χοίροι), πτηνών (όρνιθες, ινδιάνοι, μελεαγρίδες, πάπιες, χήνες, περιστέρια), κονίκλων
      και μεγάλων ή μικρών τριχωτών ή πτερωτών θηραμάτων.  
      β) Παραδοσιακός κρεοπώλης: Ο ιδιοκτήτης ή ο υπάλληλος κρεοπωλείου ή ο τεχνίτης
      εργαστηρίου επεξεργασίας και τυποποίησης κρέατος,  ο οποίος ασχολείται με
      εμπειρικό τρόπο επί δύο τουλάχιστον έτη πριν από την έκδοση του παρόντος
      Προεδρικού Διατάγματος με τις αναφερόμενες στην περίπτωση (α) δραστηριότητες.  γ) Κρεοπωλείο: Το ανεξάρτητο κατάστημα ή ο ειδικός χώρος πολυκαταστήματος που
      πληρεί τους όρους του ανεξάρτητου καταστήματος, στο οποίο διατίθεται για εμπορία
      το κρέας των αναφερομένων στην περίπτωση  (α)  σφάγιων ζώων και όπου
      διενεργείται ο τεμαχισμός, η αποστέωση, η περιποίηση, η παρουσίαση και η διάθεση
      των κρεάτων.  
      Οι εργασίες τεμαχισμού,  αποστέωσης,  περιποίησης και παρουσίασης των κρεάτων
      μπορεί να διενεργούνται στον ίδιο χώρο του κρεοπωλείου όπου γίνεται η διάθεση για
      εμπορία των κρεάτων, σε παρακείμενο προς την αίθουσα διάθεσης για εμπορία των
      κρεάτων χώρο του κρεοπωλείου ή και σε εντελώς ανεξάρτητο από το κρεοπωλείο
      εργαστήριο τεμαχισμού κρεάτων.  
      δ)  Εκδοροσφαγέας:  Το άτομο που ασχολείται,  σε ένα σφαγείο,  με τις εργασίες
      αναισθητοποίησης, σφαγής, εκδοράς, εκσπλαχνισμού και παρουσίασης των σφάγιων
      ή των ημιμορίων και τεταρτημορίων των αναφερομένων στην περίπτωση (α) σφάγιων
      ζώων, ο οποίος είναι κάτοχος διπλώματος Σχολής Επαγγελμάτων Κρέατος.  
      ε) Παραδοσιακός εκδοροσφαγέας: Το άτομο που ασχολείται σε ένα σφαγείο με τις
      εργασίες αναισθητοποίησης, σφαγής, εκδοράς, εκσπλαχνισμού και παρουσίασης των
      σφαγίων ή των ημιμορίων και τεταρτημορίων των αναφερομένων στην περίπτωση (α) 
      σφάγιων ζώων με εμπειρικό τρόπο,  δύο έτη τουλάχιστον πριν από την έκδοση του
      παρόντος.  
      στ) Σχολή Επαγγελμάτων Κρέατος (ΣΕΚ):  
      Οι Σχολές της Κτηνιατρικής Υπηρεσίας του Υπουργείου έχουν:  
      α)  Εκπαιδευτική,  β)  Ενημερωτική και γ)  Ερευνητική αποστολή,  δικαιοδοσίας και
      δραστηριότητα σε θέματα:  
      αα) Τεχνολογίας σφαγείων, συστηματικής διαδικασίας σφαγής και επεξεργασίας των
      διαφόρων ειδών σφάγιων ζώων, παραγωγής και προετοιμασίας του κρέατος αυτών. 
      ββ) Επεξεργασίας και αξιοποίησης των διαφόρων παραπροϊόντων και υποπροϊόντων
      σφαγής των παραγωγικών ζώων.  
      γγ) Υγιεινής παραγωγής, επεξεργασίας, διακίνησης και συντήρησης του κρέατος και
      των προϊόντων του.  
      δδ) Εμπορίας και διαμόρφωσης των τιμών των κρεάτων των διαφόρων κατηγοριών
      σφάγιων ζώων.  
      εε) Ποιοτικής κατάταξης (ταξινόμησης) των σφάγιων των παραγωγικών ζώων.  
      στστ)  Ακόμη στον κύκλο των αρμοδιοτήτων των Σχολών περιλαμβάνονται η
      επιμόρφωση των κτηνιάτρων των περιφερειακών υπηρεσιών στην ταξινόμηση των
      σφάγιων,  η περιοδική ενημέρωση,  εποπτεία και συντονισμός του έργου των,  η
      συλλογή και αξιολόγηση των κατά περίπτωση στοιχείων της ταξινόμησης και η
      εκπροσώπηση της χώρας μας στα αρμόδια Κοινοτικά Οργανα για τεχνολογικά.  

      EAST-WEST

      Filed under: Notes — admin @ 04:12

      http://www.youtube-nocookie.com/embed/SiOxzIXx_yI?list=PL63CFEFB1F698DADC&hl=en_US

      Filed under: Notes — admin @ 04:07

      [vimeo 51584025 w=500 h=281]

      Flawed Symmetry of Prediction from Jeff Frost on Vimeo.

      WAGNER

      Filed under: Notes — admin @ 02:31

      http://www.youtube-nocookie.com/embed/2wb7_JJHUnI?list=PL63CFEFB1F698DADC&hl=en_US

      BERLIN ART FORUM

      Filed under: Notes — admin @ 02:22

      http://www.youtube-nocookie.com/embed/uY9I617bkBI

      ANIMATIONS

      Filed under: Notes — admin @ 02:03

      http://www.youtube-nocookie.com/embed/1_BKWHBmtfA

      Filed under: Notes — admin @ 01:10

      Close Encounters with Josephine Halvorson | “New York Close Up” | Art21

      from  PLUS 3 months ago

      U.S. Department of State celebrates the 50th anniversary of Art in Embassies (AIE),

      Filed under: Notes — admin @ 00:23

      Beginning in November 2012, the U.S. Department of State celebrates the 50th anniversary of Art in Embassies (AIE), a program that facilitates the Department of State’s public diplomacy through the power of the visual arts.
      As part of the celebration, U.S. Secretary of State Hillary Rodham Clinton will honor five artists—Cai Guo-Qiang, Jeff Koons, Shahzia Sikander, Kiki Smith, and Carrie Mae Weems—by awarding each artist with the U.S. Department of State’s inaugural Medal of Arts. The Medal of Arts is given in recognition of each artist’s outstanding commitment to the AIE program and international cultural exchange.

      [vimeo http://www.vimeo.com/54460129 w=500&h=281]
      U.S. Department of State Honors Five Art21 Featured Artists with the Inaugural Medal of Arts from Art21 on Vimeo.

      What happens when a suburban roof is transplanted to an urban block?

      Filed under: Notes — admin @ 00:13

      [vimeo http://www.vimeo.com/45708828 w=400&h=300]

      What happens when a suburban roof is transplanted to an urban block? In this film, artist David Brooksand a team of fabricators construct Desert Rooftops (2011–12), an Art Production Fund commission for the last undeveloped lot in Manhattan’s Times Square neighborhood. Built on-site by SFDS Fabrication & Design Shop, the “real scale” roofs are modeled after residential homes and manufactured with the same materials and techniques—only without the supporting walls underneath. Brooks explains how the rambling rooftops are inspired by the housing boom and bust in South Florida, heedlessly encroaching on the protected Everglades like a virus. Seen as a whole, the undulating profile of shingled roofs takes on the appearance of a desert landscape of rolling dunes. Brooks’s humorous critique of McMansion architecture metaphorically links suburban sprawl, a monoculture in which the landscape is dominated and degraded by human development, to the contemporary environmental problem of desertification. Breaking with the resource-devouring logic of home construction, at the project’s completion Brooks and the Art Production Fund recycled all the materials through the non-profit housing organizations Build It Green and Habitat for Humanity.
      David Brooks (b. 1975, Brazil, Indiana, USA) lives and works in Brooklyn, New York.
      CREDITS | New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Editor: Joaquin Perez. Cinematography: Ian Forster, Nicholas Lindner, Amanda Long, Rafael Moreno Salazar, Andrew David Watson & Ava Wiland. Sound: Scott Fernjack, Ian Forster & Wesley Miller. Associate Producer: Ian Forster. Production Assistant: Amanda Long & Tida Tippapart. Design & Graphics: Crux Studio & Open. Artwork: David Brooks. Additional Photography: NASA Earth Observatory Collection, SFDS Fabrication & Design Shop, & U.S. Geological Survey. Thanks: Art Production Fund, Yvonne Force Villareal, Jason McCullough, Doreen Remen, SFDS Fabrication & Design Shop, Sotheby’s, The Shubert Organization & Times Square Alliance. An Art21 Workshop Production. © Art21, Inc. 2012. All rights reserved.
      Released: 07.13.12

      How do artists overcome the hurdles of moving to New York City?

      Filed under: Notes — admin @ 00:06

      How do artists overcome the hurdles of moving to New York City? In this film, artist Alejandro Almanza Pereda contends with a series of obstacles while enrolled in his first semester of graduate school at Hunter College in Manhattan. A Mexican citizen, Almanza Pereda’s first difficulty is finding a way to live and work as an artist in New York City. He decides his best way to get a visa, and join an art community, is to go back to school. Without enough money for rent, he relies on a network of friends and fellow artists, couch surfing for four months in exchange for favors and throwing parties. While settling into his MFA studio and preparing for his first graduate critique, tragedy strikes when he accidentally destroys a series of sculptures built with fluorescent bulbs. Ever-resourceful, Almanza Pereda exhibits what survived and then dismantles the sculptures, returning what he can for a little extra cash. The final hurdle in the film is school itself: Almanza Pereda learns that Hunter College plans to demolish the current studio facility—a gritty building with grand underutilized spaces near Port Authority. He hangs an artwork, in protest, on the facade of the building to express both his frustration with the school’s administration and his solidarity with fellow graduate students. Says the artist, “When you have a harsh path, you improvise, you learn, no?” Featuring music from Alejandro Almanza Pereda’s band Bachelor Sound Machín, and the artworks This placed Displaced Misplaced (2012), After all these years I see that I was mistaken about Eve in the beginning; it is better to live outside the Garden with her than inside it without her (2012), Spare the rod and spoil the child (2008-12), Change the world or go home (2009), Just give me a place to stand (2007),Andamio (2007), and Untitled (Ropero) (2006).
      Alejandro Almanza Pereda (b. 1977, Mexico City, Mexico) lives and works in Brooklyn and Manhattan, New York.
      CREDITS | New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Editor: Brad Kimbrough & Wesley Miller. Cinematography: Don Edler, Ian Forster, Nicholas Lindner, John Marton, Wesley Miller, Nick Ravich & Andrew David Watson. Sound: Scott Fernjack & Wesley Miller. Associate Producer: Ian Forster. Production Assistant: Amanda Long & Tida Tippapart. Design & Graphics: Crux Studio & Open. Artwork: Alejandro Almanza Pereda. Additional Photography: Elizabeth Meggs. Music: Bachelor Sound Machín, Los Locos Del Ritmo, Los Saicos, Rene Ivan Peñaloza Galvan & Rigo Tovar. Thanks: Erik Benson, Alberto Borea, Miriam Castillo, Melissa Cooke, Bernardo Hernandez, Hunter College, Rick Karr, McKendree Key, Shawn McGibboney, Irvin Morazan, Birgit Rathsmann, Claudia Peña Salinas, Abelardo Cruz Santiago, Jess Wheaton & Marela Zacarias. An Art21 Workshop Production. © Art21, Inc. 2012. All rights reserved.
      Released: 09.14.12

      [vimeo http://www.vimeo.com/49458169 w=400&h=300]

      12 Δεκεμβρίου 2012

      How does an artist transform her source material?

      Filed under: Notes — admin @ 23:49

      How does an artist transform her source material? At her Greenpoint, Brooklyn studio, artist Erin Shirreff discusses the creation of her recent video work, Lake (2012). Working from a photograph of Lake Okanagan (the area she grew up in British Columbia, Canada) that she found in an early 1980′s tourist magazine, Shirreff builds Lake from a single found image. Shirreff’s process is an unexpected mixture of digital and analog technique: in Photoshop, she creates a series of color variations based on the original source picture but then re-photographs those variations—using intentionally distorting lighting techniques—to create thousands of “secondary” images. Bringing those secondary images into her editing software, Shirreff constructs a seamless video sequence, creating the effect of an uncannily shifting landscape in a slow but constant state of visual change. Editing the video presents a subtle aesthetic challenge. Shirreff strives to find the right balance between the artifice of naturalistic, weather-like effects and the illusion-breaking reality of the original photographic surfaces. In previous video works like Roden Crater (2009) and UN 2010 (2010), Shirreff reveals her on-going psychological fascination with singular forms situated in a deep landscape. The slow play of light and color over images of the Roden Crater and UN building serve to throw those forms’ fundamental stillness and apartness into relief. At the Hauser & Wirth gallery in Manhattan, Lake is projected on a freestanding wall, yet another transformation of the original source image, from two-dimensional photograph to time-based sculptural object.
      Erin Shirreff (b. 1975, Kelowna, British Columbia, Canada) lives and works in Brooklyn, New York.
      CREDITS | “New York Close Up” Created & Produced by: Wesley Miller & Nick Ravich. Editor: Brad Kimbrough. Cinematography: Rafael Moreno Salazar & Nick Ravich. Sound: Scott Fernjack & Nick Ravich. Associate Producer: Ian Forster. Production Assistant: Amanda Long & Tida Tippapart. Design: Open. Artwork: Erin Shirreff. Thanks: British Columbia Magazine, Hauser & Wirth, Justin Martin, Janina McLaren, & Parks Canada. An Art21 Workshop Production. © Art21, Inc. 2012. All rights reserved.
      Released: 10.12.12

      [vimeo http://www.vimeo.com/44118343 w=400&h=300]

      ERIN SHIRREF TAKES HER TIME-SINGLE IMAGE WORK

      Filed under: Notes — admin @ 23:42
      How does an artist transform her source material? At her Greenpoint, Brooklyn studio, artist Erin Shirreff discusses the creation of her recent video work, Lake (2012). Working from a photograph of Lake Okanagan (the area she grew up in British Columbia, Canada) that she found in an early 1980′s tourist magazine, Shirreff builds Lake from a single found image. Shirreff’s process is an unexpected mixture of digital and analog technique: in Photoshop, she creates a series of color variations based on the original source picture but then re-photographs those variations—using intentionally distorting lighting techniques—to create thousands of “secondary” images. Bringing those secondary images into her editing software, Shirreff constructs a seamless video sequence, creating the effect of an uncannily shifting landscape in a slow but constant state of visual change. Editing the video presents a subtle aesthetic challenge. Shirreff strives to find the right balance between the artifice of naturalistic, weather-like effects and the illusion-breaking reality of the original photographic surfaces. In previous video works like Roden Crater (2009) and UN 2010 (2010), Shirreff reveals her on-going psychological fascination with singular forms situated in a deep landscape. The slow play of light and color over images of the Roden Crater and UN building serve to throw those forms’ fundamental stillness and apartness into relief. At the Hauser & Wirth gallery in Manhattan, Lake is projected on a freestanding wall, yet another transformation of the original source image, from two-dimensional photograph to time-based sculptural object.
      Erin Shirreff (b. 1975, Kelowna, British Columbia, Canada) lives and works in Brooklyn, New York.
      CREDITS | “New York Close Up” Created & Produced by: Wesley Miller & Nick Ravich. Editor: Brad Kimbrough. Cinematography: Rafael Moreno Salazar & Nick Ravich. Sound: Scott Fernjack & Nick Ravich. Associate Producer: Ian Forster. Production Assistant: Amanda Long & Tida Tippapart. Design: Open. Artwork: Erin Shirreff. Thanks: British Columbia Magazine, Hauser & Wirth, Justin Martin, Janina McLaren, & Parks Canada. An Art21 Workshop Production. © Art21, Inc. 2012. All rights reserved.

      Released: 10.12.12[vimeo http://www.vimeo.com/51252176 w=400&h=300]

      El Anatsui: Studio Process | “Exclusive” | Art21

      Filed under: Notes — admin @ 23:38

      El Anatsui: Studio Process | “Exclusive” | Art21

      http://blip.tv/play/6lOC_rMNAg.html?p=1

      in balance

      Filed under: Notes — admin @ 16:18

      About

      Artist Robert Mangold, from his country studio in upstate New York, translates the most basic of formal elements—shape, line, and color—into paintings, prints, and drawings whose simplicity of form expresses complex ideas. On a much larger scale, Mangold creates a permanent installation of tall, colored glass panels at the federal courthouse in Buffalo, NY.

      SEGMENT: Robert Mangold in "Balance"

      Art in the Twenty-First Century, Season 3 (2005)

      Filed under: Notes — admin @ 16:16

      About

      What goes on inside the minds of today’s most dynamic visual artists? How do they make the leap between insight and finished object? What inspires artists to break through the barriers of convention to arrive at new ways of seeing? These and other intriguing questions are explored in Season 3 of “Art in the Twenty-First Century,” the only series on national public television to focus exclusively on contemporary art and the people who create it. Like the great biennial art exhibitions that regularly showcase current artistic activity, “Art in the Twenty-First Century” returns to television every two years to profile working artists who build our living culture with each painting, sculpture, photograph or installation that they create….continue reading

      Art in the Twenty-First Century, Season 3 (2005)

      SHORT: William Kentridge: Pain & Sympathy

      Filed under: Notes — admin @ 16:13

      SHORT: William Kentridge: Pain & Sympathy

      Filed under: Notes — admin @ 16:01

      http://blip.tv/play/6lOC6I4DAg.html?p=1

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