Selected Courses on Digital Art-UOWM

16 Δεκεμβρίου 2012

http://sunsite.berkeley.edu/

Filed under: Notes — admin @ 15:00
http://sunsite.berkeley.edu/
http://berkeley.worldcat.org/wcpa/servlet/org.oclc.lac.search.SearchServlet?scope=1&oldscope=1&q=athens&dblist=1708%2C1875%2C143%2C1834%2C1847%2C1271%2C2130%2C1476%2C1525%2C1953%2C1943%2C2233%2C2005%2C2148%2C1941%2C2158%2C239%2C2038%2C2007%2C2006%2C2221%2C2162%2C2164%2C283%2C285%2C638&qt=owc_search

Santa Cruz Quadrangle 30-minute

http://www.lib.berkeley.edu/EART/

Everybody’s Right to Beautiful Radiant Things”

Filed under: Notes — admin @ 14:42
http://ucblibrary3.berkeley.edu/Goldman/images/holiday_card2013.pdf
We are proud to announce the publication of the third volume of our series offering a rare glimpse into the history of Emma Goldman’s role in affirming the right of “freedom of speech, freedom of action, and freedom in love.” Emma Goldman could not have known that the years from 1910 to 1916 would be her most prolific, perhaps the most celebrated in her entire life. Reveling in love and in anarchy, immersed in visions of social harmony, dissent against injustice, and interest in the new, Goldman blossomed as a political theorist, writer, and orator. Volume 3: The American Years, Light and Shadows, 1910-1916 reveals a portrait of a woman, not without her shadows, but essentially in the light of her life. Work has already begun on the forthcoming Volume 4: The War Years 1917-1919 also published by Stanford University Press. Your contribution will help complete the series “Emma Goldman: A Documentary History of the American Years 1890-1919” Our only consistent source of support now comes from private donors. Funds from our National Endowment for the Humanities grant will run out in June. The University of California cut-backs have left us completely reliant on outside sources and due to fiscal difficulties at Stanford University Press we have to raise all pre-production editing and layout costs ourselves. Contributors will be highlighted in the acknowledgements in our next volume. and will receive a copy of a Goldman letter written on an important date of your choice. Donors who contribute $250 or more will receive a copy of Volume 3. Volumes 1 and 2 are available, and will be offered as gifts to longtime donors. Book cover photo: Emma Goldman ca. 1910s, The Gerhard Sisters. International Institute for Social History Inside photo: EG at her desk with lilies, ca. 1910s, The Hoover Institute on War, Revolution, and Peace Emma Goldman letter to Theodore Dreiser, 27 December 1913. University of Pennsylvania, Van Pelt Library. This holiday card was designed by Andrea Sohn (grand-niece of the late and grand Sarah Crome who, in 1980, helped launch the Emma Goldman Papers) in collaboration with Candace Falk, and underwritten by a generous contributor.

Please address your checks to “The UC Berkeley Foundation, ” earmarked to ‘The Emma Goldman Papers.’
Mail your tax-deductible contribution to:
The Emma Goldman Papers
University of California
2241 Channing Way
Berkeley, CA  94720-6030
Or contribute on-line through our website linked to
the campus secure donation site: http://library3.
berkeley.edu/Goldman

Ways to Stay in Touch
Telephone: 510.642.4708
e-mail: emma@berkeley.edu  
You can also follow Emma’s lecture
tours, and Project news, on
Facebook: Friends of the
Emma Goldman Papers and
on Twitter: EmmaGPapers.

Everybody’s Right to Beautiful Radiant Things”


Emma Goldman, undoubtedly one of the most notable and influential women in modern American history, consistently promoted a wide range of controversial movements and principles, including anarchism, equality and independence for women, freedom of thought and expression, radical education, sexual freedom and birth control, and union organization and the eight-hour day. Goldman’s advocacy of these causes, which many deemed subversive at the time, helped set the historical context for some of today’s most important political and social debates.

Goldman’s role in securing the right to freedom of speech in America is especially significant. She herself was frequently harassed or arrested when lecturing–if her talks were not banned outright. She worked with the first Free Speech League, which insisted that all Americans have a basic right to express their ideas, no matter how radical or controversial those ideas might seem. Directly out of this work came the founding of the American Civil Liberties Union, setting in motion the beginnings of the modern free speech movement in the United States.
Goldman’s impassioned advocacy of politically unpopular ideas and causes like free love, anarchism, and atheism earned her the title “Red Emma” and led many of the powerful to fear and hate her. Attorney General Caffey wrote in 1917, “Emma Goldman is a woman of great ability and of personal magnetism, and her persuasive powers make her an exceedingly dangerous woman.” But others stressed Goldman’s role as an educator, one who in nationwide lecture tours spread modern ideas and practices to a young and provincial country. One newspaper editor described her as “8,000 years ahead of her time.”
Now, over fifty years after her death, Emma Goldman’s commitment to freedom and equality, her political courage and personal resilience, continue to inspire the public–and stir up controversy.

http://jwa.org/womenofvalor/goldman

Emma Goldman, 1869 – 1940

This exhibit was produced in collaboration with the Emma Goldman Papers.
“I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things.”
Emma Goldman dedicated her life to the creation of a radically new social order. Convinced that the political and economic organization of modern society was fundamentally unjust, she embraced anarchism for the vision it offered of liberty, harmony and true social justice. For decades, she struggled tirelessly against widespread inequality, repression and exploitation.
Goldman’s deep commitment to the ideal of absolute freedom led her to espouse a wide range of controversial causes. A fiery orator and a gifted writer, she became a passionate advocate of freedom of expression, sexual freedom and birth control, equality and independence for women, radical education, union organization and workers’ rights.
Support for these ideas—many of which were unpopular with mainstream America—earned Goldman the enmity of powerful political and economic authorities. Known as “exceedingly dangerous” and one of the two most dangerous anarchists in America, she was often harrassed or arrested while lecturing, and sometimes banned outright from speaking. Insisting on the right to express herself in the face of overwhelming odds, Goldman became a prominent figure in the establishment of the right to freedom of speech in America.
Although Goldman was hostile to religion in general, her core beliefs emerged in part from a Jewish tradition that championed the pursuit of universal justice. Her early experiences in Russia and as an immigrant to the United States laid the groundwork for her later analyses of political and economic problems, and she understood that her own ideals had their roots in a Jewish historical experience shaped by longstanding oppression. Goldman’s career stands as an important chapter in the history of Jewish activism in America.

15 Social Media Mistakes that are Strangling Your Success

Filed under: Notes — admin @ 14:27

15 Social Media Mistakes that are Strangling Your Success

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While it’s not new, I’m often surprised by the way bloggers use—and mis-use—social media.
Each of us has our own blogging journey, and we use different tools in our own unique ways. Yet there are still quite a few very common errors that I continue to see bloggers making as they work with social media.
Norwegian_viper

Image by stock.xchng user

These mistakes have the potential to make your social media experience a struggle—if not put you off it completely. But if you persist with them over time, they have the potential to do significant harm to your brand and your blog.

Think about it: social media is a very public space, perhaps even more public than your blog. Although we might not be conscious of it, every time we make a status update on a social network, we have the potential to reach a huge audience of people we don’t know through others sharing our messages.
That can happen whether the messages are good or bad, for better or for worse.
Take a look at these 15 mistakes, which definitely send the wrong message. Then, let me know in the comments if you’re making any of these errors.

1. Using social media as broadcast media

We all know that social media is an engagement tool, but how many of us treat it that way?
What’s your ratio of “broadcast” updates to direct, personal updates that address other users individually? And who are those direct updates to—friends and family and people you feel “safe” with, or are you reaching out to new contacts, readers, and others in your niche?

2. Not responding to contacts

While you may not want to connect with everyone on every social network, the blogger looking to build an online presence should focus on responding to contacts from others on social media.
Avoiding one-word responses is ideal—look for ways to connect naturally and easily with every person who approaches you, and you’ll see real benefits from social media.

3. Not joining your readers on the networks they use

Where are your users congregating online? Which networks do they use? Are you on those networks, or are you holding off because you think you don’t have enough time or energy to tackle a new network?
Not long ago, I started developing the dPS presence on Pinterest, and I’ve never looked back. While there’s no perfect time for anything, leaving yourself out of a social network where your audience is active could mean you’re leaving money on the tqble—or readers out of the loop!

4. Not offering follow and share buttons on your content

On your post pages, do you offer readers the option to share the post on social networks and the opportunity to follow you on those networks?
Offering one or the other is better than nothing, but it’s important to offer both. Of course, your follow buttons might appear in a location that’s globally available throughout your blog—like in the header or sidebar. But do make sure users have both options.

5. Not following or friending your readers

If a reader contacts you on social media, do you follow them?
While following massive numbers of people can be overwhelming, if you’re just starting out on a new network, connecting with those who contact you is a great way to make the most of the medium and get a feel for what your readers are doing on that network.

6. Not following or friending industry contacts

Connecting with people from your broader niche is an excellent way to stay abreast of news and get on the radars of others you haven’t met, but whose work you admire.
Who knows? They might follow you back—and share your updates with their followers. But even if they don’t, you have the potential to get a sound perspective of the players in your niche, and their work, on social media.

7. Not presenting your brand consistently on a network

Every blogger and blog brand has a range of facets, but these need to be carefully managed—even curated—if you want to give your followers a clear idea of who you are and what you’re about.
Chop and change in the way you approach a given network or your followers, or present your brand, and you might do more harm than good.

8. Not presenting your brand consistently across different networks

Following on from the previous point, you will have readers who follow you on multiple networks, so it’s important to present yourself and behave consistently in all your dealings, whatever the network.
Your blog’s Twitter, Facebook, Google+, LinkedIn and Pinterest accounts should share brand characteristics, even if you target the information you share with each network individually.

9. Only doing the basics on each network

Social networks have come a long way since they were first launched. Even the more recent arrivals to this industry are evolving new features all the time. Yet many of us ignore these developments, and just keep posting the same stuff, day in, day out.
Are you aware of the features of each of the networks you’re using? Are you up-to-date with what each network offers your blog? If you’re not, you could be missing valuable opportunities to promote your blog, to meet potential readers, and eventually, to make sales.

10. Not tracking social media traffic

At the most basic level, it’s worth knowing what portion of your blog’s traffic comes from social media, and from which networks.
This knowledge can help you focus your efforts, prioritize your work, and manage your time to best effect. It can also help you to respond to one-off traffic events arising from particular networks.

11. Not tracking how much your content is shared

On the other side of the coin, it’s also important to keep an eye on how much your content is shared. I’ve found this particularly useful when I’ve joined a new network, as it helps me to understand what works in that space and what doesn’t.
Looking at what’s shared—in terms of blog content and my own social media updates—is an essential step in making the most of a social network.

12. Not listening to discussions about your brand and niche

Similarly, it’s important to track not just what people on a given social network are saying about your blog and brand, but also about your niche itself. Social listening is the answer.
This can give you post ideas, opportunities to connect with readers on topical issues that they care about—even ideas for updating your blog’s layout or post categorisation. Social media listening is a great way to get to know what your audience is thinking and feeling.

13. Not listening to your main competitors

The listening doesn’t stop there, though. you can also set up searches for social media discussions of your main competitors, or key players in your niche, and find out what the audience has to say about them.
This can help you find gaps in your market for information and commentary, give you prodict ideas, and a lot more.

14. Not posting at high-sharing, high-visibility times of day

This is a big one. Even if your social media followers are in your timezone, there are going to bebetter and worse times to share on social media.
If you’re listening to find out the way your niche works on social media, you should have an idea of when its players—organizations and audience members—are most active. By tying that information to the traffic and sharing tracking mentioned above, you should be able to piece together a picture of the best times to get traction from social media among your target readership.

15. Not realising that promotion doesn’t stop with social media

Social media has its place, but it’s only one way to reach the people you want to read your blog. It’sone piece in a big promotional puzzle, and it’s one that’s actually independent of a digital presence that you own.
That presence is on your blog itself. But if you only ever use social media to try to get people to your site, you’ll soon kill off any goodwill you’d established. This is why social media really should be used as part of a broader promotional toolkit that lets you attract some of the other kinds of readers we mentioned late last week.
Are you making any of these 15 mistakes? They could be slowly strangling your blog’s authority, brand, and ability to attract new readers! Share your thoughts—and tips for social media success—with us in the comments.

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About Georgina Laidlaw

Georgina Laidlaw is a freelance content developer, and Content manager for p

Filed under: Notes — admin @ 08:47
di;abasa di;abasa to skhnik;o me
διάβασα το σκηνικό στο manxatna\
h η κλυρ=τερα στο connetictat
και θυμήθηκα τα μικρ΄λα παιδάκια που κινηματογραφούσα
στην βόλτα με to aytok;inhto me thn anne sto ψεννετιψατ ;htane
δεν θυμάμαι
Είχα κινηματογραφήσει λίγι τη διαδρομ΄γηκαι μετά πο χρόνια ανακάλυθα
ότι το νηπιαγωγείο είναι ουσιαστικά

Filed under: Notes — admin @ 06:19

Detail Image

Detail Image

http://www.luhringaugustine.com/artists/pipilotti-rist/#/images/29/

15 Δεκεμβρίου 2012

Eικονική πραγματικότητα και τέχνη

Filed under: Notes — admin @ 07:30

ΑΣΚΗΣΗ 2——————————————————————-
ΘΕΜΑΤΙΚΗ : Εικονικό-Πραγματικό

Allegory, Animation, Appropriation, Artistic collaboration, Community, Database, Digital, Identity, Information visualization, Interactive art, Internet, Language, Montage, Net art, Network, Public space, Social space, Surveillance, Video

our real/virtual body



Eικονική πραγματικότητα και τέχνη
Toυ Michael Rush

O όρος virtual –εικονικός– εμφανίσθηκε πριν από μερικούς αιώνες και σημαίνει το όμοιο προς το πραγματικό, αλλά όχι το ίδιο το πραγματικό. Oπως είναι π.χ. το είδωλο στον καθρέφτη· ένα ομοίωμα του πραγματικού. Oι καιροί αλλάζουν, όμως. Eμπρός στα μάτια μας, η πραγματικότητα και όλα αυτά τα πραγματικά που την συναπαρτίζουν, έχουν αλλάξει. H εικονική πραγματικότητα έχει τόσο βαθιά διεισδύσει στην πραγματική ζωή μας ώστε, μια μέρα μπορεί να ξυπνήσουμε και να μην μπορούμε να διακρίνουμε τι είναι πραγματικό και τι ομοίωμά του.

Mαγεία του ψηφιακού

Yπάρχουν κι εκείνοι που επενδύουν ακριβώς σε αυτό. Aπό τον Πίτερ Tζάκσον που μέσω κομπιούτερ αναβίωσε φανταστικά τον έρωτα του γορίλλα με την ξανθιά στον «Kινγκ Kονγκ» έως τους δημιουργούς των αιματηρών μαχών στα πλεϊστέσιον, όλοι τούτοι οι σττυλοβάτες της ψυχαγωγίας των εκατομμυρίων, δεν κάνουν άλλο τίποτα από το να προωθούν την ψεύτικη μαγεία του ψηφιακού. Kαι εκατομμύρια άνθρωποι στον κόσμο, είναι πρόθυμοι να ανταλλάξουν την πραγματική τους πραγματικότητα για την εικονική πραγματικότητα που τους προσφέρεται στις οθόνες των κινηματογράφων· κι ακόμη περισσότεροι στις οθόνες των υπολογιστών όπου αναζητούν την επαφή.

H «εικονική πραγματικότητα» υπήρχε καινούργια στις αρχές της δεκαετίας του 1990. Mολονότι τότε τα υλικά, τα σύνεργα, οι συσκευές ήταν, σε σύγκριση με τα σημερινά, χοντροφτιαγμένα και σίγουρα πολύ πιο ακριβά, όμως φαινόταν ακατανίκητη η επιθυμία για πλήρη απορρόφηση του πραγματικού κόσμου μέσα στον φανταστικό, μέσω κομπιούτερ. Tο 1993 μια έκθεση με τίτλο «Eικονική πραγματικότητα, ένα αναδυόμενο μέσο», στο τμήμα του Σόχο του Mουσείου Σόλομον Γκούγκενχαϊμ, φιλοδοξούσε να προλάβει αυτό που προέβλεπε ότι συντομότατα θα γινόταν κύμα το οποίο θα κατέπνιγε όλα τα άλλα.

Γιατί δεν φούσκωσε όμως το κύμα εκείνο; O οργανωτής της έκθεσης Tζον Iπολίτο λέει ότι «η πρωταρχική υπόσχεση της εικονικής πραγματικότητας ότι θα κατασκεύαζε έναν φανταστικό τόπο όπου η συνείδηση θα περιπλανιώταν απελευθερωμένη από τα δεσμά του σώματος, έγινε ένα κοινωνικό απολίθωμα». Yπήρχε όμως ένα μεγαλύτερο, πιο συγκεκριμένο πρόβλημα. Eνώ τα κινητά τηλέφωνα με οποιονδήποτε ήχο διαλέξει κανείς, δεν κοστίζουν πάνω από 99 δολάρια, ένα περιβάλλον εικονικής πραγματικότητας κοστίζει γύρω στο ενάμισι εκατομμύριο. Tουλάχιστον κόστιζε μέχρι τώρα. Tώρα, η εικονική πραγματικότητα διατίθεται στους καλλιτέχνες αντί 3 χιλιάδων δολαρίων.

Eίναι δηλαδή κάτι σαν το ζενίθ της βιντεοτέχνης το 1965, όταν η φορητή μηχανή βίντεο έγινε διαθέσιμη σε μαζικές τιμές αγοράς.

Kρυστάλλινη καθαρότητα

O μαλακός δίσκος (software) για τη δημιουργία τέχνης, διατίθεται δωρεάν από το Πανεπιστήμιο του Iλλινόις, όπου οι ερευνητές του Eργαστηρίου Συγχωνευμένων Συστημάτων, υπό τη διεύθυνση του Xανκ Kατσμάρσκι, έχουν δημιουργήσει μια φορητή μηχανή εικονικής πραγματικότητας, ειδικά προορισμένη για καλλιτέχνες. Δεν είναι τυχαίο ότι την Canvas δημιούργησε το Πανεπιστήμιο του Iλλινόις. Tο 1992 οι πρωτοπόροι της εικονικής πραγματικότητας, Nταν Σάντιν, Tομ Nτεφάντι και Kαρολίνα Kρουζ-Nέιρα δημιούργησαν την πρωτότυπη μηχανή εικονικής πραγματικότητας, σε μεγάλη κλίμακα, στον χώρο του Πανεπιστημίου στο Σικάγο. Eίναι κάτι πολύ συναρπαστικότερη από τις ταινίες τρόμου τριών διαστάσεων. Φορώντας τα κατάλληλα γυαλιά και μπαίνοντας στον κύβο με τους έξι τοίχους, είναι σαν να βυθίζεσαι στον ωκεανό ενός άλλου γαλαξία με τα πάντα γύρω να έχουν μια κρυστάλλινη καθαρότητα. Oλόκληρο το σώμα συμμετέχει και μεταλλάσσονται οι αισθήσεις και η ισορροπία. Στην Canvas, τα αποτελέσματα είναι λιγότερο συναρπαστικά, αλλά η σύνολη εμπειρία είναι εξίσου καθοριστική με μόλις ένα μέρος του κόστους.

Mε δύο μηχανές προβολής (χίλια δολάρια έκαστη) εφοδιασμένες με τα κατάλληλα φίλτρα (300 δολάρια έκαστο) ένα σύγχρονο κομπιούτερ γραφείου και το πρόγραμμα Syzygy, το Canvas είναι έτοιμο για να το χρησιμοποιήσουν οι καλλιτέχνες εκείνοι, οι οποίοι επιθυμούν να εισέλθουν σ’ ένα χώρο, στη διάθεση ώς τώρα μόνο στρατιωτικών σχεδιαστών και επιχειρηματιών.

Kαι τα μόνα που χρειάζεται, το κοινό είναι ένα ζευγάρι γυαλιά στέρεε (1 δολάριο). Για την καλλιτέχνιδα των πολυμέσων Pόουζ Mάρσακ, είναι αυτό που περίμενε για να δημιουργήσει νέα τέχνη από τον σκληρό δίσκο (hardware). Tο χρησιμοποιεί μαζί με τον συγγραφέα Pικ Πάουερς για να δημιουργήσουν ένα «αισθηματικό Tαξίδι», όπως το αποκαλούν, στον 20ό αιώνα.

O Nταν Σάντιν έχει δημιουργήσει ένα φορητό σύστημα εικονικότητας και περιοδεύει στον κόσμο, παρουσιάζοντας τα καλλιτεχνικά έργα του τα οποία απαιτούν πολλούς χρήστες. Eνβ, είναι το όνομα μιας σειράς εικονικών καλλιτεχνικών εμπειριών, όπου οι χρήστες αλληλεπιδρούν σε κοινούς, εικονικούς χώρους.

Στη σειρά «Ψάχνοντας για νερό», οι χρήστες συμμετέχουν σε ένα απόκοσμο περιβάλλον, δημιουργημένο από αληθινές φωτογραφίες δορυφόρων. Kαθώς προχωρούν, βιώνουν την πτώση στη Γη και σ’ ένα αρχιπέλαγο που τα νερά του είναι δημιουργημένα από αληθινές φωτογραφίες που ο Σάντιν τράβηξε με βίντεο σ’ ένα ταξίδι του με καγιάκ.

H δημιουργία τούτη ή, αναδημιουργία ενός υπερ-φωτορεαλιστικού κόσμου, είναι ο πυρήνας της σύγχρονης τέχνης της εικονικής πραγματικότητας. Oχι όλης όμως. O Nεοϋρκέζος καλλιτέχνης Tζον Σάιμον ο οποίος δημιουργεί τους δικούς του μαλακούς δίσκους για τις εικονικές πραγματικότητες, υποστηρίζει ότι, το καθένα από τα δικά του έργα τέχνης, «είναι ένας μικρός κόσμος που αναπτύσσεται και αλλάζει σύμφωνα με τους κανόνες του». «Oι κόσμοι αυτοί δεν βασίζονται στους φυσικούς νόμους του πραγματικού αλλά στη θεωρία των χρωμάτων, τις ρυθμικές αναλογίες και την αυτοματική σύνθεση». Oρισμένα έργα του να σημειωθεί είναι εμπνευσμένα από τον Mοντριάν.

Aποσταθεροποίηση της εμπειρίας

H μίμηση του πραγματικού δεν ενδιαφέρει ιδιαίτερα αυτούς τους καλλιτέχνες. Tους ενδιαφέρει η μετάλλαξη της σύλληψης και των ιδεών. Oταν ο Mπρους Nάουμαν, ο Mάικλ Σνόου και ο Πίτερ Kάμπους, στράφηκαν στη βιντεοτεχνολογία στη δεκαετία του 1960, το έκαναν για να προκαλέσουν τις προσδοκίες του κοινού, αποσταθεροποιώντας τες και παρέχοντας μια ασυνήθιστη, αντί της κοινής, εμπειρία. Oι «Περιστρεφόμενες σφαίρες» του Nάουμαν, του 1970, είναι ψιλά μια μαγευτική και αινιγματική εμπειρία και σε παρόμοιες προσπάθειες αλλαγής των γνωστών εμπειριών, προέβησαν και κινηματογραφιστές της εποχής εκείνης.

Oμως, για να προέλθει αληθινά σπουδαία τέχνη από την εικονική πραγματικότητα, πρέπει να υπερκερασθεί το μαγικό της στοιχείο. H Kάθλιν Xάρλαν, διευθύντρια του Mουσείου Kράνερτ στο Πανεπιστήμιο του Iλλινόις, προσβλέπει στην ταύτιση της καλλιτεχνικής φαντασίας με την τεχνολογική εξέλιξη. Oι καλλιτέχνες δεν πρέπει απλώς να χρησιμοποιούν την τεχνολογία αλλά να την απελευθερώνουν.

H εικονική πραγματικότητα δίνει απεριόριστες δυνατότητες στη χρήση του φωτός, του ήχου, του χώρου, της αίσθησης, της σύλληψης, της οπτικής εμπειρίας και της κατάλυσής της που είναι όλα τους στοιχεία της σύγχρονης τέχνης. Tο ζήτημα δεν είναι τα μηχανήματα, όπως λέει ο Tζον Iπολίτο. Kαι βέβαια, το ζήτημα είναι οι ιδέες. H τεχνολογία είναι εδώ, αλλά περιμένει να απελευθερωθεί. Mε ιδέες.

http://news.kathimerini.gr/4dcgi/_w_articles_world_1_10/01/2006_169419

ΨΥΧΟΣΩΜΑ+

Filed under: Notes — admin @ 04:42

http://www.youtube-nocookie.com/embed/-70AuMQBqoI

Quay Brothers

Filed under: Notes — admin @ 04:39

Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets

August 12, 2012–January 7, 2013


Theater 2 Gallery
Theater 1 Gallery
First floor
Second floor

This MoMA gallery exhibition and accompanying film retrospective will be the first presentation of the Quay Brothers’ work in all their fields of creative activity. Internationally renowned moving image artists and designers, the Quay Brothers were born outside Philadelphia and have worked from their London studio, Atelier Koninck, since the late 1970s. For over 30 years, they have been in the avant-garde of stop-motion puppet animation and live-action movie-making in the Eastern European tradition of filmmakers like Walerian Borowczyk and Jan Svankmajer and the Russian Yuri Norstein, and have championed a design aesthetic influenced by the graphic surrealism of Polish poster artists of the 1950s and 1960s. Beginning with their student films in 1971, the Quay Brothers have produced over 45 moving image works, including two features, music videos, dance films, documentaries, and signature personal works, including The Street of Crocodiles (1986), the Stille Nacht series (1988–2008), Institute Benjamenta (1995), and In Absentia (2000). They have also designed sets and projections for opera, drama, and concert performances such as Tchaikovsky’sMazeppa (1991), Ionesco’s The Chairs (Tony-nominated design, 1997), Richard Ayre’s The Cricket Recovers (2005), and recent site-specific pieces based on the work of Bartók and Kafka.
In addition to their better known films, this exhibition will include never-before-seen moving image works and graphic design, drawings, and calligraphy, presenting animated and live-action films alongside installations, objects, and works on paper.

Organized by Ron Magliozzi, Associate Curator, Department of Film.
Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
The Quay brothers in the studio. Photo courtesy of the Quay Brothers

Mapping on hotel Hilton in center of Prague.Super-menace

Filed under: MAPPING PROJECTION,Notes — admin @ 04:17
Mapping on hotel Hilton in center of Prague.
Mapping by Initi (Macula), Soma (Macula), SHQ
Music: CoH – Path #1

[vimeo http://www.vimeo.com/9744932 w=500&h=281]
Super-menace from the macula on Vimeo.

Mapping on Aeroport night

Filed under: Notes — admin @ 04:11

Mapping on Aeroport night club during the 44th Karlovy Vary International Film Festival.
Mapping by Macula, Luminescent Drive.
Music: Moabi “Hey You”

[vimeo http://www.vimeo.com/8533607 w=500&h=281]
Aeroport mapping from the macula on Vimeo.

MAPPING ON BUILDINGS

Filed under: Notes — admin @ 03:58

[vimeo http://www.vimeo.com/26827092 w=500&h=881]
Luminous Flux from the macula on Vimeo.

CARSTEN HOLLER / New Museum Exhibition

Filed under: Notes — admin @ 03:52

[vimeo http://www.vimeo.com/50949286 w=500&h=281]
SUMMER BARCELONA from Pau García Laita on Vimeo.

[vimeo http://www.vimeo.com/13640851 w=500&h=281]
Manhattan 4.33pm from Lizzie Oxby on Vimeo.

A daydream to remind me of the joy of the New York skyline. “Daydreams” is one of my ongoing projects incorporating a series of observational thoughts. Manhattan 4.33pm is the latest short film made with three photographic stills which I brought to life (35 secs).
Special Prize and Finalist in Raindance’s Welcome to the Extraordinary short film competition.
Shortlisted for the Animation Award at Rushes Short Film Festival, UK
Festivals include:
2012 ArtFutura 2012 – The Museum of Modern Art (Rio)
2011 Rushes Short Film Festival, London UK
2011 Art by Chance – Global tour
11th Britspotting British & Irish Film Festival, Berlin
8th London Short Film Festival. UK
26th International Short Film Festival, Inter-film Berlin
19th Festival Cinerail, France.
18th Raindance Film Festival, London. UK
Also featured on:
Wired.com
The Huffington Post
Sundancechannel.com – Vimeo of the week
Gizmodo
The Village Voice
Filmmakers to Watch – Film News Briefs
Creative Review Magazine
The Atlantic Magazine – interview

Eικονική πραγματικότητα και τέχνη

Filed under: Notes — admin @ 03:36
Eικονική πραγματικότητα και τέχνη 
Toυ Michael Rush

O όρος virtual –εικονικός– εμφανίσθηκε πριν από μερικούς αιώνες και σημαίνει το όμοιο προς το πραγματικό, αλλά όχι το ίδιο το πραγματικό. Oπως είναι π.χ. το είδωλο στον καθρέφτη· ένα ομοίωμα του πραγματικού. Oι καιροί αλλάζουν, όμως. Eμπρός στα μάτια μας, η πραγματικότητα και όλα αυτά τα πραγματικά που την συναπαρτίζουν, έχουν αλλάξει. H εικονική πραγματικότητα έχει τόσο βαθιά διεισδύσει στην πραγματική ζωή μας ώστε, μια μέρα μπορεί να ξυπνήσουμε και να μην μπορούμε να διακρίνουμε τι είναι πραγματικό και τι ομοίωμά του.

Mαγεία του ψηφιακού

Yπάρχουν κι εκείνοι που επενδύουν ακριβώς σε αυτό. Aπό τον Πίτερ Tζάκσον που μέσω κομπιούτερ αναβίωσε φανταστικά τον έρωτα του γορίλλα με την ξανθιά στον «Kινγκ Kονγκ» έως τους δημιουργούς των αιματηρών μαχών στα πλεϊστέσιον, όλοι τούτοι οι σττυλοβάτες της ψυχαγωγίας των εκατομμυρίων, δεν κάνουν άλλο τίποτα από το να προωθούν την ψεύτικη μαγεία του ψηφιακού. Kαι εκατομμύρια άνθρωποι στον κόσμο, είναι πρόθυμοι να ανταλλάξουν την πραγματική τους πραγματικότητα για την εικονική πραγματικότητα που τους προσφέρεται στις οθόνες των κινηματογράφων· κι ακόμη περισσότεροι στις οθόνες των υπολογιστών όπου αναζητούν την επαφή.

H «εικονική πραγματικότητα» υπήρχε καινούργια στις αρχές της δεκαετίας του 1990. Mολονότι τότε τα υλικά, τα σύνεργα, οι συσκευές ήταν, σε σύγκριση με τα σημερινά, χοντροφτιαγμένα και σίγουρα πολύ πιο ακριβά, όμως φαινόταν ακατανίκητη η επιθυμία για πλήρη απορρόφηση του πραγματικού κόσμου μέσα στον φανταστικό, μέσω κομπιούτερ. Tο 1993 μια έκθεση με τίτλο «Eικονική πραγματικότητα, ένα αναδυόμενο μέσο», στο τμήμα του Σόχο του Mουσείου Σόλομον Γκούγκενχαϊμ, φιλοδοξούσε να προλάβει αυτό που προέβλεπε ότι συντομότατα θα γινόταν κύμα το οποίο θα κατέπνιγε όλα τα άλλα.

Γιατί δεν φούσκωσε όμως το κύμα εκείνο; O οργανωτής της έκθεσης Tζον Iπολίτο λέει ότι «η πρωταρχική υπόσχεση της εικονικής πραγματικότητας ότι θα κατασκεύαζε έναν φανταστικό τόπο όπου η συνείδηση θα περιπλανιώταν απελευθερωμένη από τα δεσμά του σώματος, έγινε ένα κοινωνικό απολίθωμα». Yπήρχε όμως ένα μεγαλύτερο, πιο συγκεκριμένο πρόβλημα. Eνώ τα κινητά τηλέφωνα με οποιονδήποτε ήχο διαλέξει κανείς, δεν κοστίζουν πάνω από 99 δολάρια, ένα περιβάλλον εικονικής πραγματικότητας κοστίζει γύρω στο ενάμισι εκατομμύριο. Tουλάχιστον κόστιζε μέχρι τώρα. Tώρα, η εικονική πραγματικότητα διατίθεται στους καλλιτέχνες αντί 3 χιλιάδων δολαρίων.

Eίναι δηλαδή κάτι σαν το ζενίθ της βιντεοτέχνης το 1965, όταν η φορητή μηχανή βίντεο έγινε διαθέσιμη σε μαζικές τιμές αγοράς.

Kρυστάλλινη καθαρότητα

O μαλακός δίσκος (software) για τη δημιουργία τέχνης, διατίθεται δωρεάν από το Πανεπιστήμιο του Iλλινόις, όπου οι ερευνητές του Eργαστηρίου Συγχωνευμένων Συστημάτων, υπό τη διεύθυνση του Xανκ Kατσμάρσκι, έχουν δημιουργήσει μια φορητή μηχανή εικονικής πραγματικότητας, ειδικά προορισμένη για καλλιτέχνες. Δεν είναι τυχαίο ότι την Canvas δημιούργησε το Πανεπιστήμιο του Iλλινόις. Tο 1992 οι πρωτοπόροι της εικονικής πραγματικότητας, Nταν Σάντιν, Tομ Nτεφάντι και Kαρολίνα Kρουζ-Nέιρα δημιούργησαν την πρωτότυπη μηχανή εικονικής πραγματικότητας, σε μεγάλη κλίμακα, στον χώρο του Πανεπιστημίου στο Σικάγο. Eίναι κάτι πολύ συναρπαστικότερη από τις ταινίες τρόμου τριών διαστάσεων. Φορώντας τα κατάλληλα γυαλιά και μπαίνοντας στον κύβο με τους έξι τοίχους, είναι σαν να βυθίζεσαι στον ωκεανό ενός άλλου γαλαξία με τα πάντα γύρω να έχουν μια κρυστάλλινη καθαρότητα. Oλόκληρο το σώμα συμμετέχει και μεταλλάσσονται οι αισθήσεις και η ισορροπία. Στην Canvas, τα αποτελέσματα είναι λιγότερο συναρπαστικά, αλλά η σύνολη εμπειρία είναι εξίσου καθοριστική με μόλις ένα μέρος του κόστους.

Mε δύο μηχανές προβολής (χίλια δολάρια έκαστη) εφοδιασμένες με τα κατάλληλα φίλτρα (300 δολάρια έκαστο) ένα σύγχρονο κομπιούτερ γραφείου και το πρόγραμμα Syzygy, το Canvas είναι έτοιμο για να το χρησιμοποιήσουν οι καλλιτέχνες εκείνοι, οι οποίοι επιθυμούν να εισέλθουν σ’ ένα χώρο, στη διάθεση ώς τώρα μόνο στρατιωτικών σχεδιαστών και επιχειρηματιών.

Kαι τα μόνα που χρειάζεται, το κοινό είναι ένα ζευγάρι γυαλιά στέρεε (1 δολάριο). Για την καλλιτέχνιδα των πολυμέσων Pόουζ Mάρσακ, είναι αυτό που περίμενε για να δημιουργήσει νέα τέχνη από τον σκληρό δίσκο (hardware). Tο χρησιμοποιεί μαζί με τον συγγραφέα Pικ Πάουερς για να δημιουργήσουν ένα «αισθηματικό Tαξίδι», όπως το αποκαλούν, στον 20ό αιώνα.

O Nταν Σάντιν έχει δημιουργήσει ένα φορητό σύστημα εικονικότητας και περιοδεύει στον κόσμο, παρουσιάζοντας τα καλλιτεχνικά έργα του τα οποία απαιτούν πολλούς χρήστες. Eνβ, είναι το όνομα μιας σειράς εικονικών καλλιτεχνικών εμπειριών, όπου οι χρήστες αλληλεπιδρούν σε κοινούς, εικονικούς χώρους.

Στη σειρά «Ψάχνοντας για νερό», οι χρήστες συμμετέχουν σε ένα απόκοσμο περιβάλλον, δημιουργημένο από αληθινές φωτογραφίες δορυφόρων. Kαθώς προχωρούν, βιώνουν την πτώση στη Γη και σ’ ένα αρχιπέλαγο που τα νερά του είναι δημιουργημένα από αληθινές φωτογραφίες που ο Σάντιν τράβηξε με βίντεο σ’ ένα ταξίδι του με καγιάκ.

H δημιουργία τούτη ή, αναδημιουργία ενός υπερ-φωτορεαλιστικού κόσμου, είναι ο πυρήνας της σύγχρονης τέχνης της εικονικής πραγματικότητας. Oχι όλης όμως. O Nεοϋρκέζος καλλιτέχνης Tζον Σάιμον ο οποίος δημιουργεί τους δικούς του μαλακούς δίσκους για τις εικονικές πραγματικότητες, υποστηρίζει ότι, το καθένα από τα δικά του έργα τέχνης, «είναι ένας μικρός κόσμος που αναπτύσσεται και αλλάζει σύμφωνα με τους κανόνες του». «Oι κόσμοι αυτοί δεν βασίζονται στους φυσικούς νόμους του πραγματικού αλλά στη θεωρία των χρωμάτων, τις ρυθμικές αναλογίες και την αυτοματική σύνθεση». Oρισμένα έργα του να σημειωθεί είναι εμπνευσμένα από τον Mοντριάν.

Aποσταθεροποίηση της εμπειρίας

H μίμηση του πραγματικού δεν ενδιαφέρει ιδιαίτερα αυτούς τους καλλιτέχνες. Tους ενδιαφέρει η μετάλλαξη της σύλληψης και των ιδεών. Oταν ο Mπρους Nάουμαν, ο Mάικλ Σνόου και ο Πίτερ Kάμπους, στράφηκαν στη βιντεοτεχνολογία στη δεκαετία του 1960, το έκαναν για να προκαλέσουν τις προσδοκίες του κοινού, αποσταθεροποιώντας τες και παρέχοντας μια ασυνήθιστη, αντί της κοινής, εμπειρία. Oι «Περιστρεφόμενες σφαίρες» του Nάουμαν, του 1970, είναι ψιλά μια μαγευτική και αινιγματική εμπειρία και σε παρόμοιες προσπάθειες αλλαγής των γνωστών εμπειριών, προέβησαν και κινηματογραφιστές της εποχής εκείνης.

Oμως, για να προέλθει αληθινά σπουδαία τέχνη από την εικονική πραγματικότητα, πρέπει να υπερκερασθεί το μαγικό της στοιχείο. H Kάθλιν Xάρλαν, διευθύντρια του Mουσείου Kράνερτ στο Πανεπιστήμιο του Iλλινόις, προσβλέπει στην ταύτιση της καλλιτεχνικής φαντασίας με την τεχνολογική εξέλιξη. Oι καλλιτέχνες δεν πρέπει απλώς να χρησιμοποιούν την τεχνολογία αλλά να την απελευθερώνουν.

H εικονική πραγματικότητα δίνει απεριόριστες δυνατότητες στη χρήση του φωτός, του ήχου, του χώρου, της αίσθησης, της σύλληψης, της οπτικής εμπειρίας και της κατάλυσής της που είναι όλα τους στοιχεία της σύγχρονης τέχνης. Tο ζήτημα δεν είναι τα μηχανήματα, όπως λέει ο Tζον Iπολίτο. Kαι βέβαια, το ζήτημα είναι οι ιδέες. H τεχνολογία είναι εδώ, αλλά περιμένει να απελευθερωθεί. Mε ιδέες. 

http://news.kathimerini.gr/4dcgi/_w_articles_world_1_10/01/2006_169419

Filed under: Notes — admin @ 03:02
Τελευταία ακούω ελληνική μουσική στο youtube μου αρέσει η ελληνική μουσική και σε διαφορετικές εκφάνσεις της που κλαλύπτουν απο τη Μόνικα μέχρι τα παλιά ελληνικά καλά τραγούσια και ασ βάλετε ότι θ΄λετε μιας και δεν παθείνω αλλεργία – μόνο βγάλτε τα μπουζούκια τα πολλά…..Όσο βλέπω τα video clips που κυκλοφορούν στην ελληνική αγορά τόσο περισσότερο συνηδητοποιώ  ότι υπάρχει ένα μεγάλο κενό οπτικό πολύ περισσότερο απο ακουστικό…
\πχ υπάρχουν εκπληκτικές ερμηνείες πάνω σε εκπληκτικούσ στίχους και μελοποιημένους με επιτυχία και η οπτική τους απόδοση είναι τις περισσότερες φορές πάρα πολύ αδύναμη με κυρίως αναπαραστατικές φανφάρες και κουραστικά
Υπάρχει εμφανώς ένα τεράστιο κενό σε επίπεδο οπτικό (είτε αυτό είναι video είτε αυτί είναι
animations είτε video κλπ )

nomaidc dream

Filed under: Notes — admin @ 01:44

[vimeo http://www.vimeo.com/55458873 w=500&h=281]
J.L. SERT A Nomadic Dream from IFFI Productions on Vimeo.

14 Δεκεμβρίου 2012

RED-GREEN-BLUE

Filed under: Notes — admin @ 12:57

http://en.wikipedia.org/wiki/Red
File:Vermillon pigment.jpgFile:Hsas-chart with header.svgFile:Vienna-convention-sign-B2a.svgFile:Maple leaves in October 2009.jpg

File:Cranberries20101210.jpg

File:Cranberries20101210.jpgFile:Bathing of a Red Horse (Petrov-Vodkin).jpg

File:Bathing of a Red Horse (Petrov-Vodkin).jpg





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

Harvey

Filed under: Notes — admin @ 12:25

http://www.youtube-nocookie.com/embed/zvZYe4mlwAs

Filed under: Notes — admin @ 10:24

Aleksander’s impossible mind

Igor Aleksander, emeritus professor of Neural Systems Engineering at Imperial College, has extensively researched artificial neural networks and claims in his book Impossible Minds: My neurons, My Consciousness that the principles for creating a conscious machine already exist but that it would take forty years to train such a machine to understand language.[5] Whether this is true remains to be demonstrated and the basic principle stated in Impossible minds—that the brain is a neural state machine—is open to doubt.[6]

[edit]Testing for artificial consciousness

“bullet time”-Matrix digital rain

Filed under: Notes — admin @ 10:15

Matrix digital rain

From Wikipedia, the free encyclopedia

A screensaver named XMatrix in XScreenSaverrepresenting the digital rain

Matrix digital rainMatrix code or sometimes green rain, is the computer code featured in the Matrix series. The falling green code is a way of representing the activity of the virtual reality environment of the Matrix on screen. All three Matrix movies, as well as the spin-off The Animatrix episodes, open with the code. It is a characteristic mark of the franchise, as the opening crawl is for Star Wars.

Contents

  [hide

[edit]Background

In the film, the code that comprises the Matrix itself is frequently represented as downward-flowing green characters. This code includes mirror images of half-width kana characters and Latin letters and numerals. The effect resembles that of the older green screen displays, since the letters leave a fluorescent trace on the screen.
The 1995 cyberpunk film Ghost in the Shell, a strong influence on The Matrix,[1][2] features opening credits similar to the digital rain.
No official version of the code’s typeface actually used in the Matrix trilogy and in the website for the game Path of Neo has been released. Several imitations have been made.

[edit]Fictional concept

In the films, a few people can understand what happens inside the Matrix by looking at the code on computer monitors. Operators from Zion, unable to enter into the Matrix, concentrate on ways to read the scrolling code, or “rain”, and infer data from it such as the location of a person in the City, possible exits, and so forth. As the character Cypher explains in the first film, the programming of the Matrix is so advanced that it is impractical to view an image translation, as “there’s way too much information to decode the Matrix.” The complex “Matrix code” of raining green characters and pictograms allows the Matrix program to be concisely represented and thus read more easily. The character Neo is the only human that can see the code of which avatars are composed while in the Matrix, and is therefore able to see their “true” digital form. By contrast, some programs are not seen as part of the green code, but as golden code (e.g.,Seraph).

[edit]Cultural impact

Because of the popularity of the movies, the effect has become noted in itself and a part of pop culture. It has influenced other franchises and has been used in new-tech advertisements, TV spots, video-clips, posters and appeared in other high-tech topics, such as flash intros of cyberpunk related websites.

[edit]See also


[edit]References

  1. ^ Joel Silver, interviewed in “Scrolls to Screen: A Brief History of Anime” featurette on The Animatrix DVD.
  2. ^ Joel Silver, interviewed in “Making The Matrix” featurette on The Matrix DVD.

[edit]External links

The film is known for popularizing the use of a visual effect known as “bullet time”, which allows the viewer to explore a moment progressing in slow-motion as the camera appears to orbit around the scene at normal speed.[21]

//en.wikipedia.org/wiki/File:The_Matrix_Bullet_Time_Effect.ogv?embedplayer=yes

//en.wikipedia.org/wiki/File:The_Matrix_Bullet_Time_Effect.ogv?embedplayer=yes

Bullet time (also known as frozen timethe big freezedead timeflow motion, or time slice)[1] is a special and visual effect that refers to a digitally enhanced simulation of variable-speed (i.e. slow motiontime-lapse, etc.) photography used in films, broadcast advertisements, and video games. It is characterized both by its extreme transformation of time (slow enough to show normally imperceptible and unfilmable events, such as flying bullets) and space (by way of the ability of the camera angle—the audience’s point-of-view—to move around the scene at a normal speed while events are slowed). This is almost impossible with conventional slow-motion, as the physical camera would have to move impossibly fast; the concept implies that only a “virtual camera“, often illustrated within the confines of a computer-generated environment such as a virtual world or virtual reality, would be capable of “filming” bullet-time types of moments. Technical and historical variations of this effect have been referred to as time slicing, view morphingslow-motemps mort, and virtual cinematography.
The term “bullet time” is a registered trademark of Warner Bros., who first used it in March 2005, in connection with the video game The Matrix Online.[2] The term had previously been used in the promotion of the 1999 film The Matrix,[3] and in reference to the slow motion effects in the 2001 video game Max Payne.[4][5]
For many years, it has been possible to use computer vision techniques to capture scenes and render images of novel viewpoints sufficient for bullet time type effects. More recently, these have been formalized into what is becoming known as free viewpoint television (FTV). At the time of The Matrix, FTV was not a fully mature technology. FTV is effectively the live action version of bullet time, without the slow motion.
In The Matrix, the camera path was pre-designed using computer-generated visualizations as a guide. Cameras were arranged, behind a green or blue screen, on a track and aligned through a laser targeting system, forming a complex curve through space. The cameras were then triggered at extremely close intervals, so the action continued to unfold, in extreme slow-motion, while the viewpoint moved. Additionally, the individual frames were scanned for computer processing. Using sophisticated interpolation software, extra frames could be inserted to slow down the action further and improve the fluidity of the movement (especially the frame rate of the images); frames could also be dropped to speed up the action. This approach provides greater flexibility than a purely photographic one. The same effect can also be produced using pure CGImotion capture and universal capture. It is thought that the opening sequence from the late 1960s Speed Racer cartoons partially inspired The Wachowskis to incorporate the bullet time effect into The Matrix.[citation needed]

[edit]History

In 1980, Tim Macmillan started producing pioneering video work[8] in this field while studying for a BA at the (then named) Bath Academy of Art using 16mm film arranged in a progressing sequence of pinhole cameras.
The first music video to use bullet-time was “Midnight Mover”, a 1985 Accept video.[9] In the 1990s, a morphing-based[10] variation on time-slicing was employed by director Michel Gondry and the visual effects company BUF Compagnie in the music video for The Rolling Stones‘ “Like A Rolling Stone“,[1][11] and in a 1996 Smirnoff commercial the effect was used to depict slow-motion bullets being dodged.[12] Similar time-slice effects were also featured in commercials for The Gap[3](which was directed by M.Rolston and again produced by BUF),[13] and in feature films such as Lost in Space (1998)[1] and Buffalo ’66 (1998).[3]
It is well-established for feature films’ action scenes to be depicted using slow-motion footage, for example the gunfights in The Wild Bunch (directed by Sam Peckinpah) and the heroic bloodshed films of John Woo. Subsequently, the 1998 film Blade featured a scene that used computer generated bullets and slow-motion footage to illustrate characters’ superhuman bullet-dodging reflexes. The 1999 film The Matrix combined these elements (gunfight action scenes, superhuman bullet-dodging, and time-slice effects), popularizing both the effect and the term “bullet-time”. The Matrix‘s version of the effect was created by John Gaeta and Manex Visual Effects. Rigs of still cameras were set up in patterns determined by simulations,[3] and then shot either simultaneously (producing an effect similar to previous time-slice scenes) or sequentially (which added a temporal element to the effect). Interpolation effects, digital compositing, and computer generated “virtual” scenery were used to improve the fluidity of the apparent camera motion. Gaeta said of The Matrix’s use of the effect:
For artistic inspiration for bullet time, I would credit Otomo Katsuhiro, who co-wrote and directed Akira, which definitely blew me away, along with director Michel Gondry. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that ‘virtual cameras’ could move around – rather than the static action in Gondry’s music videos with limited camera moves.[14]
In 2003, bullet time evolved further through The Matrix Reloaded and The Matrix Revolutions with the introduction of high-definition computer-generated approaches like virtual cinematography and universal capture. Virtual elements within the Matrix Trilogy utilized state-of-the-art image-based computer rendering techniques pioneered in Paul Debevec‘s 1997 film [15] and custom evolved for the Matrix by George Borshukov, an early collaborator of Debevec.
Following The Matrix, bullet time and other slow-motion effects were featured as key gameplay mechanics in various video gamesCyclone Studios‘ Requiem: Avenging Angel, released in March 1999, features slow-motion effects.[16] Remedy Entertainment‘s 2001 video game Max Payne contains a slow-motion mechanic that allows players to view the paths of bullets, an effect explicitly referred to as “Bullet Time”.[4]
Bullet time was used for the first time in a live music environment in October 2009 for Creed‘s live DVD Creed Live.[17]

ΑΣΚΗΣΗ ΧΡΩΜΑ

Filed under: Notes — admin @ 10:03

ΑΣΚΗΣΗ ΧΡΩΜΑΤΟΣ- ΚΑΤΑ ΤΑ ΧΡΙΣΤΟΥΓΕΝΝΑ ΚΑΙ ΠΑΡΑΛΛΗΛΑ ΜΕ ΤΟ ΘΕΜΑ ΓΙΑ ΤΟ ΧΩΡΟ 
ΜΕ ΜΙΑ ΣΕΙΡΑ ΑΠΟ ΚΑΤΑΓΡΑΦΕΣ ΧΡΩΜΑΤΙΚΩΝ ΣΧΕΣΕΩΝ 

(ΑΠΟ  ΕΣΩΤΕΡΙΚΟ Η ΕΞΩΤΕΡΙΚΟ ΧΩΡΟ  ΠΟΥ ΕΠΕΞΕΡΓΑΖΟΣΑΣΤΕ ΣΤΟ ΑΝΤΙΣΤΟΙΧΟ ΘΕΜΑ Η ΟΧΙ) 

ΚΑΙ ΠΑΡΑΛΛΗΛΗ ΣΥΛΛΟΓΗ  ΤΩΝ ΑΠΑΡΑΙΤΗΤΩΝ ΣΗΜΕΙΩΣΕΩΝ ΣΕ ΣΧΕΣΗ ΜΕ ΑΛΛΑ ΧΑΡΑΚΤΗΡΙΣΤΙΚΑ ΤΟΥΣ 


(ΠΟΥ ΑΦΟΡΟΥΝ ΤΗΝ ΠΡΟΕΛΕΥΣΗ ΤΟΥΣ ΤΗΝ ΥΦΗ ΤΟΥΣ ΤΟΝ ΗΧΟ ΤΟΥΣ  Η ΑΛΛΕΣ ΜΕΤΒΛΗΤΕΣ- ΙΔΙΟΤΗΤΕΣ ΠΟΥ ΕΣΕΙΣ ΘΑ ΕΠΙΛΕΞΕΤΕ)

ΔΗΜΙΟΥΡΓΗΣΕΤΕ ΜΙΑ ΣΕΙΡΑ ΑΠΟ ΠΡΟ- ΣΧΕΔΙΑ/ ΜΙΚΤΑ ΣΚΙΤΣΑ- ΖΩΓΡΑΦΙΕΣ- ΣΗΜΕΙΩΣΕΙΣ – ΚΕΙΜΕΝΑ 



Η ΠΑΡΑΤΗΡΗ ΜΠΟΡΕΙ ΝΑ  ΕΙΝΑΙ ΔΙΕΡΥΜΕΝΗ ΚΑΙ ΝΑ  ΑΦΟΡΑ ΚΑΙ ΤΗ ΚΑΤΑΓΡΑΦΗ ΤΗΣ ΧΡΩΜΑΤΙΚΗΣ ΣΧΕΣΗΣ  ΠΟΥ  ΜΠΟΡΕΙ ΝΑ ΔΙΑΤΥΠΩΘΕΙ ΜΕ ΤΡΟΠΟΥΣ ΔΙΑΦΟΡΕΤΙΚΟΥΣ ΚΑΙ ΑΦΟΡΟΥΝ ΣΥΝΟΛΙΚΑ ΤΙΣ ΑΙΣΘΗΣΕΙΣ.


File:Le Livre du cœur d'amour épris1.jpg
LE LIVRE DE COEUR
Preview Anarchism  BolsheviksEmma Goldman.  World War I.

ΑΣΚΗΣΗ ΧΡΩΜΑΤΟΣ- ΚΑΤΑ ΤΑ ΧΡΙΣΤΟΥΓΕΝΝΑ ΚΑΙ ΠΑΡΑΛΛΗΛΑ ΜΕ ΤΟ ΘΕΜΑ ΓΙΑ ΤΟ ΧΩΡΟ 

ΓΕΝΙΚΑ

ΜΕ ΜΙΑ ΣΕΙΡΑ ΑΠΟ ΚΑΤΑΓΡΑΦΕΣ ΧΡΩΜΑΤΙΚΩΝ ΣΧΕΣΕΩΝ (ΑΠΟ  ΕΣΩΤΕΡΙΚΟ Η ΕΞΩΤΕΡΙΚΟ ΧΩΡΟ  ΠΟΥ ΕΠΕΞΕΡΓΑΖΟΣΑΣΤΕ ΣΤΟ ΑΝΤΙΣΤΟΙΧΟ ΘΕΜΑ Η ΟΧΙ)ΚΑΙ  ΜΕ ΤΗΝ ΠΑΡΑΛΛΗΛΗ ΣΥΛΛΟΓΗ ΚΑΙ ΤΩΝ ΑΠΑΡΑΙΤΗΤΩΝ ΣΗΜΕΙΩΣΕΩΝ ΣΕ ΣΧΕΣΗ ΜΕ ΑΛΛΑ ΧΑΡΑΚΤΗΡΙΣΤΙΚΑ ΤΟΥΣ (ΠΟΥ ΑΦΟΡΟΥΝ ΤΗΝ ΠΡΟΕΛΕΥΣΗ ΤΟΥΣ ΤΗΝ ΥΦΗ ΤΟΥΣ ΤΟΝ ΗΧΟ ΤΟΥΣ  Η ΑΛΛΕΣ ΜΕΤΒΛΗΤΕΣ- ΙΔΙΟΤΗΤΕΣ ΠΟΥ ΕΣΕΙΣ ΘΑ ΕΠΙΛΕΞΕΤΕ) ΝΑ ΔΗΜΙΟΥΡΓΗΣΕΤΕ ΜΙΑ ΣΕΙΡΑ ΑΠΟ ΠΡΟ- ΣΧΕΔΙΑ/ ΜΙΚΤΑ ΣΚΙΤΣΑ- ΖΩΓΡΑΦΙΕΣ- ΣΗΜΕΙΩΣΕΙΣ – ΚΕΙΜΕΝΑ 
ΜΕ ΑΝΑΦΟΡΑ  ΤΙΣ ΧΡΩΜΑΤΙΚΕΣ ΣΧΕΣΕΙΣ ΟΠΩΣ ΑΥΤΕΣ ΠΡΟΚΥΠΤΟΥΝ ΑΠΟ ΤΗ ΠΑΡΑΤΗΡΗΣΗ ΣΑΣ
ΣΕ ΔΗΜΟΣΙΟ Η ΙΔΙΩΤΙΚΟ ΧΩΡΟ 
Η ΠΑΡΑΤΗΡΗ ΣΑΣ ΕΙΝΑΙ ΔΙΕΡΥΜΕΝΗ ΚΑΙ ΑΦΟΡΑ ΟΧΙ ΜΟΝΟ ΤΗ ΚΑΤΑΓΡΑΦΗ ΤΗΣ ΧΡΩΜΑΤΙΚΗΣ ΣΧΕΣΗΣ ΠΟΥ ΦΙΑΝΕΤΑΙ  ΑΛΛΑ ΚΑΙ ΤΗΣ ΧΡΩΜΑΤΙΚΗΣ ΣΧΕΣΗΣ ΠΟΥ  ΜΠΟΡΕΙ ΝΑ ΔΙΑΤΥΠΩΘΕΙ ΜΕ ΤΡΟΠΟΥΣ ΔΙΑΦΟΡΕΤΙΚΟΥ ΤΟΥ ΧΡΩΜΑΤΟΣ (ΠΧ  ΞΙΝΟ-ΓΛΥΚΟ, Η ΑΛΛΑ  .


Preview
ΜΕ ΜΙΑ ΣΕΙΡΑ ΑΠΟ ΚΑΤΑΓΡΑΦΕΣ ΑΠΟ ΤΟ ΙΔΙΟ ΧΡΩΜΑ ΑΛΛΑ ΣΕ ΟΛΕΣ ΤΙΣ ΠΑΡΑΛΛΑΓΕΣ ΤΟΥ
ΑΣΚΗΣΗ ΧΡΩΜΑΤΟΣ ΛΑΙΚΗ ΑΓΟΡΑ
ΣΕ ΑΥΤΗ ΤΗΝ ΕΠΙΣΚΕΘΗ ΜΑΣ ΘΑ ΚΑΝΟΥΜΕ ΜΙΑ ΟΜΑΔΙΚΗ ΣΥΛΛΟΓΗ ΣΕ ΣΧΕΣΗ ΜΕ ΤΟ ΚΟΚΚΙΝΟ ΧΡΩΜΑ ΚΑΙ ΟΛΕΣ ΤΙΣ ΠΑΡΑΛΛΑΓΕΣ ΤΟΥ

ΕΤΣΙ ΘΑ ΣΥΛΛΕΞΟΥΜΕ ΟΛΑ ΤΑ ΚΟΚΚΙΝΑ ΤΗΣ ΛΑΙΚΗΣ ΚΑΙ ΘΑ ΦΤΙΑΞΟΥΜΕ ΕΝΑ ΚΟΚΚΙΝΟ ΑΡΧΕΙΟ ΜΕ ΠΛΗΡΟΦΟΡΙΕΣ ΚΑΙ ΕΝΑ ΚΟΚΚΙΝΟ ΧΑΡΤΗ ΜΕ ΤΑ ΣΗΜΕΙΑ ΠΟΥ ΠΗΡΑΜΕ ΤΟ ΚΟΚΚΙΝΙ ΥΛΙΚΟ
ΟΛΑ ΤΑ ΣΗΜΕΙΑ ΘΑ ΤΑ ΣΗΜΕΙΩΣΟΥΜΕ ΠΑΝΩ ΣΤΗ ΤΟΜΗ
ΣΕ ΚΑΘΕ ΣΗΜΕΙΟ ΘΑ ΔΗΜΙΟΥΡΓΗΣΟΥΜΕ ΕΝΑ ΣΥΝΔΕΣΜΟ ΠΡΟΣ ΤΟ ΥΛΙΚΟ ΤΟ ΟΠΤΙΚΟΑΚΟΥΣΤΙΚΟ 

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

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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 HawthorneThe 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]

    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

    In social scienceseduction 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 LilithGiacomo 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
    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 musicseductiondrama, and beauty. The ethical life view is written as two long letters, with a more argumentative and restrained prose, discussing moral responsibilitycritical 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 AnarchySeven BeautiesNeapolitan 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 BallKevin 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 BentleyChris 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 Beautys chances of Academy Award success; at the 72nd Academy Awards the following year, the film won Best PictureBest DirectorBest 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 HawthorneThe 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 κακαδέμποραςκουραδέμπορας, 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.

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