27 Απριλίου 2013
javascript -lens-html 5
http://notepad-plus-plus.org/download/v6.3.2.html
http://thenewboston.org/watch.php?cat=43&number=6
///////////////////////////////////////////
introduction html5
html4>5
xml(1998)/css/(1966)
xhr()1999)
a,jax(2004)
- Paths
- Simple or compound shape outlines are drawn with curved or straight lines that can be filled in, outlined, or used as a clipping path. Paths have a compact coding. For example M (for ‘move to’) precedes initial numeric x and y coordinates and L (line to) precedes a point to which a line should be drawn. Further command letters (C, S, Q, Tand A) precede data that is used to draw various Bézier and elliptical curves. Z is used to close a path. In all cases, absolute coordinates follow capital letter commands and relative coordinates are used after the equivalent lower-case letters.[27]
- Basic shapes
- Straight-line paths and paths made up of a series of connected straight-line segments (polylines), as well as closed polygons, circles and ellipses can be drawn. Rectangles and round-cornered rectangles are also standard elements.[28]
- Text
- Unicode character text included in an SVG file is expressed as XML character data. Many visual effects are possible, and the SVG specification automatically handles bidirectional text (for composing a combination of English and Arabic text, for example), vertical text (as Chinese was historically written) and characters along a curved path (such as the text around the edge of the Great Seal of the United States).[29]
- Painting
- SVG shapes can be filled and/or outlined (painted with a color, a gradient, or a pattern). Fills can be opaque or have any degree of transparency. “Markers” are line-end features, such as arrowheads, or symbols that can appear at the vertices of a polygon.[30]
- Color
- Colors can be applied to all visible SVG elements, either directly or via ‘fill’, ‘stroke,’ and other properties. Colors are specified in the same way as in CSS2, i.e. using names like
blackorblue, in hexadecimal such as#2f0or#22ff00, in decimal likergb(255,255,127), or as percentages of the formrgb(100%,100%,50%).[31] - Gradients and patterns
- SVG shapes can be filled or outlined with solid colors as above, or with color gradients or with repeating patterns. Color gradients can be linear or radial (circular), and can involve any number of colors as well as repeats. Opacity gradients can also be specified. Patterns are based on predefined raster or vector graphic objects, which can be repeated in x and/or y directions. Gradients and patterns can be animated and scripted.[32]
- Since 2008, there has been discussion[33][34] among professional users of SVG that either gradient meshes or preferably diffusion curves could usefully be added to the SVG specification. It is said that a “simple representation [using diffusion curves] is capable of representing even very subtle shading effects”[35] and that “Diffusion curve images are comparable both in quality and coding efficiency with gradient meshes, but are simpler to create (according to several artists who have used both tools), and can be captured from bitmaps fully automatically.”[36]
- Clipping, masking and compositing
- Graphic elements, including text, paths, basic shapes and combinations of these, can be used as outlines to define both ‘inside’ and ‘outside’ regions that can be painted (with colors, gradients and patterns) independently. Fully opaque clipping paths and semi-transparent masks are composited together to calculate the color and opacity of every pixel of the final image, using alpha blending.[37]
- Filter effects[38]
- Interactivity
- SVG images can interact with users in many ways. In addition to hyperlinks as mentioned below, any part of an SVG image can be made receptive to user interface eventssuch as changes in focus, mouse clicks, scrolling or zooming the image and other pointer, keyboard and document events. Event handlers may start, stop or alter animations as well as trigger scripts in response to such events.[39]
- Linking
- SVG images can contain hyperlinks to other documents, using XLink. URLs of SVG images can specify geometrical transforms in the fragment section.[40]
- Scripting
- All aspects of an SVG document can be accessed and manipulated using scripts in a similar way to HTML. The default scripting language is ECMAScript (closely related toJavaScript) and there are defined Document Object Model (DOM) objects for every SVG element and attribute. Scripts are enclosed in
elements. They can run in response to pointer events, keyboard events and document events as required.[41] - Animation
- SVG content can be animated using the built-in animation elements such as
,and. Content can be animated by manipulating the DOM using ECMAScript and the scripting language’s built-in timers. SVG animation has been designed to be compatible with current and future versions ofSynchronized Multimedia Integration Language (SMIL). Animations can be continuous, they can loop and repeat, and they can respond to user events, as mentioned above.[42] - Fonts
- As with HTML and CSS, text in SVG may reference external font files, such as system fonts. If the required font files do not exist on the machine where the SVG file is rendered, the text may not appear as intended. To overcome this limitation, text can be displayed in an ‘SVG font’, where the required glyphs are defined in SVG as a font that is then referenced from the
element.[43] - Metadata
- In accord with the W3C‘s Semantic Web initiative, SVG allows authors to provide metadata about SVG content. The main facility is the
element, where the document can be described using Dublin Core metadata properties (e.g., title, creator/author, subject, description, etc). Other metadata schemas may also be used. In addition, SVG definesandelements where authors may also provide plain-text descriptive material within an SVG image to help indexing, searching and retrieval by a number of means.[44]
[edit]SVG on the web
[edit]Example
<svg xmlns="http://www.w3.org/2000/svg" version="1.1">
<rect width="300" height="100" style="fill:rgb(0,0,255);stroke-width:1;stroke:rgb(0,0,0)" />
</svg>
svg(web vector graphics)
-scalable vector graphics
rectagle
<rect x,y width/…..
……id and css class
html likes for drawing
….
animated graphics
scalable vector graphics
one of the benefits of the technology
JavaScriptAPI(‘Scriptable Image Tag”)
<canvas id- "myCanvas" width-= "150" height = ""
varcanvas
var six
mozilla download center– a map of the wolr the svg map-
benjamin joffes
population demo
think about data visualizations
————————————-recordings ———–ur. data bases
bespin (created by mozilla)
again a data visualization for svg and canvas by the german elections
it supports all the modern ——-svg web / java script base
SVG web
SVG is the future so is the main requirment for obtaining a minimal understanding of
canvas and svg (they are
html 5 video
application cashe-database
controls >
your browser does not …..
using that y can draw stuff on your video and y can control many attributes by js
http://www.youtube-nocookie.com/v/uofWfXOzX-g?version=3&hl=en_US
http://www.youtube-nocookie.com/v/uofWfXOzX-g?version=3&hl=en_US
http://www.youtube.com/watch?v=HfCDAIIR2Gc
http://thenewboston.org/watch.php?cat=43&number=2
storytelling
By Andrew Ellis Students at the Dynamic Media Institute Massachusetts College of Art and Design This project explores the urban landscape through algorithmic walking and photography. Each participant (over thirty people) was asked to walk the following directions from any starting point in their city: 1) walk west 2) take your first right 3) take your first left 4) take your first right 5) stop. These were the only restrictions. A participant was then encouraged to take photographs at any point along their walk. Some of the cities covered were: Boston, Paris, Auckland, Santiago de Chile, and Tokyo. The project was inspired by the French philosopher Guy Debord whose theory of psychogeography was to “[invent] strategies for exploring cities…just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.” (Debord) In this project I hoped to create a new way for a person to explore their surroundings by restricting their walk where the result—or point B rather—would be an area or place they would not normally have reached or already explored. The result was a psychogeographical tour of different cities and perspectives. Please visit dynamicmediainstitute.org/projects/remap for detail proj
dynamic media-
[vimeo http://www.vimeo.com/54783776 w=500&h=281]
What is the Dynamic Media Institute? from dynamicmediainstitute.org on Vimeo.
dinoschristianopoulois-silence-image-space-white castle perception-
dinoschristianopoulois-silence-image-space-white castle perception-
bachground-back image-front image-
http://www.youtube-nocookie.com/v/PvouUT8lFE0?hl=en_US&version=3
http://www.youtube-nocookie.com/v/Oh6gppDgU0c?version=3&hl=en_US
26 Απριλίου 2013
bee-οδυσσέας
This poem is by Odysseus Elytis, who is one of the most outstanding international figures of 20th-century poetry. A major poet in the Greek language, Odysseus Elytis, winner of the 1979 Nobel Prize for Literature, was born in Heraklion, Crete, in 1911 and died in Athens in 1996. In his work, modernist European poetics and Greek literary tradition are fused in a highly original lyrical voice.
Music /Μουσική: Nena Venetsanou-Νένα Βενετσάνου
Από τους χρόνους τους παλιούς τό ‘χω βαθύ μεράκι
να βγω στις πέρα θάλασσες να βρω το μαγισσάκι.
Τ’ άπιαστο σαν αερικό στην εμορφιά του Μάη
που αν κάνεις να τον μυριστείς αλίμονό σου εκάεις.
Έβγα έβγα μαγισσάκι χτύπα χτύπα το ραβδάκι
ντο και ρε και μι και φα μες στα ροζ τα σύννεφα.
Τι ζουμπούλια και τι κρίνα τι και τούτα τι κι εκείνα
ντο και ρε και φα και μι φούχτα μου και δύναμη.
Ποιος θα μου δώκει δύναμη κι ένα μακρύ καμάκι
να βγω στις πέρα θάλασσες να βρω το μαγισσάκι.
Που ‘ναι σπηλιά του ο ουρανός,άγγελος η μαμά του
κι αφρός το φουστανάκι του στην άκρια του κυμάτου.
Χτύπα χτύπα το ραβδάκι γίνε το νερό στ’ αυλάκι
φα και ρε και μι και ντο μες στο μπλε το ξάγναντο.
Τα παπιά και τα βαπόρια παν μαζί και πάνε χώρια
έξι τέσσερα κι οχτώ γούρι μου και φυλαχτό.
Ανοίξτε πύλες κι εκκλησιές ν’ ανάψω ένα κεράκι
να κάνει θαύμα στα κρυφά για με το μαγισσάκι.
Που να κοιμάμαι ξυπνητός να τρέχω ξαπλωμένος
και να με λεν χωρίς καρδιά μα να ‘μαι ερωτευμένος.
Έβγα έβγα μαγισσάκι χτύπα χτύπα το ραβδάκι
ντο και ρε και μι και φα μες στα ροζ τα σύννεφα.
Τα παπιά και τα βαπόρια παν μαζί και πάνε χώρια
έξι τέσσερα κι οχτώ γούρι μου και φυλαχτό.
Ο Οδυσσέας Ελύτης (1911- 1996), φιλολογικό ψευδώνυμο του Οδυσσέα Αλεπουδέλλη ,
ήταν ένας από τους σημαντικότερους Έλληνες ποιητές, μέλος της λογοτεχνικής γενιάς του ’30.
Διακρίθηκε το 1960 με το Κρατικό Βραβείο Ποίησης και το 1979 με το βραβείο Νόμπελ Λογοτεχνίας,
Τα τοπία του Ελύτη, έγραψε ο Μήτσος Παπανικολάου, έχουν όλη τη διαφανή και την καινούρια ομορφιά των τοπίων που καθάρισαν οι βροχές και οι άνεμοι, κι ακόμη των πρώτων τοπίων της δημιουργίας. Η φύση του είναι νέα και τόσο γοητευτική, σα να την αντικρίζουν για πρώτη φορά τα μάτια του παιδιού ή του κοιμισμένου. Κι εκεί μέσα ο ποιητής, παιδί κι αυτός, πλανιέται μες τις πιο απόκρυφες σκέψεις του, απαλλαγμένος εντελώς από τα δεσμά της λογικής…”
24 Απριλίου 2013
20 Απριλίου 2013
hitchock–jean cocteau-movies-sweet/sem3-movies-arch-art/ sem3-4- 5-6 film-video-montazI,II
http://www.youtube-nocookie.com/v/_N6we7OUOOk?hl=en_US&version=3
http://www.youtube-nocookie.com/v/Ue_0lDD3MpY?version=3&hl=en_US
http://www.youtube-nocookie.com/v/umfiwI-7I0M?version=3&hl=en_US
fast editting-stf bk- http://www.youtube-nocookie.com/v/fjj32CavzU0?hl=en_US&version=3
p-30/09
Xωρισμός ομάδωνΑποσπάσματα από τις ταινίες
“Το αίμα του ποιητή”— δείτε αναλυτικά κείμενα
http://www.youtube.com/watch?v=zePsu3lzycM
[youtube http://www.youtube.com/watch?v=CnBaAgXQ5Rg]
Το Αίμα Του Ποιητή (1930)
Le Sang D’Un Poet
Το «Αίμα του ποιητή» είναι χωρισμένο σε επεισόδια, κάποια από αυτά ενώνονται, κάποια όχι. Πιθανώς το πιο γνωστό είναι αυτό που απεικονίζει ένα διάσημο ποιητή ο οποίος προχωρώντας σε ένα διάδρομο ξενοδοχείου, σταματάει στις πόρτες των δωματίων και κοιτάζει μέσα από τις κλειδαρότρυπες.
A young artist draws a face at a canvas on his easel. Suddenly the mouth on the drawing comes into life and starts talking. The artist tries to wipe it away with his hand, but when he looks into the hand he finds the living mouth on his palm. He tries to wipe it off on the mouth of an unfinished statue of a young woman. The statue comes into life and tells him that the only way out of the studio is through the looking glass. The artist jumps into the mirror and comes to the Hotel of Dramatic Lunacies. He peeps through the keyholes of a series of hotel rooms. In the last room he sees desperate meetings of hermaphrodites. One of them has a signboard saying “Mortal danger”. Back in the studio the artist crushes the statue with a sledgehammer. Because of this he himself becomes a statue, located at the side of a square. Some schoolboys start a snowball fight around the statue. One of the boys is killed by a snowball. A fashionable couple start playing cards at a table beside the corpse. The woman tells the man that unless he holds the ace of hearts he is doomed. The man takes the ace of hearts from the dead boy. The child’s guardian, a black angel, appears and takes away the corpse as well as the card. Losing the ace of hearts the man shoots himself. The woman is transformed into the unfinished statue from the studio, and walks away
Για την ταινία το αίμα του ποιητή (μ1)
Το έργο έχει πολλές ομοιότητες με τον «Ανδαλουσιανό σκύλο» του 1929. Η ομοιότητα του με την ταινία του Buñuel και του Dali οδήγησε τους σχολιαστές της εποχής να το χαρακτηρίσουν «σουρεαλιστικό». Αυτό ενόχλησε ιδιαίτερα τον Andre Breton, ηγέτη των σουρεαλιστών με ιδιαίτερα σκληροπυρηνικές απόψεις. Ο Cocteau υποδυόταν ότι είχε προσβληθεί επίσης από αυτό το χαρακτηρισμό, αν και μάλλον ευχαριστιόταν με το γεγονός της ενόχλησης του Breton.
Το «Αίμα του ποιητή» είναι ταυτόχρονα επανάληψη και νέα αρχή για τον δημιουργό του. Αν ειδωθεί στα πλαίσια της προηγούμενης δουλειάς του Cocteau, μπορεί να θεωρηθεί ανθολογία από αγαπημένα του θέματα και σκηνές, περιλαμβάνοντας καθρέφτες (ναρκισσισμός), μάτια (ηδονοβλεψία), αγάλματα (κλασικισμός), πόρτες (τα όρια ανάμεσα σε διαφορετικούς κόσμους) και αίμα (τα βάσανα του καλλιτέχνη). Επίσης η ταινία εμπεριέχει πολλά αυτοβιογραφικά στοιχεία καθώς και αναφορές στις προηγούμενες δουλειές του. Άλλες προφανείς, (ο χιονοπόλεμος από τα «Τρομερά παιδιά»), και άλλες κωδικοποιημένες, (η μαγική «μεταφορά» του ποιητή σε παράλληλους κόσμους). Αν ειδωθεί στα πλαίσια της μετέπειτα καριέρας του, μπορεί να θεωρηθεί τετράδιο σημειώσεων για μελλοντικές ταινίες, καθώς πολλές από τις τεχνικές οι οποίες αργότερα έγιναν σήμα κατατεθέν του Cocteau δοκιμάστηκαν εδώ για πρώτη φορά. Η χρήση της αργής και της ανάποδης κίνησης, η ύπαρξη αφηγητή, και το πιο γνωστό εφε της ταινίας, το χτίσιμο των τοίχων στο πάτωμα του στούντιο. Ο Cocteau κινηματογραφώντας από μπροστά τους ηθοποιούς του που σέρνονταν στο πάτωμα, δημιουργούσε την εντύπωση πως οι τοίχοι στο φανταστικό κόσμο ήταν σαν μαγνήτες και μπορούσε κάποιος να σκαρφαλώσει πάνω τους. Το συγκεκριμένο εφε ήταν ομολογουμένως πολύ τρομαχτικό αλλά ο σκηνοθέτης το χρησιμοποιούσε συνέχεια γιατί του άρεσε πολύ. Τελικά είναι δύσκολο να μη συμφωνήσουμε με την ίδια την κριτική του Cocteau για την ταινία του, ως ένα θέμα «..αδέξια παιγμένο με ένα δάχτυλο», που όμως τελειοποίησε στον «Ορφέα». Παρόλη την αδεξιότητα της ταινίας, η σχεδόν παιδική απόλαυση που αντλούσε ο Cocteau από τις δυνατότητες του πρωτόγνωρου για εκείνον μέσου, δίνουν στο «Αίμα του ποιητή» μια ενέργεια και ένα παιχνίδισμα που μόνο ο Buñuel και ο Dali μπορούσαν να ξεπεράσουν.
Ο Cocteau δεν σκηνοθέτησε άλλη ταινία για τα επόμενα 16 χρόνια. Ο ίδιος σχολιάζοντας αυτό το κενό, έγραψε: «Το γεγονός ότι άφησα είκοσι χρόνια να περάσουν ανάμεσα σε αυτή την ταινία- την πρώτη μου- και τις άλλες, δείχνει ότι τη θεώρησα περισσότερο ως ποίημα ή πίνακα, ένα ποίημα ή έναν πίνακα τόσο ακριβό που δεν μπορούσα να συλλογιστώ καν τη δημιουργία παραπάνω από ενός». Οι δηλώσεις του Cocteau ότι δεν σκέφτηκε να γυρίσει δεύτερη ταινία είναι ανεπαρκείς. Φοβήθηκε από τα αντιφατικά αισθήματα που προξένησε η ταινία του; Σκέφτηκε κάποιο καινούριο σχέδιο αλλά δεν κατάφερε να βρει χρηματοδότηση; Ένιωσε πως είχε χρησιμοποιήσει όλες του τις κινηματογραφικές τεχνικές; Ή απλά δεν ενδιαφερόταν ακόμα για τις ταινίες; Μπορούμε μόνο να υποθέτουμε..
Το «Αίμα του ποιητή» είναι η τελευταία «αμφισβητούμενη» δουλειά του Cocteau. Καθώς το διπλωματικό κλίμα σκοτείνιαζε στη δεκαετία του ʼ30 και η avant garde γινόταν όλο και πιο πολιτικοποιημένη, ο δημιουργός στράφηκε στη Γαλλική λογοτεχνία και κατάφερε να καθιερωθεί. Εξελίχθηκε σε έναν παραγωγικό αρθρογράφο και έγραψε μια σειρά από κλασσικά μελοδράματα όπως το πολύ πετυχημένο «Οι τρομεροί γονείς». Με το τέλος της δεκαετίας, ο Cocteau, ο avant garde προβοκάτορας είχε γίνει ο Cocteau, ο διάσημος θεατρικός συγγραφέας.
Η σκιά, σαν αυτή που βλέπουμε στη δεύτερη από τις έξι σεκάνς, ίσως είναι το καταλληλότερο σύμβολο για να περιγράψει την Τέχνη. Η σκιά αποτελεί την αβίαστη και καταναγκαστική συνάμα μεταμόρφωση της τρισδιάστατης πραγματικότητας σ’ ένα δισδιάστατο σχέδιο. Παραλλαγμένο με ελαφρύ ή τερατώδη τρόπο. Κατά αντιστοιχία λειτουργεί και η καλλιτεχνική διαδικασία. Η Τέχνη (εκ)πορεύεται αβίαστα και καταναγκαστικά με πρωτογενή υλικά αυτά της πραγματικότητας και της καθημερινής ζωής. Ο δημιουργός, σε όποιο καλλιτεχνικό πεδίο και αν δραστηριοποιείται, αναλαμβάνει χρέη γλύπτη. Πλάθει την πραγματικότητα καθ’ εικόνα και καθ’ ομοίωση των εσωτερικών προβολών, των ερεθισμάτων και των ανησυχιών του. Παράγοντας εξ’ ολοκλήρου έναν νέο κόσμο. Ένα ελαφρά ή καθολικά αντεστραμμένο γλυπτό της πραγματικότητας.
Η Τέχνη ορίζει έναν νέο κόσμο. Ο χώρος και ο χρόνος αποκτούν άλλες διαστάσεις. Το κενό και το άδειο ενέχουν άλλο νόημα. Θα παρατηρήσουμε μια μυθική σκηνή, όπου πολυβόλα στραμμένα στο κενό φτύνουν σφαίρες σε συντεταγμένες διαφορετικές από αυτές που συντάσσεται το κυρίως υποκείμενο. Και όμως το καθηλώνουν νεκρό στο έδαφος. Ο χρόνος γνωρίζει κινήσεις επάλληλες και αντίστροφες, ρέοντας σε μια χαοτική αναρχία. Ενώ τα πρόσωπα και τα σώματα αλλοιώνονται απ’ τη λάβα του ποιητή που τα κουρσεύει συθέμελα! Μόνο το αίμα του ποιητή, μέχρι σταγόνας τελευταίας, χρειάζεται για να αποκτήσει πνοή ο χωροχρόνος της Τέχνης.
Ο Cocteau θα προβεί σε μια ακόμα πολύ ενδιαφέρουσα δήλωση. Αυτή της Τέχνης ως το αντίθετο της καταστροφής. Όπως βλέπουμε το κυρίως καλλιτεχνικό κείμενο αναπτύσσεται μεταξύ μιας όμοιας σκηνής καταστροφής(κατεδάφιση καμινάδας) που επαναλαμβάνεται κατά το άνοιγμα και την πτώση της αυλαίας. Η καταστροφή, που ενυπάρχει τραυματικά στο καλλιτεχνικό κείμενο, δηλώνεται ως μια δράση αντίρροπη της αιωνιότητας και της αθανασίας. Ως αιωνιότητα δεν νοείται ένας αέναος χρόνος. Αλλά ένας στιγμιαίος τόπος απεραντοσύνης. Μια θάλασσα αδιάστατη. Τέτοια που να εμπεριέχει το σύμπαν στην ολότητά του. Μια τέτοια απεραντοσύνη συναντάται στην Τέχνη του Cocteau, όπου το καλλιτεχνικό κείμενο δε γνωρίζει περίγραμμα. Και μορφώνεται ως μια δυναμική αντανάκλαση του αναγνωστικού κοινού. Μια συγκοινωνούσα και μη πεπερασμένη αντανάκλαση που αχρονικά, ως καθρέφτης έτερων υπάρξεων, τείνει προς το άπειρο της συμπαντικής ολότητας.
Όταν ο Cocteau έκανε αυτή την ταινία ήταν ήδη καταξιωμένος ποιητής, συγγραφέας, δραματουργός και εικαστικός καλλιτέχνης. Η ταινία βασίζεται στη δική του προσωπική μυθολογία. Αποτελεί το ρομαντικό πορτραίτο του καλλιτέχνη, του ποιητή στην προκειμένη περίπτωση, ο οποίος επιθυμώντας την αθανασία και δέσμιος της ίδιας του της δημιουργικότητας, πρέπει να περάσει μέσα από τον καθρέφτη-την έμπνευση και τη δημιουργία- σε έναν απόκοσμο προσωπικό ονειρικό κόσμο. Με αυτή του την ταινία ο Cocteau πλησιάζει όσο πιο κοντά γίνεται τον κινηματογράφο με την ποίηση.
Ο ΚΟΚΤΏ ΓΙΑ ΤΟ «ΑΙΜΑ ΤΟΥ ΠΟΙΗΤΗ»
«Συχνά λέγεται ότι το ΑΙΜΑ ΤΟΥ ΠΟΙΗΤΗ είναι μια σουρεαλιστική ταινία. Όμως ο σουρεαλισμός δεν υπήρχε όταν εγώ την σκέφτηκα».
«Ένα από τα χαρακτηριστικά του ονείρου είναι ότι τίποτα δεν μας ξαφνιάζει σε αυτό. Χωρίς να το μετανιώνουμε, συμφωνούμε να ζήσουμε μέσα του με ξένους, τελείως αποκομμένοι από τις συνήθειες και τους φίλους μας».
«Η κάθοδος στο Εγώ, το όνειρο χωρίς ύπνο, ένα σπασμένο κερί που σβήνει, άγνωστο πως, ενώ το μεταφέρει η νύχτα του ανθρώπινου σώματος».
«Με την πρώτη έπεσα με τα μούτρα σε μια δουλειά όπου έπρεπε να επινοώ τα πάντα. Ο σκοπός μου δεν ήταν να κάνω μια ταινία, αλλά ένα ποίημα· να μεταχειριστώ μια μηχανή όχι για να διηγηθώ μια ιστορία, αλλά για να εξομολογηθώ, να πω με εικόνες πράγματα που κατοικούν μέσα στη βαθιά μας νύχτα και παίρνουν μορφή στην άκρη του ονείρου… Οι εικόνες μπαίνουν σε μια σειρά σύμφωνα με την απαρέγκλιτη λογική ενός εσωτερικού κόσμου, εκεί όπου η συμβατική λογική δεν λειτουργεί πια».
Το ΑΙΜΑ ΤΟΥ ΠΟΙΗΤΗ ήταν ένας προβληματισμός πάνω στην ποίηση και την ποιητική τέχνη.
{..}Ο Κοκτώ, σαν ποιητής που είναι, επινοεί χρησιμοποιώντας και το πιο ασήμαντο περιστατικό για να το μετατρέψει σε ποίηση. Θα δώσω τρία παραδείγματα της μεγαλοφυΐας του, μολονότι υπάρχουν και αρκετά άλλα:
1. Οι τεχνικοί, περνώντας τον για τρελό, τον πειράζουν διαρκώς με τρόπο άκρως καυστικό. Ένα παράδειγμα: τη στιγμή που ολοκληρώνεται το γύρισμα δίνουν εντολή στους ανθρώπους που καθαρίζουν το στούντιο να το σκουπίσουν κατά τη διάρκεια των τελευταίων πλάνων. Στην προβολή το βράδυ ο Κοκτώ βρίσκει πως η ομορφιά των εικόνων γεννιέται από το φως των προβολέων όταν αυτό διαπερνά τη σκόνη που σηκώνεται κατά το σκούπισμα. Έτσι κρατάει αυτά τα πλάνα.
2. Καθώς ο Ενρίκ Ριβερό παίζει γυμνός από τη μέση και πάνω, ο Κοκτώ αντιλαμβάνεται πως έχει πάνω στον ώμο μια πρόσφατη ουλή από τραύμα σφαίρας. Αμέσως σχεδιάζει ένα αστέρι γύρω από το τραύμα, το αστέρι της υπογραφής του. Αυτή του η ελευθερία είναι που πιο αργά θα αναγνωριστεί από τους νέους Γάλλους κινηματογραφιστές, όπως ο Ζωρζ Φρανζύ, που θα γράψει με αφορμή Το αίμα ενός ποιητή: «Ταινία… που παραμένει η αμίμητη απόδειξη μιας αδέσμευτης μεγαλοφυΐας».
3. Άλλο παράδειγμα της αυθεντικότητας του Κοκτώ: για τους δύο βασικούς ρόλους δεν παίρνει επαγγελματίες ηθοποιούς. Ο ζωγράφος Ενρίκ Ριβερό ενσαρκώνει τον Ποιητή, ενώ το μανεκέν Λη Μίλερ, σύντροφος του μεγάλου φωτογράφου Μαν Ρέυ, ερμηνεύει το ρόλο του Αγάλματος.
Δεν θα αναλύσω την ταινία. Αξίζει καλύτερα να τη δει κανείς. Εδώ ο Κοκτώ εμπλέκει τα επεισόδια κατά τον τρόπο των Μυστηρίων του Πάθους του Χριστού. Πάνω σε ονειρικές εικόνες παραθέτει ένα λιτό σχόλιο. Την ίδια μέθοδο ακολουθεί και για τη μουσική της ταινίας. Επειδή δεν θέλει η μουσική να συμβαδίζει με τις εικόνες, επινοεί αυτό που αποκαλεί «τυχαίο συγχρονισμό», ο οποίος θα εμπνεύσει και πολλούς άλλους στη συνέχεια. «Τίποτα δεν μου μοιάζει πιο χυδαίο», δηλώνει ο ίδιος, «από το μουσικό συγχρονισμό. Είναι τουλάχιστον πλεονασμός… Ο μόνος συγχρονισμός που με ευχαριστεί είναι ο τυχαίος».
Για το “Αίμα ενός ποιητή” αλλάζει τη σειρά των μουσικών, δίνοντας μ’ ένα είδος κοντράστ μια πιο ανάγλυφη εικόνα.
Για όποιον γνωρίζει τη θεματική του Κοκτώ, το “Αίμα ενός ποιητήʼ, ταινία δηλωμένα πολύπλοκη και σκοτεινή από ορισμένους, μας αποκαλύπτει όλη την προσωπική του μυθολογία, αυτήν που ξαναβρίσκουμε στα ποιήματα του, στις ζωγραφιές του, στην παράσταση “Ορφέαςʼ του 1925, ή στο μυθιστόρημα του “Τα τρομερά παιδιά”, το οποίο ενέπνευσε σημαντικές σκηνές της ταινίας, όπως ο περίφημος χιονοπόλεμος, «ενορχηστρωμένος» από τον μαθητή Νταρζελός.
Εδώ υπεισέρχεται μια σημαντική θεματική σε όλο το έργο του Κοκτώ, ένα θέμα που έχει ήδη επεξεργαστεί στο ΑΙΜΑ ΤΟΥ ΠΟΙΗΤΗ, αυτό της «φοινικολογίας», έναν όρο τον οποίο ο Κοκτώ δανείζεται από τον Σαλβαντόρ Νταλί, τον οποίο όμως μετατρέπει ολοκληρωτικά. Ο Φοίνικας, ζώο μυθικό, καίγεται για να ξαναγεννηθεί από τις στάχτες του{..}
——
from wiki
Because of the film’s religious themes and political ambiguity, it was not released domestically in the officially atheist and authoritarian Soviet Union for years after it was completed except for a single screening in Moscow. A version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize.[2] In 1971, acensored version of the film was released in the Soviet Union. The film was further cut for commercial reasons upon its U.S. release in 1973. As a result, several versions of the film exist.
http://www.youtube-nocookie.com/v/qOVxHhoe5Ck?hl=en_US&version=3
http://www.youtube.com/watch?v=GG9Anstjlro&feature=share&list=PLE593BFAE42AA383B
andrei rublev film 1
http://www.youtube.com/watch?v=1PAhbcy8mP4&list=PLE593BFAE42AA383B
jarmous-american cinema-american documentary-cuba group
the weaping meadow-theodoros angelopoulos
http://www.youtube-nocookie.com/v/hRxc77-Cqxw?version=3&hl=en_US
venders-ex. lisboa story
video clips aisthetics in general ()
http://www.youtube-nocookie.com/v/0iPw6YIT5xI?hl=en_US&version=3
http://www.youtube-nocookie.com/v/Eyek86rKeVg?version=3&hl=en_US
http://www.youtube-nocookie.com/v/2bOhxGBRXAU?hl=en_US&version=3
hitchock–jean cocteau-movies-sweet/sem3-movies-arch-art/ sem3-4- 5-6 film-video-montazI,II
zak tati- transparential architecture-more info – specify scenes
analyze scenes according to the diagram
specify the keyframes/ describe key tranformations for :
light, positions of cameras, duration of scenes, main visual arrangment,
focal length**
*here we can make a link to focalegth(__)
19 Απριλίου 2013
17 Απριλίου 2013
the body vision in -documentary-eve-stef-body-performance art- moralty-
the body and the landscape ( γυψόγαζες)
the body and the video (yoko ono, …)
the body vision in –
documentary-types of docomentary—-eve-stef-
body-performance ——————acconci,abramovic,stelarc,klein, kounelis
art- moralty————–memorial
vacon-abramovic-vito acconci- ecological activism-personal mythology-soma topio-storytelling
SHORT HISTORY OF PERFORMANCE-Introduction
http://www.blouinartinfo.com/news/story/34134/klaus-biesenbach-on-the-abramoviculay-reunion
[youtube http://www.youtube.com/watch?v=ldw488zpw7U]
http://www.youtube-nocookie.com/v/tCyN5JzaQQI?version=3&hl=en_US
Marina Abramović was born in 1946 in Belgrade, Yugoslavia. Since the beginning of her career, during the early 1970s where she attended the Academy of Fine Arts in Belgrade, Abramović has pioneered the use of performance as a visual art form. The body has been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci and Chris Burden, Abramović created some of the most historic early performance pieces and continues to make important durational works.
Abramović has presented her work with performances, sound, photography, video, sculpture and Transitory Objects for Human and Non Human Use in solo exhibitions at major institutions in the U.S. and Europe. Her work has also been included in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). In 1998, the exhibition Artist Body – Public Body toured extensively, including stops at Kunstmuseum and Grosse Halle, Bern and La Gallera, Valencia. In 2004, Abramović also exhibited at the Whitney Biennial in New York and had a significant solo show, The Star, at the Maruame Museum of Contemporary Art and the Kumamoto Museum of Contemporary Art, Japan.
Abramović has taught and lectured extensively in Europe and America. In 1994 she became Professor for Performance Art at the Hochschule fur Bildende Kunst in Braunschweig where she taught for seven years. In 2004 she was awarded an Honorary Doctorate from the Art Institute in Chicago.
She was awarded the Golden Lion for Best Artist at the 1997 Venice Biennale for her extraordinary video installation/performance piece Balkan Baroque‚ and in 2003 received the Bessie for The House with the Ocean View‚ a 12-day performance at Sean Kelly Gallery.
In 2005, Abramović presented Balkan Erotic Epic at the Pirelli Foundation in Milan, Italy and at Sean Kelly Gallery, New York. That same year, she held a series of performances called Seven Easy Pieces at the Guggenheim Museum in New York. She was honored for Seven Easy Pieces by the Guggenheim at their International Gala in 2006 and by the AICA USA with the “Best Exhibition of Time Based Art” award in 2007. Abramović’s work is included in numerous major public and private collections worldwide. She was the subject of a major retrospective at the MoMA – The Artist is Present – from March 14 through May 31, 2010.
*
Information to visitors: Be advised that the film contains scenes of a sexual nature that some viewers may find disturbing and unsuitable for “children”……
http://www.youtube.com/watch?v=MIN8Cm5rYXY
http://www.youtube-nocookie.com/v/Abk44swuaro?version=3&hl=en_US
———————————————————————–
– history time
* overall differences and similariries among
– Earth as a recipient of sexual human activity comperatively to the way Stelack extends his body by applying either mechanical extentions (which they actually duplicaste the hands ability…….or applyng mechanical parts that corresponds to a space enviroment like a mars’s nocturnal enviroment.
–
DIGITAL WORKS AND PERFORMANCE- Stelarc-exoskeleton- digital extention of the human body
http://www.youtube-nocookie.com/v/R2MntBUwUxY?version=3&hl=en_US
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i
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«επιτελεστικές εν-καταστάσεις»
(«performative in-stallations») Επιτελέσεις που καταλήγουν σε έργα τέχνης –εγκαταστάσεις. Εγκαίνια 9 Μαΐου 2013 στις 19.00
Ημερομηνίες για τις επιτελέσεις: 9,10,11|05|2013 στις 19.00 & 20.00 14|05|2013 στις 19.00 Artist talks: Σάββατο 25 Μαΐου, στις 14.00 To Κέντρο Τέχνης & Πολιτισμού Beton7, παρουσιάζει από 9 – 30 Μαΐου 2013 επιτελέσεις που καταλήγουν σε έργα τέχνης – εγκαταστάσεις του Δημοσθένη Αγραφιώτη. Οι επιτελέσεις (performances) έχουν χαρακτήρα συμμετοχικό, δηλαδή, απαιτούν την ενεργό συμβολή των ‘θεατών’. Το τελικό αποτέλεσμα συγκροτεί την έκθεση των παραχθέντων υλικών συνθεμάτων.
Στην όλη διαδικασία συνδράμουν οι: Αντρέας Πασιάς, Θοδωρής Παπαθεοδώρου και Απόστολος Πλαχούρης. Η επιτέλεση (performance) ως ανταλλαγή ενέργειας ανάμεσα στο σώμα του καλλιτέχνη και τα σώματα των συμμετεχόντων μπορεί να καταλήξει στη διαμόρφωση τέχνεργων, αντικειμένων, εικόνων, ήχων. Σύμφωνα μ αυτή την εκδοχή της επιτέλεσης, το παραγόμενο σύνολο θα μπορούσε να διεκδικήσει την υπόσταση του ‘έργου τέχνης’, ‘αισθητικού αντικειμένου’, ή ‘εγκατάστασης’ (installation); Με μιαν άλλη έκφραση, η επιτέλεση θα μπορούσε να έχει διπλό ρόλο: (i) να αποτελέσει αυτόνομη καλλιτεχνική διαδικασία, (ii) να λειτουργήσει ως μηχανισμός παραγωγής καλλιτεχνημάτων; ΕΠΤΑ ΕΠΙΤΕΛΕΣΕΙΣ Ο Δημοσθένης Αγραφιώτης είναι ποιητής, εικαστικός καλλιτέχνης διαμέσων (ζωγραφική, φωτογραφική, διαμέσα/intermedia, performance/επιτέλεση, εγκαταστάσεις). Συγγραφέας βιβλίων με δοκίμια και επιστημονικά άρθρα για την τέχνη, την επιστήμη/τεχνολογία, υγεία ως κοινωνικο-πολιτιστικά φαινόμενα και τη νεοτερικότητα. Ατομικές και συλλογικές εκθέσεις ζωγραφικής, φωτογραφικής και οπτικής/εικονοσχηματικής ποίησης στην Ελλάδα και στο εξωτερικό. Συμμετοχές σε εκδόσεις, κοινωνικο-πολιτιστικές εκδηλώσεις, ταχυδρομική τέχνη, πολυμέσα και διαμέσα, εγκαταστάσεις (ιnstallations) επιτελέσεις (performances), “εναλλακτικές” καλλιτεχνικές δραστηριότητες. Ειδικό ενδιαφέρον για τις συζεύξεις τέχνης και νέων τεχνολογιών – τεχνοεπιστήμης. Έκδοση φυλλαδίου τέχνης ‘Κλίναμεν’ (1980-90) περιοδικού «Κλίναμεν» (Εκδ. Ερατώ, 1990-94) και παραγωγή βιβλίων – καλλιτεχνημάτων (artists books) ‘Κλίναμεν’. ‘Κλίναμεν’ ηλεκτρονικό (2001-). LINKS |
15 Απριλίου 2013
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| .bw | country-code | University of Botswana | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .by | country-code | Reliable Software Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .bz | country-code | University of Belize | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ca | country-code | Canadian Internet Registration Authority (CIRA) Autorite Canadienne pour les Enregistrements Internet (ACEI) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cat | sponsored | Fundacio puntCAT | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cc | country-code | eNIC Cocos (Keeling) Islands Pty. Ltd. d/b/a Island Internet Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cd | country-code | Office Congolais des Postes et Télécommunications – OCPT | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cf | country-code | Societe Centrafricaine de Telecommunications (SOCATEL) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cg | country-code | ONPT Congo and Interpoint Switzerland | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ch | country-code | SWITCH The Swiss Education & Research Network | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ci | country-code | INP-HB Institut National Polytechnique Felix Houphouet Boigny | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ck | country-code | Telecom Cook Islands Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cl | country-code | NIC Chile (University of Chile) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cm | country-code | Cameroon Telecommunications (CAMTEL) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cn | country-code | Computer Network Information Center, Chinese Academy of Sciences | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .co | country-code | .CO Internet S.A.S. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .com | generic | VeriSign Global Registry Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .coop | sponsored | DotCooperation LLC | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cr | country-code | National Academy of Sciences Academia Nacional de Ciencias | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cu | country-code | CENIAInternet Industria y San Jose Capitolio Nacional | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cv | country-code | Agência Nacional das Comunicações (ANAC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cw | country-code | University of the Netherlands Antilles | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cx | country-code | Christmas Island Internet Administration Limited | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cy | country-code | University of Cyprus | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .cz | country-code | CZ.NIC, z.s.p.o | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .de | country-code | DENIC eG | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .dj | country-code | Djibouti Telecom S.A | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .dk | country-code | Dansk Internet Forum | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .dm | country-code | DotDM Corporation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .do | country-code | Pontificia Universidad Catolica Madre y Maestra Recinto Santo Tomas de Aquino | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .dz | country-code | CERIST | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ec | country-code | NIC.EC (NICEC) S.A. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .edu | sponsored | EDUCAUSE | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ee | country-code | National Institute of Chemical Physics and Biophysics | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .eg | country-code | Egyptian Universities Network (EUN) Supreme Council of Universities | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .eh | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .er | country-code | Eritrea Telecommunication Services Corporation (EriTel) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .es | country-code | Red.es | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .et | country-code | Ethio telecom | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .eu | country-code | EURid vzw/asbl | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .fi | country-code | Finnish Communications Regulatory Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .fj | country-code | The University of the South Pacific IT Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .fk | country-code | Falkland Islands Government | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .fm | country-code | FSM Telecommunications Corporation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .fo | country-code | FO Council | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .fr | country-code | AFNIC (NIC France) – Immeuble International | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ga | country-code | Gabon Telecom | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gb | country-code | Reserved Domain – IANA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gd | country-code | The National Telecommunications Regulatory Commission (NTRC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ge | country-code | Caucasus Online | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gf | country-code | Net Plus | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gg | country-code | Island Networks Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gh | country-code | Network Computer Systems Limited | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gi | country-code | Sapphire Networks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gl | country-code | TELE Greenland A/S | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gm | country-code | GM-NIC | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gn | country-code | Centre National des Sciences Halieutiques de Boussoura | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gov | sponsored | General Services Administration Attn: QTDC, 2E08 (.gov Domain Registration) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gp | country-code | Networking Technologies Group | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gq | country-code | GETESA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gr | country-code | ICS-FORTH GR | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gs | country-code | Government of South Georgia and South Sandwich Islands (GSGSSI) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gt | country-code | Universidad del Valle de Guatemala | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gu | country-code | University of Guam Computer Center | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gw | country-code | Fundação IT & MEDIA Universidade de Bissao | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .gy | country-code | University of Guyana | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .hk | country-code | Hong Kong Internet Registration Corporation Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .hm | country-code | HM Domain Registry | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .hn | country-code | Red de Desarrollo Sostenible Honduras | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .hr | country-code | CARNet – Croatian Academic and Research Network | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ht | country-code | Consortium FDS/RDDH | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .hu | country-code | Council of Hungarian Internet Providers (CHIP) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .id | country-code | IDNIC-PPAU Mikroelektronika | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ie | country-code | University College Dublin Computing Services Computer Centre | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .il | country-code | Internet Society of Israel | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .im | country-code | Isle of Man Government | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .in | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .info | generic | Afilias Limited | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .int | sponsored | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .io | country-code | IO Top Level Domain Registry Cable and Wireless | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .iq | country-code | Communications and Media Commission (CMC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ir | country-code | Institute for Research in Fundamental Sciences | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .is | country-code | ISNIC – Internet Iceland ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .it | country-code | IIT – CNR | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .je | country-code | Island Networks (Jersey) Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .jm | country-code | University of West Indies | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .jo | country-code | National Information Technology Center (NITC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .jobs | sponsored | Employ Media LLC | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .jp | country-code | Japan Registry Services Co., Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ke | country-code | Kenya Network Information Center (KeNIC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kg | country-code | AsiaInfo Telecommunication Enterprise | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kh | country-code | Ministry of Post and Telecommunications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ki | country-code | Ministry of Communications, Transport, and Tourism Development | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .km | country-code | Comores Telecom | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kn | country-code | Ministry of Finance, Sustainable Development Information & Technology | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kp | country-code | Star Joint Venture Company | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kr | country-code | Korea Internet & Security Agency (KISA) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kw | country-code | Ministry of Communications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ky | country-code | The Information and Communications Technology Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .kz | country-code | Association of IT Companies of Kazakhstan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .la | country-code | Lao National Internet Committee (LANIC), Ministry of Posts and Telecommunications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lb | country-code | American University of Beirut Computing and Networking Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lc | country-code | University of Puerto Rico | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .li | country-code | Universitaet Liechtenstein | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lk | country-code | Council for Information Technology LK Domain Registrar | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lr | country-code | Data Technology Solutions, Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ls | country-code | National University of Lesotho | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lt | country-code | Kaunas University of Technology Information Technology Development Institute | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lu | country-code | RESTENA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .lv | country-code | University of Latvia Institute of Mathematics and Computer Science Department of Network Solutions (DNS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ly | country-code | General Post and Telecommunication Company | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ma | country-code | Agence Nationale de Réglementation des Télécommunications (ANRT) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mc | country-code | Gouvernement de Monaco Direction des Communications Electroniques | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .md | country-code | MoldData S.E. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .me | country-code | Government of Montenegro | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mf | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mg | country-code | NIC-MG (Network Information Center Madagascar) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mh | country-code | Cabinet Office | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mil | sponsored | DoD Network Information Center | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mk | country-code | Ministry of Foreign Affairs | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ml | country-code | Agence des Technologies de l’Information et de la Communication | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mm | country-code | Ministry of Communications, Posts & Telegraphs | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mn | country-code | Datacom Co., Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mo | country-code | Bureau of Telecommunications Regulation (DSRT) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mobi | sponsored | Afilias Technologies Limited dba dotMobi | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mp | country-code | Saipan Datacom, Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mq | country-code | MEDIASERV | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mr | country-code | University of Nouakchott | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ms | country-code | MNI Networks Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mt | country-code | NIC (Malta) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mu | country-code | Internet Direct Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .museum | sponsored | Museum Domain Management Association | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mv | country-code | Dhiraagu Pvt. Ltd. (DHIVEHINET) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mw | country-code | Malawi Sustainable Development Network Programme (Malawi SDNP) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mx | country-code | NIC-Mexico ITESM – Campus Monterrey | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .my | country-code | MYNIC Berhad | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .mz | country-code | Centro de Informatica de Universidade Eduardo Mondlane | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .na | country-code | Namibian Network Information Center | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .name | generic-restricted | VeriSign Information Services, Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .nc | country-code | Office des Postes et Telecommunications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ne | country-code | SONITEL | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .net | generic | VeriSign Global Registry Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .nf | country-code | Norfolk Island Data Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ng | country-code | Nigeria Internet Registration Association | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ni | country-code | Universidad Nacional del Ingernieria Centro de Computo | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .nl | country-code | SIDN (Stichting Internet Domeinregistratie Nederland) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .no | country-code | UNINETT Norid A/S | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .np | country-code | Mercantile Communications Pvt. Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .nr | country-code | CENPAC NET | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .nu | country-code | The IUSN Foundation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .nz | country-code | InternetNZ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .om | country-code | Telecommunications Regulatory Authority (TRA) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .org | generic | Public Interest Registry (PIR) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pa | country-code | Universidad Tecnologica de Panama | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pe | country-code | Red Cientifica Peruana | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pf | country-code | Gouvernement de la Polynésie française | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pg | country-code | PNG DNS Administration Vice Chancellors Office The Papua New Guinea University of Technology | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ph | country-code | PH Domain Foundation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pk | country-code | PKNIC | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pl | country-code | Research and Academic Computer Network | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pm | country-code | AFNIC (NIC France) – Immeuble International | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pn | country-code | Pitcairn Island Administration | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .post | sponsored | Universal Postal Union | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pr | country-code | Gauss Research Laboratory Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pro | generic-restricted | Registry Services Corporation dba RegistryPro | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ps | country-code | Ministry Of Telecommunications & Information Technology, Government Computer Center. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pt | country-code | Fundação para a Computação Científica Nacional | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .pw | country-code | Micronesia Investment and Development Corporation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .py | country-code | NIC-PY | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .qa | country-code | The Supreme Council of Information and Communication Technology (ictQATAR) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .re | country-code | AFNIC (NIC France) – Immeuble International | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ro | country-code | National Institute for R&D in Informatics | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .rs | country-code | Serbian National Register of Internet Domain Names (RNIDS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ru | country-code | Coordination Center for TLD RU | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .rw | country-code | Rwanda Information Communication and Technology Association (RICTA) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sa | country-code | Communications and Information Technology Commission | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sb | country-code | Solomon Telekom Company Limited | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sc | country-code | VCS Pty Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sd | country-code | Sudan Internet Society | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .se | country-code | The Internet Infrastructure Foundation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sg | country-code | Singapore Network Information Centre (SGNIC) Pte Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sh | country-code | Government of St. Helena | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .si | country-code | Academic and Research Network of Slovenia (ARNES) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sj | country-code | UNINETT Norid A/S | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sk | country-code | SK-NIC, a.s. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sl | country-code | Sierratel | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sm | country-code | Telecom Italia San Marino S.p.A. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sn | country-code | Universite Cheikh Anta Diop NIC Senegal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .so | country-code | Ministry of Post and Telecommunications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sr | country-code | Telesur | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ss | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .st | country-code | Tecnisys | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .su | country-code | Russian Institute for Development of Public Networks (ROSNIIROS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sv | country-code | SVNet | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sx | country-code | SX Registry SA B.V. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sy | country-code | National Agency for Network Services (NANS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .sz | country-code | University of Swaziland Department of Computer Science | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tc | country-code | Melrex TC | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .td | country-code | Société des télécommunications du Tchad (SOTEL TCHAD) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tel | sponsored | Telnic Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tf | country-code | AFNIC (NIC France) – Immeuble International | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tg | country-code | Cafe Informatique et Telecommunications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .th | country-code | Thai Network Information Center Foundation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tj | country-code | Information Technology Center | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tk | country-code | Telecommunication Tokelau Corporation (Teletok) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tl | country-code | Ministry of Infrastructure Information and Technology Division | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tm | country-code | TM Domain Registry Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tn | country-code | Agence Tunisienne d’Internet | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .to | country-code | Government of the Kingdom of Tonga H.R.H. Crown Prince Tupouto’a c/o Consulate of Tonga | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tp | country-code | – | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tr | country-code | Middle East Technical University Department of Computer Engineering | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .travel | sponsored | Tralliance Registry Management Company, LLC. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tt | country-code | University of the West Indies Faculty of Engineering | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tv | country-code | Ministry of Finance and Tourism | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tw | country-code | Taiwan Network Information Center (TWNIC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .tz | country-code | Tanzania Network Information Centre (tzNIC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ua | country-code | Communication Systems Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ug | country-code | Uganda Online Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .uk | country-code | Nominet UK | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .um | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .us | country-code | NeuStar, Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .uy | country-code | SeCIU – Universidad de la Republica | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .uz | country-code | Computerization and Information Technologies Developing Center UZINFOCOM | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .va | country-code | Holy See Secretariat of State Department of Telecommunications | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .vc | country-code | Ministry of Telecommunications, Science, Technology and Industry | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ve | country-code | Comisión Nacional de Telecomunicaciones (CONATEL) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .vg | country-code | Pinebrook Developments Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .vi | country-code | Virgin Islands Public Telcommunications System c/o COBEX Internet Services | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .vn | country-code | Ministry of Information and Communications of Socialist Republic of Viet Nam | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .vu | country-code | Telecom Vanuatu Limited | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .wf | country-code | AFNIC (NIC France) – Immeuble International | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ws | country-code | Government of Samoa Ministry of Foreign Affairs & Trade | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .测试 | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .परीक्षा | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .한국 | country-code | KISA (Korea Internet & Security Agency) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ভারত | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .বাংলা | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .испытание | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .қаз | country-code | Association of IT Companies of Kazakhstan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .срб | country-code | Serbian National Register of Internet Domain Names (RNIDS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .테스트 | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .சிங்கப்பூர் | country-code | Singapore Network Information Centre (SGNIC) Pte Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .טעסט | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .中国 | country-code | China Internet Network Information Center | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .中國 | country-code | China Internet Network Information Center | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .భారత్ | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ලංකා | country-code | LK Domain Registry | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .測試 | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ભારત | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .भारत | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .آزمایشی | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .பரிட்சை | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .укр | country-code | Ukrainian Network Information Centre (UANIC), Inc. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .香港 | country-code | Hong Kong Internet Registration Corporation Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .δοκιμή | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .إختبار | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .台湾 | country-code | Taiwan Network Information Center (TWNIC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .台灣 | country-code | Taiwan Network Information Center (TWNIC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .мон | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .الجزائر | country-code | CERIST | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .عمان | country-code | Telecommunications Regulatory Authority (TRA) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ایران | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .امارات | country-code | Telecommunications Regulatory Authority (TRA) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .پاکستان | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .الاردن | country-code | National Information Technology Center (NITC) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .بھارت | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .المغرب | country-code | Agence Nationale de Réglementation des Télécommunications (ANRT) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .السعودية | country-code | Communications and Information Technology Commission | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .سودان | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .مليسيا | country-code | MYNIC Berhad | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .გე | country-code | Not assigned | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ไทย | country-code | Thai Network Information Center Foundation | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .سورية | country-code | National Agency for Network Services (NANS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .рф | country-code | Coordination Center for TLD RU | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .تونس | country-code | Agence Tunisienne d’Internet | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ਭਾਰਤ | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .مصر | country-code | National Telecommunication Regulatory Authority – NTRA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .قطر | country-code | Supreme Council for Communications and Information Technology (ictQATAR) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .இலங்கை | country-code | LK Domain Registry | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .இந்தியா | country-code | National Internet Exchange of India | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .新加坡 | country-code | Singapore Network Information Centre (SGNIC) Pte Ltd | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .فلسطين | country-code | Ministry of Telecom & Information Technology (MTIT) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .テスト | test | Internet Assigned Numbers Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .xxx | sponsored | ICM Registry LLC | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .ye | country-code | TeleYemen | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .yt | country-code | AFNIC (NIC France) – Immeuble International | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .za | country-code | ZA Domain Name Authority | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .zm | country-code | ZAMNET Communication Systems Ltd. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| .zw | country-code | Postal and Telecommunications Regulatory Authority of Zimbabwe (POTRAZ) from wiki List of programming languagesFrom Wikipedia, the free encyclopedia
The aim of this list of programming languages is to include all notable programming languages in existence, both those in current use and historical ones, in alphabetical order, except for dialects of BASIC and esoteric programming languages.
[edit]A[edit]B
[edit]C
[edit]D[edit]E[edit]F[edit]G[edit]H[edit]I[edit]J[edit]K[edit]L[edit]M
[edit]N
[edit]O[edit]P
[edit]Q[edit]R[edit]S[edit]T[edit]U[edit]V[edit]W[edit]X[edit]Y[edit]Z |
Number object’s properties to assign values to several numeric variables:var biggestNum = Number.MAX_VALUE;var smallestNum = Number.MIN_VALUE;var infiniteNum = Number.POSITIVE_INFINITY;var negInfiniteNum = Number.NEGATIVE_INFINITY;var notANum = Number.NaN;
The following example converts the Date object to a numerical value using Number as a function:var d = new Date("December 17, 1995 03:24:00");print(Number(d));// printThis displays "819199440000".
MAX_VALUE-MAX_VALUE.MIN_VALUE-MIN_VALUE.NaNNEGATIVE_INFINITYPOSITIVE_INFINITYprototype|
|
s1 = "2 + 2"; // creates a string primitives2 = new String("2 + 2"); // creates a String objectconsole.log(eval(s1)); // returns the number 4console.log(eval(s2)); // returns the string "2 + 2" |
String generic methods
Array methods.var num = 15;alert(String.replace(num, /5/, '2'));
/*globals define*/// Assumes all supplied String instance methods already present (one may use shims for these if not available)(function () { 'use strict'; var i, // We could also build the array of methods with the following, but the // getOwnPropertyNames() method is non-shimable: // Object.getOwnPropertyNames(String).filter(function (methodName) {return typeof String[methodName] === 'function'}); methods = [ 'quote', 'substring', 'toLowerCase', 'toUpperCase', 'charAt', 'charCodeAt', 'indexOf', 'lastIndexOf', 'startsWith', 'endsWith', 'trim', 'trimLeft', 'trimRight', 'toLocaleLowerCase', 'toLocaleUpperCase', 'localeCompare', 'match', 'search', 'replace', 'split', 'substr', 'concat', 'slice', 'fromCharCode' ], methodCount = methods.length, assignStringGeneric = function (methodName) { var method = String.prototype[methodName]; String[methodName] = function (arg1) { return method.apply(arg1, Array.prototype.slice.call(arguments, 1)); }; }; for (i = 0; i < methodCount; i++) { assignStringGeneric(methods[i]); }}());
string instances-methods- non-native methods
uowm2013-1lesson-javascript lanqauge code
// explanations about i frme -examples 14years old Nyegen Phong,
-change the gameHeight and gameWidth variables
-change the height and width attributes
iframe.game class, in the style of the index page
//asigning variables
var gameHeight = 320
var gameWidth = 360
var intervalOne,intervalTwo,timeoutOne,x
var angle = 2
var tempX = 0
var tempY = 0
var block = 1
var square = 0
var squareTop = 0
var squareLeft = 0
var squareMotion = 1
var speed = 80
var getPad = 0
var nextScore = 0
var score = 0
var count = 0
var collisionOne = 0
var collisionTwo = 0
var collisionThree = 0
document.body.style.margin = “0px”
document.body.style.padding = “0px”
function setupGame() // about fuctions, doc., pad L.T,R,…
{
document.getElementById(“game”).style.borderRight = “1px solid #aaa”
document.getElementById(“game”).style.borderRight = “1px solid #aaa”
document.getElementById(“game”).style.borderBottom = “1px solid #aaa”
document.getElementById(“game”).style.width = gameWidth+”px”
document.getElementById(“game”).style.height = gameHeight+”px”
document.getElementById(“square0”).style.position = “absolute”
document.getElementById(“square0”).style.width = “40px”
document.getElementById(“square0”).style.height = “40px”
document.getElementById(“square0”).style.backgroundColor = “#444”
document.getElementById(“square0”).style.display = “none”
document.getElementById(“square1”).style.position = “absolute”
document.getElementById(“square1”).style.width = “40px”
document.getElementById(“square1”).style.height = “40px”
document.getElementById(“square1”).style.backgroundColor = “#444”
document.getElementById(“square1”).style.display = “none”
document.getElementById(“pad”).style.position = “absolute”
document.getElementById(“pad”).style.width = “60px”
document.getElementById(“pad”).style.height = “30px”
document.getElementById(“pad”).style.paddingTop = “10px”
document.getElementById(“pad”).style.textAlign = “center”
document.getElementById(“pad”).style.font = “15px Verdana, sans-serif”
document.getElementById(“pad”).style.backgroundColor = “#000”
document.getElementById(“pad”).style.color = “#fff”
document.getElementById(“pad”).innerHTML = “PLAY“
document.getElementById(“play”).style.color = “#fff”
document.getElementById(“play”).style.textDecoration = “none”
padTop = Math.floor(gameHeight/2)-20
padLeft = Math.floor(gameWidth/2)-30
document.getElementById(“pad”).style.top = padTop+”px”
document.getElementById(“pad”).style.left = padLeft+”px”
document.getElementById(“notepad”).innerHTML = “BounceGame”
document.getElementById(“notepad”).style.padding = “10px”
document.getElementById(“notepad”).style.textAlign = “center”
document.getElementById(“notepad”).style.font = “2.0em Georgia, serif”
document.getElementById(“notepad”).style.fontWeight = “normal”
document.getElementById(“notepad”).style.color = “#222”
timeoutOne = setTimeout(“intervalTwo = setInterval(‘demoGame()’, speed)”, 4000)
}
function demoGame()
{
angle = 2
clearTimeout(timeoutOne)
document.getElementById(“square0”).style.display = “block”
document.getElementById(“square1”).style.display = “block”
if(square == 0)
{
x = document.getElementById(“square0”)
square = 1
}
else
{
x = document.getElementById(“square1”)
square = 0
}
bounceGame()
}
function newGame()
{
block = 0
angle = 2
tempX = 0
tempY = 0
square = 0
squareTop = 0
squareLeft = 0
squareMotion = 1
nextScore = 0
score = 0
count = 0
collisionOne = 0
collisionTwo = 0
collisionThree = 0
clearTimeout(timeoutOne)
clearInterval(intervalOne)
clearInterval(intervalTwo)
document.getElementById(“square0”).style.left = “0px”
document.getElementById(“square0”).style.top = “0px”
document.getElementById(“square0”).style.display = “block”
document.getElementById(“square1”).style.left = “0px”
document.getElementById(“square1”).style.top = “0px”
document.getElementById(“square1”).style.display = “block”
document.getElementById(“pad”).style.top = (gameHeight-40)+”px”
document.getElementById(“pad”).innerHTML = “”
document.getElementById(“notepad”).innerHTML = “”
intervalOne = setInterval(“playGame()”, speed)
}
function playGame()
{
if(block)
{
return
}
if(square == 0)
{
x = document.getElementById(“square0”)
square = 1
}
else
{
x = document.getElementById(“square1”)
square = 0
}
bounceGame()
checkCollision()
}
function assignM(aM)
{
squareMotion = aM
}
function bounceGame()
{
if(squareMotion==1)
{
if(squareTop>=(gameHeight-40) && squareLeft>=(gameWidth-40))
{
assignM(3)
moveDR(-40)
}
if(squareTop>=(gameHeight-40))
{
assignM(2)
moveDL(-40)
}
else if(squareLeft>=(gameWidth-40))
{
assignM(4)
moveDL(40)
}
else {
moveDR(40)
}
}
else if(squareMotion==2)
{
if(squareTop=(gameWidth-40))
{
assignM(4)
moveDL(40)
}
if(squareLeft>=(gameWidth-40))
{
assignM(3)
moveDR(-40)
}
else if(squareTop<=0)
{
assignM(1)
moveDR(40)
}
else
{
moveDL(-40)
}
}
else if(squareMotion==3)
{
if(squareTop<=0 && squareLeft<=0)
{
assignM(1)
moveDR(40)
}
if(squareTop<=0)
{
assignM(4)
moveDL(40)
}
else if(squareLeft<=0)
{
assignM(2)
moveDL(-40)
}
else
{
moveDR(-40)
}
}
else if(squareMotion==4)
{
if(squareTop>=(gameHeight-40) && squareLeft<=0)
{
assignM(2)
moveDL(-40)
}
if(squareLeft<=0)
{
assignM(1)
moveDR(40)
}
else if(squareTop>=(gameHeight-40))
{
assignM(3)
moveDR(-40)
}
else
{
moveDL(40)
}
}
}
function moveDR(amount)
{
save = amount
amount = Math.floor(amount/angle)
if(angle == 0)
{
amount = 0
}
squareLeft += amount
x.style.left = squareLeft+”px”
squareTop += save
x.style.top = squareTop+”px”
}
function moveDL(amount)
{
save = amount
amount = Math.floor(amount/angle)
if(angle == 0)
{
amount = 0
}
squareLeft -= amount
x.style.left = squareLeft+”px”
squareTop += save
x.style.top = squareTop+”px”
}
function assignAngle(aa)
{
if(aa==1)
{
angle = 0
nextScore = 1000
}
if(aa==2)
{
angle = 2
nextScore = 100
}
score += nextScore
document.getElementById(“pad”).innerHTML = nextScore
}
function flashScore()
{
if(score > 0)
{
if(nextScore == “BounceGame”)
{
nextScore = score
}
else
{
nextScore = “BounceGame”
}
document.getElementById(“notepad”).innerHTML = nextScore
}
else
{
document.getElementById(“notepad”).innerHTML = “BounceGame”
}
}
function countUp()
{
if(count < (Math.floor(score/10)*8))
{
count += Math.floor(score/10)
}
else if(count >= (Math.floor(score/10)*8) && count <= (Math.floor(score/10)*9))
{
if((Math.floor(score/10)*9) > 200)
{
count += Math.floor(score/10)
}
else
{
count += 10
}
}
else
{
if(Math.floor(score/10) > 30)
{
count += 10
}
else
{
count += 1
}
}
if(count > score)
{
count = score
clearInterval(intervalOne)
intervalOne = setInterval(“flashScore()”, 2000)
}
document.getElementById(“notepad”).innerHTML = count
}
function checkCollision()
{
var actualLeft = getPad-30
if(squareTop == 0)
{
document.getElementById(“pad”).innerHTML = “”
}
if((squareTop+40)==(gameHeight-40))
{
difference = Math.floor(squareLeft-actualLeft)
if(difference>=(-39)&&difference<4)
{
collisionOne++
collisionTwo = 0
collisionThree = 0
if(collisionOne > 3)
{
assignM(Math.floor(Math.random() * 2) + 2)
}
else
{
assignM(3)
}
assignAngle(2)
}
else if(difference>=5&&difference<15)
{
collisionOne = 0
collisionTwo++
collisionThree = 0
if(collisionTwo > 3)
{
assignM(Math.floor(Math.random() * 2) + 2)
assignAngle(2)
}
else
{
assignM(3)
assignAngle(1)
}
}
else if(difference>=15&&difference<59)
{
collisionOne = 0
collisionTwo = 0
collisionThree++
if(collisionThree > 3)
{
assignM(Math.floor(Math.random() * 2) + 2) // examples by math creativity-flash creativity paul-
}
else
{
assignM(2)
}
assignAngle(2)
}
}
else if((squareTop+40)==gameHeight)
{
block = 1
clearInterval(intervalOne)
setupGame()
intervalOne = setInterval(“countUp()”, speed)
}
}
function getMouseXY(e)
{
if(navigator.appName==”Netscape”)
{
tempX = e.pageX
tempY = e.pageY
}
else
{
tempX = event.clientX + document.body.scrollLeft
tempY = event.clientY + document.body.scrollTop
}
if(tempX < 0)
{
tempX = 0
}
getPad = tempX
if(getPad <= 30)
{
getPad = 30
}
if((getPad-30) > Math.floor(gameWidth-60))
{
getPad = Math.floor(gameWidth-60)+30
}
if(!block)
{
document.getElementById(“pad”).style.left = (getPad-30)+”px”
}
}
document.onmousemove = getMouseXY
setupGame()
13 Απριλίου 2013
EXPERIENCING SPACE:
OLAFUR ELIASSON
By Joachim Bessing
OLAFUR ELIASSON: That’d be my breakdancing. In 1984, I was completely convinced it was art. Today, I doubt that. But my belief back then that it was art wasn’t bad in terms of the performative aspect. That’s what made it, you might say, truly wild. For a teenager, it meant no limits. My father was an artist, after all. Doesn’t get any more banal, actually.
Yes. And sculpted. Photographed a lot. A lot. Very early on, I started taking art lessons from him on top of my school work. Pretty kitschy. When I was a teenager, I thought, “I’ll dance, since that’s art, too – in principle, it’s all the same.” But you have to realize that breakdance in Denmark had absolutely nothing to do with breakdance in America; nor subcultures, nor anything else. It was a trend, like roller-skating. But there was more in it for us.
I was a model for a Scandinavian youth magazine that published a breakdancing course. It was me and a group of about twenty dancers. I won the Scandinavian championship in breakdancing two years in a row.
Yes, wild. It was hardcore, too. I’ve got some pretty funny photos from this period. Where I’m looking all serious with my striped sunglasses …
White gloves. At some point I had to do something with all that. In Asia, they were able to come up with unbelievably beautiful forms of breakdancing. In Korea. Fantastic! Breakdance is one of those things I get interested in and then, of course, I find it extraordinarily … good!
Even when I began studying, I dealt with questions related to gestalt psychology. I wasn’t interested in the theme of space and time, not in any architectonic sense, but more from its inner aspects: Where does a person find himself when he finds himself in a room? What’s actually going on between the subject and the space – and how much of that is happening in his space, his perception? The question of the position of the subject within his space has become the theme of my artistic work.
My projects require an extremely long process before they’re completed, before I’ve taken a problem and, while not exactly solving it, have given it representation. Usually I go through a series of small lab experiments and tests with models on a table. Usually with light. That’s the major part of the work here in the studio. Experimenting, testing – playing, basically. At the same time, though, always keeping the same question in mind: What effect will this attempt have in a room full of visitors? Usually this experiment is then digitized in order to create spatial plans and models. With these, I can recognize problems that are difficult to discover during the small series of experiments. But then I need a third phase in which I have to build a 1:1 model in the workshop in order to take care of any remaining errors. Sometimes, too, you find out it simply doesn’t work, and then, the whole project dies. But if everything’s working, the project goes to a stress analyst who plots it out so that it can be actually constructed. For each one of these steps, I need assistants, since I don’t actually know much about all this myself. I’ve discovered that I’m able to think more precisely when I’m talking with my assistants. And that I also find it more inspiring to work with several people. I barely have any craftsman’s skills myself. I can’t draw digitally at all. Sometimes I’ll perform a lab experiment myself, but since we have to build models, develop lamps, etc.; I need specialists who understand these techniques. That’s why I have a main team of seven people – among them, an architect, a stress analyst, workshop manager, the office. Myself, I’d rather not have anything to do with logistics and the office. So that there’s more time for the art, you could say. Since my works have to be integrated into the spaces where they’re exhibited, it’d be difficult to delegate this logistical work to a gallerist. Other artists do, but for me, that’s just not possible. I’ve taken on the execution myself, but at the same time, I’ve hired the appropriate people for that as well. So, in the end, there are ten people working for me. The number varies, of course, with how much work I get.
This principle isn’t new; you can find it with the Minimalists, with the ready-made artists and, of course, in Pop Art. In my case, it’s obvious that a lot of people are working on my art, but I think it’s often the case. In Germany, there’s a definite interest in a subjective art. It’s an artistic direction in which work of very high quality is being produced here as well. Maybe that’s why this idea that the artist has to be a great creator – and alone – is so dominant in Germany.
Yes, a genius. I don’t have a problem with that. The concept of a genius doesn’t represent a polar opposite to mine. It’s just something different. The field of art – seen spatially – is so unbelievably far and wide … it’s like talking about food: the butcher is not the opposite of a baker, or the other way around. But since there are more artists in Germany who go for this genius concept, my means of working seems to be the exception. But I don’t know if an artist like Andreas Gursky doesn’t also work with assistants.
Even so, I don’t have the feeling that my means of working are special or “different.” It remains me who presents the problem and makes the decisions. And I have to say very clearly that my studio is neither a co-op nor a collective. It’s very clear that my assistants have been hired by me to perform their services for me. From the very beginning, I’ve been interested in the tradition of working with space. So I was lucky to find a mathematician in Einar Thorsteinn who had studied as an architect with Frei Otto. In the ’60s, he took part in the work on the Olympic Stadium in Munich. In the ’70s, he met Buckminster Fuller and he knows about crystallography. I was very taken up with all that at the time as well: Frei Otto, the utopias. In the early ’90s, I was very interested in Buckminster Fuller and, at the time, wanted to build a geodesic structure, but couldn’t. I looked around and met Einar Thorsteinn. He drew a sketch for me and we started working together. He was living in Iceland and was out of work. In 1997, he married a German woman and moved to Berlin. I’ve had him working in my studio ever since. He’s able to conceptualize a multi-dimensional space and create a model of it. It’s about understanding the existing space in some way so that we can understand that it exists not on a foundation of truths but on a foundation of ideologies and construction. I see the spaces that I create as a discussion of previously existing spatial principles. These discussions take place between a person, the user, and an open space. Without the user, all that’s there is material – and no space. I’m not presenting any sort of utopias, but rather, simply the possibility of how the space in front of my nose might be seen differently.
Before I build a model in my studio, or have one built, I enter into some form of dialogue with the exhibition location. An architectural model is created. Research is begun. In the process of these considerations, the ideas and the problems arise and the models come out of that. Then, for the project, I look for various solutions. In principle, this is completely classical. A presentation on location follows. I present three or four proposals. Further development of the project then takes place in a dialogue with the appropriate people at the location. Sometimes we also work on projects that aren’t commissioned; on principle things. For example, I had a series of experiments here about the “blind spot” in the human eye – to see if we might be able to make a small work that I’d installed on the dining table “disappear” from a particular angle. It worked, and that’s where the idea came from for an exhibit organized such that, during its course, all the works would appear from the blind spot in the users’ eyes – but what came out of it was that the consciousness of what is in a room is not regulated by eyesight alone. Even if you can’t actually see the work, you nevertheless think you’ve seen it. These are the kinds of little experiments I perform. I came up with the ideas for these principle experiments while out walking: How long is a kilometer? How fast am I walking? How long does an hour last? The ways I estimated all this turned out to be entirely different on the first day of my walking than on the third day or after a week. To ask how big a car is or how small; how we place our bodies in relation to the things in a room and so on. From this came my discussion of what a subject is and what an object is. And does a subject, in the classical sense allow itself to be defined with an object as a single unit and to be viewed as a productive experience? At the same time, this productivity in its functional sense always means a juxtaposition between two separate entities, and accordingly, the folding of both entities into each other would be an “unproductive” relationship. Seen phenomenologically, the subject does not produce the object exclusively – the chair is still in the room when we aren’t present. But the chair is not existent when the subject is “out of the world.” We are, so to say, empty. There is no truth in the chair – in the sense of “the spirit is in the wood.” At the same time, there is no ideology in us, primarily. But through the confrontation with the chair, unbelievably interesting thought processes arise during which the chair, as well as I myself, are constantly undergoing changes. This happens over time. Not in time – as if time were a shell. Here, one has to recognize time as a constant dimension. Without being mystical about it – time as sequence. In this way, the work on my models is also a sequence and the project, after it’s completed, is a model, albeit seen in a different spatial context.
Not that I don’t find the history of the Nordic peoples interesting, but it would more than likely have a negative effect on the contextualization of my art. For me, it’s more of an ethical question with which I’d direct the discussion: Which spatial conditions have a normative effect? And how can I avoid them so that a new experience can be made possible? An individualizing experience? Something that happens only within each of the users? And in all this, what’s most important to me is to clearly show that what we’re dealing with here is a construction – and not truth. In order not to repeat the mistakes the moderinsts made. How I can keep my art from allowing an aesthetic system to take form – ultimately, that’s what’s most important to me. That’s why Ican’t, as a person, be too much in the foreground. I have to keep everything open to the point that, in the end, there would even be the danger that my art would be judged by no means as art, but as design, at the most – because it all appears as if it were made by no one particularly special. My works are machines that create phenomena. The ethical problem presented here is that I should play no role in the relationship between the users and the machines.
You could put it that way. But I would also say that, in principle, our world consists of nothing. That every perception of space, or even just light, comes about on the basis of a cultural or ideological supposition. Now, there is, of course, the tendency to see the environment as natural – or as a given. But that is an understanding of things based on culturally-, religiously-, and ideologically-formed structures. The danger I see in that is the opportunity for the exercise of power over people made possible precisely through this relationship with the “world” which, in a strictly scientific sense, is mistaken. For example, the light in the room of a museum is not white. But it appears to us not only as just that – white – but also, on top of that, as natural light – for the environment of a room in a museum. But what we think of as white light would be deemed yellowish in another cultural environment. Museum light is also not sunlight; that is, by no means is it natural. By bringing the construction of their eyesight to the eyes of the users of my spaces, I also hope to be prodding them to think about what the constructs of everything else might be made of – the room, the museum itself, etc. As far as I’m concerned, then, I’m first creating an experience. But above all, I’m prompting awareness. So I create semi-totalitarian structures, if you’d like.
Oh, I’m basically open to everything. Even though I do find it increasingly problematic that museums encourage the commercialization of our ability to experience. I think it’s questionable that the potential for spectacle in an exhibit is being considered more and more, that is, what the works can do with the users rather than the works themselves.
These yellow mono-frequency lamps are a very efficient means of lighting with a minimal amount of electricity. They’re used for lighting highway tunnels or as emergency lights on ferries. The lamps beam light of an almost single frequency – the UV range is very narrow. The number of yellow receptors in our eyes’ retinas is large. That’s why the transmission of the color yellow to our brains is particularly good. We see best with yellow lighting. And worst with blue lighting. With this mono-frequency lighting from these lamps, all other colors but yellow are “removed.” But since our brains nevertheless “know” that, for example, blue jeans must be blue, they try to send messages back to the eye that it should be picking up something blue. The effects that result are interesting since we try in this light to project the seemingly missing color onto the material of the jeans – simply due to our experience that such pants need to be blue. I like to show such a room lit with a mono-frequency at the beginning of an exhibition in order to lead users to the principles of construction of their eyesight.
But one also sees better. More can be made out in a black-and-white photograph than in a color photo. The eye is far more able to separate values of grey than levels of color. That’s why a photograph by Ansel Adams seems more focused than a color photo of the same subject ever could. That’s what I also like about the Room for One Color: That, as a user, you’re given this sort of hyper-vision – from a distance of twenty meters, you can make out a liver spot; everything is immediately recognizable. Since colors are also carriers of information across the dimensions of a room, people positioned far away in a room lit with mono-frequency lamps seem flatter than usual, almost two-dimensional.
My experience is that people who spend nearly all their time in nature also value my work. I think one has to be careful that one doesn’t more or less consciously create a sort of hierarchy of which spatial conditions are better for people and which aren’t. I would not say that we could step out into nature. Approaching nature is a form of dialogue which leads, with my participation, to an image of landscape. Relationships and experiences and events can take place there that wouldn’t be possible in a city. Even so, I think you can grow up in and move around in a city and still be a “good person.” I’d rather be careful, particularly because of this long tradition of thinking, “Nature has the answer” and all that. But the problem only arises when the city tries to become nature. The modern shopping center, an extremity of the city, usually tries to present itself as nature. Such a shopping center becomes more attractive the less it appears to be a shopping center. But that doesn’t make nature better. Nature simply does nothing and the city makes a mistake
http://www.youtube-nocookie.com/v/fjzrA0GbwsQ?hl=en_US&version=3
sound vibrations- garry hill sugra – about the vibrition enviroments
http://www.youtube-nocookie.com/v/J-19YkEu5Vc?version=3&hl=en_US
http://www.youtube-nocookie.com/v/hsLxTo0bQbQ?version=3&hl=en_US
http://www.youtube-nocookie.com/embed/_P9944KOL8U?list=PL7224DAB9F1E71EDA
http://www.youtube.com/watch?v=_P9944KOL8U&list=PL7224DAB9F1E71EDA
Wednesday 24th April 2013
6.30pm-9.00pm
This month’s Cybersalon is looking at how new media have inspired new forms of activism over the past two decades and will explore the transformative possibilities of the next wave of technological innovation.
In his 1996 ‘Declaration of Independence of Cyberspace’, John Perry Barlow announced the coming of a hi-tech utopia where rugged individualists would escape from the stifling controls and onerous taxes of national governments into a borderless and deregulated virtual world. Over the past two decades, this seductive mix of hippie and entrepreneurial libertarianism codified in the Californian Ideology has dominated our understanding of the political impact of the Net. Left or Right, mainstream and alternative, mass connectivity is still celebrated as the technological antidote to the multiple failings of Westminster politics from voter apathy to out-of-touch MPs. While deep scepticism is required about the predictions of dotcom boosters, no one can deny that the rapid diffusion of social media has enabled much more participatory forms of campaigning, organising and mobilising. From the Arab Spring to the Five Star Movement in Italy, citizens have bypassed the old party structures to create their own autonomous groups. As in Athens, Madrid or New York, London’s anti-austerity protesters are tech-savvy and always on-line. In Bitcoin, hackers now believe that they have discovered a way of liberating money from the clutches of the power elite. The Net is still only a toddler, but it has already established itself as the people’s forum for political debate and decision-making. With the status-quo seemingly no longer viable, the collaborative experience of social media should now inspire an emancipatory vision of what it means to be a citizen in 21st century Europe. What are the lessons of Then and Now that we can apply confidently when we’re anticipating the future of Net Politics?
Richard Barbrook – Westminster politics lecturer and author of Imaginary Futures – will trace the evolution of dotcom neo-liberalism from the techno-utopian early-1990s to today’s more austere times.
http://www.imaginaryfutures.net
Amir Taaki – former professional gambler turned open source programmer – will explain how Bitcoin challenges the monetary hegemony of both big banks and big government.
https://www.bitcoins.org
Clare Solomon – the ex-president of ULU during the 2010 student protests who now runs the radical Firebox cafe in King’s Cross – will describe how the participatory structure of the Net is inspiring new methods and ideas of political campaigning.
http://fireboxlondon.net
Jamie Bartlett – the Head of Centre for the Analysis of Social Media at the Demos think-tank – will describe how the electoral success of the Five Star movement in Italy was achieved through the intelligent use of on-line campaigning.
http://www.demos.co.uk/people/jamiebartlett
Chair
Paolo Gerbaudo teaches at Kings College, University of London and is author of Tweets and the Streets: social media and contemporary activism.
http://www.tweetsandthestreets.org
Tunes: Wildlife Display Team.
See you there!
Entrance is free but please book on http://cybersalon.eventbrite.co.uk/
6.30pm: doors open and drinks
Discussion: 7.00 – 9.00 pm.
Followed by drinks in the pub: The Slaughtered Lamb.
Venue:
The Arts Catalyst,
50-54 Clerkenwell Road,
London EC1M 5PS
Tubes: Old St/ Barbican
Barclays Bikes: Right outside the venue
Arts Catalyst is next to Foxtons on Clerkenwell Road.
Audio recordings, tweet timeline and transcript of the discussion will be available after each event.
About Cybersalon
A monthly meeting of minds on how the Internet is shaping society for artists, entrepreneurs, techies, activists, academics and designers.
— Speakers, discussion, exhibits, presentations and performances — and a cheap bar.
to be continued…
*Ακόμα ένα δείγμα, δυστυχώς δημιουργούνται προβλήματα στο stiching τα οποία οφείλονται σε έλλειψη εξοπλισμού. . . ετοιμάζω μερικά ακόμα.
Δεν έχω καταφέρει να χρησιμοποιήσω κάποιο μέσα στο software (3ds max) να δω τι αποτελέσματα δίνει. Έχω δοκιμάσει δηλαδή αλλά δεν έχω καταφέρει να βγάλω κάποιο ρέντερ για διάφορους λόγους. Οι δοκιμές που έκανα είναι ακόμα σε πειραματικό επίπεδο και δεν είμαι σίγουρος αν στα τελικά αρχεία μου περιλαμβάνεται όλη η πληροφορία των exposures (τα οποία αρχεία χρησιμοποιούν temporary χώρο περίπου 30 GB για να δημιουργηθούν) με τελικό μέγεθος του hdr που πρέπει να χρησιμοποιηθεί μέσα στο software περί τα 1 έως 4 GB νούμερο κάπως υπερβολικό να αντέξει το σύστημα μου αυτή τη στιγμή συν το ότι κάθε φορά που ρεντάρω ένα hdri στο πρόγραμμα που ενώνει τις φωτογραφίες φορτώνω συνήθως 11 GΒ ram με αποτέλεσμα πολλές φορές τα γνωστά BSOD (blue screen of death η αλλιώς μπλε οθόνη η αλλιώς κρασαρίσματα όλου του συστήματος)
Έπεται συνέχεια.
Υ.Γ ζητώ συγνώμη για την πολυήμερη απουσία μου και θα επανορθώσω
the 2dfield/sem 6 Animation II 2d -3d
the 2D Field: Area
Screen Space: fixed borders that defines the new aesthetic characteristics
-the screen based experience and the projection based experience
• Aspect ratio: relationship of screen width to screen height
• Horizontal orientation
• Standard ratios
• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)
•Digital/HDTV16x9(5.33x3or178:1)
• Standard wide screen of motion pictures (5.33×3 or 1.85:1)
• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
(2.35:1)
• Wide-screen – format of most U.S. films
• Framing
• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height
does not emphasize one dimension over another
• works well with close-ups
• 16×9 frame
• have to pay more attention to the peripheral pictorial elements/events
• Changing the Aspect Ratio
• Matching aspect ratio
• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones
• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)
• Cutting, stretching, squeezing
• Secondary Frames
• Masking – blacking out both sides of the screen (ex. D.W. Griffith –
Intolerance)
• Multiple screens
• Moving camera
• Object size > context
• Knowledge of object
• Relation to screen area
• Environment & scale
• Reference to a person
• Image size
• Size constancy – we perceive people and their environments as
normal sized regardless of screen size
• Image size & relative energy
• Power of image is related to screen size & format
• People & things
Chapter 7 – The 2D Field: Forces within the Screen
Main directions
• Horizontal (ex. Renaissance architecture)
• Vertical (ex. Gothic Cathedrals)
• Horizontal/Vertical combination
• Tilting the horizontal plane
• Level horizon: stability
• Tilted horizon: dynamism
• Tilted horizon: stress
Magnetism of the Frame
• Top edge (ex. Headroom)
• Sides (ex. Positive /negative pull)
• Corners
• Centered object: even pull (ex. pull of entire frame)
• Large disc: expansion (ex. attraction of mass)
• Small disc: compression
Asymmetry of the Frame
• Up/Down diagonals
• Screen left/right asymmetry
• Tend to pay more attention to the right side than the left
• Figure & Ground
• Characteristics
• Figure is “thing like” – you perceive it as an object
• The line that separates the figure from the ground belongs to the
figure not the ground
• The figure is less stable than the ground
• The ground seems to continue behind the figure
• Superimposition – ambiguous figure/ground relationship
• Figure/Ground reversal
Psychological Closure: tendency to mentally fill in gaps in visual information to
arrive at complete & easily manageable patterns & configurations
• Gestalt – pattern that results from applying psychological closure (whole that
is larger than the psychological sum of its parts)
• Example 3 notes played together become a chord
• High & Low definition images: high definition images has more information
than a low definition image
• High – HDTV/film
• Low – standard TV
• Requires constant psychological closure
• Facilitating Closure – low definition image is helpful only if it facilitates,
rather than inhibits, closure
• Proximity – when similar elements lie in close proximity to one
another we tend to see them together
• Similarity – similar shapes are seen together
• Continuity – once a dominant line is established its direction is not
easily disturbed by other lines cutting across it
Vectors – directional forces that lend our eyes from one point to another (force
with direction & magnitude)
• Vector Field – combination of vectors operating within a single picture field;
picture field to picture field; picture sequence to picture sequence; screen to
screen; on screen to off screen events
• Vector Types
• Graphic Vector – stationary element that guides our eyes in a certain
direction
• Ambiguous direction
• Index Vector – points in a specific direction
• Vector Magnitude – determined by screen direction, graphic mass, perceived
object speed
• Z-axis vector: points toward or away from the camera
• The larger the graphic mass in motion, the higher its vector magnitude
• The faster the speed of an object the higher its vector magnitude
• Vector Directions
• Continuing Vectors – point in the same direction
• Converging Vectors – point toward each other
• Diverging Vectors – point away from each other
Structuring the 2D Field: Interplay of Screen Forces
Stabilizing the Field Through Distribution of Graphic Mass & Magnetic Force
• Graphic Weight
• Dimension
• Shape
• Orientation
• Location
• Color
• Hue
• Saturation
• Brightness
• Screen Center – most stable position of an object
• Off Center – the more the object moves off center the greater its
graphic weight and the attraction of the frame increases
• Counter weighting – achieve balance with another object of similar
graphic weight
Stabilizing the Field Through Distribution of Vectors
• Structural Force of Index Vectors
• Nose room & Lead room – need to leave enough room otherwise it will feel
cramped
• Nose room for index vectors
• Lead room for motion vectors
• Converging Vectors – can balance an index vector with a converging one
within the same screen
• Graphic Vectors – can use mass to contain other graphic vectors
Stages of Balance
• Stabile Balance – symmetrical structuring of visual elements
• Neutral Balance – graphic elements are asymmetrically distributed
• Golden Section – division of the screen into roughly 3×5 units
• Rule of Thirds – divide screen into 3 horizontal and 3 vertical fields
• Modular Units – adapted golden section proportions into a modular
concept
• Labile Balance – distribution of graphic weight, frame magnetism, and
vectors are pushed to their structural limit, creating a tendency for
imbalance (high tension)
Object Framing
• Facilitating closure – organize structures into easily recognizable patterns
• Graphic Cues – facilitate psychological closure by arranging the vector field
within the screen area so that all the vectors extend easily beyond the screen
into the off screen space
• Premature Closure – improper framing can lead to early psychological closure
• Natural Dividing Lines –premature closure when framing at natural dividing
lines
• Illogical Closure – tendency to group objects together into patterns regardless
of whether they belong together
The Aesthetic Edge Unusual Compositions – breaking compositional rules for
emphasis
• Emphasis through off-center placement
• Emphasis through partial onscreen placement
Multiple Screens
• Increased information
12 Απριλίου 2013
November 14 2008 – January 17 2009
Opening: Friday, November 14, 2008, 6-8pm
Location: Peter Blum Chelsea
Peter Blum is pleased to announce the exhibition William Anastasi: opposites are identical, opening on November 14th, 2008 at Peter Blum Chelsea, 526 West 29th Street. This will be Anastasi’s first exhibition with the Peter Blum Gallery.
opposites are identical brings together works from four decades, with the earliest work dating back to the early 1960s and the latest from the year 2000. One of the first practitioners of Minimal and Conceptual art, Anastasi, throughout his career, has questioned the structure of cognition and perception, often probing the edges of traditional art practices. Despite creating a number of works that anticipate many of the key artistic themes of Minimal and Conceptual art, Anastasi has been relatively overlooked by the art historical canon. As a keen observer and close friend of John Cage, Merce Cunningham, Jasper Johns and Robert Rauschenberg, Anastasi developed a distinctive practice that combines a Duchampian sense of play with the analytic rigor of Conceptualism.
A central trope in Anastasi’s art is the relationship between the object and its context. Frequently, the gallery itself becomes the frame for this exploration. For example, Untitled (1966-2008) is a new interpretation of a piece originally shown in Anastasi’s “Six Sites” exhibition at Virginia Dwan Gallery, New York, in 1967. The photo-silkscreen on canvas pictures exactly the gallery wall on which it is hung—that is a full fifty percent of the size of the wall itself (the 1967 version was ninety percent of the wall size). This piece is one of many examples of where Anastasi investigates the tension between presence and representation.
Anastasi has consistently introduced chance and randomness into his works. In an attempt to yield control of his creative process, he executed graphite on canvas drawings with his eyes closed. These pieces demonstrate how in Anastasi’s art the ideas always generate the choice of medium.
William Anastasi was born in 1933 in Philadelphia, PA. His first exhibition in New York was in 1964 at the Washington Square Gallery, followed by four shows at the Virginia Dwan Gallery (1966, 1967, two in 1970). Important solo exhibitions include: P.S.1, New York (1977), Kunstmuseum Düsseldorf, Germany (1979), Whitney Museum, New York (1979 and 1981), The Philadelphia Museum of Art, Philadelphia, PA (1993), two retrospectives: Moore College of Art and Design, Philadelphia, PA (1995), and Nikolaj – Copenhagen Contemporary Art Center (2001). Selected public collections: Museum of Modern Art, New York; The Metropolitan Museum, New York; The Jewish Museum, New York; Philadelphia Museum of Art, Philadelphia, PA; The Walker Art Center, Minneapolis, MN; Museum of Contemporary Art, Los Angeles.
παρουσίαση έργων-καλλιτεχνών από ars electronica
Ο Julian palacz έφτιαξε μια μηχανή αναζήτησης λέξεων/φράσεων για το προσωπικό αρχείο ταινιών του. γράφοντας την λέξη ή φράση στην μηχανή αναζήτησης ξεκινά μια αναπαραγωγή των στιγμιότυπων που βρίσκονται οι λέξεις κλειδιά στις ταινίες. το έργο είναι ένα σχόλιο για την ψηφιακή εποχή και τη ευκολία που μας παρέχουν τα μέσα της στην δημιουργία προσωπικών ψηφιακών αρχείων-αποκτημάτων.
Interactive Art, 2011
Gerhard Richter-archieves-presentaion-artists/sem 8- archives-painting-objects
11 Απριλίου 2013
dream-real-virtual-surealism-diagramsspectacle
real-virtual-spectacle-ethics-social networks
παράλογο (dods-ζωγρ)-ανδουλουσιανός σκύλος -youtube social networks –
massive culture&youtube
[youtube http://www.youtube.com/watch?v=BDMShZTdh20]
http://www.porterfieldsfineart.com/tableofcontents.htm
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Meet our Artists A very brief look at a representative image from each Porterfield’s artist, with each artist shown alphabetically by last name.
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