Monday, December 29, 2008

Augmented Reality

Augmented Reality Page
http://www.se.rit.edu/~jrv/research/ar/index.html
This page is a resource for Augmented Reality information. You will find an introduction to augmented reality and links to some augmented reality work on the web.

Levelhead
http://selectparks.net/
http://julianoliver.com/levelhead
http://selectparks.net/~julian/levelhead/install.html
levelHead is known to build on Ubuntu 7.10/7.04 and Debian Etch systems against the following external dependencies. It's adviseable you adhere to these versions if you want to avoid going spontaneously mad:
· cal3d 0.11 https://gna.org/projects/cal3d/
· osgcal 0.1.44 http://download.gna.org/underware/
· openscenegraph 1.2 http://www.openscenegraph.org/projects/osg/wiki/Downloads/PreviousReleases
· gstreamer (any) http://www.gstreamer.net/
· bakefile (any) http://www.bakefile.org/
· ARToolkit 2.72.1 http://www.hitl.washington.edu/artoolkit/download/
· ARToolkitPlus 2.1.1 http://studierstube.icg.tu-graz.ac.at/handheld_ar/artoolkitplus.php Optional:
· linux-uvc revision 228 http://linux-uvc.berlios.de/
· libwebcam revision 22 http://www.quickcamteam.net/software/libwebcam

HIT Lab
The Human Interface Technology Laboratory New Zealand (HIT Lab NZ) is developing and commercializing technology that improves human computer interaction and by doing so unlocks the power of human intelligence.The HIT Lab NZ conducts research with new emerging technologies such as Augmented Reality, Next Generation Video Conferencing, Immersive Visualization and Perceptual User Interfaces. Interaction Design techniques are used to adapt these technologies to the needs of end users and solve real world problems.

ARToolKit from HIT Lab NZ http://www.hitl.washington.edu/artoolkit/
Development for the ARToolKit library (originally design by Hirokazu Kato and Mark Billinghurst). It's a low-level AR Library for the tracking and the visual integration of real and virtual content. Widely used internationally by the community (GPL Licence), the software is now available commercially from ARToolWorks.

OSGART From HIT Lab NZ http://www.artoolworks.com/community/osgart/index.html
OSGART is a library that simplifies the development of Augmented Reality or Mixed Reality applications by combining the well-known ARToolKit tracking library with OpenSceneGraph. But rather than acting just as a simple nodekit, the library offers 3 main functionalities: high level integration of video input (video object, shaders), spatial registration (marker-based, multiple trackers), and photometric registration (occlusion, shadow).
With OSGART, users gain the benefit of all the features of OpenSceneGraph (high quality renderer, multiple file type loaders, community nodekits like osgAL, etc.) directly in their augmented reality (AR), mixed reality (MR) or mediated reality applications. As with the standard ARToolKit, the user can thus develop and prototype interactive applications that can use tangible interaction (in C++, Python, Lua, Ruby etc.).

AR-media™ Plugin v1.0 for Google SkecthUp™
With ARplug-in, Google Sketch-Up users are allowed to visualize their 3D models directly in the real physical space which sorrounds them. In a very precise sense, through ARplug-in, Sketch-Up 3D models can be visualized out of the digital workspace directly on users' desktop, by connecting a simple webcam and by printing a suitable code. The Plug-in provides users with an advanced visualization functionality which serves two main purposes:
Study and analize scaled virtual prototypes in real environments
Communicate 3D projects immersively and astonishingly
All you need to make ARplug-in work is a personal computer, a webcam and a printed code attached to the software. For optimal functioning, a Dual-core PC with a standard graphic card for 3D videogames are recommended. The price of a one seat License amounts to 99 eur.

Augmented reality on your desktop, thanks to Sketchup



Augmented Reality is a new technology that is starting to spread. Basically, it consists on mixing 3D model with live footage in real time. This concept has been applied to futuristic interfaces, and it can be very helpful for architects as it allows you to take 3D Models a step further, placed on the real world and show it to your clients.
Thanks to the AR-media Plugin for Sketchup, you can start playing with Augmented Reality. This plugin allows you to place the 3D Model over live video from your webcam, and move it around as you can see on the above video. The plugin calculates the planes on the live footage thanks to a sheet you need to print out, which allows the software to calculate the distance and inclination.

Saturday, December 20, 2008

Projecting Performance

Interrelationships between performance and technology, dancer and operator
Projecting Performance is a collaboration between performance academics from the School of Performance & Cultural Industries and digital technologists from KMA Creative Technology Ltd. This AHRC-funded project focuses on the choreographic and scenographic exchange between dancers and projected digital images within a theatrical context. It questions processes of performance and perceived boundaries between performers and technologists, and instead it promotes dialogues in an iterative cycle of creative development.....more information
http://www.leeds.ac.uk/paci/projectingperformance/home.html

On Scenography

http://www.sceno.org/
http://www.scenofest.org/index.html

Sunday, December 14, 2008

Labyrinth by Misnomer Dance Theatre



http://www.misnomer.org/labyrinth

Tinman by Chris Elman

The piece exemplifies Elam’s pointed use of elongated sculptural shapes to convey emotional states. The angularity draws from Balinese movement and is performed in a manner that is meant to draw an audience into the dancer’s physical experience as he negotiates his own body.

Wednesday, December 10, 2008

non-western | are you or have you ever been? by Linda Wallace

http://www.lindawallace.eu/
'In her video non-western Linda Wallace subtitles her fascinating,rhythmic montage of Dutch vistas, highways and people with long stringsof numbers. These "facts and figures" describing Dutch society slidethrough the images at a fast pace, for instance: the total number ofnon-western immigrants in 2050, the percentage of non-westerners in thebiggest cites, and the total numbers of non-western young people.Wallace knowingly uses bureaucratic "truths" rather than the complex,contradictory and dynamic daily reality that the statistics hide. Whatdo these statistics do? The inclination towards statisticalessentialism, where lives become stuck in unambiguous, unalterable andirreconcilable identities is characteristic of the contemporary publicdebate, and bears a striking resemblance to the corners and straightlines of the Netherlands landscape.'
http://www.allochtoonen.eu/

Tuesday, December 9, 2008

HOW STUFF IS MADE by Natalie Jeremijenko

https://wikis.nyu.edu/xdesign/menupage.html
HowStuffisMade (HSIM) is a visual encyclopedia that documents manufacturing processes, labor conditions and environmental impacts involved in the production of contemporary products. Entries are summative photo essays produced by students who are guided by faculty responsible for ensuring appropriate citations and standards of evidence. Students engage the cooperation of manufacturers when possible. As an independent, academic, wiki-based publication, HSIM reconsiders engineering and design education as fundamentally connected to the social and political constraints, organizational innovations and global context that inform manufacturing decisions.
more projects here: http://www.nyu.edu/projects/xdesign

Monday, December 1, 2008

ROUGH GUIDE TO AMSTERDAM | BORDER INQUIRIES

http://roughguideamsterdam.wordpress.com/
Border Inquiries is a live-connected public discussion between Belgrade and Amsterdam about the new and ever-changing borders on the Balkans, as part of the "Rough Guide to Amsterdam" festival, at Dom Omladine in Belgrade, November 28 - 30, 2008.
The discussion will take place simultaneously in the spaces of De Balie and Dom Omladine, connected live via internet. The event brings together researchers, activists and engaged citizens in both cities around issues of border control, border management and migration, to discuss how these issues reflect the precarious relationship of the Balkan region to the European Union.
Borders act as filters, not simply as inclusion and exclusion mechanisms. What the border filters out or lets through is dependent on who operates the border.
A peculiarity of the Balkan condition however, is that there are so many overlapping spheres of interest and power that is deeply unclear who actually operates the border? What are the mechanisms deployed in the region to maintain and manage the borders (technological, policing, regulatory, legal, etc.)?
The aim of this gathering in two cities is to create an open forum where a first attempt is made to map the complex transnational presence of the multitude of agencies (OSCE, NATO, UNMIK, KFOR, SFOR, and various missions from the EU, USA and Russian Federation) involved in consolidating the volatile Balkan borders. The discussion could lead to a larger visualisation and mapping project.
With: writer and new media developer Florian Schneider (Kein.org), filmmaker Želimir Žilnik (tbc), artist and author of "Schengen without effort" Vahida Ramujkić, artist and researcher Zoran Pantelić (new media center Kuda.org), art and media explorer Kristian Lukić (new media center Kuda.org), Milenko Srećković (FreedomFight - Zrenjanin), artist Željko Blaće (Mi2 / Jan van Eijk Academy) (tbc), artist Darko Fritz (tbc) and researcher Paul Keller (Kein.org / Knowledgeland).

De Balie produces a programme with video diaries, debates, music, films, photography, theatre, video art and graphic design in co- operation with several partners. Through art and discussion, De Balie wants to attack the existing clichés. Not the differences, but the similarities between Serbia and the Netherlands are the main focus. Both countries show cracks in their national self-image and in both countries, ‘national identity’ is currently a hotly discussed topic, as is the question of how to relate to one’s country’s past.

babble by Alex McLean

http://project.arnolfini.org.uk/babble/
Babble is a system for authoring mechanistic sound poetry. It occupies a space between speech and music, allowing play with the structure and form of simplified phonetics. The visitor is encouraged to enter nonsense verse, which is then immediately played back as synthesised sound. Although babble's phonetic system is quite unlike that of any natural language, when faced with the text that generates the sound, the listener has the sensation of 'hearing' speech.Babble is written in the open source HaXe language, which compiles to java-script and flash. The source code for babble is available under the GNU Public License version 3 or later.
Babble by Alex McLean is a project.arnolfini commission (produced for the exhibition 'Supertoys', http://www.supertoys.org/).
http://project.arnolfini.org.uk/babble/
http://yaxu.org/
Alex McLean is a programmer and live coding musician. He is co-founder of the dorkbotlondon meetings on electronic art (http://dorkbotlondon.org), the TOPLAP organisation for the proliferation of live algorithm programming (http://toplap.org) and the runme software art repository (http://runme.org/). He is also a PhD student at Goldsmiths College, within the Intelligent Sound and Music Systems group.

Sunday, November 30, 2008

Pravda , La Survireuse by Gye Peellaert



http://www.guypeellaert.com/guy.html

Guy Peellaert is dead in Paris on November 17 from an infection then a double heart attack following several years of self-dialysis (from a cancer which he had radically stopped since two years)

Belgian advertising illustrator Guy Peellaert was one of the first cartoonists to embrace Pop Art and incorporate Andy Warhol's appropriation of mass market iconography into his work. His first comic, Les aventures de Jodelle, (Jodelle's likeness based after yé-yé chanteuse Sylvie Vartan) appeared in 1966, swiftly followed by 'Pravda la Survireuse' (her visage modelled after Françoise Hardy) for the magazine 'Hara-Kiri' in 1967.
Peellaert recently art directed this animation, based on 'Pravda'.
The animation was made by Gallien Guibert from www.thegenre.com

After contributing a number of photo collage-based style strips to 'Hara-Kiri', Peellaert adopted a photo-realistic airbrush style and made a successful return to advertising and illustration; most notably on David Bowie's 'Diamond Dogs' LP cover and 'Rock Dreams', his collaboration with rock journalist Nick Cohn.

stockmarkets getting spiritual by Pekka Ruuska


mighty.god from Pekka Ruuska on Vimeo.

http://www.pekkaruuska.com/

Monday, November 24, 2008

The Birth of Primary Cinema from the Spirit of Sound - Feature Article by Frank Rothkamm

on Furthernoise http://www.furthernoise.org/index.php?url=page.php&ID=273&iss=71
It is about eleven o'clock in the morning in my studio in Los Angeles. I look out the window and stare at the Hollywood sign in the distance. The phone almost never rings. If it does, I pick up and nobody is on the line. After a while my mind drifts and a single thought forms in my head like a mantra:
As the rate of information is increasing, so is its comprehensibility decreasing.
I realize that this is especially true for motion pictures, arguably the first digital art form because they're made of single images floating by at the rate of twenty four frames per second. At this rate however, the perception is one of continuous motion. Because of the high rate of images per second, or, of information given per second, the brain (or let me use a Kantian term: the understanding) can no longer understand or process the single image. The development of the modern cinema in Hollywood has only increased the misunderstanding of the single image by constantly increasing the rate of events per second. When I turn on the TV, a SpongeBob SquarePants cartoon is interrupted by a commercial. The longer the show continues, the more often the commercials are shown. The scenes in these commercials are cut so fast and there are so many images per second that I have no idea of what I'm actually watching and thus, no idea what it is that I'm supposed to buy. I do not try to understand anything anymore, I just sit here and let the events pass by.
My eyes drift back to the Hollywood sign: Motion pictures are based on an illusion.

Female Icons by De Geuzen

Female Icons is a multifaceted project by the artist group known as De Geuzen.
On the project's website, each icon added to the site has her portrait added to the grid of oval images in the background of the page. When you click on an icon, you are taken to that page for that woman. There, the picture has a set of tags associated with it, and as you mouse-over the icon you have chosen, you can click on any of the tags, and see all the icons associated with that characteristic (i.e., 'writing' or 'radical'). There is a tag cloud on the project homepage, showing 'strength' as the most popular trait as of mid-September. If instead of clicking a tag you click directly on the icon, you are redirected to a Google image search of that person. The aesthetic of this project's archive reinforces the idea that an icon or representation is in itself a way of seeing. Seeing the symmetrical grid of images almost evoke a sense of uniformity - they are all of the same size but with radically different contents. De Geuzen does not shy away from the way in which we form collections and stories in the present in an attempt to understand the continuity of what it means to be female through acts of collection, homogenization, discussion, and disambiguation. This provides us with a collective means for seeing the female throughout history, and the resulting collection of hyperlinked media provides a way to draw comparisons and inferences that aren't always as available when we study a singular biography.
http://www.furtherfield.org/displayreview.php?review_id=324
http://www.geuzen.org/female_icons/
http://www.geuzen.org/
more projects by Geuzen:
Wearable Resistance: http://geuzen.org/resistance/index.html

Sunday, November 23, 2008

Disability Studies Quarterly

http://www.dsq-sds.org/

Automatic Projector Calibration

This callibration solution is a collaboration between people from Carnegie-Mellon, Mitsubishi Electric Research Lab and Stanford. Watch the video demonstration.



You can find more here (pdf) and here

Saturday, November 22, 2008

Video projection tools v2.1

The videoprojection tool was developed during a workshop that Hc Gilje gave for students of scenography, choreography and directing at KHIO in Norway june 2007, and further developed for the workshop he had at the medialab prado in Madrid may 2008 (including some features from the newly released max 5).
The workshops were an introduction to working with video as a tool for creating and transforming spaces: to thinking of video as light, and how you can mask a projection to project on multiple objects and surfaces within the projector´s projection angle and to exploit the depth of field in video projectors.
You can find more here: http://hcgilje.wordpress.com/resources/video-projection-tools/
http://hcgilje.wordpress.com/
http://hcgilje.com

Wednesday, November 19, 2008

Animata

Animata is a real-time animation software, designed to create interactive background projections for concerts, theatre and dance performances, and promotional screenings.The peculiarity of the software is that the animation is generated in real-time, making continuous interaction possible. This ability also permits that physical sensors, cameras or other environmental variables can be attached.The software can be connected with many pieces of external software in order to make use of the possibilities of these applications in the fields of image processing, sound analysis, or motion capture. These applications can analyse for instance sound input, or user movement, and this data could drive animations reacting to these environmental changes in real-time.
http://animata.kibu.hu/
http://www.piksel.no/piksel08/p08_workshops.htm
See also: http://createdigitalmotion.com/

Jelly

Jelly is a new way of developing websites that works to close the gap between web users and web developers.  The software, which is open-source, lives on the server of a user who maintains complete control over the data.  Jelly wraps all the complex data processes that are needed to develop interactive, data-driven, social websites, into a web development environment that looks and feels much like the web services that users are used to,  like Facebook, Flickr, or Youtube.    By working to make the experience of developing a web service as fluid, natural, and  beautiful as the experience of using a web service like Vimeo, Jelly hopes to empower the enthusiastic and creative class of web 2.0 service users to break free of static structures and begin to make the websites that they imagine.Basically, we offer a really fun, fluid, free  tool that eliminates many of the barriers to building and running an web service. The entire interface runs inside the browser, and no additional software is necessary.
http://jellyproject.com/
http://www.piksel.no/piksel08/p08_workshops.htm

Media-Space Journal Inaugural Issue

http://media-space.org.au/journal/issue1.html
In this inaugural issue of Media-Space Journal, is included ten papers from the 7th International Digital Arts and Culture Conference (perthDAC 2007). Digital Arts and Culture (DAC) is the leading cross-disciplinary research conference series for the analysis of developments in the broad field of digital and new media. In September 2007, DAC was hosted as the key international conference in the public program of the Biennale of Electronic Arts Perth (BEAP) in Perth, Australia. BEAP showcases and critiques artworks that engage with new and novel technologies. The theme of perthDAC 2007 was The Future of Digital Media Culture.

Thursday, November 13, 2008

Crisis in the Credit System

www.crisisinthecreditsystem.org.uk
Crisis in the Credit System is a four-part drama dealing with the credit crisis, written and directed by artist Melanie Gilligan.
A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with today's dangerous financial climate. While diligently pursuing this task, five individuals inadvertently role-play their way into bizarre make-believe scenarios forming disturbing conclusions about the deeper significance of the credit crisis and its effects beyond the world of finance.
Using fiction to communicate what is left out of documentary accounts of the crisis, the short, TV-style episodes reflect the strangeness of life today in which the financial abstractions which govern our lives appear to be collapsing.
http://www.artangel.org.uk/pages/present/present0908_crisis.htm

Wednesday, November 12, 2008

Processing 1.0

http://www.processing.org/
Processing is an open source programming language and environment for people who want to program images, animation, and interactions. It is used by students, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool. Processing is an alternative to proprietary software tools in the same domain.
Processing is free to download and available for GNU/Linux, Mac OS X, and Windows.

Wednesday, November 5, 2008

"I video taped, as Team America fucked Allen Ginsberg"

By JanedaPain

America, is home of the Buffs, who Ruffies women during halftime.
America if I went to your game, I would wear a chastity belt and pasties.
America doesn?t see
McCain is like death warmed over, a day old Palin kill.
America we can?t go ?trick or treating? with toy guns after Columbine.
America, I can?t travel past the security gate with my buck knife after 9-11we can?t move our lids through the puffersseeking those bombs and anthrax for the 5 o? clock news.
America can we tighten those pants on the lonely flight attendants budge
America I want porn on the back of their seats tooI will wait to ejaculate in the lavatory, when the fasten your seatbelt sign is turnedoff.
America can u shove those numb chucks up her ass and twatas easily as the torch she totes?America can u remember the taste of day old cum, stuck to his cockwith the lingering of her pussy stench, dressing his skin like perfume?
America from my Grand-Mother?s bureau, where I found her vibrator and enema bag
I thought of how to create an American dream from
bottles of Old Spice and Passion in wake of my headache from
this American marketing nightmare, where brands supersede words and meaning.
America we are selling ourselves like the whores on Colfax and Sherman.
in T-shirts of Abercrombie and Fitch
America is but home to all us vermin.
squirming here at home, in our chains, America you've dried my veins.
and I've seen those bums drain theirs, a million times in corners along Broadway.
America you?ve tied me up again in my dress of red and blue.
America the ice has all melted and Mc Donald?s and Home Depot still spitsomehow we can?t get enough of this shit.
America I want to grow pot with your welfare
have LEAP pay for me to puff, fuck you and you government stuff.
America we are all Jon Bonnet and our daddies all have clubs.
America you kids sell dope in classrooms, on the cell phones you sold to them.
while DARE is a social nightmare, teaching our children to tell and not questionor maybe this was some sick and demented investment.
America our mothers are all on Prozac and Valium for being human, for being Women,
For not being the perfect woman, for being loathed in comparison to Barbie.
America are we here to fill the cattle cars waiting out side our cities?
America can you really tell me, what you are doing with your FEMA camps?
America my heals are digging into his headhe never should have said, those thing to her, or compromised her sexuality.
America home of the Brave, home of the 3.1 Trillion Dollar Insurance ?
Bail-out? Scam.
why do we keep this perpetual cycle of shit going
why do we keep buying into these games
America I hate to say it, I don?t have any faithand my vote won?t count anyway with electoral decay
the last was stolen, this one will likely never happen; I fear.America there is no home of the free, you only free to buy and say what you sold us?
I?m calling you out!
America, I can?t watch your syndicated news casts of Terrorism any longerit makes me sick to see the logo?s blinking in the corner of the
scrolling bar which determines how far your stick goes up my ass.
America I can?t smoke enough dope to deal with you.
once I?m stoned I can eat your pop tarts and snickers, but not until sufficiently
medicated from the nonsense on the TV.America our prisons will soon out number our schools
what are your rules, really I?m confused; or is it, we are all just used?
America the only Bush worth digging is my mothers pussy and even that?s stale with contented homogony.
America 9-11 was amazing in so many ways
It was the most profound guerrilla installation, movement ever executed by man it was the most profound statement since my death, I stood horrified and captivated with history, with conspiracy, so blatantly derived from the response to our petrol depths of greed which exceed our perceived freedom.
America why are we so deranged?
America why do we seek revenge for something we created, for a world we developed
with our plastics and shops of diversity.
America you know Obama won?t live 30 days past inauguration. He is but a product sold to us in anticipation of his Martyr-ship; you can?t let a nigger be president, let alone a woman or queer.
America we are stuck in this system of pavement and genitals, we are stuck with thecoats whom hide their pricks below Giorgio Armani Jackets and designer shoes.
America have we all gone insane?
America is this not a hate crime, our victimization of the socially determined?
America terrorism is not Steven Kurtz, Banksy, or the YesMen, it is our commercial industry, it is the fear I should have of doing certain things in front of our children.America, will we let Social Services run away with them, because we choose to not participate in their games of ?
morality? and socio-economic profiling?
America this is quite serious.America we have to prepare for the coming shift,we can?t go on like this, our ?
doomsday? is approaching America, wake up. America.
America the Apocalypse is near, there is no guide.
America at any moment the lights could go out, the troops could come and secure us from ourselves.
America we don?t have a moment to waste, it is our duty to serve and protect, it is ourright and duty to bear arms and defend our liberties that washed away with the Clorox and Downy they sold me on isle 15b of the Safeway at Meadows Park.
America there will be no more South Park and Married with Children as we know itthe Budweiser in the fridge will not be mass produced in our futures; we hope.
America we can not continue to breathe this manufactured airthere is no synthetic lung to compose me, and the Catholics, Muslims and Buddhist still can?t agree on my state of being, when I have already been.
America it doesn?t really matter as long as there is ?
Cheech and Chong? and a good laugh.America I have to quit writing this poem, it is distracting me from the timeand its 4:20 pm Saturday, and all I have is useless paper bills, refried beans in a can from Taco Bell, and this pot that my poetry distracts me from.-

Boulder, Colorado 2008

http://janedapain.net/tuneitin/mp3s/GinsbergaudiomixbyJdaP.wav

In Honor of Election Day, Jane Crayton aka JanedaPain present this American Poem....
A poem created in retrospective to Allen Ginsberg's America.

Disability Aeshetics 3

The Body and Physical Difference: Discourses of Disability in the Humanities (The Body in Theory: Histories of Cultural Materialism) by David Mitchell (Editor), Sharon Snyder (Editor)









http://books.google.com/books?id=RvnGW3JConIC&pg=PR2&dq=The+Body+and+Physical+Difference:+Discourses+of+Disability+(The+Body,+In+Theory:+Histories+of+Cultural+Materialism)&hl=el#PPR11,M1


Choreographing Difference: Body and Identity in Contemporary Dance by Ann Cooper Albright










http://books.google.com/books?id=ScYLdumGbvcC&printsec=frontcover&dq=Choreographing+Difference:+The+Body+and+Identity+in+Contemporary+Dance&hl=el#PPA64,M1


Meaning in Motion: New Cultural Studies of Dance (Post-Contemporary Interventions) by Jane Desmond (Author)






http://books.google.com/books?id=2fDJtHOuAhAC&pg=RA2-PA379&dq=Choreographing+Difference:+The+Body+and+Identity+in+Contemporary+Dance&hl=el#PPA32,M1

Tuesday, November 4, 2008

Here It Goes Again by OK Go



http://mapaflagshipblog.wordpress.com/2007/12/04/wedance/

Immersive Sight Within the Third Space: Augmentation and Spatial Interface in exhibition space

by Jeremy Hight
Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space.
http://neme.org/main/645/immersive-sight
http://neme.org/main/880/immersive-event-time
http://www.xcp.bfn.org/hight.html

Monday, November 3, 2008

Disability and Poetics

Read this wonderfull conversation on "Disability and Poetics" in Amber DiPietra 's Blog
http://www.nonsitecollective.org/node/397
http://www.nonsitecollective.org/blog/78

Media & Disability Bibliography Project

http://pages.towson.edu/bhalle/m&d-biblio.html
and "Topics in Disability Studies" (Real Audio recordings)http://www.umich.edu/~uminds/Rackham%20580/Semesters/rackham580W05.html
Journal of Literary Disability
http://www.journalofliterarydisability.com/issues/vol01no01/0101index.html

Disability Aesthetics 2


Theology and Down Syndrome










http://books.google.com/books?id=T1WFwF53G3cC&pg=PA416&lpg=PA416&dq=Silvers,+A.++(2002).++The+crooked+timber+of+humanity:++Disability,+ideology+and+the+aesthetic&source=bl&ots=6QmfC-9o-t&sig=aD0SeBx3I1dI8SS4QuhZ8fE5S3U&hl=el&sa=X&oi=book_result&resnum=5&ct=result#PPA433,M1













Toward an Aesthetics of Blindness: An Interdisciplinary Response to Synge, Yeats and Friel (New Studies in Aesthetics)

Bodily Perception

Digital Performance Archive

http://ahds.ac.uk/ahdscollections/docroot/dpa/authorssearch.jsp

Friday, October 31, 2008

Pascal Lievre

http://www.lievre.fr/fr/index.php
Watch the videos of Pascal Lievre... and the re-contextualization of famous songs.
A Jesus Christ singing Gérald De Palmas's "Marie" or
two women in love singing Liz MC Clarnon's "Woman in love"
and many more like this...
Some reviews:
Pascal Lièvre born in 1963 in Lisieux. Lives and works in Paris.
Specialising in the diversion of pop music, Pascal Lièvre proceeds an a surgical manner, re-injecting some sense into well-known tunes, always with the intention of provoking revealing collisions. With very limited means, like a whole branch of contemporary young video artists (static shots, hardly any editing, minimal lighting...), the Parisian artist gives his often virulent opinion on the evolution of our societies. This is exactly what we expect of a video-maker today, humour included.
Pascal LIèvre, born in 1963, lives in Paris. His work as a painter began there more than ten years ago and has developed into the "musée des ombres". This video allows one to follow his research and his recent works were widely shown in major film festivals. Since 2000, the videos are based on the principle of karaoké by Abba Mao where the artist sings a passage from "petit livre rouge" of Mao Tsé-Toung to the rhythem of "Money, Money, Money" by Abba mixing the cultural symbols. While singing, his picture is erased little by little until his complete disappearance under red make-up, drowning itself in a background of the same color. .

"Charity is a humanitarian mask hiding the face of economic exploitation."

a line from Slavoj Zizek's book "Violence".
Read more in a piece entitled "Clash of the Titans" at the Haaretz.com blog, Shlomzion Kenan writes about the recent debate between two "superstar philosophers," Bertrand-Henri Levy and Slavoj Zizek, at the New York Public Library in late September.

Leandro Erlich

A master of illusion, Argentinean artist Leandro Erlich has amazed audiences with whimsical installations, sculptures, photographs, and videos for the past decade. His video installation Le Trottoir (The Sidewalk) is one of the highlights of the Chanel Mobile Art exhibition, and his celebrated Swimming Pool installation is currently enchanting visitors at P.S.1 Contemporary Art Center in Long Island City. Artkrush editor Paul Laster recently sat down with the globetrotting artist at New York's Gramercy Park Hotel to discuss his past work and his new installation at Prospect.1 New Orleans.

Thursday, October 30, 2008

Disability Aesthetics 1

Disability/postmodernity - Embodying Disability Theory
by Tom Shakespeare (Author) Mairian Corker (Editor) Tom Shakespeare (Editor)

This text looks at the study of disablity within the context of the "postmodern" world of the 21st century. The authors aim to demystify the concept of postmodernity and to suggest ways in which it fosters a holistic approach to the study of disability.
With contributions from leading scholars in the USA, Canada, the UK, Switzerland, Japan, India, Australia and Jordan, this text looks at the study of disablity within the context of the "postmodern" world of the 21st century. Organized into three sections, the volume opens with an exploration of theoretical perspectives, looking especially at phenomenology, the body and at concepts of difference and identity. The second section deals with culture, discussing aesthetics, narrative, film, architecture and design; while the final section explores social practice with papers discussing issues which include disabled children's perspectives (which dominate the US approach). The authors aim to demystify the concept of postmodernity and to suggest ways in which it fosters a holistic approach to the study of disability that better represents and reflects the complexity of disabled people's experiences.

Monday, October 20, 2008

Eye, Brain and Vision

http://hubel.med.harvard.edu/b37.htm
http://www.stereo-club.fr/pages/stereoscope.php (solo in french)
http://courses.ncssm.edu/gallery/collections/toys/html/exhibit01.htm#other
http://books.google.com/books?id=uBLWIX4U2T8C&pg=PR15&lpg=PR15&dq=mono-stereoscope&source=bl&ots=leckx8h3mQ&sig=E4d4OMnlS60tzVAs2NeMHSbFn_Q&hl=el&sa=X&oi=book_result&resnum=4&ct=result#PPA304,M1
on perspective: http://www.sumscorp.com/perspectiveindex.htm

The Maastricht McLuhan Institute

The Maastricht McLuhan Institute (MMI), European Centre for Digital Culture, Knowledge Organisation and Learning Technology, was officially opened by Dr Eric McLuhan (the son of well-known media theorist Marshall McLuhan) in November, 1998 and began its formal activities in January, 1999 at the Grote Gracht 82 in Maastricht.
The mission of the Maastricht McLuhan Institute (MMI) is to study and develop methods for knowledge organisation and knowledge management in a digital, distributed, multimedia world. These methods will be applied to cultural heritage, the design of learning technologies and new electronic services for business. Research will also explore the implications thereof.

Here you can find all about perspective in many articles wtitten by Dr Kim H. Veltman - Scientific Director and Manager Digital Culture of the instistute.
Download for free two of the forth volumes of his seminal work:
Bibliography of the Literature and Sources of Perspective.
Volume 1. Sources of Perspective
Volume 2. Bibliography of Sources
Volume 3. Literature on Perspective and Appendices
Volume 4. Bibliography of Literature
http://www.mmi.unimaas.nl/people/Veltman/publications.htm#Perspective

Monday, October 13, 2008

PERFORMING PRESENCE: FROM THE LIVE TO THE SIMULATED

http://presence.stanford.edu/
http://spa.exeter.ac.uk/drama/research/intermedia/conference_announce.shtml
http://spa.exeter.ac.uk/drama/research/intermedia/welcome.shtml
An international conference, Centre for Intermedia, University of Exeter, UK, 26-29 March 2009

CONFIRMED KEYNOTE SPEAKERS*:
• Matt Adams, Blast Theory http://www.blasttheory.co.uk/
• Tim Etchells, Artistic Director, Forced Entertainment http://www.forcedentertainment.com/
• Adrian Heathfield, Professor of Performance ands Visual Culture, Roehampton University http://www.adrianheathfield.com/
• Lynn Hershman-Leeson, media artist http://www.lynnhershman.com/
• Hugo Glendinning, photographer, AHRC Fellow in the Creative and Performing Arts, University of Exeter http://www.hugoglendinning.com/
• Ken Goldberg, artist, Professor, Industrial Engineering and Operations Research (IEOR),, UC Berkeley and Director, Berkeley Centre for New Media http://goldberg.berkeley.edu/index-flash.html
• Mike Pearson, Professor of Performance Studies, University of Wales, Aberystwyth http://www.aber.ac.uk/~psswww/shared/general/pearson.htm and Mike Brookes, artist http://www.mikebrookes.com/
• Paul Sermon, media artist, Professor of Creative Technology, University of Salford http://www.paulsermon.org/
• Michael Shanks, archaeologist, The Omar and Althea Hoskins Professor of Classical Archaeology, Stanford University http://www.stanford.edu/~mshanks/
• Marianne Weems, Artistic Director, The Builders Association http://www.thebuildersassociation.org/
• Krzysztof Wodiczko, Professor of Visual Arts, Massachusetts Institute of Technology http://architecture.mit.edu/people/profiles/prwodicz.html

CALL FOR PAPERS:
The conference will engage with a wide range of disciplines, art and performance practices, technologies of presence, theory and modes and practices of documentation. Key questions may include:
• What are the chief signifiers of presence?
• How is presence achieved through theatrical performance?• What makes a memory come alive and live again?
• How are practices of presence connected with senses of self and identity?• Is presence synonymous with 'being in the moment'?
• What is the nature of the ‘co-presence’ of audience and performer?• Does presence imply distance?
• Where does performance practice end and its documentation begin?
• In what tense does documentation take place?• Can technology produce presence?
• Is presence a form of immersion?
• Is documentation theory or practice?
• What happens when documentation becomes time-based and ephemeral?
• Where does practice end and its documentation begin?
• In what tense does documentation take place?

Wednesday, October 8, 2008

Albert Memmi

With his "Portrait of the Colonised" Tunisian-French sociologist and writer Albert Memmi laid forth a seminal work of decolonialism in the 1950s. This work was followed recently by "Portrait of the Decolonised", in which he draws a very sobering balance.
more on http://qantara.de/webcom/show_article.php/_c-478/_nr-811/i.html

English bibliography

The colonizer and the colonized. Introduction by Jean-Paul Sartre; afterword by Susan Gilson Miller; [translated by Howard Greenfeld]. Expanded ed. Boston: Beacon Press, c1991. ISBN 0807003018
Decolonization and the decolonized. Translated by Robert Bononno. Minneapolis: University of Minnesota Press, c2006. ISBN 0816647348




http://books.google.co.uk/books?id=6HxjavtQmq4C&printsec=frontcover&dq=inauthor:Albert+inauthor:Memmi&hl=el&sig=ACfU3U0Hzj1iKbI2kosda0uQ6cSYr0WE1g#PPP7,M1
Dependence : a sketch for a portrait of the dependent. Translated by Philip A. Facey. Boston: Beacon Press, c1984. ISBN 0807043001
Dominated man; notes towards a portrait. New York: Orion Press [1968].
Jews and Arabs. Translated from the French by Eleanor Levieux. Chicago: J. P. O’Hara, c1975. ISBN 0879553278 ISBN 0879553286
The liberation of the Jew. Translated from the French by Judy Hyun. New York: Orion Press [1966].
The pillar of salt. Translated by Edouard Roditi. Boston: Beacon Press, 1992. ISBN 0807083275
The pillar of salt. Chicago: J. P. O’Hara, [1975] c1955. ISBN 0879559071
Portrait of a Jew. Translated from the French by Elisabeth Abbott. New York: Orion Press [1962]
Racism. Translated and with an introd. by Steve Martinot. Minneapolis: University of Minnesota Press, c2000. ISBN 0816631646
The scorpion, or, The imaginary confession. Translated from the French by Eleanor Levieux. New York: Grossman, 1971. 0670622710
Strangers. Translated from the French by Brian Rhys. New York: Orion Press [1960]

Tuesday, October 7, 2008

Monday, October 6, 2008

Floss Manuals

FLOSS Manuals is a collection of manuals that explain how to install and use a range of free and open source software. The manuals are friendly and simple, and they are intended to encourage people to explore the wide range of free, open source alternatives to expensive and restrictively licensed software. At FLOSS Manuals you can find manuals for free and open source software like office applications, as well as web editing and browsing, and tools for playing, making, streaming and sharing audio and video.
http://en.flossmanuals.net/
There is also a big Pure Data (Pd) tutorial by Johannes Kreidler free for downloading:
http://www.pd-tutorial.com/

Envisioning Dance on Film and Video

You can read it here
see also UCLA Center for Intercultural Performance
http://www.wac.ucla.edu/cip/index.html

The Society for the Study of Artificial Intelligence and Simulation of Behaviour

Whatever you need to know about Artificial Intelligence in an academic approach.
http://www.aisb.org.uk/

Sunday, October 5, 2008

Warning Shadows

also known in UK as "Kingdom of Shadows". Directed by Arthur Robison in 1923



Schatten - Eine nächtliche Halluzination (1923)
Ruth Weyher, Gustav von Wangenheim, Eugen Rex, Friz Rasp, Fritz Kortner.
A jealous husband is fooled by surprising shadows..
Expressionist film directed by Arthur Robison. Germany.
Production Companies
PAN Film
Pan-Film
Distributors
Grapevine Video (video)
Kino International Corp. (2006) (USA) (DVD)
Kino Video (2007) (USA) (DVD)
LS Video (video)
Mondadori Video S.p.a. (1996) (Italy) (VHS)

Compagnie Amoros & Augustin

Watch some video from this amazing theatre company's performances:
on shadow theatre

Sunjata



mixing shadow theatre and film

360° à l'ombre



mixing theatre and film

The Never-Ending Shooting




video and photos of the technique








More videos: http://fr.youtube.com/BrunodeBeaufort
Official site: http://www.amoros-augustin.com/accueil.html

The Institute of Network Cultures

The Institute of Network Cultures is a media research centre that actively contributes to the field of network cultures through research, events, publications and online dialogue. The INC was founded in 2004 by media theorist Geert Lovink, following his appointment as professor within the Institute of Interactive Media at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam).
http://networkcultures.org/wpmu/portal/

Friday, October 3, 2008

Thursday, October 2, 2008

Maps of War

http://www.mapsofwar.com/images/EMPIRE17.swf

Funny Videos

http://www.adnstream.tv/video/nilSqaMboM/HISTORIA-DE-UN-LETRERO-THE-STORY-OF-A-SIGN

The Burnt Newscaster

The Collages of John Ashbery

American poet John Ashbery, making his solo debut as professional artist at 81, with a modest but polished exhibition of two dozen small collages.
http://www.nytimes.com/2008/09/14/arts/design/14cott.html?_r=1&ref=design&oref=slogin
more collages: http://www.nytimes.com/slideshow/2008/09/12/arts/0914-COTT_index.html

Dance Images

http://www.wga.hu/frames-e.html?/

Marie Chouinard

Watch videos extracts of performances of this exceptional French choreographer
http://www.mariechouinard.com/flash.html

numeridanse.fr

The vidéothèque of the Maison de la danse de Lyon is currently digitizing its entire video archive, that is to say more than a thousand videos recorded at the Maison de la danse since 1980. This video archive will be available through a new website called Numeridanse (http://www.numeridanse.fr/), first for professionals and educational purpose, but also, afterwards, for anyone interested in modern and contemporary dance, thanks to a VOD device. A beta version should be available in june 2010.

Monday, September 29, 2008

Radical Constructivism

Radical Constructivism - ‘What is radical constructivism? It is an unconventional approach to the problem of knowledge and knowing. It starts from the assumption that knowledge, no matter how it is defined, is in the heads of persons, and that the thinking subject has no alternative but to construct what he or she knows on the basis of his or her own experience. What we make of experience constitutes the only world we consciously live in. It can be sorted into many kinds, such as things, self, others, and so on. But all kinds of experience are essentially subjective, and though I may find reasons to believe that my experience may not be unlike yours, I have no way of knowing that it is the same. The experience and interpretation of language are no exception.
http://www.univie.ac.at/constructivism/index.html
http://www.constructivistfoundations.info/

Thursday, September 25, 2008

The Callas Project

CALLAS (the acronym stands for Conveying Affectiveness in Leading-edge Living Adaptive Systems) is a integrated project funded by the European Commission.
In the project vision, ambitious challenges are pursued: partners from different countries are working together in pursuit a common goal that will contribute to reduce the cost and the complexity of development of multimodal interfaces in the Digital Entertainment and Information context.
  • to produce a set of components (known as Shelf components) which can be used to generate emotionally-aware user interfaces (or Affective Multimodal Interfaces).
  • to handle interoperability between the components through the open source CALLAS Framework
  • to provide APIs to 3rd party developers through which the shelf components and emotional model might be accessed.

Finally, the capabilities of the CALLAS Framework will be demonstrated through the development of CALLAS Showcases, significant test-beds in the context of New Media, embryonic samples of applications of the future.

CALLAS aims to design and develop a Framework based on a plug-in multimodal architecture, invariant to configuration of Multimodal Components, to interpret and process emotional aspects in real-time for easy and fast development of applications for Art and Entertainment, paying attention to the value of users, who are no longer passive spectators of artistic performances, but stimulating sources of human communication. The project is developing selected scenarios for Art and Entertainment, to showcase CALLAS technology in different typologies of space: theatres, home, squares, festivals, etc., as the "space" is one of the most interesting factors where human emotional interaction takes place. A strong attention is given to all interface and interaction aspects, to minimize the complexity for multimodal handling, to make creative industries and artists free to develop truly interactive art, keeping the technology burden hidden and preserving the naturalness of user interaction, not altering the spontaneity of their experience.

http://www.callas-newmedia.eu/

Julien Maire

http://julienmaire.ideenshop.net/
http://www.digicult.it/digimag/article.asp?id=1288

Animals save the planet

Nice animal animations prompting us to save planet earth
http://www.animalssavetheplanet.com/?page=home

Wednesday, September 24, 2008

NIP (New Interfaces for Performance)

NIP (New Interfaces for Performance) is a practical, artists led, workshop and touring event, which examines techniques for creating mixed media and interactive work for live, interactive contexts - for the most this refers to live performance (music, theatre, dance, sound) and interactive, real-time installation.
http://newinterfaces.net/nip/

Piano Migration V

http://www.interact.com.pt/pt/ed15/laboratorio/pianomigrationv

"Parkfield Interventional EQ Fieldwork" (PIEQF) - Seismic Art


Parkfield Interventional EQ Fieldwork (PIEQF) is a geologically interactive, kinetic earthwork that has been installed in the township of Parkfield, Central California. This machine controlled earthwork is triggered by near real-time reported Californian earthquakes from Magnitude M 0.1 and above.
This machine earthwork is feedback loop between the seismicity of California and a physical and mechanical representation of all Californian seismic events. Each time a Californian earthquake occurs, an array of 5/8 inch steel rods attached to an earthquake shake table oscillate and resonate, reflecting the dynamic nature of the Californian landscape. On average 30-60 seismic events occur throughout California daily.
http://pieqf.allshookup.org

GRAMMA - Journal of Theory and Criticism

Journal of Theory and Criticism is an international journal, published in English and Greek once a year by the School of English, Aristotle University of Thessaloniki, in collaboration with the Publications Department of the university. It welcomes articles and book reviews from a wide range of areas within the theory and criticism of literature and culture. Of particular interest to the journal are articles with an interdisciplinary approach. Each individual issue has guest editors and is devoted to a subject of recent cultural interest, with book reviews relevant to the topic. All manuscripts are subject to blind peer review and will be commented on by at least two independent experts.
http://www.enl.auth.gr/gramma/

Thursday, September 18, 2008

ABLE DANGER THE MOVIE

POSTING ABLE DANGER

To conclude our series of blog posts from Paul Krik, writer/director of Able Danger, currently in theaters, here is his breakdown of how he posted his movie.

Able Danger was shot on an Panasonic AG-HVX200 by accomplished Brooklyn-based cinematographer Charlie Libin. We shot HD using no tape. It was shot to P2 cards, basically RAM and then copied to a hard drive. It was edited on Avid mostly on a laptop in a basement and then on an Avid at Jump Editorial. It was edited in HD but at the Panasonic "native" file size of 1280 x 720. This is not true HD, but after testing the camera's 1920 x 1080 record modes, I found the difference negligible and the 1080 mode had problems with motion. And the file sizes made shooting 1080 inefficient.

After much research about the absolute best methodology for finishing, I decided on the following; 123,840 uncompressed TIFF frames (86 mins x 24 frames per second) were exported to a hard drive and brought over to one of my favorite post production facilities, NICE SHOES, and colorist Chris Ryan imported the TIFF sequence into the specter (German color correct box) and bumped up to true HD 1920 x 1080. It was color corrected there and laid down to D5.

No special pro lenses were used. We used a wide angle adapter on occasion and a long lens adapter for daytime surveillance. For surveillance night scenes, we used military grade night vision.

I did all of the sound editing and sound designing and editing and music editing in the Avid. The final was mixed in Protools. Shots that needed effects were exported as uncompressed TIFFs out of Spectre and went to one of two places:

1. AFTER EFFECTS was used for the surveillance graphics. It took months to develop the surveillance look. We (Roberto Serrini and I) experimented with a lot more graphics on screen and a lot more text. But that took away from the beauty of the imagery and became too noisy and less "filmic" also getting the right interaction of the onscreen text, the surveillance chatter (which I recorded through a kids' toy voice distorter) and the onscreen action took a lot of fine tuning. I worked intimately with my assistant and After Effects artist refining ad infinitum. After I color corrected the night vision in Specter, TIFF frames were exported and we laid the After Effects back on top and then exported TIFF frames.

2. THE FLAME was used for some "gun flashes" and "electricity" in the stun baton were added after the color correct and bump up to 1080 HD from the Specter. The color TVs were composited and tweaked in the flame by Nick Sasso at Manic. Final finishing took the After Effects TIFF frames and conformed in the flame and laid down to D5 at NICE SHOES.

The film basically only existed on hard drives until we were done and laid down to D5. I think it was pretty innovative. The dream sequences on top of the World Trade Towers were shot on green screen, and uncompressed TIFFs were exported out of Avid and into FLAME and matte paintings and comps were done in flame. The intro animation was done in After Effects.

www.abledangerthemovie.com

Tuesday, September 16, 2008

Nigel Johnson's "VOX"

Nigel Johnson's website http://imaging.dundee.ac.uk/people/njohnson/

"Vox"
http://imaging.dundee.ac.uk/people/njohnson/content/proposals/vox/vox_bin/VOX~1.HTM

"Gvision"
http://imaging.dundee.ac.uk/people/njohnson/content/proposals/proposals.html

Sunday, September 14, 2008

Dmitry Gelfand and Evelina Domnitch

Dmitry Gelfand (b.1974, St. Petersburg, Russia) and Evelina Domnitch (b. 1972, Minsk, Belarus) create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuality. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness.

Having dismissed the use of recording and fixative media, Domnitch and Gelfand’s installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer’s sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.
http://www.portablepalace.com/

The Imaginary Border Academy

http://borderacademy.org/
http://borderacademy.org/wiki/index.php?title=Main_Page

Monday, September 8, 2008

Manny Farber's Lists

Barbara Schock wrote for Filmmaker:
The phenomenal painter, teacher and film critic Manny Farber called his film class “A Hard Look at the Movies.” It was the first upper-division college class I took. I’d transferred from a small college in the Midwest to the University of California at San Diego, and I’d never seen a foreign film, unless you count the Sergio Leone westerns. We watched the following films in a 10-week period, and it turned the way I looked at movies upside down: Rainer Werner Fassbinder’s Ali: Fear Eats the Soul, Max Ophuls’s The Earrings of Madame de…, Jacques Tourneur’s Out of the Past, Billy Wilder’s Double Indemnity, Werner Herzog’s Aguirre: the Wrath of God, Joseph Lewis’s Gun Crazy, Nicolas Roeg’s Walkabout, Roberto Rossellini’s Voyage to Italy, Werner Schroeter’s The Death of Maria Malibran, Jean-Luc Godard’s Pierrot le fou and Les Carabiniers, John Boorman’s Point Blank, Eric Rohmer’s La Collectionneuse, Joseph Losey’s Accident, Robert Aldrich’s The Grissom Gang, Luis Buñuel’s Diary of a Chambermaid, Frank Borzage’s Man’s Castle, Nagisa Oshima’s Diary of a Shinjuku Burglar, Jean Cocteau and Jean-Pierre Melville’s Les Enfants terribles and several Buster Keaton films.

Azazel Jacobs

The son of avant-garde filmmaker Ken Jacobs.
His first short film Message Machine "...is a brilliant example of how the avant-garde and experimental can still tell us something about the human experience that no amount of budget or special effects ever will."
His graduation film, Kirk and Kerry, won best short film at Slamdance in 1997, and he began making his first feature, Nobody Needs to Know while studying for his Masters at AFI in Los Angeles. The film, which played the festival circuit in 2003, fused conventional narrative with more experimental elements as Jacobs grappled with the idea of “honest” filmmaking. The film is about fame and how pursues those who run from it, and runs from those who pursue it. After an appalling audition Iris decides she probably does not want it after all, clashing with her roommate Mira, who will do anything to get there. At the same time in Manhattan- which plays a major role itself- a young man explores behind the camera and outside the frame.
He followed it up in 2005 with the delightful offbeat comedy drama The GoodTimesKid, which he made for just $10,000 in collaboration with Jacobs' girlfriend Sara Diaz and Drama/Mex director (and fellow AFI alum) Gerardo Naranjo.
Jacobs' third feature, Momma's Man, sees him return home with the story of Mikey (Matt Boren), who stays at his parents' house while on a business trip to New York. Lulled by the security of these familiar surroundings, he starts concocting reasons why he can't return to his wife and baby daughter in California...

http://nobodyneedstoknow.com/