Monday, December 29, 2008
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 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
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.
Monday, December 22, 2008
Saturday, December 20, 2008
Sunday, December 14, 2008
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
'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.'
Tuesday, December 9, 2008
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
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 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/).
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
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.
Saturday, November 29, 2008
Tuesday, November 25, 2008
Monday, November 24, 2008
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.
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.
more projects by Geuzen:
Wearable Resistance: http://geuzen.org/resistance/index.html
Sunday, November 23, 2008
You can find more here (pdf) and here
Saturday, November 22, 2008
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/
Wednesday, November 19, 2008
See also: http://createdigitalmotion.com/
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 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.
Wednesday, November 12, 2008
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
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 ?
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
In Honor of Election Day, Jane Crayton aka JanedaPain present this American Poem....
A poem created in retrospective to Allen Ginsberg's America.
Choreographing Difference: Body and Identity in Contemporary Dance by Ann Cooper Albright
Meaning in Motion: New Cultural Studies of Dance (Post-Contemporary Interventions) by Jane Desmond (Author)
Tuesday, November 4, 2008
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.
Monday, November 3, 2008
and "Topics in Disability Studies" (Real Audio recordings)http://www.umich.edu/~uminds/Rackham%20580/Semesters/rackham580W05.html
Journal of Literary Disability
Theology and Down Syndrome
Toward an Aesthetics of Blindness: An Interdisciplinary Response to Synge, Yeats and Friel (New Studies in Aesthetics)
Sunday, November 2, 2008
ot read it here
more articles and relevant themes on: http://www.lacan.com/lacan1.htm
Friday, October 31, 2008
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...
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. .
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.
Thursday, October 30, 2008
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.
Tuesday, October 28, 2008
Monday, October 27, 2008
Monday, October 20, 2008
http://www.stereo-club.fr/pages/stereoscope.php (solo in french)
on perspective: http://www.sumscorp.com/perspectiveindex.htm
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
Tuesday, October 14, 2008
special performance section: http://08.a-m-b-e-r.net/index.php?m=works&sm=1&id=3
and New Media in performance: http://08.a-m-b-e-r.net/index.php?m=works&sm=4&id=39
Monday, October 13, 2008
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
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
Dependence : a sketch for a portrait of the dependent. Translated by Philip A. Facey. Boston: Beacon Press, c1984. ISBN 0807043001
Jews and Arabs. Translated from the French by Eleanor Levieux. Chicago: J. P. O’Hara, c1975. ISBN 0879553278 ISBN 0879553286
The pillar of salt. Chicago: J. P. O’Hara,  c1955. ISBN 0879559071
Tuesday, October 7, 2008
Monday, October 6, 2008
There is also a big Pure Data (Pd) tutorial by Johannes Kreidler free for downloading:
Sunday, October 5, 2008
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.
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)
Official site: http://www.amoros-augustin.com/accueil.html
Friday, October 3, 2008
Thursday, October 2, 2008
more collages: http://www.nytimes.com/slideshow/2008/09/12/arts/0914-COTT_index.html
Wednesday, October 1, 2008
Monday, September 29, 2008
Thursday, September 25, 2008
- 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.
Wednesday, September 24, 2008
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.
Thursday, September 18, 2008
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.
Tuesday, September 16, 2008
Sunday, September 14, 2008
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.
Monday, September 8, 2008
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.
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...