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buriedsecretspodcast · 2 years

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Taking pictures of ghosts: Polaroids, instant photography, and paranormal investigation

Spirit photography has a long and troubled history. When the subject comes up, my first thought is of hoaxers like William H. Mumler and William Hope, whose photographs were debunked in the 19th and 20th centuries, respectively. Much of the early belief in spirit photography seemed to rely on people not understanding the new technology of photography. Back then, people didn't know about how easy it was to doctor photos and shoot double exposures. (See also: the endearingly fake Cottingley fairy photos.)

Nowadays, we know how easy it is to Photoshop an image; we understand that photographs can be deceptive. How can you trust a digital photo that you know can be easily modified? Also, in an age when people are heavily filtering images that they post online, and maybe even making cosmetic changes to own their appearance and photographs, we have been trained not to trust pictures. We know that's trivially easy to fake things in digital photographs.

So it makes sense that instant photography has become increasingly popular when trying to photograph ghosts. After all, where's the room for fakery when an image is immediately output in a physical form?

Well, it turns out there are multiple ways to manipulate instant photos, and there are plenty of reasons to be skeptical of them as paranormal evidence, which I'll go into below.

There are people who I respect who have a lot of faith in instant photography, so I'm not ready to dismiss it as evidence of the paranormal. I'm always ready to be convinced that I'm wrong, so it's very possible that in the future I might come across a compelling reason to trust instant photography as a reliable ghost hunting tool. Personally, I absolutely believe that spirit photography is possible (with both film and digital cameras). It just isn't very probable, and it's easy to fake, so my first thought is always that an image probably isn't real.

I'm not really interested in debunking or casting doubt on the use of instant photography in paranormal investigation (though I think it's helpful to know any tool's limitations). However, if instant photography is vulnerable to manipulation, and that fact is well known and accessible via a simple online search, then why would such an unreliable medium be so trusted in ghost hunting?

At least part of that answer is nostalgia. Whether instant cameras are reliable for ghost hunting or not, it's obvious that they're popular. I've seen so many aesthetic images of ghost hunting kits that include Polaroid cameras. And even knowing what I now know about Polaroid manipulations, I understand the impulse to trust an instant photo over a digital one. It just feels more real.

The unreality of digital photography

It's incredible that digital photography is so accessible now. But the fact that we carry around smartphones that are capable of taking great pictures can make those images feel cheap, ordinary, and somewhat... unreal.

Unless you pay for a cloud service that backs up your photos as you take them, you could lose all of your recent shots if you lose your phone. Or you could be like me: I had an external hard drive fail and lost several years worth of photographs in an instant. There's something chilling and alienating about a part of the visual history of your life being wiped out. Those lost photographs (most of my pictures from 2012/2013 until about 2017) still upset and haunt me. So I think I have a particular ambivalence for digital photos; in the back of my head, I always feel like they could all disappear in an instant.

But whether or not you've ever lost your phone or had a hard drive crash, there is something ghostly and untrustworthy about digital pictures. At their core, they are insubstantial, simple to modify, and easily lost.

Instant photography's allure

Maybe this is my own nostalgia talking, but there's always been a certain appeal to instant photography. There're incredibly immediate and physical. You take the photograph, the camera spits out a packet of glossy paper and chemicals, and in ten minutes or so, it's been developed into a picture.

In the interest of full disclosure: I don't consider myself a photography expert by any means. (I barely count as a competent amateur.) But I have been using a Fujifilm Instax Mini 8 camera for about eight years, and a Polaroid Now I-Type camera for the last two years, so I have a decent amount of experience using two types of instant cameras. (Based on what I've seen online, the Fujifilm Instax line seems to be more popular than the more expensive and—in my limited experience, at least—more glitchy Polaroid Now line.)

Even in the age of digital photography, and despite their limitations, I'm always amazed by instant photos because they're physical products that I get to hold in my hand. They aren't digital detritus like the photos that pile up on our phones. They feel real. They are real.

Polaroids and ghost hunting

All that being said, instant photographs are more easily manipulated than you might think (check out this 2008 forum thread, where commenters offer some possible debunkings of ghostly Polaroids).

While I was researching this, I found a list of fifteen reasons why Polaroids are making a comeback, and was surprised to find that reason number seven was that Polaroid photos are "Easy to Manipulate." According to the article, which was published on thephotographyprofessor.com:

If you are still interested in doing some post-production type editing on your photos, you are in luck. There are all kinds of techniques you can use to manipulate your pictures, and some of them can be really unique. This is just one more benefit of using Polaroids for artsier photos. One of the techniques you can use to customize your photos is pushing around the chemicals underneath the photo paper before they have fully developed. When the image appears on the paper, the fixer is still working so the chemicals can be moved around with a cotton swab or a pencil. This can create some incredibly unique effects. Another technique you can use is exposing the photo to more light before the fixer has finished working. By shining a flashlight or other light source onto the image, you will double expose the film and create elements that would not have otherwise been in the picture.

There's even a Wikipedia page detailing ways to manipulate Polaroids. (Though it does note that newer Polaroid film is more difficult to manipulate than the older film types, which are no longer being manufactured.)

I also found an interview with a photographer on uniquephoto.com that went into detail about ways to manipulate Polaroids:

Polaroid Manipulation is quite simply manipulating the Polaroid print. After the print comes out of the camera, you have some time as it develops when the emulsion and the developer paste underneath are soft and manipulable. You can use a simple tool like a regular dried-up ballpoint pen and push the emulsion around, break it up, or push right down through the image to the black backing. Heating or cooling the print as it develops can affect it, too.

But, still, if you watch someone take an instant photograph and then look at that physical picture, it feels like fakery is impossible. There isn't a computer or smartphone in between the photographer and the final image. It's all done by an analog machine with a single purpose: to capture a visual record of what it's pointed at.

Even before I learned about Polaroid manipulation, I had a lot of skepticism about using Polaroids in paranormal investigations. My Polaroid camera is always introducing strange artifacts into photographs that I am very sure are not paranormal-related, so I wouldn't necessarily trust my Polaroid to show me something paranormal--unless I saw an anomaly that didn't resemble its usual misprints. (Though I suppose it's worth noting that it's always possible that I got a lemon.)

I'm not convinced that there's a valid technical reason to trust instant photos over digital ones. It seems like if a ghost can be captured by an analog camera, it can be captured by a digital one.

The only justification I can think of is just a general tendency to trust analog devices more when it comes to ghost hunting. And that's what I'm trying to suss out right now: is there a real reason to believe that analog devices are better for paranormal investigation? Or is something else (nostalgia? alienation and mistrust of tech?) motivating the tendency to trust retro devices over contemporary ones?

There's a lot more to be said about spirit photography, and maybe that's something for another day. But I want to dig deeper into why Polaroids and instant photography in general are so popular in the paranormal and beyond—which I'll do in an upcoming post.

#cryptidcore #cryptidacademi a #ghost hunting #ghosts #paranormalinvestigator #paranormal podcast #nostalgia #90s nostalgia #80s nostalgia #polaroid #analog photography #instant photography #instax #film photography

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briannas-casebook · 2 years

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ANIMATION CONTEXT: Flipboard

In this week's lesson on Animation Context, we looked at a few articles on our Flipboard. One of these articles featured a video showcasing an hour-long demo for the latest version of Toonboom Harmony, HARMONY 22. This software is used primarily for digital 2d animation and allows for the creation of frame-by-frame animation. The software is also an industry standard for 2D animation, particularly for television.

As someone who has experience with digital frame-by-frame animation and 2D paper cut-out stop motion, I would love to try and learn how to use and experiment with ToonBoom Harmony.

After this, we were shown several animated short films from the 1920s and 30s. This included two shorts from the 'Out of the Inkwell' series by the Fleischer Brothers and the early shorts of Walt Disney animation such as 'Skeleton Dance' and 'Steamboat Willy'.

During the 1920s and early 1930s, the Fleischer Studio was a fierce competitor with Disney. At this time, Disney had yet to release their first feature-length film and its main output at this time was the Mickey Mouse and Silly Symphonies shorts. These theatrical shorts are best known for their use of synchronised sound and simple, yet bouncy, and expressive "rubber hose" character animation by animator and director Ub Iwerks. A style that would serve as the precursor to the squash and stretch Disney style of the later 30s and 40s and would serve as the groundwork for the 12 principles of animation outlined by Frank Tomas in his book 'The Illusion of Life'. Fleischer Studios were also innovators for their time, inventing and patenting the rotoscope. a device that allows an animator to draw over live-action footage to create animation cells. This is a technique that the Fleichers would go on to use in short films such as 'The Tantilizing Fly' from 1919 and 'Minnie the Moocher' from 1932. Rotoscoping as a technique would also go on to be used in non-Fleicher Studios feature films such as the 1968 'Yellow Submarine' and the work of Ralph Bakshi like 'Wizards' and his adaptation of 'Lord of the Rings'.

On a side note, you can see the influence of films like 'Humorous Phases of Funny Faces' and 'Gertie the Dinosuar' had on the 'Out of the Inkwell' series. With 'Ko-Ko the Clown' being drawn by the animator in a live-action segment of the film and comes to life seemingly before the eyes of the audience. An influence you can see carried on in more contemporary works such as the 1991 short film 'Manipulation' and the 'Animator vs Animation' web series.

Another thing that set Fleischer Studios apart from its competitors, such as Disney were the dark and surreal situations of their shorts. With many of their protagonists portrayed as being down on their luck and placed in dilapidated city streets (reflective of the bleak landscape of 1920s depression era America) and strange landscapes filled with bizarre spooks. The cartoons of the Fleischer Brothers also skewed their content more toward adult viewers, with innuendo-laden gags and risque designs, such as Betty Boop. A flirtatious and cheeky character whose personality and, for the time, risque short-skirted outfit and ever-falling leg garter were heavily inspired by the flapper girl counter-culture movement of the 1920s. Betty's sultry looks and the male attention she receives because of them - being a frequent running gag throughout films starring her.

youtube

Echos of the rubber hose animation of both Disney/Ub Iwerks and the Fleischers can still be seen in the modern day, most notably with the action platformer game, 'Cup Head', which takes major influence from the surreal and occasionally dark, yet appealing and fun spirit of the animation of the 1920s and early 1930s.

I definitely found looking at these old cartoons and what influenced them, as well as the work that would go on to be influenced by it, to be a fascinating look into the history of animation - especially the weird and wonderful world of rubber hose animation, a field which I may take inspiration from in the future.

#fleicher animation #fleischer studios #disney #walt disney #ub iwerks #Youtube #animation context

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recentanimenews · 4 years

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FEATURE: How I Got Into Sakuga

Kaiba, Directed by Masaaki Yuasa

If you’re an anime fan, you’re likely an animation fan in general. But how do you know when an animation is “good”? How do you learn to identify an animator by only what you see, or tell when their drawings are better than usual?

English-speaking anime fans have adopted sakuga as a general catch-all term for exceptional animation. While the word sakuga itself means “animation,” in this context, sakuga has come to mean something very specific: Not just animation that looks cool, but the deliberate handiwork of specific animators with specific artistic aspirations. For example, a single-animator project might have a lot of “sakuga shots” because it has a personal, highly-refined style. Meanwhile, a television series might have an entire team of varying specialists for a larger narrative. Some of this might be attributed to specific key animators, while some might be credited to an entire studio — transformation sequences, explosive missiles, robots — that’s all fair game to be called sakuga. But how do you really know if what you’re looking at really is this so-called “sakuga?”

Like most art, it’s almost entirely subjective. Here’s my story.

Project A-ko, a high-energy 1986 OVA series best remembered for its exceptional animation staff

(Image via Retrocrush)

All’s Fair in Love and War Games

When I was a kid, I got my hands on the English-dubbed Digimon: The Movie on VHS. This notorious release was a three-part recut of Mamoru Hosoda’s Digimon OVAs released from 1999 to 2000, heavily featuring his second film Digimon Adventure: Our War Game. Of course, I didn’t experience this package as a “Hosoda anime” at the time. Besides the inspired inclusion of Barenaked Ladies’ "One Week" to the soundtrack, I strongly associate these films with Hosoda’s signature interpretation of Katsuyoshi Nakatsuru’s original Digimon Adventure character designs. Compared to the Toei-produced television series, these renditions of the Digi-Destined are charmingly off-model and move with awkward intention, like actual kids up against terrifying monsters.

In a sense, that’s what most people mean by sakuga — animation that makes us lean in and notice traits about the world and characters that can’t be communicated otherwise. Sakuga, in particular, places special emphasis on an individual animator’s keyframes, or the drawings used as a basis for in-between frames during movement. That’s what I mean by the phrase “Hosoda anime.” If you watch Summer Wars or The Girl Who Leapt Through Time enough times, anyone will notice a stylistic palette of idiosyncrasies.

Digimon Adventure “Home Away From Home” directed by Mamoru Hosoda

(Image via Hulu)

An Emerging Style

When I got older and realized there was more anime than what was on cable, I kept returning to “flat” style animation with films like Tatsuo Satō’s 2001 Cat Soup and Shōji Kawamori’s 1996 Spring and Chaos. Around this time, contemporary artist Takashi Murakami also began developing his own “superflat” style (coined in his 2000 book Superflat and later in Little Boy: The Arts of Japan's Exploding Subculture) we’ll return to. Once I got a taste for the experimental, I never turned back.

But back to Hosoda. Less focused on the details of models and more fixated on a “flat” or fluid style of movement, the key animation in Hosoda’s films makes body language a priority. This is perhaps the best thing about good sakuga — its potential to express deep emotion even under production constraints. My favorite example comes from the first Digimon short film Hosoda directed, the simply titled Digimon Adventure from 1999.

Keep Your Hands Off Eizouken!, Directed by Masaaki Yuasa

Originally conceived as a standalone for Bandai’s then-new Digital Monsters virtual pet toys, this version of Digimon is less loud, more atmospheric — and sincerely preoccupied with the question: “How would little kids actually handle a giant monster of their own?” The result is an unforgettable shot of Kairi, Tai’s little sister desperately blowing her whistle, stopping to catch her breath, then spitting and coughing in an attempt to calm down their newly evolved kaiju Greymon friend.

For the television series, Hosoda directed the episode “Home Away From,” depicting the two siblings clinging to each other as the other slowly drifts back to the Digital World. In both scenes, characters don’t constantly move, but only act when necessary via careful manipulation of the frames. This technique not only makes everything seem more “realistic,” but also acts as a visual cue for the anxiety Tai and Kairi feel. In other words, painstakingly controlled animation serves both form and function, especially when you’re selling an emotional climax of another kid-meets-monster plot.

Tomorrow’s Joe, 1980 film adaptation of the 1970 TV anime series directed by Osamu Dezaki

(Image via Retrocrush)

A Little History Lesson

After Digimon, Hosoda and Nakatsuru collaborated on films like Summer Wars and the Takashi Murakami-inspired pop art short Superflat Monogram. Hosoda is no doubt inescapable to sakuga fans today thanks to the ubiquity of his feature films. Still, Hosoda obviously wasn’t the first sakuga animator. Animators like Yasuo Ōtsuka, known for his cinematic work in a pre-Ghibli era of anime film with Toei, documented the growth ‘60s and ‘70s of Japan’s animation industry in his 2013 book Sakuga Asemamire. When the demand for films lowered in favor of anime television during that era, animators took risks. Classics of the era like Tiger Mask and Tomorrow's Joe literally held no punches, and Osamu Tezuka’s own Mushi Productions dove headfirst into experimental adult films. Animators, and especially keyframe animators, had creative control. In this perfect storm, the advent of sakuga was inevitable.

Everyman Ken Kubo is taught the ways of eighties anime in Otaku no Video

(Image via Retrocrush)

Why Bother With Sakuga?

In 2013, animation aficionado Sean Bires and company hosted an informational panel titled “Sakuga: The Animation of Anime” at Anime Central Chicago. Uploaded to YouTube that same year, this panel informed my younger self’s understanding of not just the “how” of sakuga, but the “why” it even needed to exist in anyone’s vocabulary. Accessible, meticulously researched, and full of visual references, Sean’s two-hour panel-lecture does the heavy lifting of contextualizing anime not just through a historical lens, but within the broader project of expanding cinematic techniques. This primer might sound heady, but considering the popularity of Masaaki Yuasa’s series like Keep Your Hands Off Eizouken!, and references to animator Ichirō Itano’s “Itano circus” missiles in American cartoons like DuckTales, it’s hard to say sakuga isn't relevant. Nowadays, it's practically a trope to parody one of Dezaki's most iconic shots. Supplemented by a rich community of blogs and forums, it couldn’t be easier to learn about animators like Yasuo Ōtsuka or the early days of Toei if you want a bigger picture. Blogs like Ben Ettinger’s Anipages and the aptly named Sakuga Blog are a good place to start, not to mention dozens of dedicated galleries of anime production and art books published by studios themselves. Now couldn’t be a better time to vicariously live your art school dreams through anime masterworks.

Little Nemo: Adventures in Slumberland, a 1989 film featuring animation by Yasuo Ōtsuka best known for his work on the Lupin III franchise

Sakuga Is For Everyone

Fans have always been obsessed with the technicalities of animation, even if they weren't artists. As early as 2007, uncut dubbed collector box sets for Naruto came with annotated booklets of episode storyboards. More recently, critically-acclaimed series like Shirobako further explicated this love for animation as a team effort — people love attaching other people to art. In contrast, psychological horror series like Satoshi Kon’s Paranoia Agent features an episode about an anime studio’s production going terribly wrong. Not to mention the endlessly self-referential Otaku no Video Gainax OVA and its depiction of zealous sakuga otaku. Anime fans adore watching anime be born over and over. It’s that simple.

Digimon Adventure “Home Away From Home” directed by Mamoru Hosoda

(Image via Hulu)

Today, I’d comfortably call some shots from Hosoda Digimon films great sakuga. But Koromon is still weird. Sorry. The love for sakuga isn’t a contest to one-up fans on production trivia or terminology. It’s about taking the time to appreciate the fact that anime is ultimately a collaborative artistic endeavor. From tracing back the lineage of animators like Yoshinori Kanada to Kill la Kill, to appreciating the visual sugar rush of Project A-Ko alongside slow-paced Ghibli films, “getting into sakuga” isn't a passive effort, nor a waste of time. Besides, wouldn't it be fun understanding how your favorite animator achieved your favorite scene? The phrase "labor of love" is cliché, but maybe that’s a good synonym for what role sakuga inevitably plays for artists and fans alike — work that brings you joy, no matter how you cut it. Who is your favorite animator? When did you get into sakuga? Let us know in the comments below!

Blake P. is a weekly columnist for Crunchyroll Features. His twitter is @_dispossessed. His bylines include Fanbyte, VRV, Unwinnable, and more. He actually doesn't hate Koromon.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Blake Planty

#Anime #News #Latest in Anime News by Crunchyroll!

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stemmmm · 5 years

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An Animation-Term and Keyword List For People Who Haven’t Studied Animation

I’ve decided it’s time to put my BFA in animation to use and share with you all about 40 terms I could get off the top of my head that I’ve seen confusion and misconceptions about.

If you know a term that was missed here, feel free to add a definition or ask for one!

Animation (in this context) -- The act of taking a series of images and putting them in a sequence next to each other which is then viewed in rapid succession, thus giving the images the illusion of movement.

Anime -- The Japanese word for “animation”. This term is often used to refer to the style of drawing in the west, but it literally ONLY means “animation”.

Animatic -- Unfinished visuals and audio cut together into a watchable video format. This is NOT another word for short animation. An animatic would use visuals from a storyboard rather than rough or finished animation

Anticipation -- A slower movement made by a character to lead into action. This is used to great effect in comedy animation and in games like Dark Souls. The posing and buildup makes you expect something is going to happen.

Cel -- A tool for animating. Traditionally, this is a sheet of clear plastic that a frame of animation is drawn on and painted color is applied to. These are set on top of background images and photographed so they can be used in the final animation. The term can also be applied to hand-drawn digital animation. Pre-digital nearly everything was animated in this fashion, like Bugs Bunny cartoons or classic Disney movies. Some Japanese animation is still done like this, but the move to digital has only recently begun there.

Claymation -- A branch of stop motion animation, it is when moldable clay is shaped, photographed, and reshaped in a manner that gives it the illusion of movement.

CGI -- Stands for Computer Graphics Imagery. Any image that is generated by a computer. This applies to all digital artwork, even 2D, but is most commonly used to refer to 3D images created by a computer.

2D -- Flat images such as those you would draw on paper. They have height and width but no depth.

3D -- Images with height, width, and depth. Computer generated images and physical sculptures fall under this category. 3D computer animation and stop-motion animation are 3D.

3D Computer Animation / 3D Animation -- Animation done on a computer specifically using 3D software to either give the image more depth or to make it look more lifelike. It is made by creating digital sculptures of characters which a “rig” is attached to which gives the animator the ability to move the sculpture like a puppet. If you say 3D animation, people will know you are referring to computer animation. Most American movies in the past decade are or include 3D animation.

Digital -- Any animation done on a computer. This applies to 3D animation, 2D graphic animation, and hand drawn animation done on a computer. Most animation has moved to digital formats because of computers ability to automatically in-between--thus saving large amounts of work. Computers also eliminate the need to physically store easily lost or damaged piles of paper and film, and they eliminate the need to manually photograph individual animation frames.

Flash -- Refers to the now mostly defunct Adobe Flash program which gave animators the ability to turn 2D drawings into puppets that could be animated. The similar Adobe equivalent is now called animate. It popularized a style of puppeted animation similar to paper cutouts in a digital format, but while it is known for that, it can be used for hand drawn animation as well. This puppet style of animation has improved dramatically since it’s beginning in Flash, and the same (or similar) technique is used by people who animate with programs like Toon Boom. Shows animated in flash include Johnny Test and My Little Pony: Friendship Is Magic.

Frames -- A single image as part of the whole animation. A picture of a cel on a background would be one frame.

Frame rate/ Frames per second -- How quickly the frames are played back for the viewer. Film standard is 24 FPS, or 24 frames played in rapid succession for the duration of 1 second. Games often play at 30-60 FPS to aid reaction time.

1′s and 2′s -- To animate something on “1′s” means to create 24 distinct frames to play for a full second. 24:24, or, just 1. 2′s--also known as 12FPS--similarly means you do half that amount of work. 24:12. Most things are animated at 12FPS because it is less work and accomplishes approximately the same thing as animating on a full 24 frames. Animations at these rates are still played at 24FPS. Contrary to popular belief, classic Disney movies are mostly animated on 2′s.

3′s and 4′s and so on -- Like 1′s and 2′s, but less. 8 and 6 FPS respectively. These rates are used more commonly in television than movies, but even then rarely. 3′s and 4′s most often exist in conjunction with 1′s and 2′s to both save work and give the animation more expression. These are also always played at 24FPS. Studio Trigger most notably animates like this.

Hand-Drawn -- Animation that is fully drawn by hand and does not involve manipulating a puppet character. Traditional 2D animation is hand drawn, Flash animation isn’t.

Hold -- When a frame or pose lasts longer than normal. A hold can be completely still or have slight movement. They are used to break up action and very often used to create anticipation of an action.

In-between -- Frames that connect the action happening between keyframes. They change something from a set of poses to actual animation.

Keyframe -- Important frames in the animation, often major poses in an action. These are sometimes taken from storyboards but not always.

Meaningful animation -- Or animation with intent. Parts of an animation that were specifically made to do a certain thing. This comes up in discussions about higher frame rates and whether or not they matter to a work. An action that could be expressed in 8 frames played at 24 FPS does not necessarily need 24 frames, because the additional frames provide too much visual input, could be drawn more poorly, or are a waste of time to do. A computer generated tween is not always meaningful because it was not always intended to exist by the animator. The frames generated when you take an animation at 24FPS and modify it to be 60FPS are not meaningful.

Mocap/ Motion Capture -- When a person wears a silly suit with little balls or other markings on it and acts around a stage, that is for motion capture and animation reference. Motion capture tracks a persons movement and can apply it to a 3D rig, but it is not perfect so animators are still needed to correct the movements and make it work in the final product. This is used in many live action movies that feature CGI and notoriously in The Polar Express.

Mograph/ Motion Graphics -- This is the animation style used in many commercials, how-to explainer videos, and animated company logos. This is the lovechild of graphic design and animation. It is most often 2D, sleek, and heavily design focused as opposed to character focused. Most often made in Adobe After Effects.

Paper cutout -- A form of stop motion animation where pieces of paper are placed on a flat surface and photographed from above. This can be done with light from the front to see the full detail of the paper, or back lighting to give it the effect of shadow-puppetry. The first animated film was done in this style.

Pre-production -- Work that is done before something is animated. Includes character designs, environment designs and layouts, scripting, storyboards, audio recording, and anything else necessary to have done before you begin the arduous process of animation.

Post-production -- Anything that needs to be added after all pre-production and animation is finished. It includes editing everything together, adding effects, and whatever else must be done before you can call something “finished”.

Procedurally Generated Animation -- This is animation made entirely in a computer through use of algorithms. Used more often in games than anything else. Animations are generated in real time to create more variety in the movement. It allows for things that can’t be done with pre-made animations like making characters feet land and/or slip on rocks or track their head and eyes to look at something.

Puppet Rig/ Rig -- A skeleton applied to any type of puppet you want to animate. 3D and puppeted stop motion animations both use this, though in stop motion it is more likely called an armature. 2D animations like Flash animations also use these

Onion Skin -- A 2D animation term. In traditional animation, a person works on paper over a light table which shines light through the paper and lets them see the frames they’re animating between. In digital animation, you press a button and the onion skin will display in either a lighter color or different hue the frames in front of or behind where you’re working to a point you can set and adjust. It’s called onion skin because peeled onions are transparent.

Reference -- Looking at something from life to base your work on. If you are animating a flying bird, you need to know how their wings move, so you need to watch birds or maybe film them and play it back slowly so you can see the small details. Animation since Snow White has used life action reference heavily, many old animated movies were fully acted out and recorded before they were animated. Movies today don’t do that much, but animators will record themselves acting out scenes they’re working on to capture body language and lip sync. Reference is not tracing or rotoscoping, but it can be.

Rotoscope -- Animation drawn directly over life action footage. This is reference to it’s extreme, because the drawings do not take inspiration from the movements so much as they are an exact recreation. It is often easily noticed for the higher framerate it often has and for having movement unnatural to animation. Unless the character is heavily stylized, rotoscoped animation often looks strongly like real people. 2D animation traced over 3D animation is not rotoscope. Motion capture is also not rotoscope. Many classic Fleischer films had rotoscoped sequences and Anastasia is known for it’s heavy use of the technique.

Rough Animation -- Animation in it’s early stages, it may not be fully in betweened, but even if it is, it isn’t cleaned up or finished. Drawings in the rough stage are often messy and incomplete so it is easier to throw out frames and replace them.

Rough Cut -- The next step from an animatic. A rough cut contains all finished and unfinished work as a preview of what the final product can be. They can have any combination of animatic materials, rough animation, and finished work.

Stop motion -- Animation of physical objects on a set, photographed one frame at a time. Covers everything from claymation, to paper cut outs, to puppets, and more. More prominent in early film as visual effects before that became what it is known as today. The most popular form is puppet animations like those done by Laika studios.

Storyboard -- A sequence of rough drawings paired with script that dictate what will happen in an animation. These are not keyframes for animation, nor should they themselves be animated.

Timeline -- In digital animation, this is the bar that holds the individual frames in sequence so they can be played and viewed as you work. You can also stretch the frame length to last longer or shorter, hence “time”.

Traditional (Cel animation) -- Earliest form of 2D animation, the same as hand drawn animation only it’s done on physical paper. The terms are blurred together however, so when talking about traditional animation you may need to specify whether it’s on paper or digital.

Tweens -- Computer generated in-between frames. Applies to 3D animation, but most often refers to puppet rig 2D animation like flash animations. Often used as a derogatory phrase, as computer generated frames can lack the visual appeal of hand made ones. Tweens move extremely smoothly and evenly from pose to pose, which is the tell of a puppet rigged animation.

VFX -- Stands for visual effects. They are effects applied to a film in post-production that can be CGI or not, but are very often CGI. Includes aspects such as explosions, weather effects, background details, cleanup, etc.

#animation #artist tips #art #art tips #m.txt #m.edu

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eleedsfineartblog · 3 years

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EXHIBITION PROPOSAL

The collection of works that I have submitted for this model are part of a multimedia collection titled I HAVE BEEN TAKING CARE. It is made up of five pieces/series of works and despite there being a range of mediums on show, including painting, installation, video and sound works, they all work together to create one installation that takes the audience on a journey through my headspace during lockdown and by extension become more in touch with their own mental and physical states. It is the final product of the experimental work I have been doing throughout this semester where in which I was heavily inspired by my own mental wellbeing and my experiences of being in a mental and physical state of transition. I like to think that the combination of the works I have selected convey my turbulent emotions in a concise way, guiding the viewer between solid and lucid states through fluctuating distortions in visuals and audio. Overall themes of this work include isolation during lockdown, gender identity, depression, anxiety and, on a brighter note, the process of overcoming these things. Depending on how the collection is viewed, it can either be interpreted as a declining state of wellbeing or an improving one – the latter being how I have experienced making these works. I am hoping that my audience can find solace in the strangeness of my artwork in this collection and resonate with people facing with any of the themes mentioned, even if it’s just the fact that they are not the only person out there struggling navigating their own journey of wellbeing.

In an exhibition setting, this collection would require both a well lit space to display the paintings and also a dark space to showcase the video and projection work. If presented in our studio, I would imagine that one of the separate rooms would be used for the latter, while the paintings are displayed on the wall outside.Alternatively, if I had more time and expertise, I would love to display my paintings and still digital work on a Lightbox within the darkened installation space so that everything could be experienced together. I feel like this would really lend itself well to the nature of the works because of them being a hybrid between traditional and digital mediums and displaying on a Lightbox is not unlike displaying on a screen. This is perhaps something I would like to explore more next year when I can pay more attention to the space in which my work is to be exhibited.

1. I HAVE BEEN TAKING CARE

These paintings represent me at my most grounded and least distorted, yet still there is an uncomfortableness about them which is a running theme in my art. They reference my often apathetic relationship with looking after myself by having the face mask, a representation of typical “self-care” and “wellness”, hang limply off my face. They act as a kind of pathetic shield from the outer world, which is partly in reference to the unproductive coping mechanisms a lot of us employ when we are not in a great mental state. The piece focuses on tensions between the inner and outer body, as well as themes of body image, wellness and mental health.

2. I HAVE BEEN TAKING CARE (remix)

These pieces are a “remix” of the previous paintings, due to the fact that they are the same pieces but manipulated in Photoshop to represent distortions in reality and how I view myself. This is the beginning of the art in the collection becoming less grounded in reality as different versions of myself are merging and melting into each other.

3. JUICE TASTES FUNNY AFTER I’VE BRUSHED MY TEETH

This series of pieces are an extension of the previous pieces and the decent into complete distortion of my physical form. As in the first pieces where I am wearing a face mask, in these paintings I am brushing my teeth, referencing back to the themes of physical wellness and hygiene - the things that are usually the first to go when descending into a bad mental state.

4. SKIN CLOUD

As you enter the second room of the collection, which is kept dim due to the nature of the work, you are greeted by an average pillow slumped against the wall like a resigned looking figure. A projected onto it is close up videos of my skin/body parts, making it the most intimate and personal piece in the collection. This references back to the distortion of my body that is evident in the 2D work previously in the collection. It is not inherently clear what is being projected onto the pillow because at a glance it just looks like abstract colours and textures, which links to much of my work this semester which has been focused on making the familiar unfamiliar. This piece links more into my gender identity more than any other because looking at the body this close up means that you can’t tell if I am male or female and this represents a changing attitude towards my body.

5. Incoherence + Nonsense

The collection concludes with Incoherence + Nonsense, a video/spoken word piece projected onto the back room. In this piece, my body is almost completely obscured by the editing, heavily contrasting with SKIN CLOUD which displays my body so explicitly that it becomes unrecognisable. The video consists of a film of me speaking from a diary entry I wrote during lockdown, edited so that the sentences are reargued until the narrative was completely disjointed. I then projected this video onto various surfaces in my bedroom and edited them in this ethereal and ghostlike way. There is a soft piano track in the background for added ambience. The overall vibe of the piece is unsettling and descends into a crescendo of audio and visuals. This is the ultimate example of my mental state being detached from the physical world which is what the whole collection was building up to.

#art #fine art #art student #artist #exhibition

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fluidsf · 4 years

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Polar Visions Amplitude reviewing -

John Wiese - Deviate From Balance

Released on 15 June 2015 by Gilgongo Records

Reviewed format: CD album

Connected listening - there are various ways to order a selection of John Wiese’s further discography. The Helicopter mail-order stocks various John Wiese releases as well as Sissy Spacek releases and releases by by John Wiese in collaboration with associates, you can find it here: https://helicopter.storenvy.com/collections/924921-john-wiese

Several solo releases by John Wiese are also available on physical and digital format from his Bandcamp page here: https://johnwiese.bandcamp.com

Many releases on Gilgongo Records are available on physical format through their mail-order store here: https://gilgongorecords.storenvy.com

After looking at one of Sissy Spacek’s recent new albums Featureless Thermal Equilibrium in the previous Polar Visions Amplitude it’s time today for the first of two follow-up reviews in which in this case we’re focussing first on one of John Wiese’s past solo albums, Deviate From Balance. Released back in 2015 on both a 2 LP vinyl package as well as a CD version on James Fella’s label Gilgongo Records our look is on the CD version which features the packed 79 minute album in full and what a collection of pieces it is. While the Sissy Spacek album showcases John Wiese’s talent in mixing Grindcore aggression with monolithic Noise screeches as well as maxing out the energy throughout, Deviate From Balance showcases John’s more restrained side in a collection of 10 tracks encompassing mostly live recorded compositions and improvisations that are leaning more towards intense choppy sound collages and noisy electro-acoustic interplay of acoustic and electric instrumentation with John’s electronics with a more conceptual edge to them. However while some of the titles of the 10 pieces suggest a somewhat philosophical or technical meaning behind these pieces, listening to these reveals a much more playful and raw sense of composition and performances from John and all musicians and artists involved in this album. Whilst John’s sound can be related to Free Improvisation, his rapid-fire editing and manipulation of sonic material on this album is much more complex and dazzling than many other artists and carries John’s signature knack for surprise, high frequency distortion crunches as well as shifting and abusing lo-fi sound recording equipment and electronics in as many ways as possible, almost as if they turn into crumbling fragile rocks. Disintegrating broken sound and dadaist absurdist humour is a recurring theme in John’s sound, making for an album that is much more enjoyable than overly academic contemporary Tape Music can be at times. Besides John’s sonics the involved musicians on this album are definitely an important element that adds many rich colours to the 10 pieces, featuring musicians like guitar virtuoso Oren Ambarchi, violin artist Jon Rose, sampling expert David Shea and drum machine musician Ikue Mori as well as many others. Before we’re diving deep into the 10 tracks on Deviate From Balance, let’s have a look at the packaging design of the CD version. The CD comes in a neat glossy oversized gatefold sleeve showcasing John Wiese’s minimalist design, artwork as well as a very colourful artist photo of John by Martin Escalante on the back. In terms of artwork I do like the photo-collages and art pieces on the inside of the gatefold a bit more than the cover this time as while the cover does highlight the general collaged, choppy nature of the album well in a visual manner, its subdued grayscale grainy images aren’t as striking as John Wiese’s other album covers but still, it’s a decent cover and the typography is quite stylish and repeats on the spine in a similar manner. The aforementioned imagery on the inside of the gatefold showcases both grayscale abstract art in the form of archaeological artefact style fragments on the left panel as well as a film roll like photo collage of a rather disturbed looking lady blowing up a balloon. The abstract images are a bit similar to the album cover though with darker and more distinct contrast but the photo collage also adds another good visual reference to the packaging regarding the tracks themselves in that balloon like squealing and screeching can be heard on some of the pieces and it also seems to refer to the album’s quite off the wall type of abstract humour. The left panel additionally features all album credits neatly laid out so you can find out all about the involved artists and recording locations plus sources. The CD itself comes in a convenient little black envelope with plastic protection and features a more LP like label design featuring simply the artist name, album title and Gilgongo label logo, somewhat similar to a Japanese mini-LP replica package. Now that we’ve looked at the package, let’s pop in the CD and dig in.

Deviate From Balance starts with Wind Changed Direction which is one of the most atmospheric pieces on the album. The piece blends organ like drone, chopped up distorted recordings of what sounds like children’s voices, machinery as well as other Industrial noises together to form a quite surreal mysterious soundscape. Quite like the title suggests the music sounds quite like you’re floating through the clouds right after the wind has changed direction. The drone feels both calming but also a notch ominous whilst the auto-panned chops of sound are both vaguely abstract and at times recognisable with John varying between distorted and resonant shards of crunchy sound and cleaner metallic elements. The voice samples hint somewhat at sonified memories, they sound like fragments from the past, conversations or event you might remember from childhood though the actual words are unrecognizable. This first piece is definitely one of the most straight-forward compositions on here in terms of structure with the drone both introducing and rounding off the piece as in both cases it eventually fades into the background. A quite lush start of the album. Following piece 356 S. Mission Rd continues the soundscape like approach but in a more ominous manner sounding quite like a cross of dark sounding orchestral music samples with strange hollow metallic resonances and washy shifting noises. The metallic resonances bring plenty of subdued Industrial shine to the piece but the aforementioned orchestral samples are what draws me into this piece the most as the screechy dissonant strings combined with ever so slightly differently timed horn crescendo suggest an ever apparent danger which is getting closer but just like in an abstract nightmare is stuck in a loop with the danger never reaching further than a certain indiscernible point. The shifting noise elements add some rawness to the piece which suggests some kind of turntable manipulations going on in the piece, a lovely brooding collage piece this is. Segmenting Process For Language, the next piece, is where things start to get more chaotic and free-wheeling though still very much controlled. The track featuring a live performance recorded at East Brunswick Club in Melbourne, Australia consists of wild and inspired mixtures of saxophone, (junk) objects, percussion, drums, guitar and noise as the musicians move into always differing “segments” made up of shards of sound, wildly swirling melodies, chords and tones. This does make for quite some literal clashes of sound but rather than being one of the more random sounding Free Improv performances the sections of interplay follow a much more recognisable structure in that certain droning tones as well as feedback lays somewhat of a base underneath the bursts of sonic mayhem. Whilst there are a whole lot of things happening in this recording I would like to name a few particularly enjoyable bits. These include the short bursts of squelchy synth swirls, resonant ground vibrating feedback laden noise, the hilarious goofy but still playful wordless vocalisations spat out by the musicians but also the at times disturbing dissonant chords which are formed and culminate in an absurdly, almost 50’s Horror film soundtrack like waves of organ droning at the ending of the piece after which we can hear the only applause that could be fit in on the tightly edited CD. An inventive juxtaposition of out of the blue musical absurdism with the more dadaist lightning strike like approach of collage based Harsh Noise carrying John’s seal of quality. The next track Superstitious does match its title rather well in terms of the sounds within and it’s the most Noise focussed piece on Deviate From Balance though still more along the lines of a layered soundscape. After the instrumental interplay of Segmenting Process For Language we’re back to a more noticeably composed piece which moves through various phases emitting a definite ambience of superstition through somewhat disturbing concrete sounds, noise and tones. Its beginning featuring chopped and quite heavily scrambled recordings of a scared woman wailing as well as various other waves of distorted sound and tone overtime moves to the climax of the piece which is an extended section of the aforementioned noise from by a nicely low end grounded stream of screechy sound featuring especially piercing high frequency sound manipulations quite like some kind of dystopian alien machinery, though your interpretation might definitely be much different. Regardless of how you interpret it, the piercing noise does give off quite an intense feeling of dread and fear and while the sounds used in the piece are sometimes somewhat recognisable, like dirt like crumbling sounds, coffee cups, car related sounds etc., again they’re manipulated and structured in such shifting and distorted manners that they feel like sudden waves of mind imagery than things you can really grab onto. The finale of the piece in which John frequency manipulates a continuous tone is quite gripping too and Superstitious as a whole sounds quite like both a physical and mind gripping piece. Cafe OTO is the track that follows and it’s obviously a live recording that was made at Cafe OTO. Moving back to the more improvisation based style of collaborative group performances that John Wiese has done together with other musicians this piece has a more continuous flow of sonic events and instrumental interplay and a generally might lighter edge to it than some of the other pieces. Especially the percussion blended with effect manipulations and saxophone performances are particularly good on here with percussion clattering, clinking, jumping around the room in quite hilarious surprising manners moving from crystal like tinkling to shells and wooden percussion whilst the saxes wildly swirling melody lines and screeches form sweet tonal abstraction that are wild but not going overboard and staying well in tune with the other elements of the performances. The “spat” out vocalisations are quite matching with the saxophone performance and whilst somewhat more subtle for most of the recording, there’s also some tasty, albeit less abrasive crashes of objects near the end of the recording. Again, John Wiese’s talent in highly abstract but always varied and uncompromising electronics and instrumental performances combined with the excellent inspired energy of all musicians that appears in his group performances shines through with the fun and details in the layers created making this suitable for many repeat listens. The following track Battery Instruments (Stereo) does work quite like an extension of the sounds from the Cafe OTO recording, though in a bit more minimalistic fashion being made up of mostly small, clicky and quite sounds. A collage of instrument, objects, electronics as well as short vocal bursts the piece puts the freely moving aspect of John Wiese’s group pieces into more of microscopic lowercase territory. It’s the shortest piece of the album at 2:12 minutes and works as kind of transition from Cafe OTO to the quite abrasive walkman Noise collage piece Memaloose Walkman, showcasing various crackling, scraping, spiky sonic details, a mysterious subdued drone as well as some quite tasteful bass string scratchings all panned quite widely (as this was originally a multi-channel piece). A sweet short piece this one. The aforementioned piece Memaloose Walkman then follows and it’s quite straight-forward in nature consisting of a mono tape collage of various recordings of gunshots. Besides splices and perhaps a bit of pitch adjustment there’s not much manipulation added to this but as a Noise piece it’s quite effective letting you hear the different swishing phased textures of shots from various guns as well as some bits of talk and music in between with a layer of crunchy saturation on top of everything. Simple but effective. Afterwards Dramatic Accessories continues within the Noise territory as a piece of quite a lot of instrument / object and especially turntable abuse featuring quite a lot of bassy and wild distorted screeches mixed with chopped recordings all presented through some crazy panning. One that will especially please harsh heads, within Dramatic Accessories there are various sections in which John and the other artists involved use all kinds of methods to create a variety of sounds ranging from the shifting kind of turntable warble, clicks, grating washes of distortion, chunks of feedback, amp hiss and metallic ringing. However whilst there are a lot of distorted sonic events happening within this piece, there is some sense of dynamics within however, created by the wild panning as well as shifting the phase and using some of the room acoustics and feedback of equipment to create some loud / softer / loud sections leaving some headroom for the sounds to not fully max out and become a bit overblown. The garbled object and instrument chops are clattering around often but strange distorted disturbing recordings of voices are also thrown in the mix making for an at times frightening but thrilling ride of unpredictable sounds. One element that is recurring throughout the wildly fluttering barrages of different sounds are certain grounded tones that bring forth some kind go base for all sounds to lean on as they continue changing in at times rapid manners. All in all Dramatic Accessories is another enjoyable sonic ride on Deviate From Balance in which rich and uncompromising textures are brought out in memorable ways through some fine inspired performances from all people involved. Solitaire follows, which is one of the two longest and final pieces on Deviate From Balance, at 11:15 minutes. In terms of approach the piece is somewhat similar to Dramatic Accessories but with the difference that rather than using vinyl, tape is being used here as one of the elements that create the various sounds within the piece. Solitaire follows a more continuous structure than other pieces on Deviate From Balance in that it’s mostly based on a set of repeating patterns within it's structure acting a bit like the compositional and performance equivalent of mechanical processes. Whereas Dramatic Accessories featured experiments with both clean and distorted sounds, Solitaire moves more into a quite crunchy rough direction featuring shards of chopped up instrument and music recordings, junk objects, voices as well a various especially percussive and resonant concrete sounds that ever continue to change in form. These repetitive patterns do give some kind of rhythmic drive to the piece but change often enough to not become sampler like and are more akin warbled broken tapes as the recordings are mercilessly abused through speed manipulations and ever increasing distortion. This is combined with a constant shift of stereo phase, through which on headphones you get the idea that the shards of sound are flying over your head and are forming 3D shapes in between your ears. A great listening experience which even works as the distortion gets quite murky and harsh nearing the end of the piece. Whilst the pattern style, on the fly pitch warbles and crunching noises carries on throughout, it’s great how some depth is slowly forming near the end of the piece, in which soft ticking percussive bits are being scattered between out ears and rimshot like ticking sounds are added for nice clean percussive accents. A very fluid piece in terms of progression and sound work which shows that whilst John Wiese’s solo and band works might at times sound very free-flowing and chaotic, he’s always got quite some noticeable control and focus within every piece, inspired and always different. Final piece Segmenting Process (Oregon) is indeed somewhat related to the earlier Segmenting Process For Language although in the case of this recording the segmenting of the several parts of the piece is even more clear. Being the longest piece on Deviate From Balance at 21:45 minutes the piece is also one of the most introspective and “organized” sounding tracks on the album as in here we can find the by now familiar mixture of acoustic, electric instrumentation with both electronic sounds and manipulations but also a more restrained approach to the Noise elements John Wiese has explored in various ways in most tracks before this one. Rather than almost overtaking the non-electronic instrumentation either through loudness or sharp (harsh) frequencies, the Noise is more in tune with the instrumentation as being a part of a blend of various sonic elements. This is also helped by the fact that with the larger group setting featuring brass, percussions, drums and more the piece required a larger venue to be performed which gives the piece some welcome acoustic space, adding some room ambience and keeps the piece nicely dynamic. Sounding most similar in approach to Electroacoustic Improvisation the pieces segments blending vibrant instrumental performances which vary from fluttering percussive tones, noises as well as more drone focussed falling and rising tones with crackling, noisy, humming, distorted, sample based and glitchy electronics sound quite like the piece is based on a mixture of dreams. Like a sonic interpretation of a dream world the piece moves from segment to segment with all of them featuring somewhat recognisable sounds like the instruments themselves or voices mixed with shaped abstract noises but everything carries some kind of mystery within it, which is especially caused by the somewhat unnerving textures created by the brass instruments within the performance. The absurdist humour element is still apparent within the piece however with at times goofy squeaky noises, drum kit hits, tinkling bells and other pointy bits of abstract sound keeping things nicely playful and light but still powerful as always. The flow of the piece also helps to keep things captivating and interesting throughout as its length might take some listeners a bit to get into it but with so many different events happening throughout there’s never any idleness in here. And with this last piece I’m getting into the conclusion of this review of John Wiese’s Deviate From Balance. I award this album a Polar Visions Amplitude of 85 dB, recommending you to definitely check out this album. Deviate From Balance showcases both John Wiese’s compositional and performance talents through a varied selection of recordings in which you can hear John’s approach in various settings ranging from surreal sound collages, Noise infused instrumental improvisations to rough tape manipulation and Electroacoustic Improvisation. Never resorting to mere academic musical studies John Wiese’s pieces on Deviate From Balance keep hitting the ears and mind in excellent and inspiring manners and will be a great discovery for fans of free spirited contemporary music, both analog and digital based sound collage works, (Harsh) Noise fans as well as anyone into inspired improvised music and will be a great addition to the collection of fans of John Wiese and Sissy Spacek.

Deviate From Balance is available on CD from Gligongo Records mail-order store here: https://gilgongorecords.storenvy.com/products/20648396-john-wiese-deviate-from-balance-cd-gggr-077

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injectionmouldmaker2-blog · 5 years

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Plastic-type material Injection Molding: Past, Found and Future

Injection Mould Maker Plastic shot molding is a course of action in which forces liquid plastic-type material right into a mold to help make custom cheap name dishes, plaques, indicators and merchandise branding aspects. Once the actual plastic cools as well as confirms, it releases in the mildew to form a assortment of plastic material parts with regard to any industry. Famous utilizes of injection-molded incorporate: machine name plates, brand china for industrial gear, auto emblems, vehicle printing and also license plate slots, while well as product identity regarding recreational products.

Injection Mould Maker

Injection-molded plastic-type name plates along with other ingredients are created by a device this consists of three standard components:

A mold that can be created to make any size and appearance that is certainly needed A clamping device that clamps in addition to contains the mold jointly over the whole process A injection product will after that inject molten plastic-type material in to the mold, where it can remain until it possesses enough cooled and published

The actual molten plastic utilized for injection-molded products is usually produced by burning smaller plastic pellets, that happen to be raised on into an injection equipment heating the pellets to your molten or liquid application form.

Once the now smelted cheap pellets reach some sort of established temperature the partially liquefied is forcefully shot in to a mold. The rate and stress of this particular process is managed by simply a hydraulic cylinder which, once engaged, forces the particular liquid plastic into typically the form.

In "dwell" cycle from the plastic injection creating practice, the plastic is definitely left within the mold for you to ensure that it absolutely fills the mold then allowed to cool to help the point where this solidifies and the ideal thing is produced. The idea is and then ready intended for secondary processes seeing that decor, sub assembly, or even transport.

The injection-molded plastic material procedure allows manufacturers to generate customized plastic name discs as well as components that would become very costly to make because intricately by making use of traditional machining methods. Injection-molded plastics likewise saves money, time and attention by letting many components of the exact same component to be built concurrently, from the very same mold; every single copy equivalent to the a single ahead of it. This process in addition reduces labor costs by means of minimizing the need to get manual labor via personnel. There is also close to zero wasted material, since any rarely used or still left over plastic could be re-cycled to be reused in the operation

The History of Cheap Treatment Molding

Plastic injections creating originated with chemists throughout Europe and The particular United States have been trial and error with plastics. Originally ?t had been done by hand and also pushed into a shape using Parkesine but that proved to be as well delicate and flammable. Ruben Wesley Hyatt is often the official developer of plastic-type injection creating and the actual process has a prosperous history with brilliant heads.

John Wesley Hyatt was obviously a creative inventor and created the processing of celluloid plastics. This was a amazing action for a new young printer by The state of illinois who took about the difficult task from the New You are able to Pool Company to exchange the cream color that had been used in billiard projectiles.

So began his occupation in plastics engineering while he and his buddy Isaiah started making a number of mixtures with regard to checkers along with other objects. As time passes hoping various mixtures, Bob merged nitrocellulose, camphor in addition to alcohol consumption together. He hard pressed all these ingredients into a rounded steel mold that has been hot and allowed the idea in order to cool. When the particular material ended up being removed through the mold, they understood that he had effectively develop a billiard ball consisting of plastic-type material. Thus started the process of cheap injection molding.

John spectacular brother Isaiah patented this procedure of producing celluloid with 1870 and continued through making dentier from their own new material which usually swapped out dentures made of silicone. Thus began the production process of celluloid jackets. Steve was quite similar to the Kc Vinci associated with industrial invention since he / she also was traced using the invention of typically the regular sewing machine and spinning bearings all of which often contributed heavily to be able to producing.

Today, Celluloid as well as Cellulosic plastics can be identified virtually anywhere including electric screwdriver holders, tooth brushes and also items. Celluloid can end up being found in Hollywood, Florida today and is applied for creation of your own personal favorite films.

To advance often the processes of plastic treatment molding another great designer arrived to plastics actively within New york city after traveling coming from Rome on a fellowship. Leo Hendrick Baekeland commenced working with polymers along with this lead to the technology for Kodak Eastman which has been Velox. Velox is actually a final paper which will could be produced inside gaslight instead of sun rays.

As a chemist this individual made many developments throughout this field additionally planning on to investigate precisely how polymers were molecularly set up. All these investigations lead also many pioneering technological advances and developments beyond precisely what chemists possessed discovered so far about films and glues.

In 1926 Eckert in addition to Ziegler designed the parts molding unit in Philippines which seemed to be the first successful appliance used in manufacturing materials. This kind of brought injection plastic material creating on the generation line efficiently.

Many much more creative inventors attended by way of the process of plastic-type hypodermic injection molding in historical past and it has break through an even finer method regarding production in modern-day products for instance appliances as well as name system, signs and also plaques.

Typically the Injection Plastic material Molding Course of action Today

Modern-day version in the plastic shot molding machines are computer manipulated and plastic-type material raw materials is inserted into stainlesss steel and metal molds for you to produce the custom made cheap name plates, plastic material factors and many of the actual plastic-type products we utilize daily. The molding products injects hot plastic directly into the fungal and relax the plastic along with concentrated amounts the parts. Often the creating equipment of today helps make mass production of plastic-type material components easy and charge effective.

Right now, plastic injections molding suppliers use top to bottom and plan presses, treatment screw squeezes, electric pushes and hydraulic presses intended for whatever pace of strain is needed to finish the product pressure to help form. This procedure produces every little thing from car parts in order to license plates and possibly toothbrush.

The Future regarding Plastic Injection Creating Tools

Plastic injection creating will be a very innovative course of action containing created many valuable merchandise that we make use of every single day in your households. While the background involving plastic injection creating is pretty full of ingenuity and advancement, the foreseeable future is filled with perhaps greater likelihood as a lot more creative intellects add brand-new ways to improve cheap injection molding equipment in addition to process.

While the changes inside the plastic injection machines proceed, the future connected with injection molding is actually transforming its attention to the particular molds and mold elements. High tech plastic conforms may be made of material, epoxy or perhaps carbon soluble fiber and can increase end result through faster cooling instances and cycle times.

Introduced of 3D printing presents us a glimpse showing how far plastic injection creating can travel into typically the future. THREE DIMENSIONAL printing is usually a process of building a three-dimensional solid object associated with virtually any shape via a a digital model. Using the integration regarding 3D IMAGES printing in the plastic material injection molding process, models and samples can always be developed with far a lesser amount of expense.

A number of innovative thoughts have actually been doing work with corn seed starting makers to replace traditional oil based plastic into ingrown toenail starch based plastic. m Biodegradable material is at present getting used on a constrained scale in addition to many makes use of this material could possibly rapidly have that would impress the mind. All the item would acquire would possibly be the mold and often the substance to produce the new wave for the future to get plastics engineering. Researcher are generally still researching polymers how they did when plastic hypodermic injection molding began and their particular studies unbelievable at this specific point with many alternatives to come.

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frozines · 5 years

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Frozine: An Open Door

Hey all, I’m so pleased to announce that our first ever fanzine is now open for submissions! Here’s some of the main information you’ll need to know, please also take the time to read the additional information below the cut.

Theme: An Open Door

Pulling from “Love is an Open Door” this theme is very open to interpretation. It can be literal or figurative, and is meant to encourage the fact that we as a fandom, especially with the new film coming soon, are open to new fans joining us. You can follow this theme as loosely or as closely as you’d like. At the end of the day it’s just a title and an encouragement!

Deadlines and How to Submit:

First drafts of any piece should be ready by August 30th. They can be sent to [email protected] or sent to this account @frozines through a google doc link or whatever it is you prefer. Your first drafts won’t be shared with anyone beyond the volunteer editors, and we’ll be just giving your pieces a comb through for grammar, spelling, and double checking it against the standards we’ve set for appropriateness (see below). If any changes need to be made, we’ll let you know within a week or so!

Final drafts with any edits will need to be done before October 26th so that we have plenty of time to format the zine and place in everyone’s entries before the zine goes live November 16th!

Acceptable Submission Types:

I really can’t think of a format that isn’t acceptable! But here are some ideas in case you really want to make something but feel stuck!

Fanfiction (drabbles, chapters from a longer work, one-shots, fan poetry, character studies and more)

Fan art (traditional art, digital art, pixel art, collages, photo edits and manipulations, coloring pages, patterns, photos of crafts, photos of dolls or face characters or cosplay, tarot cards, paper dolls, dioramas, comics and more)

Lists (playlists, rec lists, top ten scenes lists, etc.)

Links to digital content (podcasts, podfic, fanvids, etc)

Meta, predictions,what ifs and more!

Literally anything else you can come up with that we can put in print

Content Restrictions:

To make this zine something we can share with fans young and old, especially as many of the new fans coming in will be on the younger side, we’ve decided to adopt a “PG” rating for this zine. That means, essentially you are welcome to include alcohol and tobacco use, some profanity and/ or violence, brief nudity, and indirect adult content such as innuendo. Essentially keep it appropriate for the film’s audience, include all the kissing and cuddling you want, but keep any mature content in a “fade to black” capacity. We will be doing a NSFW zine in the future if there’s enough interest.

Going along with this rating, incestuous ships are not permitted. However you are welcome to ship Elsa or any of the other characters with other Disney characters or OCs. At the moment it looks like this zine will heavily involve General works and Kristanna works, but other ships are welcome so long as they adhere to the guidelines and of course non-ship focused works are also welcome.

Content submitted may be new work or something previously posted elsewhere, but it must be your own work. If you’d like to work with something of someone else’s (i.e. a continuation of a fic, a translation of a fic, a reading of a fic, a redraw of someone else’s art, etc. You must have the permission of the original creator)

Specific Information On Expectations Associated With Different Content

Everyone:

Please include your username on any sites you would like your work to be associated with when you submit, including tumblr, AO3, ff.net, twitter, pillowfort, youtube, etsy, and more. We want people to be able to find more of your work!

Fanfiction & Other Writing:

Anything longer than 1,000 words must include a link to the rest of the piece. We will print as much of the writing as space allows and will include the provided link such that the reader can read the rest. Also note that your writing will be labeled and or placed into a section relating to it’s content. I.e. Kristanna fic, Gen fic, Jelsa fic, meta, head canon, etc. So that it’s easy for readers to locate.

Art & Photography:

When at all possible your work will be given its own full page spread, so please keep the dimensions of a standard sheet of letter paper (8.5″ x 11″ or 215.9mm x 279.4 mm) when you create your piece. All sizes and shapes of artwork are acceptable, but be aware that they will be placed to fit in the space. Double page spreads are also allowed, be sure to make note of this when submitting. If you use anyone else’s work in the creation of your own, please also include a credit to them in your submission (i.e. photomanipulations using stock images supplied by someone, photos of your fandom shelf that may include art or crafts by someone, etc. Ask if you’re unsure)

Lists:

Please include links to whatever you’ve included in your list so that it is accessible for others. For playlists you may choose to make a youtube playlist and include the link to it. For lists such as “Top five funniest moments in Frozen” or something similar you may choose to simply describe the moments/ scenes, or provide links to them on youtube, or their timestamps in the movie.

Links:

Provide a brief explanation/ synopsis and any images you would like included with the link to your work. For example if you were posting a dramatic reading of a fic you would need to provide the audio or video link, a synopsis or explanation of what the fic is and who it is by, and any picture you would like attached to it (note this must be either something you’ve created, something you found that you are allowed to use like stock images or movie stills, or something you have received permission to include which must include who the creator is).

More Questions/ Comments/ Concerns?

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#frozine #frozen 2 #Frozen fanzine

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thegreatmeng-blog · 5 years

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GHOST HUNTING

In more recent times, the advancement of technology has also had an impact on the hobby’s likeability. Ghost hunting equipment has received some critical upgrades in the past few decades. Since the early 2000s, the market for investigating tools like EMF reader and Spirit box has been developed to help assist hunters in their research. It is also becoming more common to find businesses today that offer services regarding ghost hunting. Ghost Hunting

Ghost hunting is the attempt to investigate paranormal activity within what one would assume is a haunted location. The people who engage in the act of seeking supernatural presence are known as ghost hunters. Ghost hunters are also commonly referred to as paranormal investigators.

In my own observation, the research is typically done in a team of two or more. It is highly recommended to never pursue this hobby alone or else you’ll regret it.

What Are Ghosts?

General: A natural entity (a living being) that has died, crossed the supernatural barrier and returned to the natural world as a supernatural being

The History Ghost Hunting

The profession of chasing ghosts has been practiced since the late 1800s. Groups would formally establish organizations like the Society for Psychical Research, which was founded in 1882. Besides partaking in the research of haunted places, they also studied other closely related topics like hypnotism, mediumship, and dissociation

The study of the supernatural continued to gain traction throughout the 1900s. Books were written on the findings of paranormal activity further stimulating the curiosity of the general public. One of the first to be published in 1936 was a book called Confessions of a Ghost Hunter by British psychic researcher, Harry Price.

Ghost hunting equipment is a tool used to aid in paranormal research. But you don’t necessarily need a ton of equipment to go on a ghost hunting trip. However, the more you have at you’re disposal, the easier the job will be. You can’t always trust your senses when dealing with the paranormal. Ghosts can be extremely mischievous and will use manipulation as a tactic.

Ghost Hunting Influence

With an increase in popularity over the last couple of decades, it has been fascinating to see the influence paranormal investigation has had on the general public. From the tech industry… All the way to the entertainment industry, ghost hunting has shown major significance in the creativity produced everywhere today. There are now many ways to express passion for the activity… If one undoubtedly didn’t want to put themselves in the line of work directly.

Ghost Hunting Gear

Ghost hunting gear is a collection of tools an investigator will carry to adequately hunt for paranormal presence. The right tools and gadgets will enhance the research and help double-check signs that you might come across. Not to mention, these tools will almost always give more accurate results than relying on just senses alone might provide.

An Artificial Light Source

Even though it is not always the case, most ghost hauntings take place during the night. There’s something about the stillness of the night that seems to make the research and tracking of ghosts much easier. Ghost hunting at night, however, means that you will be working in the dark. The visibility will be minimal to none, which can make it very difficult to pick up on certain small details. For this reason, having a flashlight throughout your investigation will improve the quality of your work.

A Night Vision Camcorder

A camcorder is one of the first ghost hunting gear many invest in. You don’t need to get a very expensive one. In fact, there are several cameras out there that are good in quality and won’t break your pocket. The most important thing when shopping for one should be the resolution feature. The higher the resolution of the camera, the more detail that you will be able to record. 5 megapixels should be the lowest that you go for on a regular camcorder.

A Reliable Source Of Communication

Ghost hunting is not an activity you will want to do on your own. It is usually recommended that whenever dealing with the paranormal, do it in a group. Some people choose to have a single partner, while others prefer a couple of people to join them. Either way, at some point in the investigation you will likely have to split up. This is when two-way radios will help you tremendously. They will allow everyone to stay in contact with one another, even while separated.

An EMF Reader

An EMF reader is a scientific device that measures electromagnetic frequencies. Electromagnetic frequencies are measurable energy in the form of electromagnetism that is created when magnetic current move. For quite some time now, paranormal investigators have relied on EMF readers to help them determine if an entity is close by. These devices are usually not that hard to use and are deeply valued by professionals in the field. Most of the readers have an analog display and even have speakers to announce the amount of electromagnetic frequency in the area.

A Spirit Box

Spirt boxes make it possible to capture and record EVP’s. EVP is the abbreviation for electronic voice phenomena. They are the recordings of unknown sounds captured on electronic devices. It is believed that these sounds are the voices of ghosts trying to communicate with the living. Most of the sounds cannot be heard at the time of the recording. It is when the material is backtracked and played back that the messages will show up. This is why a digital audio recorder will be of great help to your investigation.

A Thermometer

Ghosts are known for operating at different temperature levels than the living. This is why a thermometer will be of great help to track entities while on your ghost hunt. A ghost’s presence will usually cause the temperature in the room or area to drop. It is believed that they absorb the heat around them to use it as energy and power.

Dowsing Rods

Despite all the controversy and skepticism that has surrounded this tool throughout the years, they can still be useful. A lengthy Y-shaped twig or two L-shaped rods can be used as dowsing rods. Their movement is said to help detect the presence of a ghost or can even answer questions. The user is supposed to hold the rods out straight; one in each hand. A question should be asked and then the ghost will either move them apart for “yes” or together for “no”. This tool is believed to pick up and use the energy of the paranormal being to facilitate communication

An Infrared Thermal Imager

A thermal imager is also known as thermographic devices or thermal cameras. They are tools that use infrared radiation to create an image or video, that would otherwise not be visible to the human eye. These unique cameras detect levels of temperature and then convert them to electronic signals as images on a screen. The changes in temperature can serve as a warning that a ghost might be near.

Ghost Hunting Movies

The film industry is another heavily influenced line of business capitalizing on the paranormal investigator’s niche. Since the dawn of cinematics, the horror genre has exploded with movies revolving around hunters and their ghostly encounters. For all the movie buffs looking to satisfy their supernatural cravings, grab a big bucket of popcorn and get comfortable knowing the list of ghost films is only getting longer!

In Summary

Ghost hunting can be a very interesting hobby to engage in. With so much influence on mainstream media, paranormal investigating is only becoming more and more popular. If this subject interest you but you don’t know where to start, use this guide to help you get going.

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awesomeadityalodha-blog · 6 years

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Animation in Chennai

What is Animation?

Animation is a technique in which pictures are manipulated to look as moving pictures. In ancient animation, pictures are drawn or painted by hand on clear celluloid sheets to be photographed and exhibited on film. Today, most animations are created with Computer-Generated Imagination (CGI). Personal Computer animation is very much a elaborated 3D animation, whereas 2d computer animation is used for rhetorical reasons, low information measure or quicker time period renderings. Alternative common animation strategies apply a stop motion technique to two and three-dimensional objects like paper cutouts, puppets or clay figures.

Structure of Animation?

Commonly the impact of animation is achieved by a fast succession of successive pictures that minimally differ from one another. The illusion - as in motion images in general - is thought to have faith in the phi phenomenon and beta movement, however the precise causes are still unsure. Analog mechanical animation media that have confidence the fast show of successive pictures embrace the phénakisticope, zoetrope, flip book, praxinoscope and film. Tv and video are one of the most popular electronic animation media that originally were analog and currently operate digitally. For show on desktops, techniques like animated GIF and Flash animation were developed.

Animation is additional pervasive than many of us realize. Beside Short Films, Featured Films, Animated Gifs and different medias dedicated to the show of moving pictures, animation is additionally heavily used for video games, motion graphics and computer graphics. Animation is additionally prevailing in data technology interfaces.

The physical movement of image elements through easy mechanics – certain instance the moving pictures in slide projector shows – may also be considered animation. The mechanical manipulation of puppets and objects to emulate living beings contains a terribly long history in automata. Automata were popularized by Walt Disney as Animatronics.

What is Arena Animation?

Arena animation offers career opportunities within the animation industry. Here you learn Gaming, Website Development, AAIP-VFX, Graphic Designing, Adobe Maya, etc.

Animation is a multi-disciplinary art-science. It involves a large bouquet of skills from ancient art skills to articulation skills, storytelling to aesthetic appreciation, creative thinking to technical powers. The entire Animation professionals are the ones who has assimilated all the abilities and may apply them with adroitness at the very best skilled level. Such a person qualifies for excellence in each dimension of Animation or, in one word, Pixellence.

Vision and Mission of Arena Vadapalani?

The Vision of Arena Vadapalani is making an atmosphere that nurtures a significant Existence, by being the most effective multimedia system Education supplier. The Mission of Arena Vadapalani is bridging the gap between Human ability style Skills, Technology software skills and Professional Human Skills in order to furnish Industries constant appetence for Real and helpful Talent.

Placement Initiatives of Arena Vadapalani?

The placement cell goes beyond ancient placement activities to truly produce career opportunities for its students.

Making ready the scholars for Interview

Tests conducted severally in technical side

Choosing the proper company consistent with the scholars demand

Composing field interviews for college students

In this regard, Arena Vadapalani prides itself on the standard and quantum of placements, of its students that accomplish year after year because it has an unmatched record in serving to budding professionals to find their careers within the multimedia trade. The recruiting organizations and allied industries frequently visits the field. Arena Vadapalani delivers its promise by manufacturing the Professionals who meets the demanding talent demands of those discerning organizations.

Courses offered by Arena Vadapalani?

There exists infinite career options for Multimedia Professionals provided by Arena Animation. Some of them are :-

1. Web Designing - Web designers return up with out-of-the-box design concepts and use software system & high-end technology for designing websites that are straightforward to use & fun in appearing at.

2. Printing and Publishing - Arena's print & publishing programs trains you into all the aspects of graphic designing, layout designing, and visual images, therefore you'll be able to design cool materials for print.

3. Graphics Designing - Arena Vadapalani offers the best Graphic Courses in Chennai. With this course, the students at Arena Vadapalani can learn design inventive graphics for websites, online ads, and printings. They can also learn Web Analytics, programme optimization (SEO), web page Management, etc.

4. VFX - The VFX Prime is an intensive career course which will train you in all aspects of visual effects. The course helps you produce computer graphics for Films, TV Shows, Ads, Games, Digital Media, etc.

5. Digital Communication - Arena brings you a course of designing to organize you for an exciting career within the digital space. From design to video composition, our Digital Communication Design (DCD) course trains you within the varied aspects of making styles for on-line advertising, typography techniques, advertising ideas for digital media & TV, layouts for websites, sound composition, 2D design & animation and much more.

6. AAIP (Arena Animation International Program) - AAIP is a career course, that focuses on developing your portfolio. It conjointly includes advanced 2D and 3D animation, because it imparts quality education within the field of animation.

Achievements of Arena Vadapalani?

In the years passed by, Arena Vadapalani grew from strength to strength. Arena Vadapalani tends a pledge to renew our commitment to excellence in each dimension of Animation Education. We also tend to herewith, commit ourselves in going up to the additional mile to equip our current and future student generations with the very important corners in their careers.

Today, we are recognized mutually of the quickest growing multimedia coaching Center in India.

Culture of Arena Vadapalani?

A unique sense of happiness bonds the employees of Arena Vadapalani. Driven by the perception of a participative family, the staff contribute their best to the mission. The over-riding objective is to complement and enhance the scholar learning and skill. Towards this finish, leadership is shared, collective selections are encouraged, and therefore the challenges within the means of the scholars are head through co-operation and cohesive effort.

Faculty of Arena Vadapalani?

With the faculty taking part in facilitators, learning and reworking initiatives and gripping the pursuit for the students of Arena Vadapalani, the academic approach delivers a deeper understanding, easier recall and higher application of the freshly acquired information. Arena Vadapalani faculty are best in class academicians enriched with a wealth of Production expertise and are Certified Instructors with multiple certifications.

Motto of Arena Vadapalani?

To be the benchmark for Animation Education in India

To groom class-leading Animation professionals capable of contributing to informative creation in their domains

To endlessly raise the standards of excellence within the chosen field

To be the competitor in serving the escalating talent desires of the Animation trade

At the end of the day?

With a powerful performance record, we tend at the forefront of the multimedia Revolution, making Professionals to take on the growing demands of varied Animation Industries throughout the world. Arena Vadapalani has been providing the learning's with the best possible courses and delivering the foremost quality, ability and consistency in its offerings.

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prolapsarian · 6 years

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Conversation with David Panos about The Searchers

The Searchers by David Panos is at Hollybush Gardens, 1-2 Warner Yard London EC1R 5EY, 12 January – 9 February 2019

There is something chattering. Alongside a triptych a small screen displays the rhythmic loop of hands typing, contorting, touching, holding. A movement in which the artifice strains between shuddering and juddering. Machinic GIFs seem to frame an event which may or may not have taken place. Their motions appear to combine an endless neurotic repetition and a totally adrenal pumped and pumping tension, anticipating confrontation.

JBR: How do the heavily stylised triptych of screens in ‘The Searchers’ relate to the GIF-like loops created out of conventionally-shot street footage? DP: I think of the three screens as something like the ‘unconscious’ of these nervous gestures. I’m interested in how video compositing can conjure up impossible or interior spaces, perhaps in a way similar to painting. Perhaps these semi-abstract images can somehow evoke how bodies are shot through with subterranean currents—the strange world of exchange and desire that lies under the surface of reality or physical experience. Of course abstractions don't really ‘inhabit’ bodies and you can’t depict metaphysics, but Paul Klee had this idea about an aesthetic ‘interworld’, that painting could somehow reveal invisible aspects of reality through poetic distortion. Digital video and especially 3D graphics tend to be the opposite of painting—highly regimented and sat within a very preset Euclidean space. I guess I’ve been trying to wrestle with how these programs can be misused to produce interesting images—how images of figures can be abstracted by them but retain some of their twitchy aliveness. JBR: This raises a question about the difference between the control of your media and the situation of total control in contemporary cinematic image making. DP: Under the new regimes of video making, the software often feels like it controls you. Early analogue video art was a sensuous space of flows and currents, and artists like the Vasulkas were able to build their own video cameras and mixers to allow them to create whole new images—in effect new ways of seeing. Today that kind of utopian or avant-garde idea that video can make surprising new orders of images is dead—it’s almost impossible for artists to open up a complex program like Cinema 4D and make it do something else. Those softwares were produced through huge capital investment funding hundreds of developers. But I’m still interested in engaging with digital and 3D video, trying to wrestle with it to try and get it to do something interesting—I guess because the way that it pictures the world says something about the world at the moment—and somehow it feels that one needs to work in relation to the heightened state of commodification and abstraction these programs represent. So I try and misuse the software or do things by hand as much as possible, and rather than programming and rendering I manipulate things in real time. JBR: So in some way the collective and divided labour that goes into producing the latest cinematic commodities also has a doubled effect: firstly technique is revealed as the opposite of some kind of freedom, and at the same time this has an effect both on how the cinematic object is treated and how it appears. To be represented objects have to be surrounded by the new 3D capture technology, and at the same time it laminates the images in a reflected glossiness that bespeaks both the technology and the disappearance of the labour that has gone into creating it. DP: I’m definitely interested in the images produced by the newest image technologies—especially as they go beyond lens-based capture. One of the screens in the triptych uses volumetric capturing— basically 3D scanning for moving image. The ‘camera’ perspective we experience as the viewer is non-existent, and as we travel into these virtual, impossible perspectives it creates the effect of these hollowed out, corroded bodies. This connects to a recurring motif of ‘hollowing out’ that appears in the video and sculpture I’ve been making recently. And I have a recurring obsession with the hollowing out of reality caused by the new regime of commodities whose production has become cut to the bone, so emptied of their material integrity that they’re almost just symbols of themselves. So in my show ‘The Dark Pool’ (Hollybush Gardens, 2014) I made sculptural assemblages with Ikea tables and shelves, which when you cut them open are hollow and papery. Or in ‘Time Crystals’ (Pumphouse Gallery, 2017) I worked with clothes made in the image of the past from Primark and H&M that are so low-grade that they can barely stand washing. We are increasingly surrounded by objects, all of which have—through contemporary processes of hyper-rationalisation and production—been slowly emptied of material quality. Yet they have the resemblance of luxury or historical goods. This is a real kind of spectral reality we inhabit. I wonder to myself about how the unconscious might haunt us in these days when commodities have become hollow. Might it be like Benjamin’s notion of the optical unconscious, in which through the photographic still the everyday is brought into a new focus, not in order to see what is behind the veil of semblance, but to see—and reclaim for art—the veiling in a newly-won clarity. DP: Yes, I see these new technologies as similar, but am interested in how they don't just change impact perception but also movement. The veiled moving figures in ‘The Searchers' are a strange byproduct of digital video compositing. I was looking to produce highly abstract linear depictions of bodies reduced to fleshy lines, similar to those in the show and I discovered that the best way to create these abstract images was to cover the face and hands of performers when you film them to hide the obvious silhouettes of hands and faces. But asking performers to do this inadvertently produced a very peculiar movement—the strange veiled choreography that you see in the show. I found this footage of the covered performers (which was supposed to be a stepping stone to a more digitally mediated image, and never actually seen) really suggestive— the dancers seem to be seeking out different temporary forms and they have a curious classical or religious quality or sometimes evoke a contemporary state of emergency. Or they just look like absurd ghosts. JBR: In the last hundred years, when people have talked about ghosts the one thing they don’t want to think about is how children consider ghosts, as figures covered in a white sheet, in a stupid tangible way. Ghosts—as traumatic memories—have become more serious and less playful. Ghosts mean dwelling on the unfinished business of the past, or apprehending some shard of history left unredeemed that now revisits us. Not only has no one been allowed to be a child with regard to ghosts, but also ghosts are not for materialists either. All the white sheets are banished. One of the things about Marx when he talks about phantoms—or at least phantasmagorias—is much closer to thinking about, well, pieces of linen and how you clothe someone, and what happens with a coat worked up out of once living, now dead labour that seems more animate than the human who wears it. DP: Yes, I’ve been very interested in Marx’s phantasmagorias. I reprinted Keston Sutherland’s brilliant essay on how Marx uses the term ‘Gallerte’ or ‘gelatine’ to describe abstract labour for a recent show. Sutherland highlights a vitalism in Marx’s metaphysics that I’m very drawn to. For the last few years I’ve been working primarily with dancers and physical performers and trying to somehow make work about the weird fleshy world of objects and how they’re shot through with frozen labour. I love how he describes the ‘wooden brain’ of the table as commodity and how he describes it ‘dancing’—I always wanted to make an animatronic dancing table. JBR: There is also a sort of joyfulness about that. The phantasmagoria isn’t just scary but childish. Of course you are haunted by commodities, of course they are terrifying, of course they are worked up out of the suffering and collective labour of a billion bodies working both in concert and yet alienated from each other. People’s worked up death is made into value, and they all have unfinished business. But commodities are also funny and they bumble around; you find them in your house and play with them. DP: Well my last body of work was all about dancing and how fashion commodities are bound up with joy and memory, but this show has come out much bleaker. It’s about how bodies are searching out something else in a time of crisis. It’s ended up reflecting a sense of lack and longing and general feeling of anxiety in the air. That said I am always drawn to images that are quite bright, colourful and ‘pop’ and maybe a bit banal—everyday moments of dead time and secret gestures. JBR: Yes, but they are not so banal. In dealing with tangible everyday things we are close to time and motion studies, but not just in terms of the stupid questions they ask of how people work efficiently. Rather this raises questions of what sort of material should be used so that something slips or doesn’t slip—or how things move with each other or against each other—what we end up doing with our bodies or what we end up putting on our bodies. Your view into this is very sympathetic: much art dealing in cut-up bodies appears more violent, whereas the ruins of your abstractions in the stylised triptych seem almost caring. DP: Well I’m glad you say that. Although this show is quite dark I also have a bit of a problem with a strain of nihilist melancholy that pervades a lot of art at the moment. It gives off a sense of being subsumed by capitalism and modern technology and seeing no way out. I hope my work always has a certain tension or energy that points to another possible world. But I’m not interested in making academic statements with the work about theory or politics. I want it to gesture in a much more intuitive, rhythmic, formal way like music. I had always made music and a few years back started to realise that I needed to make video with the same sense of formal freedom. The big change in my practice was to move from making images using cinematic language to working with simultaneous registers of images on multiple screens that produce rhythmic or affective structures and can propose without text or language. JBR: The presentation of these works relies on an intervention into the time of the video. If there is a haunting here its power appears in the doubled domain of repetition, which points both backwards towards a past that must be compulsively revisited, and forwards in convulsive anticipatory energy. The presentation of the show troubles cinematic time, in which not only is linear time replaced by cycles, but also new types of simultaneity within the cinematic reality can be established between loops of different velocities. DP: Film theorists talk about the way ‘post-cinematic’ contemporary blockbusters are made from images knitted together out of a mixture of live action, green-screen work, and 3D animation. I’ve been thinking how my recent work tries to explode that—keep each element separate but simultaneous. So I use ‘live’ images, green-screened compositing and CGI across a show but never brought together into a naturalised image—sort of like a Brechtian approach to post-cinema. The show is somehow an exploded frame of a contemporary film with each layer somehow indicating different levels of lived abstractions, each abstraction peeling back the surface further. JBR: This raises crucial questions of order, and the notion that abstraction is something that ‘comes after’ reality, or is applied to reality, rather than being primary to its production. DP: Yes good point. I think that’s why I’m interested in multiple screens visible simultaneously. The linear time of conventional editing is always about unveiling whereas in the show everything is available at the same time on the same level to some extent. This kind of multi-screen, multi-layered approach to me is an attempt at contemporary ‘realism’ in our times of high abstraction. That said it’s strange to me that so many artworks and games using CGI these days end up echoing a kind of ‘naturalist’ realist pictorialism from the early 19th Century—because that’s what is given in the software engines and in the gaming-post-cinema complex they’re trying to reference. Everything is perfectly in perspective and figures and landscapes are designed to be at least pseudo ‘realistic’. I guess that’s why you hear people talking about the digital sublime or see art that explores the Romanticism of these ‘gaming’ images. JBR: But the effort to make a naturalistic picture is—as it was in the 19th century—already not the same as realism. Realism should never just mean realistic representation, but instead the incursion of reality into the work. For the realists of the mid-19th century that meant a preoccupation with motivations and material forces. But today it is even more clear that any type of naturalism in the work can only serve to mask similar preoccupations, allowing work to screen itself off from reality. DP: In terms of an anti-naturalism I’m also interested in the pictorial space of medieval painting that breaks the laws of perspective or post-war painting that hovered between figuration and abstraction. I recently returned to Francis Bacon who I was the first artist I was into when I was a teenage goth and who I’d written off as an adolescent obsession. But revisiting Bacon I realised that my work is highly influenced by him, and reflects the same desire to capture human energy in a concentrated, abstracted way. I want to use ‘cold’ digital abstraction to create a heightened sense of the physical but not in the same way as motion capture which always seems to smooth off and denature movement. So the graph-like image in the centre of the triptych (Les Fantômes) in this show twitches with the physicality of a human body in a very subtle but palpable way. It looks like CGI but isn’t and has this concentrated human life force rippling through it.

If in this space and time of loops of the exploded unstill still, we find ourselves again stuck in this shuddering and juddering, I can’t help but ask what its gesture really is. How does the past it holds gesture towards the future? And what does this mean for our reality and interventions into it. JBR: The green-screen video is very cold. The ruined 3D version is very tender. DP: That's funny you say that. People always associate ‘dirty’ or ‘poor’ images with warmth and find my green-screen images very cold. But in the green-screened video these bodies are performing a very tender dance—searching out each other, trying to connect, but also trying to become objects, or having to constantly reconfigure themselves and never settling. JBR: And yet with this you have a certain conceit built into the drapes you use: one that is in a totally reflective drape, and one in a drape that is slightly too close to the colour of the greenscreen background. Even within these thin props there seems to be something like a psychological description or diagnosis. And as much as there is an attempt to conjoin two bodies in a mutual darkness, each seems thrown back by its own especially modern stigma. The two figures seem to portray the incompatibility of the two poles established by veiled forms of the world of commodities: one is hidden by a veil that only reflects back to the viewer, disappearing behind what can only be the viewer’s own narcissism and their gratification in themselves, which they have mistaken for interest in an object or a person, while the other clumsily shows itself at the very moment that it might want to seem camouflaged against a background that is already designed to disappear. It forces you to recognise the object or person that seems to want to become inconspicuous. And stashed in that incompatibility of how we find ourselves cloaked or clothed is a certain unhappiness. This is not a happy show. Or at least it is a gesturally unsettled and unsettling one. DP: I was consciously thinking of the theories of gesture that emerged during the crisis years of the early 20th century. The impact of the economic and political on bodies. And I wanted the work to reflect this sense of crisis. But a lot of the melancholy in the show is personal. It's been a hard year. But to be honest I’m not that aligned to those who feel that the current moment is the worst of all possible times. There’s a left/liberal hysteria about the current moment (perhaps the same hysteria that is fuelling the rise of right-wing populist ideas) that somehow nothing could be worse than now, that everything is simply terrible. But I feel that this moment is a moment of contestation, which is tough but at least means having arguments about the way the world should be, which seems better than the strange technocratic slumber of the past 25 years. Austerity has been horrifying and I realise that I’ve been relatively shielded from its effects, but the sight of the post-political elites being ejected from the stage of history is hopeful to me, and people seem to forget that the feeling of the rise of the right has been also met with a much broader audience for the left or more left-wing ideas than have been previously allowed to impact public discussion. That said, I do think we’re experiencing the dog-end of a long-term economic decline and this sense of emptying out is producing phantasms and horrors and creating a sense of palpable dread. I started to feel that the images I was making for ‘The Searchers’ engaged with this. David Panos (b. 1971 in Athens, Greece) lives and works in London, UK. A selection of solo and group exhibitions include Pumphouse Gallery, Wandsworth, London, 2017 (solo); Sculpture on Screen. The Very Impress of the Object, Gulbenkian Museum, Lisbon, Portugal [Kirschner & Panos], 2017; Nemocentric, Charim Galerie, Vienna, 2016; Atlas [De Las Ruinas] De Europa, Centro Centro, Madrid, 2016; The Dark Pool, Albert Baronian, Brussels, (solo), 2015; The Dark Pool, Galeria Marta Cervera, Madrid, 2015; Whose Subject Am I?, Kunstverein Fur Die Rheinlande Und Westfalen, Düsseldorf, 2015; The Dark Pool, Hollybush Gardens, London, (solo), 2014; A Machine Needs Instructions as a Garden Needs Discipline, MARCO Vigo, 2014; Ultimate Substance, B3 Biennale des bewegten Blides, Nassauischer Kunstverein, Wiesbaden, (Kirschner & Panos solo), 2013; Ultimate Substance, CentrePasquArt, Biel, (Kirschner & Panos solo), 2013; Ultimate Substance, Extra City, Antwerp, (Kirschner & Panos solo), 2013; The Magic of the State, Lisson Gallery, London, 2013; HELL AS, Palais de Tokyo, Paris, 2013.

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nicolamarshallhnd1 · 2 years

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Lighting Up The Dark - Research

Todd Hido

Todd Hido was born in 1968 in Kent, Ohio. He studied at a variety of art institutions including California College of Art & Design and Rhode Island School of Design. His work has featured in publications such as Artforum, The New York Times, FOAM and Vanity Fair. He has work in permanent collections in galleries and museums like The New York and San Francisco Museum of Modern Art. He is currently based in San Francisco. Hido is heavily influenced by Alfred Hitchcock, Edward Hopper and Larry Sultan.

The main subject of his work is the American urban and suburban landscape, often photographed at night. Todd shoots on film and digital but mainly sticks to film. He chooses based on which aesthetic they will present depending on the subject and location. When editing his negatives together, he manipulates them until he produces a picture that he feels portrays his encounter with the location. His images are created on long, solitary drives. Isolated suburban houses are an ongoing source of inspiration and investigation. He shoots mostly with natural light and some artificial using a tripod. Hido is known for his use of textural detail and colour. Also exploring subtleties and variations in light and shadows. His work has a cinematic quality, reproducing the characteristics of a film still.

Tim Simmons

Tim Simmons is a Norfolk based photographer who worked as in commercial photography up until

2005, before enrolling in a Fine Arts course at Norwich University of Arts where he studied a Masters degree. His work has been exhibited internationally in the USA and in South Korea, more local exhibitions and some of the first took place in Norwich, Hampshire and at the Aspex Gallery. He now photographs landscapes and long exposure night scenes. Simmon’s approach to photography is to explore the relationship between humans and the land we live on as well as considering how we depend on the land. His work captured the impact of weathering on the shapes and textures found in the ground caused by wind and rain. He expands upon the link between who we used to be and who we become.

I was drawn to Simmon’s work because of his consideration for texture and the concepts in his approach to his work. I was also interested in the way he brings out the colours within a landscape, almost creating a whole new environment.

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fubarexpo · 6 years

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/’fu:bar/ 2018

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Exhibition

Performances

Lectures

Workshops

SAT Oct 6th

8pm – /’fu:bar/ 2018 EXPO & FESTIVAL OPENING @ Gallery Siva [AKC Medika, Pierottijeva 11, Zagreb]

8pm – Sabato Visconti [US] – #Glitchbooth [interactive installation @ Siva]

9pm – Lovely Insomnia [HU] – Live Set/DJ Set [performance @ Siva]

SUN Oct 7th

6pm-10pm – Exhibition @ Siva

7pm – Ramiro Polla [BE] – FFglitch [lecture @ Siva]

8pm-10pm – Mark Klink aka srcXor [US] – 3d glitching [teleworkshop @ hacklab01]

MON Oct 8th

6pm-10pm – Exhibition @ Siva

2pm-5pm – Holographic_thought_process [FR] – Video Dirty Mixer [workshop @ hacklab01]

6pm – Nikša Gligo [HR] – Can glitch music be music at all? [lecture @ Siva]

8pm – Magno Caliman [NL] – screenBashing [performance @ Siva]

TUE Oct 9th

6pm-10pm – Exhibition @ Siva

2pm – Random Pixel Order [FR] – The Archive [open studio @ Siva]

6pm – Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques [lecture @ Siva]

8pm – FRGMNT [DE] – SSB - Sequenced Noise Beauty [performance @ Siva]

WED Oct 10th

6pm-10pm – Exhibition @ Siva

2pm-5pm – FRGMNT [DE] – SNU noise machine [workshop @ hacklab01]

6pm – Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages [lecture @ Siva]

8pm – Paul Vivien [FR] – 99% [performance @ Siva]

THU Oct 11th

6pm-10pm – Exhibition @ Siva

6pm – ROUND TABLE @ Siva

8pm – Nada Hasan [EG] – Experimental Desires [safe passage] [performance @ Siva]

FRI Oct 12th

6pm-10pm – Exhibition @ Siva

6pm – GUIDED EXHIBITION TOUR @ Siva

8pm – Tabache & Lady oN [IT] – cHroma flux [performance @ Siva]

9pm – “Ondes noires” screening & FESTIVAL CLOSING @ Siva

Sabato Visconti [US] – #Glitchbooth SAT Oct 6th – 8pm [interactive installation @ Siva]

#Glitchbooth> is a live interactive video installation where participants have their best selves captured in 1-to-2 minute video portraits. The video portraits are glitched using a corrupted DivX encoder and processed for live screening so that participants can see their glitch selves. Modeled after the photo booths found in weddings and events, #Glitchbooth considers "Selfie Culture" as a social practice that is conditioned by the structures of digital technologies and distribution channels.

Sabato Visconti — a Brazilian-born photographer and new media artist based in Western Massachusetts. He was born in São Paulo, grew up in Miami, and studied Political Science at Amherst College. Sabato’s work seeks to reconfigure traditional understandings of photography for the post-internet era, where photographic and cinematic practices become absorbed by digital processes, hybridized media, online networks, and machine intelligence. His work captures the subject in the face of ecological turbulence driven by the dysfunctions of vast impersonal systems. Sabato began experimenting with glitch processes in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since then, his work with glitch and digital media has been awarded the ArtSlant Prize IX and has been shown in places like Tate Britain, ICA Boston, SPRING/BREAK Art Show in New York City, LACDA, the FILE Festival in São Paulo, as well as galleries throughout the world. His work has also been published in TIME Magazine, WIRED, The New York Times, AI-AP’s "Latin American Fotografia 4" Anthology, and in Photographer’s Forum annual "Best of Photography" books for eight straight years. sabatobox.com

Lovely Insomnia [HU] SAT Oct 6th – 9pm – Live Set/DJ Set [performance @ Siva]

Gábor Hufnágel — a Hungarian electronic music composer/producer. He’s currently studying electronic music and digital arts at University of Pécs. He describes his music as a fusion of polyrhythms, rich textures and field-recordings. His process often involves algorithmic techniques and aleatoric elements.

During his studies he was influenced by the works of the 20th century electroacoustic composers but he always felt the contemporary experimental music scene closer to him. His upcoming debut album (from which he will play a live set at /’fu:bar/) would like to explore the relation of these two and contribute to abolish the boundaries, elitism and controversy which still surrounds these topics. His works are also heavily emotion-centered, dynamic in terms of tempo as he also tries to unfold the possibilities of contrasts in music.

Ramiro Polla [BE] – FFglitch SUN Oct 7th – 7pm – [lecture @ Siva]

FFglitch is a precision multimedia editing tool based on FFmpeg. When you glitch a file using a hex editor, it's like getting a tattoo with a radioactive axe. You might get some cool results, but you have very high chances of dying from blunt trauma or some cancerous genetic mutation. FFglitch, on the other hand, is more like genetic engineering. You manipulate your genes to naturally grow your tattoo. FFglitch produces valid bitstream, so Facebook or YouTube won't choke on your files. It is so precise it can barely be considered glitching at all...

Ramiro Polla — likes hacking things. He was an FFmpeg developer for 5 years, but now he got better... ffglitch.org

Mark Klink aka srcXor [US] – 3d glitching SUN Oct 7th – 8pm-10pm – [teleworkshop @ hacklab01]

Demonstrating methods for glitching .obj files, using text editors and spreadsheets. Mark will also discuss the standard triangle and edgeloop patterns that are used to form most 3d models and then demonstrate remeshing techniques which can ultimately produce more interesting glitches. If time is available, we’ll discuss other 3d file formats and ways they might be glitched.

Mark Klink — has been and done many things: swept floors, worked in a factory, been an athlete, a minor government official, a lifeguard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures. srcxor.org

Holographic_thought_process [FR] – Video Dirty Mixer MON Oct 8th – 2pm-5pm – [workshop @ hacklab01]

Building of a video dirty mixer, which "mixes" two analog video sources the bad way, resulting in a glitched output. A good case study to talk about composite sync signal and how messing with it can yield wonderful results.

Bastien Lavaud — imagines and creates electronics devices for arts. Audio, video and DIY enthusiast, he shares his creations on his website by providing information on how to build them, and makes demonstration of it in the realisation of video clips/VJing under the alias Holographic Thought Process. syntonie.fr

Nikša Gligo [HR] – Can glitch music be music at all? MON Oct 8th – 6pm – [lecture @ Siva]

The answer to this question depends on what we consider music. Looking back in history we find the expressions like musica mundana, musica humana, and musica instrumentalis. But the meaning of musica there is equal to harmonia, i.e. accord and has nothing to do with the narrower meaning of harmony in the tonal theories. My aim here is to point out that glitch music belongs to all these kinds of music which do not imply traditional, constant determinants of music as art. Glitch music belongs to the same group as "furniture music" (Erik Satie), "paper music" (Josef A. Riedl), "noise music" (Italian futurists), "prose music"/"music to read" (Dieter Schnebel), "eye music" (Luciano Berio), "son organisé" (Edgard Varèse), "organization of sounds" (John Cage), "sound art"... If we want to avoid "sound art" as something that doesn’t belong to music in the most general sense, then we are obliged to think about music in plural ("musics"). Glitch music would then be just one of them with its own theory, aesthetics and meaning.

Nikša Gligo — born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with Hans Heinrich Eggebrecht). He has taught at the Zagreb Academy of Music since 1986. He is the ordinary member of the Croatian Academy of Arts and Sciences and of Academia Europaea in London. Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodič kroz glazbu 20. stoljeća, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities.

Magno Caliman [NL] – screenBashing MON Oct 8th – 8pm – [performance @ Siva]

screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance. It utilises SuperCollider (a sound oriented programming language) for it's sound components, and C (a general purpose programming language) for it's visual elements. By using the very basic functionality, present in pretty much all programming languages, of printing characters on the screen back to the user, the visuals are created by printing characters such as backslashes and underlines in rapid succession, and at the same time freezing the whole system several times per second, creating the illusion of animated motion; something neither C nor the printing function were originally intended to do. (...) After a certain threshold, the system becomes erratic, up to a point where it is no longer possible neither to gain control, nor to foresee the end of the performance, which happens at the onset of the machine processor capability, when it indubitably fails and crashes, or there is no alternative but to force shut both the visual and audio generators. The current version of the performance, to be played at fu:bar, adds a new layer of error, with the use of a laptop not connected to a power outlet. The amount of charge left in the battery at the beginning of the performance is chosen in order to determine the duration of the piece, which ends with the involuntary shut down of the machine.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now present himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman

Random Pixel Order [FR] – The Archive TUE Oct 9th. – 2pm – [open studio @ Siva]

Random Pixel Order is a project started in 2015 by Clara R/ and Guillaume Cartis - a crossover collective between IT and micro-edition. The project aims to bring the two closer and comprehend how they can mutually develop. Torn between glitch / dev / analog hacking on the one hand and illustrations / graphic novel / zine on the other, the collective choses to do both. The Archive is a digital art zine collection, every publication with its little background story, a particular technique used (sometimes multiple). The collection is open to digital art in general and holds a multitude of techniques - glitch (sonification, 3D glitches, pixel sorting,...), creative coding, web found images, bitmap and MS Paint drawings, scanner movement, digital collage... Different print techniques are also used - some are fully digital prints, some are screenprint or riso, others mix printing techniques. The entire collection of 50 zines will be presented at /’fu:bar/ 2018. Anyone involved with the festival is invited to participate to author a new zine on the spot.

Clara R/ — founded RandomPixelOrder in 2015 with Guillaume Cartis while she was an undergraduate student in mathematics and computer science in Bordeaux, France. Seeing that much code everyday and being fascinated by mathematical functions, she couldn't keep herself from trying to apply those new knowledges to something visual and fun. She experimented on different techniques along the time, going from classic 2D glitch and datamoshing at the very beginning to generative coding and 3D glitch. During this few years, Clara has been implicated on creating projects that build the bridge between zines and computer. Today, as the collective is exploring new physical supports, Clara is opening herself to more interactive techniques as Arduino and video game making. Now she continues her master degree in graphic computer science, robotic and video game while making posters and fanzines. Guillaume Cartis — after a few self-published zines, founded RandomPixelOrder in 2015 with Clara Rigaud aiming to create a bridge between digital and zine making. Exploring different glitch art techniques, he introduced himself to 3D, video editing and film making. In 2016 he joined Disparate, an associative zine store, where he works on Bordeaux Zinefest organisation and workshops. During those years he started to get into risography, screen printing, scenography and awkward electronic music. facebook.com/randompixelorder/

Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques TUE Oct 9th – 6pm – [lecture @ Siva]

The twentieth century and the beginning of the twenty-first can be labeled as a century of media art. Not only filmmakers, but also painters, sculptors, graphic artists, architects, stage designers and many others have been experimenting with media technologies since its very beginning. This lecture will present a brief historical review of the use of media technology imperfections as an artistic expression. By using the example of Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp and Heiko Daxl, 1990 to 2012) video production, the lecture will present a multiplicity of artistic image editing approaches, which were realized by a symbiosis of analogue film, video and digital errors in specific video works. At the end of the lecture, visitors will be able to see a selection of the best works of Media in Motion art production.

Ingeborg Fülepp — Born in Zagreb, lives and works in Rijeka, Zagreb and Berlin. Studied film editing (at the Academy for Theatre, Film and Television in Zagreb; today Academy of Dramatic Art - ADU) and post graduate studies, film, video and interactive media at Harvard University (Ed.M) and at Massachusetts Institute of Technology, The Media Lab. Taught film editing at the Academy of Dramatic Art (ADU), Zagreb in 1978 - 1993. Lectures in USA, Great Britain, Netherlands, Austria and Germany since 1983, as well as at the New Media Department at the Academy of Applied Arts (APURI, Rijeka) since 2013, where she founded, and leads the Center for Innovative Media CIM since 2017. She’s an active participant of many international scientific gatherings, exhibitions and festivals, and participates in several EU projects as an associate or a jury member. Worked as a film and video editor on many productions. Received a multitude of scholarships and awards as an independent artist. Own artistic practice involves film, interactive multimedia projects, video art and video installations, of which some were shown in the New National Gallery in Berlin, Museum of Contemporary Art (MSU) in Zagreb, Museum of Modern and Contemporary Art (MMSU) in Rijeka, as well as in many private and national galleries around the world. As a curator, an art director and a media art event organizer - she has ran a non-profit Media in Motion GbR, Berlin-Zagreb with Heiko Daxl, and has organized numerous international exhibitions and gatherings. fuelepp.com

FRGMNT [DE] – SSB - Sequenced Noise Beauty TUE Oct 9th – 8pm – [performance @ Siva]

The performance is a ~30 minutes live improvisation with advanced self made electronics. This involves the SNU (Special Noise Unit, FM-synth), sequencers, ring modulators and unique ultrasonic instruments (transmitters & "bat ears"). The main Units (SNU & sequencer I put under open license & distribute docu after the concert).

Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org

FRGMNT [DE] – SNU noise machine WED Oct 10th – 2pm-5pm – [workshop @ hacklab01]

In this workshop, participants will be shown how to build the SNU (Special Noise Unit), an experimental sound circuit which uses illegal states falling between 1 and 0, and drives the digital chip it uses into an in-between world of uncertainty, resulting in complexity and uncontrollable behaviour, but also a playable instrument. Bio:

Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages WED Oct 10th – 6pm – [lecture @ Siva]

Computer programmers working in non-artistic applications and artists using programming languages to support an artistic practice might seem, at first, to be making use of the same tools (computational devices), and therefore can be thought of having similar practices. In this lecture we will draw parallels between the modes of operation of this two use cases. Specifically, we will comment on how artists are in a position not conceivable to the professional programmer: one where error making, trial-and-error, and "not knowing" some of the underling technical aspects of the practice are not only expected, but sometimes necessary in both the day-to-day experimental practice, as well as in the learning of those computational tools.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, I now present myself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in my works for a few years now: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman/

Paul Vivien [FR] – 99% WED Oct 10th – 8pm – [performance @ Siva]

Loading… Loading… a transfer, a life, a movie, everything needs a time to prepare itself before it’s ready, before it becomes perceptible and pleasant. And when it’s ready, hurray! We can consume it. Why do we need it to be ready? Why don’t we prefer the things which are still in progress? A premature baby, an immature fruit or the current moment of my life with the evolving cells of my body? The last percent is missing, just enough to make you feel uncomfortable about this loading which will never end, with this file and my life you will never successfully download.

Paul Vivien — a new media artist who creates installations and performances. Experimenting with lights, generative custom software, video and sound, each project is an opportunity to discover a new expression way. Thanks to new technologies, he tries to make the virtual boundaries tangible, to augment the experience we could have of the real, accompanied by technology as invisible as possible. The artistic universe of Paul Vivien is hosted by a research about digital forms of life, a theme merging the notions of singularity, artificial intelligence, science fiction and nature. Based in Paris, Paul does talks and workshops at ENSAAMA, ECV and EPSAA art schools. In parallel of his solo projects, he participates to OYÉ visual art label production support, kaleidos studio art and design researches, exhibitions curation, and Omicron Persei 8 live AV. paulvivien.fr

ROUND TABLE THU Oct 11th – 6pm @ Gallery Siva

— on the current state of reinterpretative new media, its (role)models, changes, its influences, in regard to its artistic and technical ethos and praxis. The talk aims to discuss and contextualize diverse glitch-based critical new media (& appropriation) practices, in the company of /’fu:bar/ 2018 guest artists.

Nada Hasan [EG] – Experimental Desires [safe passage] THU Oct 11th – 8pm – [performance @ Siva]

A performance of reading texts and verbatim poems, installations of glitched video and live audio-visuals; an onsite experiment of a woman and her alter egos as she seeks to become the super human. The piece involves the ambivalent contradictions of female/male, weak/strong and white/black as they reside within a single body navigating hostile geographies. The project will explore the emotional, mental and physical aspects of becoming the perfect human through a mind trip and a process of being exposed to an archive of the most tangible realities and feelings, desires and traumas.

Nada Hasan — a Cairo based multidisciplinary artist from Southern Egypt. Her special focus is in video and media arts but her artistic practices vary between illustration, graphic design, performance, theater and storytelling. BA degree holder from faculty of Languages, Russian language and literature department and studied filmmaking at the Cairo Jesuit Cinema School by the year 2010. Since then she developed her skills in film and video art work by self teaching, exploring and experimenting new and various forms of creating moving image. Her work focuses on the emotional package of a body as a commodified being; making the struggles of bodies visible, emotions resistant to modern society persecution, while emphasizing the experience of oppression and our survival performances in functioning within privilege imbalances in connection to the quadrilogy of Race, Gender, Sexuality and Power. Her video and media art practice is curious to transcend the limitations of classical filmmaking and explore contemporary new media practices and its broad possibilities to create an alternative relation between the artist and spectator while constructing unconventional visual, image and motion driven narratives.  vimeo.com/user5161708

GUIDED EXHIBITION TOUR FRI Oct 12th – 6pm @ Gallery Siva

(hrvatski ~45’ | english~45’) Inquiries contact: [email protected]

Tabache & Lady oN [IT] – cHroma flux FRI Oct 12th – 8pm – [performance @ Siva]

"cHroma flux" explores a process of metamorphosis in which cells of colour and sound expand in order to create new forms. Thanks to technological devices, colour pixels and acoustic music mutate and distribute themselves throughout space giving life to a "technological landscape". The visuals are generated by live manipulation of paintings that have been transferred onto acetate. The resulting prints are positioned onto TV screens by means of feedback generated by webcams and this process triggers a series of transformations of the coloured pixels. The visual flow of colour is managed and produced thanks to an analogue video mixer. The result is a technological animation of colour as if under a microscope. It becomes a kind of digital mantra that responds to itself, reproducing and moving outwards to take over a new space. The audio has been developed from synth sources and classical music sampling. The acoustic samples have been literally deformed by digital and analogical technology, so that they reach the listener as naked sound that has been completely transformed from its original grammatical, cerebral and human nature as musical language. In "cHroma flux", sound and image influence each other in a synaesthetic vision that has been achieved not by machinery but by the physical gesture of a performance coordinated by the performer’s reciprocal listening and looking.

Tabache — starts his journey in 2004 with "Problems with my Mind", an electro experimental punk band with influences from bands like Suicide and subsequently flow into House, Techno, IDM. Publishing two records, "Album" (2005) and "Stato di Tensione"(2007). After moving to Bologna, he started his first solo project, Tabache, specifically devoted to a live and sensorial experience, with strong influences from Techno and Ambient. His new life injected him a new flow of creativity, which brought Francesco to publish in 2015 his first solo record ‘Searching a total state’, and to found his own record label with Alberto Randi and Giovanni Ricchi, "Timeless Records". In the same year he curated the performance and sound design for the performative theatre shows directed by Ennio Ruffolo. His natural interest in clubbing leaded him to open a new channel for the electronic music in Bologna and surroundings, with a serie of electronic events, such as "Sunday Calling" (2012 - 2014), "Futuro Dancefloor" (2015 - 2017), "Bologna Elettrica" (Electronic experimental Festival in XM24 social center, 2017, 2018) , and the new art collective "Einheit" (2017). soundcloud.com/tabache Lady_oN — operates as a videomaker and a visual artist on the national and international scene, realizing dreamlike live visuals sets, wraparound and imaginative visual scenographies invading the spaces of DJ sets, live music, installations and theatrical performances. In a constant state of research and experimentation, Lady_on’s visuals create hypnotic space-time fabrics in a cut up of images, video synthesis, found footage and feedback, contaminating the many pre-existing visuals with the possible infinites of live shooting and sonic incursions. Simultaneously, she is working on the Mediamorphose project, researching a multiplicity of visual expressions via music clips and video documenting reality.instagram.com/mediamorphose/

"Ondes noires" screening & FESTIVAL CLOSING FRI Oct 12th – 9pm @ Gallery Siva

"Ondes noires" / "Dark Waves", Documentary (21’14’’) In an ultraconnected society where waves have almost invaded every space, three electromagnetic intolerant people bear witness of survival in a world that seems more and more inacessible to them. The staging explores the idea of a deceleration in time. A necessary condition for the perception of a reality that extends beyond the visible. Written & Directed by Ismaël Joffroy Chandoutis; Cinematography by Nikos Appelquist Dalton; Production : Le Fresnoy – Studio national des arts contemporains.

// Screens and Prints Aaron Juarez Adrian Cain Affar Oppip Allison Tanenhaus Bartek Pilarczyk Creation by Destruction Cyberart By Justin Digital Ruins Earnest Raw elle thorkveld Ivana Miljkovic Ivana Miolin Barić John Bumstead jrdsctt Magdalena maja kalogera Mark Klink Mila Gvardiol Mirna Udovčić Neal Peterson Riitta Oittinen Robert Hruska Sabato Visconti satej soman Sebastian Gatz sepo Skinny Bunny tajny_projekt Tchidu Twin Pixel vivid windowzine Yuri Zalevski // Interactive Dario Zubovic Jim Andrews jonCates Kolmogorov Toolbox Magdalena Zoledz x Robert Kowalski Sabato Visconti Timo Kahlen // Narrative Gelido Jessica Evans Random Pixel Order // Time-based Baron Lanteigne + Derek Piotr Christoph Kerschner DAJAJDE Daniela Olejnykov (a.k.a paranthre, velvet_bites_) Daniela Takeva, Nikolina Nedialkova, Felix Ermacora Demet Karapinar DF0:BAD Digital Ruins Dom Barra _ AlteredData elle thorkveld Gochevas Ismaël Joffroy Chandoutis Kacper Mutke Lívia Zafanelli Lou Morlier Marija Lučić Meena Khalili Nickk Outernet Explorer Paloma Schnitzer & Pablo Denegri Paul Beaudoin Petra Drevenšek Philippe Girardet Qin Tan [sic][redacted] | alan page Timothy Nohe vivid // Lectures And Workshops Holographic_thought_process Ingeborg Fülepp Jo FRGMNT Grys Magno Caliman Mark Klink aka srcXor Nikša Gligo Ramiro Polla Random Pixel Order // Performances Jo FRGMNT Grys Lovely Insomnia Magno Caliman Nada Hasan Paul Vivien Tabache & Lady oN

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