Or is it?

I was having some fun with some thoughts ans some words. I came accross a small text from John Maeda ("Maeda at Media") and then refixed it to my unsettling thoughts on art and software.

Portrait reversibility

This piece represents several approaches:

1 - it amends my duality with the digital and the manual, by the use of video/photograph and interaction;

2 - self-portrait signifies merely a living anatomy;

3 - there's cause and there's effect - meaning that I am looking for a direct interaction to my reversible portrait. I like the idea of it standing still while I can appreciate the deformations that occur.

4 -A hint of Francis Bacon paintings arises when I stop to appreciate the deformities, some of my tormented flesh with a somewhat happy grin, transfers it to a more violent place.

I still try to command the plastic features of my paintings towards my digital belongings, and I realize it's what I am to do at this stage of my work.

Sneak preview...

Working on my latest piece for our final show:
-combining several platforms to play around with my primary idea of birth;
-it now evolved to a dicotomy of genres such as the tree and the cube;
-the self-portraits are key sensors for the ideas that I am developing.

These are snapshots of the current platform, rotating cubes and growing trees.

Still, Solaas' project

These series of pictures are stills from my name 'Luisa Low Pew' taken from 'Dreamlines' and it generated the picture that comes in first place if I google for my name, under the 'Image' category. I thought it look even better than my own painting! Really a very inspiring work.

Another day, another dream

http://www.solaas.com.ar/dreamlines/p5/


This is very creative project by Leonardo Solaas, using Processing.

These Dreamlines generate expressive lines that are in constant motion. You type in a word (a dream) and interesting figures start building on your screen.

(on this image my dream was "Love")

Starry night

Check out this project it is worth several clicks!

StarryNight Author(s):Alex Galloway, Mark Tribe, Martin Wattenberg
Institution:Rhizome.org Year:1999

URL:http://rhizome.org/starrynight/ ---------------------------------

Project Description:When a new text is read for the first time on the Rhizome.org website, it appears on StarryNight as a dim star. Each time a text gets read again by any Internet user around the world the corresponding star gets a bit brighter. Over time, the page comes to resemble a starry night sky, with bright stars corresponding to the most popular texts in the database, and dim stars corresponding to less-popular ones.
Dragging the mouse over one of the stars brings up a pop-up list of keywords that the corresponding text shares with other texts. Select a keyword in the pop-up list to draw a constellation linking all the stars that share that keyword.
StarryNight depends on two pieces of original software: a set of Perl scripts that sort texts by keyword and record their individual hits, and a Java applet that filters this information to draw stars and constellations.
Technology used: Perl and JavaNumber of stars: 2000Age of oldest star: February 5th, 1996New stars added: 5 per week

Same word, same seed, same root

by Cai Guo Qiang

GENOGRAPHIC

GENOGRAPHIC... here's the link

Lion of Nemea

This level is about the 'Lion of Nemea', Hercules' first task in the '12 Labors'.

Birthplace installation

Birthplace


Here is how my installation will try to look like at the end.
My concept of this 'birthplace' it's just the idea of me growing roots to my desk. As well as my complimentary artwork.
Everything, apparently, is growing roots.

De vez em nunca/Sometimes never

A wireless installation developed to run on mobile devices. Project by Giselle Beiguelman.
You can download the installation here . Enjoy!

http://www.desvirtual.com/sometimes/never/index.htm

De Vez em Nunca é um vídeo degenerativo que se decompõe pela ação do público. Imagens videográficas, capturadas no recinto expositivo com câmeras de celular, são disponibilizadas à manipulação, pelo teclado e mouse. Os interatores recompõem, em tempo real, a ordem dos quadros e re-editam o filme original, introduzindo filtros de cor e luz sobre as imagens. O filme original recomeça, sobre as novas camadas de imagem construídas pelo público, sempre que se abandona o mouse e/ou teclado. O resultado é um palimpsesto dinâmico de imagens que se consomem, seguindo uma lógica entrópica em que o acúmulo de registros se faz por apagamentos e supressões, construindo memórias passageiras e fugidias. O projeto complementa e dialoga a série De Vez em Sempre, no qual o público também gravava imagens com câmeras de celular para serem manipuladas e desconstruídas instantaneamente. Contudo, apesar de suas semelhanças metodológicas e técnicas, os projetos De Vez em Sempre e De Vez em Nunca têm horizontes cognitivos e percetivos distintos. Ao contrário do primeiro, em que a manipulação das imagens gerava uma situação marcada por diferenças e repetições, em um mosaico entrópico, aqui, o resultado aponta para um palimpsesto instável, no qual prevalece a saturação que impede a repetição de uma mesma ação. Nunca.

Sometimes Never is a (de)generative video which is decomposed through the inputs of its interactors. Videographic images, shot with mobile phones in the exhibition space, can be manipulated by keyboards and mouse and the audience edits, in real time, the order of its original frames, their position on the screen as well as introduce colored filters on the new images. When someone leaves the mouse, the original film restarts over the layers built by the interactors. The result is an imagetic and dynamic palimpsest, that consumes itself following and entropic logic where saturation produces erasing and fluid memories. The project dialogues with the series Sometimes Always, where the audience also shots images with mobile phones to be deconstructed by the same algorithmic process used here. In spite of their methodological and technical equivalences, Sometimes Always and Sometimes Never, are very different in their results and cognitive processes. In Sometimes Never the manipulation of images do not produce an entropic mosaic, but instable saturated palimpsests where it is impossible to repeat an action. Never.

De vez em sempre/ Sometimes always

A wireless installation developed to run on mobile devices. Project by Giselle Beiguelman.

You can download the installation here . Enjoy!

http://www.desvirtual.com/sometimes/always/index.htm

De vez em Sempre reflete sobre o mundo visto através de telas e janelas, em que cada momento do dia parece um filme, que se apaga e se consome assim que realiza.
O projeto consiste em uma projeção interativa, baseada em sistemas generativos, que permite ao público captar imagens com vídeo-câmeras de celular e enviá-las a telões por bluetooth. Na tela, ao passar o mouse sobre os vídeos, as imagens se decompõem em frames, que são reordenados pela movimentação do interator, seguindo os desenhos e as direções que ele faz e impõe com o mouse. Ao interromper a ação, os vídeos recomeçam, sem apagar o mosaico de imagens dispersas que se formou na tela, gerando uma intrigante situação de intensa diferença e repetição. Sempre.




Sometimes Always discusses the visual horizons of nomadic culture and its entropic and saturated environments. Its point of departure is that nowadays life is seen through windows and screens and each moment seems a movie frame that consumes and erases itself as soon as it is processed. The project consists of an interactive projection, based on generative systems, which allow the audience to shot images with cell phones with video cameras and send them via Bluetooth to big screens. On mouse over, the videos fragments in frames can be reorganized by the interactors, following the movements and draws they do with the mouse. When they interrupt the action, the videos restart without erasing the mosaic of images that was built by their activities on the screen. An intriguing image of difference and repletion emerges there. Always.

Le temps qui rèste

"Le temps qui rèste" from François Orzon, is a depiction of 'time to leave'. When a fashion photographer finds out he has less than 3 months to live, he starts making preparations to leave his life behind.

He immediately gives up his relationship with his long term boyfriend, mistreats his sister, and then, somehow along the way tries to make up for the people he actually loves. Or does he? He tells no one about his illness, aside from his grandmother, played by the great Jean Moreau.
There are some really beautiful shots in this movie, which is meant to be about death, about leaving/living.

I enjoyed his retrospectives as a child, while I tried to track down the heavy burdens he was carrying inside.

http://www.francois-ozon.com/francais/bande-annonce/le-temps-qui-reste.html

Thumbsucker

This movie, directed by Mike Mills, delivers us a story about a teenage boy with a 'sweet' habit to suck his thumb.

The film depicts his relationship with his parents, his kid brother, his love interest, his orthodontist and his thumb.

I finally caught a glimpse of it at ondedotzero's movie festival, at ICA. It's interesting to see Mike Mills' background as a graphic designer, kicking in during the film. One of my favorite scenes when his orthodontist was treating Justin's (Thumbsucker) teeth, for one final check-up, pulls a cigarette, lights it and smokes it. While he is referring to life and 'how there's nothing wrong about living life, while sucking your thumb', there's a smoke ring that illustrates what I believe to be a hint of the ephemeral design of life.

http://www.sonyclassics.com/thumbsucker/