Photographer takes photos of real scenes that look like miniature sets

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Mark Frauenfelder: Metropolis magazine has an article about a photographer named Olivo Barbieri who takes photos of real scenes and makes them looks like miniature sets. Shown here: the Santa Monica pier in Los Angeles.

Kevin Evans says: "Detailed scale models, except they're not. Strange photographs of places using a technique that makes them look like small model dioramas. Truly amazing images.

200601271529"the Las Vegas photographs in which an innate sense of unreality collides most strikingly with Barbieri's projected vision. The city's simulated monuments are made to look artificial, in total defiance of their reality. For Barbieri it is "the city as an avatar of itself."
Link

Reader comment: Noah says: "The technique Barbieri uses to get the surreal Depth of Field in his pictures is tilt-shift photography, you can get a nice detailed explanation at the above link. For homebrew photo buffs, there's a cool tutorial on how to make your own tilt-shift lens (without dropping $1000) here."

200601271934Reader comment: Alex says: "this photography blog features some very good examples of tilt-shift photography. its in japanese, so i can't give you any more details. i found the quality of the images are superior to those featured in Metropolis. beautiful stuff."
Link

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Originally posted on Boing Boing by Mark Frauenfelder


Ben Davis on Tech Art

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Cory Arcangel

Saturday, Jan. 28 is the last day of "Breaking and Entering: Art and the Videogame" at PaceWildenstein. Planning to go later today; have held off for two reasons: (1) really more interested in videogames for the music and the visual shortcuts than thinking about them as an art movement; and (2) For blue chip PaceWildenstein, final resting place for nearly-dead canonical artists, to jump on this particular bandwagon is a bit like watching your pot-bellied, combed-over high school chemistry teacher "krumping."

But I want to see the Cory Arcangel installation above: that image looks drop dead gorgeous to me, and I can't believe the artnet reviewer's mildly sniping take on this.

The normally dynamic Cory Arcangel offers a large, static projection of a video game fighter jet and clouds to complement a primitive "found video game" displayed on a small portable laptop. Titled Bomb Iraq, the game depicts a crudely drawn bomb that the user can bring nearer to an outline of Iraq by pressing the arrow keys. Its inclusion is fine as a document of America's meat-headed relation to the Middle East, but does nothing interesting with it -- except to prove that video games can be used as found objects just like everything else.
"A static projection of a video and clouds"? Hello, mural painting? James Rosenquist's F-111, maybe? And would it be worth mentioning that the laptop game, originally found on a Mac in a garage sale (see GIF below for a taste), dates to the first Gulf War? That's fifteen years of meatheadedness! Arcangel's pretty post-found object, I'd say. Is this bit of brain-damaged DIY propaganda really in the same category as the arch, Francophone disquisition of say, a Duchamp snow shovel? Perhaps, considered with the wall mural, it's ...

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Originally posted on Tom Moody by tom moody


Anne Galloway

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gallowaypage.jpg

On Spatial Annotation

I'm really looking forward to being a guest lecturer in the Contemporary Architecture Discourse Colloquium at Yale School of Architecture on March 31st. This is what I'll be talking about:

LOCATION-AWARE TECHNOLOGIES, SPATIAL-ANNOTATION, AND THE FATE OF URBAN COMMUNITY

Location-aware technologies such as GPS and RFID are increasingly being used for a variety of European and North American urban spatial-annotation projects. These desires to “tag

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Originally posted on networked_performance by jo


Lee Walton - Experientialism

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City Golf
‘City Golf’ (2002, 8.4MB, 2:09 min)

Sitting
‘Sitting’ (2005, 22MB, 3:47 min)

Get Over It
‘Get Over It’ (2004, 65.7MB, 11:24 min)

Though the antecedents of Lee Walton’s work are clear -
Cage, Long, Nauman, Aders - he nevertheless brings
something new to what could be called the algorithmic
performance genre:
there’s the pleasure of the sportscast to be derived from his lazy
athleticism ( like parkour/free running on downers),
there’s a contemporary comedy of embarrasment edge
& also his videos are rather lovely, slow evocations of place & time…

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Originally posted on DVblog by michael


VIDFEST - Call for Entries

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Jessica Schaap:

VIDFEST 2006

++++CALL FOR ENTRIES++++++

www.vidfest.com

The 3rd annual Vancouver International Digital Festival is looking for the best in digital film and interactive design.

The festival is the biggest digital content event in Canada.

We invite submissions in two areas:

DIGITAL FILM

--Access other filmmakers, producers, buyers, distributors in an intimate setting.
--Screen before the very enthusiastic audiences of VIDFEST.
--If your film is selected, you get a free pass to all the activities, conference sessions, and parties of VIDFEST.
--Send us your digitally produced shorts (max. 14 minutes) incl. music videos, animation, game sequences

INTERACTIVE DESIGN

--Meet other cutting-edge designers, producers, business partners
--Profile work in an online exhibit (over 30,000 visitors in 2005) and at awards ceremony
--If your work is selected, you get a free pass to all the activities, conference sessions, and parties of VIDFEST.
--Send us your innovative websites

Details and entry forms available at: http://www.vidfest.com

DEADLINE: March 31, 2006.

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Originally posted on Rhizome.org Raw by Jessica Schaap


Patrick May to be the next Director of Technology

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Hi everybody,

Last November, I notified the Rhizome community that I would soon be stepping down as Rhizome's Director of Technology. Today, I'm very happy to announce that our next Director of Technology will be Patrick May.

Patrick comes to Rhizome with an exceptional background in both technology and in the arts. His previous position at the publishing company Source Media gives him extensive experience with developing and maintaining large, content-driven sites with limited resources, and this experience will come in handy at a highly dynamic, community-oriented website like Rhizome. He is also active in the free software and Ruby communities: He is the creator of the Ruby-Web library, and has presented at the International Ruby Conference.

Patrick is also the cofounder and Director of Programming at the Williamsburg-based artists' collective Open Ground, helping to guide the consensus-based curatorial process that furnished Grand Street with four years' worth of always surprising group shows. He is an artist himself, and his creative practice incorporates a software library he created that automatically publishes consecutive iterations of images to an artists' blog; he discussed this tool at Rhizome's second "Blogging and the Arts" panel discussion.

Being Rhizome's Director of Technology, of course, requires more than just a knowledge of programming, and more than a familiarity with new media arts. Rhizome has always been an undersized organization with oversized ambitions, and we continue to explore ways to deepen the nascent connections between art and technology. Patrick's resume hits a lot of the right topics, but what's most important is that he's able to think of the big picture--not just in terms of artworks and lines of code, but also in terms of organizations and communities. I'm confident that he will make the perfect partner for Lauren ...

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Originally posted on Rhizome.org Raw by Francis Hwang


Swarming Systems

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Following the logic of locusts and bees, 'swarming' is the perfect metaphor for the organization of the elements that saturate contemporary life. 'Swarm,' at Philadelphia's Fabric Workshop and Museum through March 18, includes artists who use diverse methods to engage with our era's ever-changing networks. Yukinori Yanagi looks to nature, employing a colony of live ants that track paths through a dollar bill to critique a human perspective on labor. In a parody of social science, Michal Rovner offers a video projection in a Petri dish that shows suit-clad men converging and disbursing like bacteria. Julie Mehretu contributes one of her signature canvases that resemble political maps with fluid features and whirling borders. Other artists use light projections, new media installations, and a vortex-like mobile made of household objects to reflect the social structures that we live in, including Philly's own beehive of an art scene. - Bill Hanley

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Learning the Right Lessons

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David Garcia

Whatever happened to tactical media? David Garcia, one of the genre’s early formulators, takes C6’s recent publication DIY Survival as an opportunity to reflect on the general state of cultural politics after its net propelled reinvention in the ‘90s. Concerned with the commercial cannibalisation of tactical media, he identifies a need to connect its ‘hit and run’ ephemerality with more permanent stuctures of resistance [....]

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