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29 FEBRUARY 2016

Hominid: an animated short film teaser

Written and Directed by Brian Andrews; Animation Supervisor: Joe Daniels; Lead Character Technical Director: Rodney Brett; Character Technical Director: Omar Garcia, Rob Garcia, Andrew Manuel; Story Artist: Janine Labar; Animation: Jason Alas, Brittany Barnes, Denice Dehelean, Andrew Manuel, John Treleaven, Tim Xenakis; Shading: Vincent Jaramillo, Matthew Picasso; Modelling: Pedro Ferreira, Dakota Fulmer, Sam Hedberg, Abraham Rodriguez, Joshua Roth, Darrell White; Compositing: Kyle Greenberg, Nate Rodriguez; Dynamic Effects: Tyler Giusti; Sound Design: Bryan Atarama, David Claudio; Composer: Jordan Suhr; Title Design: Adrian Amler, Patches, Angela You; Thanks to: Andrew Dayton, Adrian Miller, John Scanlon, Andrew Schlussel, Josh Qualtieri. Produced at Ex'pression College for Digital Arts. Copyright 2011 Brian Andrews.

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20113D animationanimated sequence • animated short • animated short film • animated teaser • atmospheric presence • bones • Brian Andrews • chase scenecreaturedangerous environments • Expression College for Digital Arts • flying creature • frog • Hominid (2012) • hominidae • hominids • human skeleton • human x-ray • humanoidmonochromatic • photo-composite • sepiaskeletonspiderteaser trailertranslucence • veterinary x-ray • visual style • winged creature • x-ray

CONTRIBUTOR

Simon Perkins
02 NOVEMBER 2015

Hakanaï dance performance 2013

"Hakanaï is a solo choreographic performance that unfolds through a series of images in motion. In Japanese Hakanaï denotes that which is temporary and fragile, evanescent and transient, and in this case something set between dreams and reality. While widely associated with nature, the term is now often used to elicit an intangible aspect of the human condition and its precariousness. It encompasses two elements: that concerning the human being as well as that related to dreams. This symbolic relationship is the foundation of the dance composition in which a dancer gives life to a space somewhere between the borders of imagination and reality, through her interactions with the images she encounters. The images are on-stage animations that move in physical patterns according to the rhythm of the live sounds that they follow. The performance's outcome is the revelation of a digital installation to its audience."

Fig.1 Composed and Directed by Adrien Mondot & Claire Bardainne; Dance (alternating) Akiko Kajihara, Satchie Noro, Virginie Barjonet, Francesca Ziviani; Digital Interpretation (alternating); Adrien Mondot, Claire Bardainne, Jérémy Chartier, Loïs Drouglazet; Sound Design; Christophe Sartori, Loïs Drouglazet, Pierre Xucla; Sound Interpretation Christophe Sartori, Loïs Drouglazet, Jérémy Chartier, Pierre Xucla; Set Design Martin Gautron, Vincent Perreux; Digital Toolset Loïs Drouglazet; Light Design Jérémy Chartier; Outside Viewer Charlotte Farcet; Costume Design Johanna Elaouf; Technical Director Alexis Bergeron; Administrator Marek Vuiton; Booking Charlotte Auché; Production assistant Margaux Létang; Produced by; Adrien M / Claire B; Co-productions, Funding & Support; Les Subsistances, Lyon / Centre Pompidou-Metz; La Ferme du Buisson, Scène nationale de Marne-la-Vallée, Noisiel / Hexagone Scène Nationale Arts Sciences – Meylan / Les Champs Libres, Rennes / Centre des Arts, Enghien-les-Bains / Maison de la Culture de Nevers et de la Nièvre / City of Lille / DICRéAM; The Adrien M / Claire B Company is accredited by DRAC Rhône-Alpes, Rhône-Alpes Region and is supported by the City of Lyon.

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2013 • Adrien Mondot • Akiko Kajihara • Alexis Bergeron • algorithmic composition • algorithmic pattern • art and technology • artistic duo • between dream and reality • black and white • Charlotte Farcet • choreographic performance • Christophe Sartori • Claire Bardainne • computational artscube • dance composition • dance performancedesign formalism • digital backdrop • digital interpretation • digital puppetry • evanescence • fragilityFrancesca Zivianigenerative designgeometric pattern • Hakanai (2013) • immersive worksinteractive installation • Jeremy Chartier • Johanna Elaouf • light projection • Lois Drouglazet • Margaux Letang • Martin Gautron • movement performance • performance installation • Pierre Xucla • projection mappingpuppetryrhythm • Satchie Noro • sensors • snowflake • solo choreographic performance • solo performance • spider web • symbolic relationship • synapsetemporarytransiencetransitory movementtranslucence • translucent veils • Vincent Perreux • Virginie Barjonet • visual journey

CONTRIBUTOR

Simon Perkins
28 MAY 2013

Helena Almeida's Colourful cannibalism: consuming Yves Klein Blue

"For Study for Inner Improvement (1977), a sequence of photographs in which Almeida looks like she is eating blue paint. There is no question that the colour she is consuming is very similar to that of Yves Klein. She had in the past protested at Klein's use of women as objects in his artworks. At the time of making Study for Inner Improvement, the concept of anthropophagy (cultural cannibalism, the idea of consuming other cultures as a way of asserting independence) was a popular ideology. Almeida's chewing up of Klein's blue, a colour he had come to dominate, was a liberating act for women and artists everywhere."

(Jessica Lack, 7 October 2009, guardian.co.uk)

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1977 • anthropophagy • Antonio Salazar • artist • Artur Rosa • asserting independence • black and whiteblue • blue paint • breaking with confines • colourcolour field • consuming other cultures • cultural cannibalism • deface • Helena Almeida • Helio Oiticica • Leal Rios Foundation • Leopoldo de Almeida • liberate colour • liberating act • Lucio Fontana • Lygia Clark • neo-concrete movement • paintingphotography • physical liberation • Portugal • Portuguese artist • psychological emancipation • sequence of photographs • Study for Inner Improvement (1977) • three-dimensional space • translucence • University of Lisbon • women • women as objects • women in art and design • Yves Klein

CONTRIBUTOR

Simon Perkins
15 APRIL 2011

A personal story of the materiality of contamination

Yelena Popova's reflections on the materiality of contamination and the Kyshtym nuclear disaster of the 9th September 1957.

Fig.1 Yelena Popova (2010). still from 'Unnamed', short artist documentary telling a personal story of a secret town in Russia, 10 minutes.

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19451957 • artist documentary • atom bomb • Chernobylcitizenshipcold warconsequencescontamination • density • disasterenvironmentfilm essayglass • glass blowing • invisibleKazakhstan • Kyshtym disaster • Lake Kyzyltash • mapmaterials • Mayak plant • metaphor • molten • nationalityNevadanuclear disaster • Ozyorsk • paper weight • personal storyradiationradioactive contaminationRussiasandsecretsecret townshort filmsouvenirtranslucenceunderstandingYelena Popova

CONTRIBUTOR

Simon Perkins
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