"ANAR Foundation manages in Spain the European unique phone number 116 111, to attend children and teenagers under a risk situation. On this telephone number, only for minors, they can find the help they need in a totally anonymous and confidential way. But, how can we get our message to a child abuse victim, even when they are accompanied by an adult their aggressor?
Knowing the average height for adults and children under 10, we have created two different messages. Using an outdoor lenticular we show adults an awareness message, while children see a message where we offer them our help and show them the telephone number. A message only for children."
Fig.1 campaign created by Grey Spain (Grey EMEA, http://grey.com/emea/).
"boolab is a production house dedicated to motion graphics, animation (2D and 3D) and the development of other visual techniques, both traditional and cutting or bleeding edge. It came into being in 2004 within the framework of Booker, an advertising production house in the field of live-action, founded in 1996. Initially, boolab was envisaged as an in-house lab for research into new audiovisual languages, but it soon set its sights beyond the company walls. Success was not long in coming, and it rapidly developed into what it is today - a production house that is a benchmark in audiovisual innovation throughout Spain and Europe."
Fig.1 Pilot: 'Evolution' - boolab, uploaded by boolab Plus 1 year ago.
"Imagine that you have just got home late from a long day of work only to be confronted by an endless list of chores. You drag yourself and an old bag of dirty clothes to the laundromat around the corner. Suddenly some young film-maker is putting a camera in your face and asking you about your laundry, your life and your ever-fading childhood dreams. At first you want to be left alone-get out of my face! But after a while you relax. It feels good to talk and it feels good to listen. On your way home, you keep thinking about the stories you told and the ones you heard. Your mind just keeps on spinning...
The scenario of the short film ‘Laundrette’ transforms an anonymous public space into a dynamic one where stories are swapped and strangers are given faces. The film also acts as a remarkable metaphor for what Narratives for Europe wants to become: an open space where significant stories can be voiced, echoed and debated. Selected from the media collection of ECF’s Youth and Media programme, ‘Laundrette’ was awarded ‘Best Documentary’ at the BFI Futures Film Festival 2011 in London. You can watch this film and other shorts on ECF’s VIMEOchannel.
The BFI recruited this video and is one of the 6 partners of the Doc Next Network. This network functions as the core of the Youth & Media Programme of the European Cultural Foundation (ECF). Doc Next is a unique movement of independent cultural and media organisations working with young people and media in the UK, Spain, the Netherlands, Poland, Turkey and Scandinavia."
(European Cultural Foundation)
"Launderette": Director - Bertie Telezynski, Producer - Johnny Orme, Producer - Mark Davies, Cinematographer - Alex Nevill, Cinematographer - Rachel Lewis, Editor - Louis Rossi, Sound - Liam Cook
"The V&A has been collecting computer-generated art and design since the 1960s. More recently, the Museum acquired two significant collections of computer-generated art and design, and together these form the basis of the UK's emerging national collection of Computer Art.
The Museum's holdings range from early experiments with analogue computers and mechanical devices, to examples of contemporary software-based practices that produce digital prints and computer-generated drawings. The earliest work in the collection dates from 1952 and is a long exposure photograph of electronic beams on an analogue computer, by artist Ben Laposky.
More recently, the V&A has acquired a large digital inkjet print from 2008, which is nearly two metres long and was created using pixel mapping software designed by American artist Mark Wilson.
The collection consists predominately of two-dimensional works on paper, such as plotter drawings, screenprints, inkjet prints, laser prints and photographs, as well as artists' books, from around the world. Early practitioners of computer art were working in Britain, France, Germany, and Spain, as well as the United States, Japan and South America."
(Victoria and Albert Museum)
Fig.1 Herbert W. Franke 'Oscillogramm' (1956)
"The failure of the early surrealist films to communicate the mystery and beauty of life that they sought to express was largely due to an attempt to translate or find equivalences for written language in images or visual language. Artaud alone had an original vision of what cinema should be, but lacked the means to implement it.
--lt is futile to look for an equivalent of written language in visual language -such a translation from one idiom to another is foredoomed to failure. The essence of the visual language should be so presented, and the action should he such that any translation would be out of the question: the visual action should operate on the mind as an immediate intuition'. Antonin Artaud, Preface to 'The Seashell and the Clergyman'."
(Elisabeth H. Lyon)
Elisabeth H. Lyon. "Luis Bunuel: The Process of Dissociation in Three Films," Cinema Journal, Vol. 13, No. 1. (Autumn, 1973), p. 47
Fig.1 Germaine Dulac (1926). 'La Coquille et le Clergyman'