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Which clippings match 'Composites' keyword pg.1 of 1
09 JUNE 2013

BioShock Infinite: How Four Women Became One

The developer of BioShock Infinite "gives us a behind–the–scenes look at the voice (Courtnee Draper), body (Heather Gordon), brain (Amanda Jeffrey), and face (Anna Moleva) behind Booker DeWeitt's in–game companion, Elizabeth."

(Chad Lakkis, 20 March 2013)



2013 • 2K Games • 3D scanning • Amanda Jeffrey • Anna Moleva • appearancebehind-the-scenes • BioShock Infinite • breathe life intocharacter builderscharacter compositecharacter designcompositescosplay • Courtnee Draper • Elizabeth (character) • empathetic charactersfirst-person point of view • Heather Gordon • Irrational Games • Ken Levine • lifelikemimicryperformance capturerealistic representationresemblancevideo gamevisual depictionvoice actors


Simon Perkins

Charlize Theron, Grace Kelly, Marlene Dietrich and Marilyn Monroe

Charlize Theron meets Grace Kelly (Miss Dior Cherie), Marlene Dietrich (Hypnotic Poison) & Marilyn Monroe (Dior Addict) in the newest Dior ad for J'adore (2011).

















2011alternative pastappropriationAutodesk Flamecatwalk • catwalk show • CGIcharacter composite • Charlize Theron • Christian Dior • classical beautyco-optioncolour gradingcompositescompositingcut-up • digital image manipulation • Dior J adore • doppelganger • expectancy • fashionfilm starglamourgoldGrace Kellyhaute couture • Heavy Cross (2009) • Jean-Jacques Annaud • Julien Meesters • Manuel Souillac • Marilyn MonroeMarlene Dietrich • Mikros Image • nostalgianowherePalace of Versaillespaparazzi • Pascal Giroux • perfume • pre-show buzz • re-purposerealistic representationreanimatingrecreationrevisionscene design • separate sources • Stephane Pivron • substitution • The Gossip (band) • The Hall of Mirrors • TVC • visual effects compositing • visual effects designvisual elements combined


Simon Perkins
26 JUNE 2011

Victor Frankenstein's horror at infusing life into an inanimate body

"The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room and continued a long time traversing my bed–chamber, unable to compose my mind to sleep. At length lassitude succeeded to the tumult I had before endured, and I threw myself on the bed in my clothes, endeavouring to seek a few moments of forgetfulness. But it was in vain; I slept, indeed, but I was disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her, but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave–worms crawling in the folds of the flannel. I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch – the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs. I took refuge in the courtyard belonging to the house which I inhabited, where I remained during the rest of the night, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound as if it were to announce the approach of the demoniacal corpse to which I had so miserably given life."

(Mary Wollstonecraft (Godwin) Shelley, The Project Gutenberg)



beingbodybreathe life intocomposites • conventional morality • corpsecreation of a new speciescreatorcreature • demon • demoniacal corpse • design responsibilitydiscoveryethicsexperimentationFrankensteinguilthorrorhuman being • human life • human nature • human society • inanimate body • Ingolstadt • lifemankind • Mary Godwin • Mary Shelleymoral dilemmamoral imaginationsnatureProject GutenbergPrometheus (mythology)speciesspeculative fictionspeculative researchVictor Frankenstein • Wollstonecraft


Simon Perkins
08 OCTOBER 2003

Henri Bergson: Tendencies And Composites

"What are the "things themselves"? In the 1956 essay, Deleuze spends a lot of time on this aspect of Bergsonian metaphysics. Things are not self–contained substances, independent of time and becoming, but "phases" of becoming itself. In other words, a thing is not the effect of a cause but the expression of a "tendency." A tendency is a phase of becoming. Is there a correspondence between a thing and a tendency? Not a one–to–one correspondence because things are composites (des mixtes) of at least two tendencies. A tendency can express itself only insofar as it is acted upon by another tendency and, therefore, tendencies never come isolated from one another but always in pairs."
(Giovanna Borradori)


becomingcomposites • des mixtes • Gilles DeleuzeHenri Bergsonmetaphysics • tendency • virtuality

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