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Which clippings match 'Appearance' keyword pg.1 of 3
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)

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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

CONTRIBUTOR

Simon Perkins
02 MARCH 2013

WW1 Razzle Dazzle ship camouflage

"Most camouflage is based on the idea of concealment and blending in with its surroundings. However another school of thought has argued for making the item in question appear to be a mashup of unrelated components. Naval camoufleurs found this theory particularly appealing. Blending didn't work because ships operated in two different and constantly changing color environments – sea and sky. Any camo that concealed in one environment was usually spectacularly conspicuous in others.

Norman Wilkinson, a British naval officer and painter, suggested a scheme that came to be known as Dazzle or Razzle Dazzle painting. Wilkinson believed that breaking up a ship's silhouette with brightly contrasting geometric designs would make it harder for U–boat captains to determine the ship's course."

(FoundNYC Inc, 4 April 2009)

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1917angular shapesappearanceapplication of design • battleship • blend in • blending • blending in • blocks of colourbreaking up • bulk • camo • camouflage • camouflage pattern • colourcolour schemeconcealment • conspicuous • constantly changing • dazzle • dazzle painting • dazzle ship painting • dead-end technology • disruption pattern • disruptive colouration • disruptive patterndistortiongeometric designsinterruptioninvisibilitymilitary • naval camouflage • naval camoufleurs • navy • Norman Wilkinson • optical illusionoutlinepainting • Razzle Dazzle • sea • seascape • shapesshipsilhouetteskyspatial ordersurroundings • U-boat • unrelated components • vessel • visual abstractionvisual patternvorticismWorld War IWW1zig-zag

CONTRIBUTOR

Simon Perkins
01 MARCH 2013

Interpretation is reactionary, impertinent, cowardly and stifling

"Interpretation in our own time, however, is even more complex. For the contemporary zeal for the project of interpretation is often prompted not by piety toward the troublesome text (which may conceal an aggression), but by an open aggressiveness, an overt contempt for appearances. The old style of interpretation was insistent, but respectful; it erected another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs 'behind' the text, to find a sub–text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation. All observable phenomena are bracketed, in Freud's phrase, as manifest content. This manifest content must be probed and pushed aside to find the true meaning –the latent content –beneath. For Marx, social events like revolutions and wars; for Freud, the events of individual lives (like neurotic symptoms and slips of the tongue) as well as texts (like a dream or a work of art) –all are treated as occasions for interpretation. According to Marx and Freud, these events only seem to be intelligible. Actually, they have no meaning without interpretation. To understand is to interpret. And to interpret is to restate the phenomenon, in effect to find an equivalent for it.

Thus, interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling."

(Susan Sontag, 1966)

Susan Sontag (1966). "Against Interpretation: And Other Essays". Farrar, Strauss & Giroux.

TAGS

1966 • aggressiveness • appearance • behind the text • contempt for appearances • cowardly • dead past • destroy • doctrine • dreamsexcavationhermeneuticshistorical interpretation • historical view • human consciousness • impertinent • individual lives • interpretationinterpretation of signsKarl Marx • latent content • liberating actmanifest contentmeaning • neurotic symptoms • observable phenomena • phenomenaphenomenon • philosophy and interpretation • reactionary • revising • revisionism • revolutions • Sigmund Freud • slips of the tongue • social events • stifling • subtext • Susan Sontag • textstheories of interpretation • transvaluing • troublesome text • true meaning • wars • women in cultural theorywork of art

CONTRIBUTOR

Simon Perkins
25 JUNE 2011

Japan Has Made The Human Pop Star Obsolete

"Meet Eguchi Aimi. She's the newest member of Japan's teen girl group, AKB48. Like the rest of her 47 band mates, she's the embodiment of the a tween pop idol. She's got a sugary voice, perfect hair, shiny skin, and an unrelenting desire to plug consumer products, namely Glico's Ice No Mi candy. She appeared in the June 13 issue of Shukan Playboy magazine, where she was described as the 'Ultimate Love Bomb.' Aimi's star was rising fast.

What makes her special is that she doesn't exist. Glico now admits that Aimi is actually a computer generated image created by mashing up the features of AKB48's other members.

The band and the candy company struggled to pass Aimi off as an actual organism, but some of the band's obsessive fans had raised suspicions when they noticed the uncanny resemblance to other members. Others noticed a somewhat eerie quality to her movements."

(Vincent Trivett, 24 June 2011, Business Insider)

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20113D visualisation • AKB48 • Akihabara • appearance • Atsuko Maeda • authenticityavatarbotCGI actorscharacter compositeco-optiondigital actors • Eguchi Aimi • girl group • Ice No Mi • J-PopJapanlifelikemanufactured band • Mariko Shinoda • mash-up • Mayu Watanabe • Minami Takahashi • pop group • pop idol • pop star • Prometheus (mythology)puppetrealistic representationresemblancesimulacrasynthespian • teenage culture • teenage girls • Tomomi Itano • tween pop idol • virtual charactervirtual girlvirtual peoplevisual depictionvisual elements combined • Yukari Sasaki • Yuko Oshima

CONTRIBUTOR

Simon Perkins
10 MAY 2010

Monoface: an interactive exquisite corpse toy

"mono is a Minneapolis–based company that believes in the power of simplicity, putting it to work to create innovative communications for clients that include Herman Miller, Apple, Blu Dot and the Harvard Business School."

(Mono, Minneapolis)

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2007Adobe Flashadvertising agencyappearancedollexquisite corpsefaceidentityinteractiveinteractive toy • Minneapolis • mono • mono advertising agency • monoface • playportraittoy

CONTRIBUTOR

Simon Perkins
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