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printedinblood · 5 years

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“Visions from the Upside Down”-Stranger Things:Artbook Artists List

As we inch close to the release date of our latest and most amazing Artbook release to date, We wanted to post a list of all of the included artists in the project. I am including their Social media @nametags for Instagram (if they have an account there) so you can follow up on their amazing works outside of our new book.

Remember you can pre-order the book here:

Charles Adi @blackoutbrother

Brian Aldridge @aerosoulpro

Nick Allsop @nick_alsopp_art

Rafael Alvarez @alvarez_studio

Kwasi Amankwah @kwasi81

Stephen Andrade @stephen.andrade.7 (Facebook)

Orlando Arocena @mexifunk

Edgar Ascensao @edgar_asc

Dane Ault @monkeyminionpress

Noah Bailey @boyishdeathtribe

Giuseppe Balestra @artbygb

Mark Bell @markbellillustration

Angelina Benedetti @angelinabenedetti

Freya Betts @freyabettsart

Rick "dienzo" Blanco @dienzoart

Alejandro Blasi @alejandroblasi.art (Facebook)

Aaron Bolduc @alphaazieru

Alex Boniwell @erodingdesigns

Mark Borgions @handmade_monster

Bonnie Bozell @bbozellart

Michael Vincent Bramley @mvbramleyart

Matthew Brazier @matthew_brazier

Rio Burton @rioburton

Lin-Zy Busch @withlovelinzy

Matt Busch @matt_busch_instagram

Butcher Billy @thebutcherbilly

Sheila C @studiosheila

Carlos Cabaleiro @cabaleiroart

Chris Callahan @rgb_alpha

Josh Campbell @paybackpenguin

Daniel Campos @stalk_danielcampos

Kate Carleton @keelhaulkate

Simon Carpenter @simcarpe

Ryan Caskey @ryancaskeyillustration

Christa Cassano @christacassano

Justin Castaneda @whenuwerelittle

Victor Castro @victoroil

Lon Chan @lonchanillustrates

Alexander Cherepanov @cherepanov_inkart

Chogrin @chogrin

GMB Chomichuk @gmbchomichuk

Chris Chuckry @chrischuckry

Darren Coburn-James @asylumartz

Adam Cockerton @adamcockertonart

Joe Corroney @joecorroney

Carolyn Craggs @carriejc1983

Paul Cremin @paul_cremin_art

Ryan Crosby @rcillustration

Ronnie Crowther @ronniecrowtherart

Justin Currie @chasingartwork

Bob Dahlstrom @bobdahlstrom

Ted Dastick @teddastickjr (Twitter)

Jason Davies @jasondaviesart_

Neil Davies @neildaviesillustration1

Rich Davies @turksworks

Simon Delart @s2lart

Mike Diaz

Garrett Dix @garrett_dix_artist

Rodney Dollah @rodneydollah

Dug Nation @sketchymonsters

Matt Dunn @matthewdunnart

Roberto Duque @rad_pencils

Damian Edwardson @damianedwardsonart

Sarah Elkins @NeilaK20 (Twitter)

Don England @donaldengland_art

Nicole Falk @legendsofthefalk

Bastian Faulk @bastianfaulk

Jaimie Filer @jaimie_filer

Malcolm Fisher @mal_made

Francisco Flores @artofmetalhand

Jared Flores (Circusbear) @jaredcircusbear

Julie Fordham @juliefordham

Luke Francis @twistedabnormality

Devin Francisco @devin_francisco_art

Bryan Fyffe @bryanfyffe

Anthony Galatis @anthonygalatis

Paul Gates @pickle.vision

Bruce Gerlach @bruce_gerlach (Twitter)

Sam Gilbey @samgilbey

Donny Gillies @dirtydonnyart

Dustin Goebel @dgoebel00

Jason Goungor @jasongoungor

Art Grafunkel @artgrafunkel

Joshua Green @lvciferx

Justin Harder @clausstudioss

Paul Harrison-Davies @paulmhd

Matthew Harrower @hpmatt1984

Jordan Hart @jordyjordith

Simon Heard @sinagedesign

Tomas Hijo @tomashijo

John J Hill @johnjhill

Michelle Hiraishi @_mhiraishi

Matthew Hirons @saintworksart

Chris Hitchman @chris_hitchman

James Hobson @jamesjamesjamescreative

Tony Hodgkinson @epictonedogg

Josh Howard @josh_howard

Rian Hughes @rianhughes

Faryn Hughes @farynh

Jon Hunt @huntillustration

Ian Jepson @ian_jepson

Bernard Jezowski @berniedave

Robert Jimenez @zerostreet

JoeJr @joejrberrelleza

Adem Kaan @ademkaanillustration

Ana Kahana @kahanita

Sandra Kamenz @sandrakamenz

Chris Kay @chris_kay_art

Michael Kelleher @michaelkelleherillustrator (Facebook)

Josh Kelly @jmonsterart

Tom Kelly @tomkellyart

Jemma Klein @jemmaklein

Heather Landry @sandpaperdaisy

Doug Larocca @douglaslaroccaart

Mark Levy @marklevyart

Alice Meichi Li @alicemeichi

Matthew Lineham @mlinehamart

Chelsea Lowe @cmloweart

Jerry Ma @epicprops

Ian MacDougall @ianmacart

Mike Mahle @mikemahleart

Tomasz Majewski @tomasz.majewski

Chris Malbon @melbs74

Matthew Manlove @mattmanlove

Christopher Maul @christopher_maul

Sam Mayle @sammaylearts

Kristopher McClanahan @deeplydapper

Bill McConkey @bill_mcconkey

John McCrea (w/ Dee Cunniffe) @mccreaman1 w/ @deezoid

Scott McKay @thescottmckay

Axel Medellin @axelmedellinmachain

Kelly Migliori @heyghoulhey

Jason Miller @jasonmillerart

Peach Momoko @peachmomoko60

Akane Morinishi @akaneschibiart

Micah Mowbray @curiousartglass

Murugiah @_murugiah

Christian Nannipieri @christian.nannipieri

Matt Needle @needledesign

William O'Neill @william.oneill.792

NOS4A2 Design @nos4a2lives

Angel Onofre @angelonofre

Rey Paez @reypaezart

Luke Parker @artofparker

John Pearson @johnjpearson

Xurxo Penalta @xurxopenalta

Jerry Pesce @pesceffects

Pestmeester @thepestmeester

Lucas Peverill @lucas_peverill_art

Michelle Prebich @batinyourbelfry

Dave Pryor @davepryor72

Gary Pullin @ghoulishgary

L.Jason Queen @ljasonqueen

Aldo Requena @aldorequenavalgorth

Joey Rex @iamjoeyrex

Rodolfo Reyes @rodolforever

Aleksey Rico @alekseyrico

Julien Rico jr @julienricojr

Dylan Riley @dylandraw

Matt Riste @mattristeillustration

Rafal Rola @rolsrafal

Stephanie Rosales @rosalesart1 (Twitter)

Stephen Sampson @thedarkinker

Scott Saslow @scottsaslow

Valerie Savarie @valeriesavarie

SCAR Studios @antoinette.rydyr (Facebook)

James Schneider @boardinker

Markee Shadows @markeeshadows

Jerry Shirts @artisticaerosol

Liza Shumskaya @kino_maniac

Bill Sienkiewicz @therealthatpolishguy

Randy Siplon @randysiplon

John Sloboda @sloboart

Brian Soriano @wrathcomics

Rob Stanley @robstanleyart

Guy Stauber @guystauber

Eileen Steinbach @sg_posters

Blake Stevenson @jetpacksandrollerskates

R.H. Stewart @rhsillustratorgmailcom

Justin Stewart @justin3000stewart

Matthew Stewart @stewartillustrations

Glen Stone @glenstoneillustration

Adam Stothard @ad_illustrator

Laura Streit @laurastreit_art

Mark Stroud @markblackblue (Twitter)

Andrew Swainson @andrew_swainson

Nick Taylor @nickillustratesthings

Theoretical Part @theoreticalpart

Steve Thomas @stevethomasart

Kevin Tiernan @jurassickevin

Felix Tindall @f_tindall

Angel Trancon @angeltranconstudio

Wayne Tully @waynetully

Cody Vrosh @codyvrosh

Jonny Wellman @jonnys_pixels

Bryan West @bryanwestart

Trent Westbrook @2023comics

Chris Willdig @rebelart1984

Matthew Woods @hallowwoods

Scott Woolston @scottwool

Clinton Yeager @screamingclint

#strangerthings #netflix #stranger #things #delreybooks #printedinblood #artbook

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chuckprophet · 5 years

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The RubinoosThe Rubinoos

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The Rubinoos are an American power pop band that formed in 1970 in Berkeley, California. They are perhaps best known for their singles "I Think We're Alone Now" (1977, a cover of the hit by Tommy James & the Shondells), "I Wanna Be Your Boyfriend" (1979), and for the theme song to the 1984 film Revenge of the Nerds. Although "I Think We're Alone Now," reaching No. 45 in 1977, has been their only charting hit, the group has a significant enduring cult following among fans of the power-pop genre.[1]

History

In November, 1970 Tommy Dunbar and Jon Rubin formed the Rubinoos to play at a dance for Bay High School in Berkeley, California. Other founding members included Greg 'Curly' Keranen, Alex Carlin, Ralph Granich and Danny Wood. Inspired by siblings' 45s and the Cruisin' vintage radio recreations LP series, Jon Rubin and the Rubinoos played rock and roll oldies, including covers of songs by Chubby Checker, Bill Haley and the Comets, the Dovells, the Troggs, Little Eva, the Chiffons, and others.

Soon after the performance at Bay High School, where Rubin and Dunbar were enrolled, the original band dissolved. In May 1971, they shortened the name to the Rubinoos and reformed as a quartet with Donn Spindt on drums and Tom Carpender on bass. The group now focused on original material by Dunbar, in association with Rubin and others.

The band's early development was assisted and inspired by the success of Earth Quake, whose lead guitarist and principal songwriter was Tommy Dunbar's older brother, Robbie Dunbar. The Rubinoos often appeared as an opening act for Earth Quake in clubs such as the Longbranch Saloon and the Keystone, in Berkeley.

After the expiration of their contract with A&M Records, Earth Quake along with their manager, Matthew King Kaufman, founded Beserkley Recordsand started recruiting additional talent. This included Greg Kihn, Jonathan Richman and the Rubinoos.

In June, 1973, Greg 'Curly' Keranen re-joined the group. In September, 1974, they recorded a cover of the DeFranco Family's "Gorilla", released as a single and included on the Beserkley Chartbusters compilation album. The group also provided accompaniment for Jonathan Richman on two Chartbuster cuts, "The New Teller" and "Government Center." Shortly after the release of "Chartbusters" Keranen left the Rubinoos to join Jonathan Richman & the Modern Lovers. He was replaced by Royse Ader.

Several 'high points' of the band's early career included: A performance at Bill Graham's Winterland Auditorium, September 24, 1974, on a bill with the Jefferson Starship. At this concert, the Rubinoos were joined on stage by Jonathan Richman, who danced to their version of The Archies' "Sugar, Sugar". This was greeted with intense booing and a pelting of unripe bananas by members of the audience.[2] Having a number one single in Modesto, California, for 13 weeks. Having one of their concerts raffled off to a high school by Burger King. Appearing in Tiger Beat and 16 Magazine many times.

In 1977, Beserkley released The Rubinoos, the group's eponymous debut album. It was well-reviewed and New York Rocker called it "The Best Pop Album of the Decade." The single, a cover of Tommy James' "I Think We're Alone Now," reached No. 45 on the Billboard Hot 100 becoming Beserkley's first hit. The group appeared on American Bandstand (live), So It Goes (by video) and Rolling Stone Magazine: The 10th Anniversary television special in which they were cast as a garage band, performed a tribute to the newly deceased Elvis Presley and morphed into claymationfigures.

The group's next album, Back to the Drawing Board (1979), featured the single "I Wanna Be Your Boyfriend," which had been released in 1978 and received heavy airplay in England and Europe. In support of this album, the Rubinoos appeared on Rock Goes To College, The Old Grey Whistle Test, Top Pop and opened 56 shows for Elvis Costello on the U.S. portion of his 1979 Armed Funk tour.

In 1980 Royse Ader was replaced by Al Chan. The Rubinoos then recorded the demos for a third album which never came to fruition. These demos, released in the 1990s as Basement Tapes, engineered by well known audio guru, Dan Alexander, is still thought to be one of their best efforts. Spindt and Chan left the group in 1982 when Tommy and Jon decided to move to Los Angeles. In 1983, the group, now consisting of just Rubin and Dunbar, signed with Warner Bros. Records and released the Mini LP Party of Two, produced by Todd Rundgren. Party of Two yielded the single and cult classic music video "If I Had You Back," which has been in continuous rotation on MTV and VH1 for over 25 years. In 1984, they recorded the title song "Revenge of the Nerds" and "Breakdown" for the film Revenge of the Nerds.

The Rubinoos playing in Barcelona, Spain, in 2010

The Rubinoos began a long sabbatical in 1985. In 1989, Dunbar, Spindt, Chan, and John Seabury formed the group Vox Pop and recorded an album of material, co produced by Dunbar and Dan Alexander at Alexanders Coast Recorders. Also in 1989, Jon Rubin joined the noted Los Angeles a cappella Doo Wop group The Mighty Echoes. During the 1990s, two compilation CDs, Basement Tapes and Garage Sale were released. Their success led to the end of The Rubinoos sabbatical and a new album, Paleophonic (1999), produced by Kevin Gilbert. This album did not see the light of day until The Rubinoos' performance, their first in seven years, at the 1999 International Pop Overthrow Festival in Los Angeles. The lineup at IPO featured Rubin, Dunbar, Chan and Spindt. In 2000 Tommy and Jon were hired to sing the Flo and Eddie parts of Frank Zappa's 200 Motels at three concerts with the Netherlands' Philharmonic. In 2002 The Rubinoos toured Spain and Japan, released the all-covers Crimes Against Music (2002) and recorded the album Live in Japan (2004). In 2005 the group reunited with their original producer, Gary Phillips, to record Twist Pop Sin (2006). In 2007, Castle Communications issued the 63-song retrospective Everything You Always Wanted to Know About the Rubinoos. Also in 2007, The Rubinoos toured Japan and released a two CD compilation titled One Two That's It. In 2009 the band toured Spain and released the compilation CD HodgePodge which featured one newly recorded track, a cover of The Hollies' classic, "Bus Stop."

Music critic John M. Borack called Paleophonic No. 36 in his list of the best power pop albums of all time, praising its "trademark pitch-perfect harmonies".[1]

In January 2010, The Rubinoos played their first kids show in support of their first all ages CD Biff-Boff-Boing. The CD is a mix of covers and new originals.

In May 2010, to coincide with their Spain/Italy tour, the Rubinoos released their first new original album in five years - Automatic Toaster, produced by Robbie Rist.

More recently, the group was in the news after filing a plagiarism lawsuit in mid-2007 against Canadian pop-punk musician Avril Lavigne claiming that her song "Girlfriend" had too much in common with "I Wanna Be Your Boyfriend". The parties confidentially settled out of court in early 2008.[3]The conflict led to a re-interest in the Rubinoos' music, particularly on YouTube.[4]

Lawsuit

In 2007, Dunbar and co-writer James Gangwer sued Canadian pop-rock singer Avril Lavigne, claiming that her hit song "Girlfriend" had too much in common with "I Wanna Be Your Boyfriend".

Filed in the United States District Court for the Northern District of California, the case also named Avril Lavigne Publishing, her songwriting partner Dr. Luke, RCA Records, and Apple Inc. as defendants.[5] Lavigne's manager, Terry McBride, as well as Lavigne herself, denied that "Girlfriend" was copied from "I Wanna Be Your Boyfriend," and pointed out that "Boyfriend" itself was similar to the Rolling Stones' "Get Off of My Cloud". The two parties reached a confidential settlement in January 2008.

Members

Current lineup

Jon Rubin - vocals, guitar (1970-1985, 1999–present)

Tommy Dunbar - guitar, vocals (1970-1985, 1999–present)

Donn "Donno" Spindt - drums, vocals (1971-1985, 1999–present)

Al Chan - bass, vocals (1980-1985, 1999–present)

Touring musicians

Susie Davis - keyboards, vocals (2002–present)

David Rokeach - drums (2007–present)

Former members

Greg 'Curly' Keranen - bass, vocals (1970–1971, 1973–1975)

Alex Carlin - organ (1970–1971)

Ralph Granich - drums (1970–1971)

Danny Woods - saxophone (1970–1971)

Tom Carpender - bass, vocals (1971–1973)

Royse Ader - bass, vocals (1975–1980)

Michael Boyd - keyboards, vocals (1981–1982)

Discography

Studio albums

The Rubinoos (1977)

Back to the Drawing Board (1979)

Party of Two EP (1983)

Paleophonic (1998)

Crimes Against Music (2003)

Twist Pop Sin (2006)

Biff-Boff-Boing (children's CD) (2010)

Automatic Toaster (2010)

45 (2015)

Compilations

Bezerk Times (1978)

The Basement Tapes (1993)

Garage Sale (1994)

The Basement Tapes Plus (1999)

Anthology (2002)

Everything You Always Wanted to Know About the Rubinoos (2007) (3-CD box set)

One Two That's It (2008)

HodgePodge (2009)

The Best of The Rubinoos (2014?)

Live album

Live in Japan (2004)

A Night Of All Covers -Live At Koenji High, Tokyo (2018)

References

John M. Borack (2007). Shake some action: the ultimate power pop guide. Not Lame Recordings. pp. 17, 64. ISBN 978-0-9797714-0-8.

"Jojoblog backstage : Interview #15 : Greg "Curly" Keranen". Jojofiles2.blogspot.com. 2007-04-12. Retrieved 2014-04-25.

"Avril Lavigne "Girlfriend" Lawsuit Settlement; Rubinoos Avril Lavigne". popcrunch.com. January 10, 2008. Retrieved July 3, 2010.

James Montgomery (July 9, 2007). "Avril Lavigne Responds To Lawsuit, Says She's Been 'Falsely Accused'". MTV.com. Retrieved July 3, 2010.

"Apple sued for duping Apple TV image, hosting iTunes track". Appleinsider.com. Retrieved 2014-04-26.

External links

Official site

The Rubinoos facebook

The Rubinoos Automatic Toaster Review

The Rubinoos at AllMusic

Review of The Rubinoos Live In Madrid Feb. 7, 2009 at solo-rock.com (in Spanish)

Review of One, Two, That's It at Buhdge.com

December 2007 article from The East Bay Express

Review of Paleophonic at thenightowl.com

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wiadomosciprasowe · 4 years

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FOLK FINISSAGE: VI ER NORDEN

https://www.y6.no/folk-finissage-vi-er-norden/

FOLK FINISSAGE: VI ER NORDEN

VI ER NORDEN avslutter utstillingen FOLK. Gjennom en unik og nær forestilling, beveges ulike kunstarter mellom fire aktører og sitt publikum. Forestillingen utleder nye spørsmål om hvordan historien påvirker vår samtid. Dato: 09-12-2019 07:30 CET Opprinnelig tittel på pressemeldingen: FOLK FINISSAGE: VI ER NORDEN Kategori: , Bibliotek, museum Vitenskap, teknikk Siste mulighet til å se utstillingen FOLK, før dørene lukkes!

Siste mulighet til å se utstillingen FOLK, før dørene lukkes!

Teknisk museum avslutter utstillingsperioden med å invitere til en sterk og interaktiv forestilling om dekolonialisering. Forestillingen, Vi er Norden, utleder nye spørsmål om hvordan vår kolonialistiske historie påvirker livene våre i dag. Utstillingen kaster lys på hvordan vitenskapelig praksis har ledet til rasisme.

Når: lørdag 14. desember kl. 16-18

Praktisk info

Se og del gjerne på Facebook!

VI ER NORDEN

Gjennom en unik og nær forestilling, beveges ulike kunstarter mellom fire aktører og sitt publikum. Forestillingen utleder nye spørsmål om hvordan historien påvirker vår samtid. Et langt utforskningsarbeid kulminerer i en performance lecture på Teknisk museum. Den kjente kunstneren, norsk-gambiske, Camara Lundestad Joof, har gått sammen med den danske koreografen Ingrid Tranum Velazques, den grønlandske poeten Aka Niviâna og den finsk-samiske skulptøren Stina Aletta Aikio for å utvikle prosjektet.

– Hvordan rister vi av oss 500 års kolonialistisk praksis? Er den så inngrodd i vårt kulturelle DNA at vi ubevisst reproduserer dens fortellinger, spør de seg. Gjelder dette også for kunsten?

KUNSTNERISK UTFORSKNING

Gjennom en sammensmeltning av iscenesatte ritualer, dialoger, foredrag og poesi utforsker Vi er Norden kolonial praksis. Ved både å motsi og spille på lag med hverandres ståsteder, utforsker aktørene sammen hva dekolonialisering betyr i Norden i dag. De dekonstruerer ikke bare sine egne kulturelle posisjoner, men søker også hjelp hos publikum for å finne frem til bedre spørsmål.

Vi er Norden forventes å bli en skjellsettende opplevelse der tanker, som før er tenkt som naturlige, utfordres i lys av historisk og geografisk praksis.

Visningen foregår primært på engelsk, med enkelte passasjer på grønlandsk, samisk, norsk, dansk og finsk.

UTSTILLINGEN FOLK – VITENSKAPELIG RASISME

Kveldens forestilling starter i FOLK, hvor vi inviterer vi til et møte med kuratorene for utstillingen, Ageliki Lefkaditou og Jon Kyllingstad. Utstillingen inviterer de besøkende til å studere eksempler på fortidens raseforskning og dagens genforskning om menneskelig biologisk variasjon. Opp igjennom tidene har mennesker blitt gruppert etter utseende. Fra disse fysiske trekkene dro vi konklusjoner om hva vi kunne forvente oss av adferd og oppførsel. Utallige studier har vært gjort; vitenskapelige arbeider på evolusjon og variasjon, opprinnelser og historier.

I FOLK får de besøkende utforske samspillet mellom vitenskap, på den ene siden, og samfunn og kultur på den andre: Teknologiske muligheter, ulike forhold til helse og medisin, politisk og økonomisk ulikhet, og raseideologiske forestillinger. Hva slags konsekvenser kan denne forskningen få for samfunnet? Og for enkeltmenneskene?

Museet har valgt å ikke fortelle en enkel, lineær historie om vitenskapelig framskritt, men undersøker også sporene etter tidligere tiders raseforskning i moderne vitenskap. Også vår tids forskning på genetisk variasjon reiser vanskelige vitenskapelige, politiske, samfunnsmessige og etiske spørsmål. Det er ikke lett å riste vi av oss hundrevis av år med kolonialistisk vitenskapspraksis.

MUSEER OG KOLONIALISME

Kolonialismen gjorde det mulig å undersøke, samle og stille ut både objekter og mennesker fra hele verden. Paviljongene ved verdensutstillingene og de nasjonale mønstringene viste «primitive» og «eksotiske» mennesker, både for å tilfredsstille nysgjerrighet og å styrke en følelse av vestlig overlegenhet.

Til tross for flere museers forsøk på å håndtere denne koloniale og rasistiske fortid, forblir mange aspekter av vår kolonialhistorie undertrykt fra vårt kollektive minne. Dette arrangementets kunstperspektiv supplerer utstillingens fokus på forskningspraksiser og deres samspill med samfunn og kultur.

Kilde: Pressekontor Norsk Teknisk Museum – PRESSEMELDING –

————

Om Norsk Teknisk Museum

Norsk Teknisk Museum er nasjonalmuseum for teknologi, industri, naturvitenskap og medisin og et eldorado for utforskende i alle aldre. En viktig del av Teknisk museums samfunnsoppdrag er å formidle sammenhenger mellom teknologi, medisin og kultur over tid. Teknisk museums utstillinger: Museet har over 25 permanente og temporære utstillinger om energi, olje, industri, medisin, fly, biler og tog. Visjonen er å være det mest engasjerende, kunnskapsgivende og morsomste museet. Misjonen er å være nasjonalt referansesenter for forskning, formidling og forvaltning av teknologiens, medisinens og vitenskapens historie og muligheter. Museets ansatte kobler historien med nåtid og fremtid.

Oslo vitensenter setter undring og opplevelse i fokus. Med over hundre interaktive installasjoner kan du utforske naturvitenskapelige og teknologiske prinsipper innenfor temaene energi, fysiske fenomener, kroppen, matematikk og verdensrommet.

Nasjonalt medisinsk museum viser permanente og temporære inneholder medisinhistoriske utstillinger og har samlinger av gjenstander, bøker og arkivalia. Museet er integrert i Norsk Teknisk Museum.

Hashtags: # #Bibliotek, museum Vitenskap, teknikk Bibliotek, museum Vitenskap, teknikk

#Bibliotek #museum Vitenskap #Norsk Teknisk Museum #teknikk #Pressemeldinger

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sadlystrangerthanfiction · 7 years

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Hopeful Sadness

I’m not really proofreading this one guys, so... apologies. But, the wife is asleep and I have no one to really ‘talk’ to right now. So here we go.Alone in the void with my thoughts....

One of the great joys in doing "The Magically Unauthorized Misadventures of Rocky & Bullwinkle” or “It’s All Been Done Radio Hour” podcasts, is I get to do one of the many things I love, which is, I get to do silly voices to entertain people. While it isn’t at a national level, the admiration and respect I have for people in the industry is heaps and bounds. Or really, it knows no bounds.

Now, there were two things that really ‘clicked’ for me as child that wanted to do voices, etc, and that was the film Teenage Mutant Ninja Turtles, where Michelangelo was doing the impressions. I started to mimic Robbie Rist in the film.

The other, was Animaniacs. One of the biggest things ever for me was access to America On-Line, back in the day and the KidsWB! section of the AOL platform opened open the world of who was doing voices.

It was here I was cemented at being a voice chaser of some form. And it is where I learned that Jess Harnell, Tress MacNeille and Rob Paulsen were the voices of Wakko, Dot and Yakko. And also: Rob was the voice of Pinky from Pinky and the Brain.

Now, going a step further, he was Raphael, my FAVORITE ninja turtle in the original 1980′s TMNT cartoon. AND he did other voices too. So many that it is hard to pinpoint but... one of my favorite things to do was to try to mimic voices on Animaniacs. Then others soon followed. (Taz-Mania, amongst many others.)

Through the years, I’ve always followed the whole gang from Animaniacs, including their writers. But my favorite set of voice actors (Though I love them all) has been Rob Paulsen And Maurice LaMarche.

I remember my favorite bit outside of seeing youtube clips here and there, was the Nerdist episode featuring them both. I told so many people to listen to it. It was not only hysterical, but moving and insightful.

Now, soon there-after, Rob had started his own podcast, called “Talkin’ Toons” and he talked to people in the industry, all friends of his, others maybe not as close but, still, he opened the world up more. For me, it was an extra scoop into the madness that I love called Voice Acting. For others, it was the first stop into a whole new world of fun, zaniness and backstage antics of their favorite show.

But at some point, like any normal listener of any podcast, due to time constraints, I would subscribe to a small number of podcasts, but based on the content, I would listen to that first. Higher priority, etc.

Nerdist, for me is like this. But so did Rob’s podcast. And like my iOS’s podcast app, if you haven’t listened to a show in a while, it temporarily stops downloading new episodes.

Rob’s podcast was a victim of this and by the time I did my usual ‘check back in’, I noticed he hadn’t updated in a long time. Rob though, had kept on twitter and on facebook, posting videos and what have you. But soon, I had noticed Rob looked a bit different.

He.. didn’t look as spry as he did considering his age. He looked his age, or a bit older. As someone who had a family member with cancer, my first thought was that he had cancer. But... despite the beauty of social media being we can cross boundries and interact with our heroes, in this case, I didn’t think I should have. It wasn’t appropriate, IMHO, and it was his business. And Rob, as per his previous posts and overall vibe, I felt would have told the fans. So... we moved on. New TMNT episodes here and there, and Rob would post videos, tho not as often, about clips of him doing voice work.

Right before Christmas, I think it was, on twitter/facebook, Rob announced he was going to say what happened to the podcast.

My concern was that somehow the Jon Lovitz Podcast Theater somehow legally screwed him like it did Kevin Smith, or something crazy like that. how horrible would THAT be? Years later, legally embroiled in some kind of snafu.

Would he be able to podcast again live elsewhere?

So joy be it that today, Rob released his podcast again, explaining where he has been. And maybe, it was around the 3:20 mark, I began to get an itch of something... worrisome. My worry became real and between 3:45 to 17:42, I was moved to almost tears. It’s funny. Voice over actors, if you follow them, you grew up with them. When you have kids, or if you’re a big kid, you know their voice still, to this day. It never leaves you. And so, I got a bit dusty near my eye holes when Rob announced why he had been gone for so long. As an act of decency, I won’t directly repeat it here, but I suggest you listen to it. It left me sad in a hopeful way. Maybe it won’t affect you the way it did me, but... this guy was and IS one of my voice acting heroes and a fucking wonderful human being. Actually, he is one of the most awesome-but annoyingly cheerful guys you’ll ever hear talk. So seriously. Check it out.

http://techjives.net/2017/01/10/134-happy-new-years-with-rob-on-talkin-toons-with-rob-paulsen/

#rob paulsen #yakko warner #pinkyandthebrain #Cancer #podcast #Talkin toons

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collective-sd · 4 years

Text

I looked at many artists and their work over the last week, and have decided to most closely examine Michael Snow and his film as well as installation and sculpture work. I have also looked at Pipilotti Rist and Jon Rafman and I admire their transformations of gallery and museum space. Rist has discussed how early museums have mimicked the salons of the wealthy, and thus creates a modern ‘salon’, now the western living room, to display her work. I would like to draw on this space transformation while closely following the methodology and practices of Michael Snow.

In 2002, Snow identified 12 key themes in his 50 years of work: light, materiality, re-presentation, reflection, transparency, duration, look, framing, scale, recto-verso, improvisation, and composition. I would consider each of these in the creation of my final work. Snow’s work deals greatly with light and vision, as he uses the framing of his work to guide the viewer's attention to new perspectives. For example, in his work ‘Viewing of 6 New Works”, he creates visual representations of how one might view a painting, prompting viewers to consider their engagement with works of art more consciously.

Snow also relies on a great amount of chance. In his experimental film La Region Centrale, the movements of the camera are decided by the mechanical device he has created, although this ultimately lends to a random panning. Snow believes that technology may be used as discipline for the creator.

Further, Snow involves materiality and multiplicity in many of his photography and gallery works in which he photographs a subject from the front and behind, and displaying these images so that they are back to back, encouraging viewers to look from both sides, but never at the same time.

Snow’s film “So is This” is made of sentences of text that are displayed on a square screen one word at a time. The rhythm of which the words appear on the screen has been established by Snow, so that in reading the words one can feel that they are hearing and experiencing human speech. When displayed in a gallery or theatre setting, viewers are able to engage in a communal reading, though silent, and communal accumulation of memory.

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kebee-s · 5 years

Video

vimeo

“Semi Permanent 2019 - Opening Titles" from Elastic on Vimeo.

Producer: Michael Ross Executive Producer: Luke Colson Head of Production: Kate Berry Managing Director: Jennifer Sofio Hall

Music & Sound Design: Antfood

Executive Creative Director Wilson Brown Executive Producer Sue Lee Producer Jennifer W. Fife

Composition & Arrangement Wilson Brown, Dalton Harts Composition & Sound Design Yuta Endo, Bennett Eiferman Copyist Diane Wong Audio Colorist Spencer Casey Mix Antfood

FAME'S Macedonian Symphonic Orchestra Conductor Oleg Kondratenko Recording Alen Hadzi Stefanov, Igor Vasilev Stage Managers Riste Trajkovski, Ilija Grkovski Cello Bruno Serroni

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karoltabis · 5 years

Video

vimeo

Client: Semi Permanent ____________________________________________________________________________ Post Production Design Studio: Elastic Directors: Hazel Baird & Heidi Berg Lead Animator and Compositor: Gabriel Perez Editor: Doron Dor Designers: Margherita Premuroso, Daniel Moreno, Sekani Solomon, Ethem Cem, Gyrun Kim, Min Shi, Carlo Sa, Enes Ozenbas Animation:Margherita Premuroso, Gyrun Kim, Daniel Moreno, Sekani Solomon, Curry Tian, Brandon Parvini, Rachel Brickel, Tom Di Stasio, Jon Fitz, EJ Kang, Faraz Abbasi Typographic Design and Animation: Benjamin Woodlock, Sam Sparks, Steve Biggert Additional Design: Curry Tian, Mike Zeng, Mert Kizilay, Kaya Thomas, Carlos Enciso, Jeff Han, EJ Kang, Henry DeLeon Additional CG Support: Josiah Scholten, Josh Dyer, Colton Smrz, Jose Limon, Paulo De Almada, Alex Silver Editorial Support: Rachel Fowler Storyboards: Arien Walizdeh Special Thanks: Murray Bell, Jennifer Sofio Hall, Kate Berry, Andrew Romatz, Yongsub Song, Felix Soletic, OTOY Producer: Michael Ross Executive Producer: Luke Colson Head of Production: Kate Berry Managing Director: Jennifer Sofio Hall Music & Sound Design: Antfood Executive Creative Director Wilson Brown Executive Producer Sue Lee Producer Jennifer W. Fife Composition & Arrangement Wilson Brown, Dalton Harts Composition & Sound Design Yuta Endo, Bennett Eiferman Copyist Diane Wong Audio Colorist Spencer Casey Mix Antfood FAME'S Macedonian Symphonic Orchestra Conductor Oleg Kondratenko Recording Alen Hadzi Stefanov, Igor Vasilev Stage Managers Riste Trajkovski, Ilija Grkovski Cello Bruno Serroni

#IFTTT #Vimeo

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transformers-mosaic · 8 months

Photo

Transformers: Mosaic - "Gone Fishin"

Originally posted on November 2nd, 2009

Story - Jon Rist Art - James Cox Colours - Josh Burcham Letters - HdE

deviantART | TFW2005 | BotTalk

wada sez: The vignettes in this one all set up scenes from the beginning of The Transformers: The Movie, with Kup directing the other Autobots in setting up a roadblock, Blaster chilling in the communications tower, and Wheeljack and Windcharger hanging out before they’re both brutally killed side-by-side by the Decepticons. Hot Rod’s line opens his first scene with Daniel. Josh Burcham had already coloured an official adaptation of the film for IDW and a tie-in story by Simon Furman for Australian home-media company Madman Entertainment, so this fits nicely in that vein; he’d go on to colour the pack-in comic for the Reveal the Shield Rodimus vs. Cyclonus two-pack.

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caveartfair · 6 years

Text

The Strange and Stunning Results of Artist-Directed Music Videos

Music videos, of course, have always involved artistry, from Michael Jackson’s epic mini-movie for “Thriller” in 1983 to Björk’s 2004 video for “Triumph of a Heart,” which famously features a love affair with a human-sized cat.

But something undeniably odd and inspiring can happen when visual artists who don’t normally work within the medium try their hands at it. Here, we look at 15 clips that showcase the beauty, inventiveness, and occasional disaster that can result when artists step outside of their comfort zones and collaborate with musicians.

Jon Rafman for Oneohtrix Point Never’s “Sticky Drama” (2015)

This clip for Oneohtrix Point Never opens slow and strange—imagine the gravitas of the opening scene of Saving Private Ryan transposed onto a lo-fi battle between cosplaying adolescents—and it only gets wilder from there. Jon Rafman is an artist known for his mastery of digital animation effects, creating grotesque universes that bend the rules of logic and physics (and traverse the uncanny valley). For one series, he creates creepy CGI renditions of his own dreams—consider him a 21st-century Surrealist with superior software.

“Sticky Drama,” from the 2015 Oneohtrix Point Never album Garden of Delete, is a viciously attention-deficit mix of robotic pop and sheer electronic noise. To accompany it, Rafman chose to go mostly live-action. A vast army of child actors stage their own brutal war, replete with ultra-violent battle scenes and a surplus of green slime (a mood board for this video would likely include both Game of Thrones and Nickelodeon’s Double Dare). A feature film’s worth of epic drama is crammed into less than six frenetic minutes.

David LaChapelle for Blink-182’s “Feeling This” (2003)

How best to conjure the snotty, rebellious energy that made Blink-182 one of the enduring names of pop-punk? David LaChapelle chose to film in a defunct L.A. jail, but don’t expect a treatise on the importance of prison reform here. Instead, the photographer (who has also directed clips for Christina Aguilera, Mariah Carey, and many others) presents a sort of horny penitentiary stocked with nubile young things who are sick and tired of institutional conformity. As in Pink Floyd’s “Another Brick in the Wall,” these oppressed prisoners don’t need no education—but in this case, they will fight for their right to hump each other during visiting hours.

We see a classroom full of fed-up boys and girls overtaking their fascistic teacher, climbing on their desks in what reads like a punk-rock riff on that climactic scene in Dead Poets Society. That turns into a full-blown riot; a jailbreak; what might be an outtake from a Victoria’s Secret commercial; and a rowdy concert on the roof, where Blink-182 gets anthemic within the safety of a barbed-wire enclosure.

Marco Brambilla for Kanye West’s “Power” (2010)

Clocking in at under two minutes, this slim, supremely dramatic video feels more like the trailer for an action movie starring Kanye West. We see the rapper draped in chains, standing still as a painterly scene comes to life (with half-naked women featured prominently). The general mood—epic surrealism with a dash of kitsch—is in keeping with Marco Brambilla’s other video work. Anyone who has ever stayed at The Standard in New York, or visited its bars, has likely seen his Civilisation (Megaplex) (2008), a Boschian dream that screens in the hotel’s elevators.

But if the video for “Power” manages to jam a lot of bombast into a short space, West’s 2010 short film for “Runaway” (with art direction from artist Vanessa Beecroft) would prove as expansive as his ego. Stretching to nearly 35 minutes, it includes a massive explosion, a fireworks display, a marching band, and an extended ballet performance, among other things.

Alex Da Corte for St. Vincent’s “New York” (2017)

This lush video is a decadent indulgence in color and pattern, from baby-blue blinds to leopard-print tights, a cherry-red shoe telephone, and acres of bodega flowers. St. Vincent’s Annie Clark deadpans through an ode to lost romance in New York City, with cameos from some famous city sculptures—Tony Rosenthal’s Alamo cube in Astor Place; Forrest Myers’s The Wall on West Houston at Broadway—as well as studio installations that recall Alex Da Corte’s own irreverent, Instagram-friendly practice. Despite various absurdities—a random swan; a microphone stand surmounted by what appears to be burning kale—the overall effect is both seductive and eerily moving.

Ryan McGinley for Sigur Rós’s “Varúð” (2012)

Atmospheric Icelandic band Sigur Rós—famous for singing in a made-up language—tapped 12 creatives to direct short films to accompany their 2012 album Valtari. Ryan McGinley has earned well-deserved acclaim for a photographic practice that celebrates the nostalgic glow of youth; here, he crafts what he called his “poem to New York City.”

The camera tracks a young woman—wearing nothing more than a gold wig, an oversized T-shirt, and underwear—as she skips barefoot through the metropolis. (Editor’s note: Always wear shoes when skipping in Lower Manhattan.) The footage is shot from a great distance, as if captured by an eye-in-the-sky satellite. At certain points, the woman keeps dreamily moving, even though her surroundings—pedestrians on the High Line, yellow cabs—have frozen in place. The video is something of a woozier, romantic counterpart to James Nares’s short film Street (2011), which likewise skewed the way we see New York’s everyday foot traffic.

Damien Hirst for Blur’s “Country House” (1995)

Damien Hirst won the Turner Prize in 1995, another step on the ladder to international fame for the British artist. But that same year, he also directed this doozy of a music video for the pop quartet Blur, which truly needs to be seen to be believed. It opens with four blokes in a shabby apartment playing a board game called Escape from the Rat Race; the game soon explodes into a surreal reality, one that is decorated with giant skulls and populated by people riding pigs and taking cheeky bubble baths.

The cheeseball factor is off the charts here—Hirst would have made a stellar mid-’90s maestro of beer commercials. Rather than waxing poetic, the artist also shows himself to be a shockingly literal thinker, directly illustrating many of the lyrics: When Damon Albarn sings “He’s reading Balzac and knocking back Prozac,” we get a demonstration of…exactly that. The video’s protagonist is a rich everyman who seems plucked from one of René Magritte’s bowler-hat paintings, and there’s enough cleavage and sophomoric sexual hijinks to satisfy even the most avid fan of the Naked Gun franchise.

Pipilotti Rist’s “I’m a Victim of This Song” (1995)

Swiss artist Pipilotti Rist is known for her immersive video environments celebrating color and nature, offsetting any earnest New Age vibes with a healthy dose of irreverence. (Her work indirectly entered the popular imagination after the motifs in a 1997 piece were liberally borrowed by Beyonce in 2016.) The original video for this Chris Isaak song “Wicked Game” was directed by David Lynch in 1990; Rist completely altered the effect with her version, which is almost painfully vulnerable, with helium-high missed notes that devolve into a sort of desperate shrieking.

Meanwhile, the grainy video itself seems almost entirely arbitrary, with scenes of rolling clouds, vintage photographs, and random strangers sitting in a restaurant. Rist’s brittle rendition of “Wicked Game” poses a thorny question: Is the song itself the thing plucking brutally at our heartstrings? And would any random collage of footage have the same effects, given the proper soundtrack?

Robert Longo for Megadeth’s “Peace Sells” (1986)

Robert Longo, a member of the “Pictures Generation” who is best known for his hyperrealistic graphite drawings, teamed up with Megadeth for this clip in 1986, and what a hot metal mess it is. Full of flickering, strobe-like cuts and found footage of war and riots, it hiccups between the goofy and the graphic. Fist-pumping fans are interspersed with images of bombed buildings; a man falling down the stairs; a burning Constitution; statues of the Buddha; and several extreme close-ups of singer Dave Mustaine’s oral cavity. (Things slow down around the two-minute mark, when Longo himself seems to grow bored of yet another interminable, noodling guitar solo.)

Fast forward three decades, and everyone involved with this has aged quite differently. Longo is still a sought-after artist dedicated to capturing our fraught political moment; Megadeth’s Mustaine has been a guest on Infowars and has fondly trafficked in any number of conspiracy theories.

Tony Oursler for David Bowie’s “Where Are We Now?” (2013)

American artist Tony Oursler brings his video-sculpture techniques to bear on this bittersweet anthem from his friend, the late David Bowie. “There’s a theme of looking back and moving forward to ‘Where Are We Now?’, of abandoning things and carrying things forward,” Oursler said at the time. Watching this clip now, in the wake of Bowie’s 2016 death, is almost pleasantly crushing; if your eyes aren’t watering at the 3:30 mark, there might be something wrong with you.

The video is also a marvel in terms of how it achieved heightened emotional effects with limited means. We see a static tableaux in the artist’s studio: a few props (an empty wine bottle; a giant sculptural ear) along with a large screen, upon which grainy footage from Berlin and elsewhere is projected. The focal point is a lumpy doll with two projected faces of Bowie and the painter Jacqueline Humphries, Oursler’s wife. Bowie sings while Humphries stares placidly ahead—at one point, she licks her lips, poised as if to sing, but that moment never comes. “As long as there’s sun,” Bowie intones, his words floating before him. “As long as there’s me. As long as there’s you.”

Harmony Korine for Sonic Youth’s “Sunday” (1998)

Harmony Korine got his start in 1995 as the screenwriter for Larry Clark’s brutal teen drama Kids, and has since gone on to produce an unpredictable oeuvre, from Julien Donkey-Boy (1999) to Spring Breakers (2012). He’s also a visual artist, showing on occasion with blue-chip powerhouse Gagosian—and despite any urge to accuse him of dilettantism, Korine’s painting practice is both sincere and impressive.

This video for a track off Sonic Youth’s 1998 album A Thousand Leaves puts the viewer in an aggressively uncomfortable place. As it opens, we see a young Macaulay Culkin staring drowsily into a mirror, redolent of an Elizabeth Peyton painting. Wearing Hugh Hefner-worthy pajamas, he begins making out, in slo-mo, with a young woman.

Korine cuts to equally slow, dreamy footage of a young ballerina practicing her moves in a dingy apartment, and then cuts to a scene of the Home Alone child star headbanging over dueling banjos with Sonic Youth frontman Thurston Moore. Culkin pulls off the rockstar vibe better here than he would in the later phase of his career, when he earned internet disbelief for The Pizza Underground, a cover band that repurposed Velvet Underground songs with lyrics about…pizza.

Ebony Hoorn for Lost Under Heaven’s “Bunny’s Blues” (2018)

This sinister, P.J. Harvey-inflected track comes with a seductive, lurid video directed by the band’s frontwoman, Ebony Hoorn—a recent art-school graduate from Amsterdam. Incorporating both a striptease, a magic ritual, and a murder, the clip nods to director David Lynch, the 1976 film Carrie, and the saturated color palette of Italian horror icon Dario Argento (an admitted influence of the artist-musician).

The germ of “Bunny’s Blues” came from a performance project Hoorn launched in the Netherlands in 2015. “I created this character Bunny Blue while writing my thesis,” she told Artsy. “I started dressing up and going to empty bars and cafés in Amsterdam, exploring the tremendous amount of freedom experienced without the mundane expectations regarding your identity.” That led her to explore virtual reality and online identities as presenting other sides of the self. “Bunny, for me, is like a research tool,” she continued. “It allows me to look with fresh, new eyes. It sets me apart from myself.”

Make sure to keep watching until the bitter end, where a blood-drenched Bunny flaunts the head of a man she’s just decapitated with a scythe—a visual rhyme with any number of paintings of Judith and Holofernes.

Jimmy Joe Roche for Dan Deacon’s “The Crystal Cat” (2007)

Jimmy Joe Roche and Dan Deacon both cut their teeth as part of the Baltimore-based art collective Wham City. They’ve collaborated on longer, more conceptual projects—like Ultimate Reality, a 2007 film that appropriates footage from Arnold Schwarzenegger films—but this bite-sized video is an easier place to start.

Roche’s aesthetic for this clip mirrors motifs that reappear in his own drawings, paintings, and sculptures, with endless Rorschach-like patterns in psychedelic colors. Deacon, clad in an unglamorous grey sweatshirt, presides over a cast of characters seemingly plucked from amateur public-access television. The parade of flickering neon mandalas builds to an almost unbearable climax that might permanently alter your brain chemistry.

Allison Schulnik for Grizzly Bear’s “Ready, Able” (2009)

Allison Schulnik, a Los Angeles-based artist, goes overboard when she paints, applying impossibly thick layers of oil to create her depictions of cats, clowns, flowers, and landscapes. That handmade tactility carries over into her claymation work for the indie band Grizzly Bear.

In this video, creatures with gaping eyes and mouths are constantly evolving, melting, turning inside out, or being sucked into ominous spacecrafts. The aesthetic is purposefully rough and lovingly handmade. “You go into this zone, there’s nothing like it,” Schulnik toldL.A. Weekly, discussing her very labor-intensive process. “You’re in a little black room all by yourself…alone in the dark for hours and hours in this little mini-world that you created and have complete control over. It’s complete escapism. I love it. And when you see the result, it’s magic.”

Wolfgang Tillmans for Powell’s “Freezer” (2017)

Wolfgang Tillmans loves to buck convention—he’s notorious for installing his gorgeous and poetic images of male anatomy, fruit, landscapes, and countless other subjects in inventive, unprecious ways. It makes sense that Powell tapped the photographer to direct one of his videos: “Oscar Powell’s music is often deemed difficult,” Pitchfork once surmised, and Tillmans accompanied this track with an equally difficult, occasionally maddening video.

Scenes of exceedingly mundane things—a pot threatening to boil over; leaves gently blowing in a breeze—are intercut with a slideshow of still photographs of military members and riot cops. The quiet, restrained pace of the clip is at odds with the electronic song’s insistent, thumping beat, and the video itself almost seems like a parody of a stereotypical art film in which nothing of substance occurs. Still, one can’t help but appreciate the brazen disregard for the clichés and conventions of the form. Don’t expect to see it on MTV anytime soon.

Kara Walker and Ari Marcopoulos for Santigold’s “Banshee” (2016)

Ari Marcopoulos, a photographer known for his casually evocative portraits, teamed up with Kara Walker for this hard-to-classify video. While Walker is synonymous with cut-paper silhouette works that spotlight the horrors of America’s racist past, here, she contributed shadow puppets that gyrate and cavort in a comparatively lighthearted way. This freewheeling dance party is preceded by an incongruous black-and-white segment, in which we see Santigold sitting on a city sidewalk holding a sign that reads “Will Work For Blood.”

It might not add up into one cohesive whole, but the energy and enthusiasm that went into the shoot is palpable. “We decided to just all get together in the studio with the puppets, a bunch of lights, and just have a good time and made decisions as we went,” Marcopoulos told the New York Times. “It was a total team effort. My son Ethan was the cameraman and Kara’s daughter [was] the stills photographer.”

from Artsy News

#Artsy News

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blogfranceskennedy-blog · 6 years

Text

OSCILLATION

Word count: 2,500

CRITICAL EVALUATION

How do Visuals for performance enhance the audiences experience?

INTRODUCTION:

This paper investigates the factors that determine whether and how visuals enhance Live performance and or the audience experience. The relationship between visuals and performance will be discussed, establishing the importance of the topic in regards to my own practise. I create visuals for the purposes of performance and installation, developing my visuals by manually creating effects and using found or organic objects. This research allows me to identify how to present my projections and whether they are appropriate to my intentions.

COLLABORATION / EXHIBITION /VISUALS FOR PERFORMANCE

Beginning with the experimental evidence on visuals and performance: a collaboration with Lucy Gooch ( MA Fine Art ) creating visuals for her performance and to accompany her music commercially, I began by experimenting with materials such as water and milk, manipulating them using material combining and hairdryers. I worked in conjunction with her music, using it as my initial inspiration. Lucy had already began using images of water, crystals and minerals to represent her music, images which I have used as primary research for our collaboration. By drawing from her methods and having an understanding of her aims I was able to respond to her music visually. Lucy states ‘Fran and myself have a similar aesthetic and interest in connotations of both the sensual and the elemental.’ Throughout the project Lucy and I exchanged music, poetry and imagery as part of an on going collaboration of ideas. Without this level of sharing and consultancy the results wouldn’t have been as successful, the research, sharing and understanding of one another and our conflicting practises has hugely contributed to our understanding of collaboration.

MY PRACTICE:

Making is fundamental to my practice. The visuals I created for Lucy’s music were inspired by the music, the materials used are drawn from my environment and the sensual in everyday.

During my making process I used the elements; earth, fire wind and water. as a system for sourcing materials. By using Lucy’s methods to draw from I began connecting a particular aesthetic to her work, visualising images inspired by her music. This work is a direct exploration of my creativity and capabilities as a professional. A number of techniques have been established to ear mark permanent methodologies such as crafting the visuals by hand and not digitally.

For example; ‘Ground Water’ was made for and named after one of Lucy’s tracks. I took the name of the song to determine the physicality of the work. Initially using water in a tray, lit from underneath I filmed the

‘Fig 1 ( above ): Still from ‘Ground Water’

ripples in the water when air was blown onto it. The ripples became too directional and I wanted the water to be more focussed in reflection of the word ‘Ground’ - by adjusting the air and using a hair dryer to blow air into the centre of the tray it created a continuous, circular, void effect in the water.

The colours were however adjusted in post production. This gave warmth and depth in the ripples. Discovering that the depth of the water didn’t affect the detail in the water but the larger the surface area allowed for more ripples. The tools used to achieve this visual were basic household items; a pyrex baking dish, water, a torch and a hairdryer. A natural progression of this work is to experiment and analyse how little post production is required.

The methods undertaken are crucial to the understanding of why my work is innovative and important. By creating visuals that are hand crafted, bespoke to the music and immersive I am providing a unique service, a consultancy. Having a deeper understanding of who and what I am making them gives my work value.

With respect to existing projection artists and VJ’s such as Pippilotti Rist, my work approaches visualisation with additional abstract handcrafted methods. Each visual is made to the artist and designed uniquely to their style and branding. The importance of this approach is to offer something bespoke and unique to the musician or performer. The outcome of this approach is to provide the performer and audience with an experience they will remember. It is crucial that my work be recognised for its style and not repetitiveness. The feeling which they portray in their music or performance directly influences that of the visual consequently creating an experience. In contrast the works of Rist are of self expression and constructed for fine art purposes, consequently this difference adds a commercial factor to my work.

Influences include Olafur Elliasson, Lernert and Sander, Pippilotti Rist and James Turrell. Works by Rist have particular significance to the physicality of my work and format in which I exhibit. Rist projects collage style moving images depicting images of flowers and the female body - brightly coloured and accompanied by sound. The surrealism and intimacy communicated in her moving images provides context to the otherwise abstract narrative of her work. Similarly by using brightly coloured, layered imagery married with looped sounds I have created an atmosphere encouraging emotional stimulation. In response to the ethereal installations by Elliasson my methods include the use of organic forms and drawing from the sensual in everyday.

Fig 2 ( above ) : Still from ‘WARM’

My research helps distinguish that visual art does enhance the audience experience within a live performance environment. As part of my Phenomenological research I attended a Live performance of Jon Hopkins. Hopkins, an electronic musician and producer has the assistance of Visuals projected behind him during his performances. The visuals were collages of digital structures, snippets from music videos, animation and still images.

Below are two examples of the visuals shown at the concert, The venue was solely lit by the stage, focussing in on the visuals as a key element in the show. During the performance the audience were captivated by the visuals, which were either shapes evolving to the beats of the music, or snippets of music videos that had been edited to fit the live performance. My own experience of the visuals and music combination was a deeper emotional connection to the sounds, the images provided context and narrative to the music I was

Fig 4 & 5 ( above ): Visuals from Jon Hopkins : Latitude 2018

listening to. The colours provided emotional stimulation. The results of my survey reflect psychological hypothesis that the colours Pink, Green and blue represent feelings of Calmness, serenity and Peace.

(Kendra Cherry 2018) This article confirms that colour directly contributes to the impact of visuals during performance.

In the section I will be discussing the use of visuals in performance within the industry and phenomenological research conducted in a live performance environment. Previous studies defined visuals for performance broadly, considering the stage performance I.e projection art and lighting and the visual presentation of the act themselves.

There are similarities between the projected and performed visuals for live performance in their impact on the audience experience. Both enhance the experience of the viewer by communicating style, emotion and

feeling. However, I will be focussing on projection visuals: Lucy and I performed together at an exhibition we hosted “ Preview “. We experimented with the combination of visuals and live performance. Lucy’s soundscapes seamlessly flowing electronic sounds and looped vocals sounded ancient and filled the room. My visuals projected behind her gave the performance a sense of space, a narrative. The room was silent while she performed, immersed in layers of rippling water and thick sky scapes. The projections captured the audience attention while they listened to Lucy, it was clear that the combination of sound and visuals encouraged a deeper experience. After the performance I conducted a survey with the audience asking them individually how they felt about the collaboration. The most common word to describe their experience was having a sense of ‘calmness’. In relation to whether they felt the visuals had an impact on the performance the audience stated that it “increased their enjoyment” and “ enhanced the music”. Personal experiences with live music and visuals enhanced my experience. I have drawn inspiration from my own experiences, During Latitude festival 2018 I saw Mogwai - an instrumental band, on the stage they were back lit - it was difficult to make out more than the silhouettes of the band, however this was compensated by the light show. The lights brought visual context to the music and created an ethereal, other - worldly atmosphere. A common factor contributing my experience was the surrounding audience, I felt part of a moment. Similarly in an article about Vjing, the visuals in live performances are considered necessary, claiming that the audience ‘expect a show’ and that the experience is something they can ‘take away with them.’ , (Robehmed, 2013). In contrast to this I have attended concerts at venues such as the Norwich arts centre where by the the performer is solely lit for the performance and not for entertainment purposes. Kate Tempest, a poet and musician was lit by spot light while her story based poems filled the room, her words brought the crowd together in the context of listening contrasting to that of having an experience, Poetry is often performed in a way so the focus is solely on the listening - Tempest is a performer and a poet who uses music to communicate the emotion in her words, It is my opinion that coloured lighting and/or contextual visuals representative of the emotion she was communicating would have enhanced my engagement of the gig.

My research helps distinguish that visual art does enhance the audience experience within a live performance environment.

According to a study conducted by the the repository for Goldsmiths, enriching visualisation may increase the users feeling of participation and immersion in the event. (Shirzadian et al, 2018, pg.18) This would suggest and support the hypothesis that projected visuals do in fact improve the experience of the audience. Improving the experience includes the idea of togetherness; equated to ‘feeling part of a group’. Their approaches include fitting audience members with GSR sensors to track emotional arousal, 77 percent of the attendees stated that a live visualisation would influence their concert experience. In conclusion the study found that a visual aesthetic could provide a higher level of immersion of togetherness among the audience. These results are similar to those reported in my own research, 100 percent of the audience who attended ‘preview’ fed back positive comments. Many stating that they felt it added a ‘multi - sensory ‘ layer and felt ‘immersive’ The most obvious finding to emerge from this study is that providing a multi sensory environment heightens the audiences engagement which is equated to their level of enjoyment. Factors include; audio, visuals, togetherness. Areas where significant differences have been found include methods of gathering data and type of data. Goldsmiths undertook technical research by using sensors. In contrast I conducted a survey which encouraged the audience to speak freely about their experience rather than being monitored. Other findings suggested alternative but similar reactions to evoking emotion.

100 percent of the participants stated that the visuals in combination with the music triggered past memories leaving them with a sense of nostalgia. These findings suggest that visuals do enhance the audience experience during live performance by evoking emotion. Although, the study should be repeated using experiments to determine whether it is the music or visuals or the combination of the two that trigger past memories. Due to its exploratory nature, this study offers some insight into the ideas of nostalgia and memory. Robin Le Poidevin states ‘…it seems that we only ever perceive what is past.’ ( Poidevin, 2015 ) This suggests that our perception of the present and our experience is influenced by our past memories. More information on memory and time perception would help us to establish a greater degree of accuracy on this matter.

Historically live gigs switched from songs to spectacle through the use of lights and smoke. Research suggests that Opera houses were the first to implement spectacular visuals. Further down the line Rock and Roll arrived with musicians such as Alice Cooper. The 70’s were a time for experimentation, Pink Floyd and the flying pig and the Plasmatics’ exploding cars are good examples of early experimental visuals. The development in live music becoming a show was during the 60’s when rock and roll became popular. Bill Graham, a rock concert promoter in the 1960’s began applying a structure to live concerts by introducing types of tickets and hygiene standards. The improvement in the functionality of the shows both enabled and required the shows to become larger and more spectacular. This led to large scale amplification within festivals such as 1969’s Woodstock festival which proved that these efforts led to larger crowds. Woodstock was attended by over 40,000 people that year. These growths in live music performance then led to light shows and huge screens on stage at concerts.

Digital visuals didn’t stand out until the early 90’s when bands such as U2 illuminated the stage with Led lights. Designers working with Madonna on her Blond Ambition tour created scenes which ‘matched the songs’ (Steve, K. (2014). It wasn’t until the 2000’s when Hollywood movies were experimenting with digital imagery did concerts follow in their steps producing innovative visuals such as pyramids made from light whilst turning EDM ( Electrical Dance Music ) into a spectacular light show. It would appear that visuals for performance isn’t as common as one might think. With the earliest signs pointing to the 70’s, visuals for performance are still in a mode of major development.

CONCLUSION

This research was an investigation into if and how visuals contribute to the audience experience. By using similar studies and personal quantitive and phenomenological research I determined these factors. This study has found that generally Visuals enhance the audience experience by establishing an emotional connection through evoking personal responses. The results of this study indicate that there are varying contributing factors including colour, togetherness and emotion. These findings have significant implications for the understanding of the question because the methods undertaken produce both scientific and emotional data. The use of sensors and questionnaires allow for broad and in depth research.

The technical data using sensors defines emotional impact by analysing the changes in skin during a performance with visuals. The surveys allowed for participants to explain not only if they believed the visuals had an impact but how and why. Both methods emerged as a reliable analysis.

A limitation of this study is that different visuals were used in each method. In future, large repetitive controlled trials could provide more definitive evidence. By presenting the same visuals to various audiences with age and gender variations and using different locations we may gather more insight to the effects of visuals on an audience determined by new factors including venue and deeper knowledge of the contribution of environment.

One of the more significant findings to emerge from this study is that the intention of my visuals enhancing the audience by evoking emotion through texture and colour was successful.

BIBLIOGRAPHY:

Web:

NATIONAL MUSEUM LIVERPOOL (2018) VISUAL ASPECTS OF LIVE PERFORMANCE. Available at: http://www.liverpoolmuseums.org.uk/wml/exhibitions/thebeatgoeson/thebeatgoesonline/image/performance/. (Accessed: 29/07/2018).

Kendra Cherry (2018) The colour psychology of Pink. Available at: https://www.verywellmind.com/the-color-psychology-of-pink-2795819. (Accessed: 3.08.2018).

Kendra Cherry (2018) The colour psychology of Blue.Available at: https://www.verywellmind.com/the-color-psychology-of-blue-2795815. (Accessed: 3.08.2018).

Kendra Cherry (2018) The colour psychology of Green. Available at: https://www.verywellmind.com/color-psychology-green-2795817. (Accessed: 3.08.2018).

Ilias Bergstrom (2010) Soma: live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative. Available at: http://discovery.ucl.ac.uk/1310143/1/1310143.pdf. (Accessed: 3.07.2018).

Steve, K. (2014)How concerts shifted from songs to spectacles. Available at: https://www.washingtonpost.com/entertainment/music/how-concerts-shifted-from-songs-to-spectacles/2014/05/22/ca521340-d6ce-11e3-8a78-8fe50322a72c_story.html?noredirect=on&utm_term=.d0e4d1c92306 (Accessed:3 / Aug/ 2018).

Vas Panagiotopoulos (2015)The History (and Future) of Live Music.Available at: https://howwegettonext.com/the-history-and-future-of-live-music-147ecde437b7. (Accessed: 15.07.2018).

Jonathan Jones (2015) Ann Veronica Janssens review - the artistic equivalent of an isolation tank. Available at: https://www.theguardian.com/artanddesign/2015/oct/14/ann-veronica-janssens-review-state-of-mind-wellcome-collection-exhibition . (Accessed:29.08.2018).

Books:

Peter Weibel (2001) Surroundings surrounded.Karlsruche: Engelhardt & Bauer.

Ursula Sinnreich & Kulturbetriebe (2009) Geometry of Light. Germany : Hate cant Verllag.

Michael Govan & Christine Y Kim (2013) James Turrell A Retrospective.California:Los Angeles County Museum of Art.

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printedinblood · 7 years

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The Thing:Artbook - Who all is in this thing??

So, who all is involved with “The Thing:Artbook” you ask? Well, I am here to give you an answer. Listed below is the list of all the artists who have a piece that is included in the book. Some of them have more than one, some produced more than one, but we had to make hard decisions about inclusion.

When we started out on this project, an idea conceived last year in May, and once we had secured the approval from Universal Studios to move ahead, we had hoped to make it a book with primarily comic industry folks because that’s who we knew. Once we started to reach out to folks with information about the project the response was so positive, we decided to branch out a little and include some illustrator friends and designer folks. Again, the response was so overwhelmingly positive we decided to invite whoever we thought we could get on board. Then, people started coming to us as word of the project began to spread. We were blown away and humbled by the caliber of talent who have agreed to be a part of this book.

We hope you will be pleasantly surprised and excited as you go through the list below and see the participants listed. You will probably have heard about many of them already, but hopefully there will be some surprises as well.

The “The Thing: Artbook” will go live for pre-sales Tuesday March 7th at 7pm est at the link below.

The book is expected to ship the first week of July 2017.

Click here to purchase

Dave Acosta

Charles Adi

Emory Allen

Rafael Alvarez

Tim Anderson

Salvador Anguiano

Orlando Arocena

Vincent Aseo

Wayne Ashworth

Juan Astasio

Adam Augustyn

Dane Ault

Arden Avett

Noah Bailey

Boris Bashirov

Giuseppe Balestra

Andrew Barr

Bryan Baugh

Brett Bennett

Ian Bertram

Ben Bishop

Steven Russell Black

Barry Blankenship

Alejandro Blasi

BoardInker

Jon Bogdanove

Chris Bolton

Rich Bonk

Mark Borgions

Tim Bradstreet

Matt Brazier

Dan Brereton

Robert Bruno

Mark Buckingham

Kealan Patrick Burke

Rio Burton

Jim Calafiore

Dennis Calero

Chris Callahan

Josh Campbell

Daniel Campos

Tyrell Cannon

Jonatan Cantero

Don Cardenas

Simon Carpenter

Vincent Carrozza

Martin Carter

Simon Caruso

Justin Castaneda

Victor Castro

Ryan Caskey

Dan Charnley

Richard P. Clark

Adam Cockerton

Alejandro Colucci

Joe Corroney

GMB Chomichuk

Brian Corcoran

John Coulthart

Nic Cowan

Paul Cremin

Dave Crosland

Dennis Culver

Justin Currie

Berkay Daglar

Steven Daily

James Daly III

Mark Dancey

Neil Davies

Rich Davies

Dawlaz

Simon Delart

Joe Dellagatta

Trevor Denham

Shannon Eric Denton

Casey Desilets

Mike Diaz

Christian DiBari

Doaly

Juan Doe

Krzysztof Domaradzki

Natalie Dombois

Guy Dorian

Dave Dorman

Sam Dunn

Zohn Dyer

Zoetica Ebb

Jimmy Edwards

Harlan Elam

Sarah Elkins

Robert Elrod

Rob Elrod

Matthew Emmons

Don England

Greg Espinoza

Jay Fabares

Nicole Falk

Tom Feister

James Fenner

Jared Fletcher

Tony Fleecs

Tom Fournier

Sam Fout

Kelly Forbes

Dan Fraga

Francesco Francavilla

Devin Francisco

Bryan Fyffe

Salvador Gaeta

Antony Galatis

Alfie Gallagher

Chris Garofalo

Enzo Garza

Paul Gates

Gary Gianni

Sam Gilbey

GodMachine

Michael Godwin

Hassan Godwin

John Gonzalez

Yaster Goodman

Mike Gorman

Joshua Green

Andre (dres13) Greppi

Mike Groves (Poopbird)

Nick Gucker

Adam Guzowski

Matt Haley

Justin Harder

Abigail Harding

Matt Harding

Luke Harrington

Tony Harris

Paul Harrison-Davies

Jordan Hart

Trav Hart

Dean Haspiel

Mike Henderson

Trevor Henderson

Kim Herbst

John J Hill

Tom Hodges

Tony Hodgkinson

Scott Hopko

Josh Howard

Matt Howard

Rian Hughes

Chad Hunt

Erin Hunting

Frazer Irving

Natalia Jablonski

Ian Jepson

Mohammed Jilani

Robert Jimenez

JoeJr

Drew Johnson

Peter Johnson

Kelley Jones

Nat Jones

Wayne Joseph

Adem Kaan

Sandra Kamenz

Nikita Kaun

Jim Keating

John Keaveney

Josh Kelly

Tom Kelly

David Kennedy

Kate Kennedy

Peter Kennedy

Pat Kinsella

Jackie Kloog

Ken Knudtsen

Dustin Knotek

Leigh Kuilboer

Chuck Kunkle

Serhiy Krykun

Jonathan La Mantia

Kyle Lambert

David Lange

John Lara

David LaRocca

Doug Larocca

Dan Leister

Jeff Lemire

Alice Meichi Li

Aaron Lindeman

Emilio Lopez

Marco Lorenzana

Chelsea Lowe

Harry Lowe III

Richard Luong

Jerry Ma

David Mack

Mike Mahle

Tomasz Majewski

Chris Malbon

Tom Mandrake

Sian Mandrake

Marko Manev

Matthew Manlove

Jonathan Marks-Barravecchia

Leandro Massai

Michael Mateyko

Christopher Maul

Richie May

Keith McCafferty

Fiona McCall

Rob McCallum

Bill McConkey

John McCrea

Mike McGee

Steve McGinnis

Kevin McGivern

Mark McKenna

Kristopher McClanahan

Clay McCormack

Mike McKone

Garry McLaughlin

Axel Medellin

Denis Medri

Kelly Migliori

Ben Mikkelsen

Jason Miller

Ed Mironiuk

Christopher Mitten

Ivan Montoya

Jason Moore

Jared Moraitis

Chris Moreno

David Moscati

Micah Mowbray

Tom Muller

Dan Mumford

Studio Murugiah

Daniel Nash

Sean Naylor

Matt Needle

The Ninjabot

Dustin Nguyen

Robert Paul Nixon

Dan K. Norris

Weston Notestine

Gary O'Donnell

David O'Flanagan

Ariel Olivetti

Angel Onofre

Mike Oppenheimer

Dean Ormsten

Augie Pagan

Jeremy Pailler

Dan Panosian

Jeremy Parker

Luke Parker

Tony Parker

David Pavol

John Pearson

Xurxo Penalta

Mark Penman

Francisco Perez

Keith Perkins

Pestmeester

Anthony Petrie

Shane Pierce

Andy Pitts

Mike Ploog

Dope Pope

Paul Pope

Cecil Porter

Will Porter

Eric Powell

Anthony Pugh

Brendan Purchase

Luke Preece

Aitor Prieto

Dave Pryor

Gary Pullin

Ken Racho

Aldo Requena

Joey Rex

Rodolfo Reyes

Fernando Reza

Sara Richard

Aleksey Rico

Jesse Riggle

Matt Riste

Rafal Rola

Ben Roman

Stephen Romano

Brian Rood

Mike Rooth

Eli Roth

Robert Sammelin

Matt Sandbrook

Scott Saslow

Maria Suarez-Inclan

Blair Sayer

SCAR Studios

Cody Schibi

Martin Schlierkamp

Jon Schnepp

Chris Sears

Tim Seeley

Markee Shadows

Liam Shaw

Chris Shehan

Ed Shimmy

Liza Shumskaya

Bill Sienkiewicz

Cristiano Siqueira

Yuriy Skorohod

John Sloboda

Felipe Sobreiro

Matt Soffe

Dave Stafford

Cat Staggs

Guy Stauber

Peter Steigerwald

Eileen Steinbach

Ben Stenbeck

Blake Stevenson

Roy Stewart

Glen Stone

William Stout

Jason Strutz

Andrew Swainson

Nick Taylor

Ben Templesmith

Thomas Tenney

Kristin Tercek

The Dark Inker

Theoretical Part

Matthew Therrien

Jim Terry

Adele Thomas

Steve Thomas

Andrew Thompson

Kevin Tiernan

Bryan Timmins

Felix Tindall

Matt Ryan Tobin

Ben Turner

Glenn Urieta

Tina Valentino

Carlos Valenzuela

Van Orton Design

Salvador Velazquez

Ryan Vogler

Tom Walker

Chad Michael Ward

Christian Ward

Andrew Waugh

Hannah Webb

Bryan West

Chris Weston

Jeremy Wheeler

Kailey Whitman

Caspar Wijngaard

Kelly Williams

Erik Wilson

John D. Wiltshire

Darren Woodcock

Scott Woolston

Damien Worm

Gerardo Zaffino

Omar Zaldivar

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