Aline Ridolfi

[prostheticknowledge]

kagami / Real-Time Face Generator

Installation by @nobumichiasai can scan and recreate a human face with a mechanical pin frame and apply a projection mapped visual performance:

The face-generative mirror installation. the experience person’s face is scanned in the face scanner, 3D model data is generated on the computer. About 5000 pieces of rod are pushed out by linear actuator(motor), the three-dimensional “face” is generated in real-time. On its “face”, many electric makeup art images are projected and simulated.Theme is “beauties of nature(ka-cho-fu-getsu)“. morning glory ,bamboo, butterfly, kingfisher, japanese crested ibis, sunset, cherry blossom, gold (moon)   

Link

[unjustlyunread]

A visual poem by dsh, from Begin Again: A Book of Reflections and Reversals (with an introduction by Stefan Themerson).

Some of the other poems in the book are printed on loose translucent papers, which are housed in pages that serve as pockets. A reader has to flip and/or rotate the poems to discover their typographical revelations. For Houédard, the tactile-kinetic experience and the transition between states, from (un)intelligible to (un)intelligible, is integral to experiencing his poetry. To compensate, I took the liberty of animating the above work.

For a little more about dsh, see: Wiki-p, UbuWeb’s writeup, some downloadables via UbuWeb, and this gallery.

(My thanks to Anatol Knotek, who made a more reblog-friendly adaptation of this post for his excellent tumblr: visual-poetry; I’m thrilled that dom Sylvester Houédard’s art is actively tumblurring its way around the Interwebz. Make sure to see Knotek’s visuelle poesie.)

[artistsbooksandmultiples]

Maurizio Nannucci Copyright © neon Florence, Italy: Self-published (?), 1990  20 x 20 x 6 cm.  Coloured neon available in yellow, blue, red and white. Signed, titled, numbered and artist fingerprint inside printed box. Edition of 9. 

[alcrego]

We are slaves of our own freedom.

(HQ)

[garadinervi]

Sound & Visual Poetry Now, by Paula Claire, cover by Karl Kempton. Oxford (UK), University Of Oxford, 1990

(via)

[visual-poetry]

handmade books by anatol knotek

these are the books i published in 2014. they are all limited, but some are still available. if you are interesting in buying one of them have a look here or drop me a line.

[anatolknotek]

if you like you can follow me on instagram too

[grapholacula]

Gig posters by Saint Petersburg (Russia) designer Nina Kazanova.

[visualgraphc]

TAKAO 599 MUSEUM

[visualgraphc]

Please Magazine by Charlotte Delarue

[nohappypeople]

#tbt #depressingfridgepoems

#poem #poetry #writer #writing #writingcommunity #words #fridgepoetry #magneticpoetry #tumblr #funny #poetsofig #quote #quoteoftheday #igpoets #poetsofinstagram #wordporn #poetssociety #poetryporn #igpoem #instapoem #digitalart #wordsmith (at Boston, Massachusetts)

[darksilenceinsuburbia]

Rodney Smith

[zolloc]

float

[nevver]

Drink up and be somebody, Donald Lipski

[darksilenceinsuburbia]

Berthe Hoola Van Nooten // Exotic Botanical Illustrations, 1880

[darksilenceinsuburbia]

Xue Ruozhe // The Plurals

website

[prostheticknowledge]

Behind the Scenes: The Chemical Brothers ‘Wide Open’

A look at the process from The Mill shows how they put together the latest video for the Chemical Brothers directed by Dom&Nic, using 3D scanning and rendering to produce that ‘how the hell did they do that convincingly’ transparent one shot effect:

… Teaming up with Efficacy4D, we captured a LIDAR scan of the set and then used the scan to ensure that we had a very accurate track. Matching the dancer would’ve been a whole lot harder if we couldn’t trust the camera track.  We used the scan to project HDRI images for accurate lighting, which was also incredibly useful for making clean plates.

… By far the most labour intensive part of the project was the 3D tracking (matchmoving). Our team of animators had to position each limb so that it exactly matched Sonoya’s pose on all 6,798 frames. This is one of the most complicated things that we do in VFX and is a highly intricate and skilled job. How did we overcome this? Patience, lots of patience. Not only was this the longest shot we have ever tracked, we incorporated a range of new procedural modelling techniques, human body scanning, lidar scanning, motion capture, an extremely complex rig, animated lighting, cloth simulation and a huge amount of cleanup work. These combined added up to an extremely complex blend of techniques.

More Here