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Today's Document
Alisa U Zemlji Chuda
Cosimo Galluzzi

❣ Chile in a Photography ❣

祝日 / Permanent Vacation
he wasn't even looking at me and he found me
2025 on Tumblr: Trends That Defined the Year

ellievsbear
I'd rather be in outer space 🛸
Peter Solarz
Monterey Bay Aquarium
"I'm Dorothy Gale from Kansas"

Discoholic 🪩

JBB: An Artblog!
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Stranger Things
Xuebing Du
seen from United Kingdom
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seen from Kuwait

seen from Canada
seen from Malaysia

seen from Sweden

seen from Türkiye

seen from Türkiye

seen from Malaysia
seen from United States

seen from United Kingdom
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seen from United States

seen from United States

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@spectaclesblog
OK Go - "I Won't Let You Down" - Interview with Damian and Tim
Semi-Permanent
Central Park by Ample for Vivid Sydney 2015
The Nautilus and the Sea by Ample for Vivid Sydney 2015
Urban Tree Project by Ample for Vivid Sydney 2014
also see Merry Go Round
Steps part of the Amazing in Motion series by Lexus
Generally I don't post content I dissaprove of, but this is an exception. The pupeteers here are too distracting for my liking. They seem to increase the artifice of the giant skeleton, rather than help me believe in it. You can tell by the pupeteers' expressions they don't belive it's real. They try to hide from the video, yet they're in the way. The follow close to the skelton, yet they behave as entirely separate entities.
When pupeteers become part of an image, they shouldn't try to stay out of it. They should become part of it. There are various ways of doing this, but one way here might have been to carry the same attitude of and mirror the posture of the skeleton. Instead of mirroring the skeleton, I see one pupeteer hunching under its weight, and another shuffling along as if his only concern is pushing the cart along.
It's not that way through the whole video. Their attitudes change at exactly 1:15 in the video. When both skeletons start running, their pupeteers start running too. When they become caught up in a swirling dance, so do their pupeteers. People nearby catch on, too. You can see it in their expressions.
For other instances of mirroring in performance, see Julie Taymor's work including 'The Lion King' and 'Oedipus Rex.' For alternate versions of pupeteering, see 'War Horse,' PlayStation's 'The Most Immersive Movie Experience Ever,' or Pina Bausch's 'Orpheus and Eurydice.'
Camp Creative / Studio G: Introducing Google Play
Swarm part of the Amazing in Motion project by Lexus
Swarm — 'Coding Motion'
Swarm — 'Crafting Motion'
Swarm — 'Living Motion'
Wendy Whelan and Tyler Angle: 'This Bitter Earth,' by Christopher Wheeldon
Diana Vishneva: F.L.O.W. (For Love of Women), Part III
Playstation: The Most Immersive Movie Experience Ever, #1