testing ping.fm
Saturday, December 20, 2008
Thursday, December 11, 2008
Jelly Bracelets Love Meanings
FORMS AU (G) MIND OF TIME
Bovisa the Triennial is an ongoing exhibition on" Guido Crepax. Valentina, the shape of time .
Like all those who were teenagers in the '80s, I met Valentina on TV before in comics: how many nights spent with friends to do the rewind on the hottest scenes in the shoes of Demetra Hampton (mostly undressed) by Valentina. This contingency has meant that my approach to the character was immediately Crepax media: television and then printed.
What joy, then, read at the entrance of the exhibition that the same approach - Multimedia - has led the editors to think the path to the visitor. I quote from memory (my mac on which I cut and paste): "Among the distinctive and innovative aspects of this production, multimedia (with video processing, interactive points and sound environments that replicate and amplify the relevance of inventions Crepax language and its continuous dialogue with the film), and a special relationship with the visitor (which, thanks to giant drawings on the walls, the projection of images and special interactive inventions give the impression of physically enter the extraordinary world created by Crepax fantasy). The exhibition is divided into thematic sections (rooms), in which the original drawings for comic books alternate with multimedia processing and interpretation.
Well, but it's fantastic! - I say - and crossed the threshold of the first room, moved by the energy synaptic memories of my adolescence.
versed in the corridors where I echo sounds and voices in the rooms where alluring peep monitor and itchy peepholes invite you to discover hidden mini-monitor to common decency. A great show, really. An interactive and multisensory. Immersive, I would say, if we were in 2008. But it is not. We
in 1989. There is no other explanation. Mini-monitors, TV screens, voices in the corridors: the technological equipment of the curators of the exhibition comes certainly from 1989 (year of output with Valentina Demetra Hampton on Mediaset). My synapses are relaxed, returning to their usual locations, and began to secrete criticism. First, I have printed in mind two words: augmented reality. Second, it reminded me that Valentina is a professional photographer. Photographer dream. Photography filters reality through the optical lens. And Valentina uses this lens to deform to increase the reality, to add a level deeper. Augmented reality, augmented reality, in fact.
be clear, do not want to get to the exhibition curator. At most, the prompter in the pit. What brings out the signs with the words that the actors forget. So here I am in my pocket, taking out a little 'link. First metaio , a company that develops tools for augmented reality, in which they were made very compelling projects such as augmented reality that books are a great way to add a virtual layer to the printed word. Then also the project Mini Convertible first (to my knowledge) example of AR advertising, always working on the press. Finally, AR Wikitude travel guides, one of 50 winners of the projects' Contest Android, which allows detection and geolocation what the cameraphone is framing, offering information and various amenities.
This, in short, to suggest that the technology already exists that could make a show like that on the world of Crepax not only interactive but also immersive. And above all, to reward all those who, like me, starting with Valentina, they discovered that technology is one of the most exciting things that a man can enjoy without taking off his pants. 
Bovisa the Triennial is an ongoing exhibition on" Guido Crepax. Valentina, the shape of time .
Like all those who were teenagers in the '80s, I met Valentina on TV before in comics: how many nights spent with friends to do the rewind on the hottest scenes in the shoes of Demetra Hampton (mostly undressed) by Valentina. This contingency has meant that my approach to the character was immediately Crepax media: television and then printed.
What joy, then, read at the entrance of the exhibition that the same approach - Multimedia - has led the editors to think the path to the visitor. I quote from memory (my mac on which I cut and paste): "Among the distinctive and innovative aspects of this production, multimedia (with video processing, interactive points and sound environments that replicate and amplify the relevance of inventions Crepax language and its continuous dialogue with the film), and a special relationship with the visitor (which, thanks to giant drawings on the walls, the projection of images and special interactive inventions give the impression of physically enter the extraordinary world created by Crepax fantasy). The exhibition is divided into thematic sections (rooms), in which the original drawings for comic books alternate with multimedia processing and interpretation.
Well, but it's fantastic! - I say - and crossed the threshold of the first room, moved by the energy synaptic memories of my adolescence.
versed in the corridors where I echo sounds and voices in the rooms where alluring peep monitor and itchy peepholes invite you to discover hidden mini-monitor to common decency. A great show, really. An interactive and multisensory. Immersive, I would say, if we were in 2008. But it is not. We
in 1989. There is no other explanation. Mini-monitors, TV screens, voices in the corridors: the technological equipment of the curators of the exhibition comes certainly from 1989 (year of output with Valentina Demetra Hampton on Mediaset). My synapses are relaxed, returning to their usual locations, and began to secrete criticism. First, I have printed in mind two words: augmented reality. Second, it reminded me that Valentina is a professional photographer. Photographer dream. Photography filters reality through the optical lens. And Valentina uses this lens to deform to increase the reality, to add a level deeper. Augmented reality, augmented reality, in fact.
be clear, do not want to get to the exhibition curator. At most, the prompter in the pit. What brings out the signs with the words that the actors forget. So here I am in my pocket, taking out a little 'link. First metaio , a company that develops tools for augmented reality, in which they were made very compelling projects such as augmented reality that books are a great way to add a virtual layer to the printed word. Then also the project Mini Convertible first (to my knowledge) example of AR advertising, always working on the press. Finally, AR Wikitude travel guides, one of 50 winners of the projects' Contest Android, which allows detection and geolocation what the cameraphone is framing, offering information and various amenities.
This, in short, to suggest that the technology already exists that could make a show like that on the world of Crepax not only interactive but also immersive. And above all, to reward all those who, like me, starting with Valentina, they discovered that technology is one of the most exciting things that a man can enjoy without taking off his pants.
Saturday, August 30, 2008
Pinewood Block Dimensions
Viral: Steven Wilson - Insurgentes
Once Upon a Time There Were book trailers, now say welcome to album trailers!
Sunday, May 11, 2008
Yahoo Smileys Collection Adult
skiing (bzaar) net
next Saturday to participate skiing (bzaar) net , a barcamp which will discuss culture, open systems, design and communication. a joyful event from what I like to call 2.0wave. 
next Saturday to participate skiing (bzaar) net , a barcamp which will discuss culture, open systems, design and communication. a joyful event from what I like to call 2.0wave. Saturday, April 19, 2008
Calculatorpossible Combinations
speechless
speechless was my surprise, yesterday evening at the Swiss cultural center in Piazza Cavour, listening to Christian Zehnder. I spent an hour talking with him afterwards.
my attention was speechless to hear him tell of how, by studying a baritone, he discovered diplofonie (and our Demetrio Stratos) and then went to Mongolia to practice the chanting of monks (in some ways similar to the chanting of Hindu mantras ).
without words was his song last night: a warble sound, his whole body stretched to vibrate in the air column of its "entry tool." whole body used to sing. guttural voice came out of head, chest, diaphragm. often simultaneously. with the harmonic diplofonie Digeridoo which looked like a tightrope walker.
without words was the clarinetist who was with him, Don Li. A clarinetist friend nik Baertschi with whom he played well (it is developing a new wave of underground music at the turn of the Swiss avant-garde jazz, experimental electronic and mysticism), who improvised with the clarinet in B flat, and especially bass clarinet to stellar levels: Dolphy meets zorn meets Fripp (continuous loop that swayed with his mac and a keyboard that was used as a sequencer). the articulation of the language that he used the reed of Clarone percussively with a clean and crystalline harmonic control. The clarinet used as a column of air to create effects noisy to be looped and progressive exponential style soundscape.
speechless, I tell you. and who knows my logorrhoea know it's not easy to keep a couple of hours in silence.
speechless was my surprise, yesterday evening at the Swiss cultural center in Piazza Cavour, listening to Christian Zehnder. I spent an hour talking with him afterwards.
my attention was speechless to hear him tell of how, by studying a baritone, he discovered diplofonie (and our Demetrio Stratos) and then went to Mongolia to practice the chanting of monks (in some ways similar to the chanting of Hindu mantras ).
without words was his song last night: a warble sound, his whole body stretched to vibrate in the air column of its "entry tool." whole body used to sing. guttural voice came out of head, chest, diaphragm. often simultaneously. with the harmonic diplofonie Digeridoo which looked like a tightrope walker.
without words was the clarinetist who was with him, Don Li. A clarinetist friend nik Baertschi with whom he played well (it is developing a new wave of underground music at the turn of the Swiss avant-garde jazz, experimental electronic and mysticism), who improvised with the clarinet in B flat, and especially bass clarinet to stellar levels: Dolphy meets zorn meets Fripp (continuous loop that swayed with his mac and a keyboard that was used as a sequencer). the articulation of the language that he used the reed of Clarone percussively with a clean and crystalline harmonic control. The clarinet used as a column of air to create effects noisy to be looped and progressive exponential style soundscape.
speechless, I tell you. and who knows my logorrhoea know it's not easy to keep a couple of hours in silence.
Sunday, March 9, 2008
Bilateral Renal Parenchymal Disease
door
ok we are talking about technological singularity, but the doors are alarmed that seems excessive to me. portanno to be strung up, come on.
ok we are talking about technological singularity, but the doors are alarmed that seems excessive to me. portanno to be strung up, come on.
Sunday, February 10, 2008
Community Service Hours Sheets
elitism
how to check that in the same flight, the economy was 50 minutes late and the business is not it? 
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