Says Pink Tentacle:
“Here is an excerpt from artist Naoyuki Tsuji’s “A Feather Stare at the Dark”, a simplistic, yet hauntingly surreal, hand-drawn animation made from charcoal drawings. A unique characteristic of Tsuji’s minimalist style is that each frame is created by partially erasing and redrawing the scene on the same sheet of paper. Traces of the previous frames remain visible as the dream-like action unfolds, creating an uncanny sense of motion and the passage of time.”
And see another more recent animation here, called Children of the Shadows.
“Life is a means of extracting fiction”
- Robert Stone -
The same people of Wallace and Gromit have created the smallest stop-motion animation in the world, Guinness Record.
According to Popular Science, the animators â€œused a 3D printer to make 50 different versions of Dot, because she is too small to manipulate or bend like they would other stop-motion animation characters.â€ Then each print-up was hand-painted by artists looking through a microscope. Once the set and characters were ready to go, the directors attached aÂ CellScope (aÂ cellphone camera with a 50x magnification microscope) toÂ a Nokia N8 and let the cameras roll.
Dot, the protagonist, is 0.35 inches tall.
(Via Open Culture)
The first seismograph (seen above) was invented in 132 A.D. by the Chinese astronomer and mathematician Chang Heng: “Each of the eight dragons had a bronze ball in its mouth. Whenever there was even a slight earth tremor, a mechanism inside the seismograph would open the mouth of one dragon. The bronze ball would fall into the open mouth of one of the toads, making enough noise to alert someone that an earthquake had just happened. Imperial watchman could tell which direction the earthquake came from by seeing which dragon’s mouth was empty.”
And today we commemorate in Mexico the 25th anniversary of the devastating quake of 1985. A city-wide simulacrum will take place, part remembrance, part collective emergency exercise.
Right here pictures of Mexico City, 25 years ago.
“Son las 7.19 de la maÃ±ana, hora centro de MÃ©xico…”
We are extremely happy to officially inaugurate our International Internship program with Audrey Young, who flies into Mexico City today, stays for three months and will be collaborating with us in different multidisciplinary projects during that time.
Audrey studied at NYUâ€™s Moving Image Archiving and Preservation graduate program, has worked at the Arquivo Nacional do Brasil in Rio de Janeiro, just came back from Portugal and a Fullbright Scholarship, and has, to boot, Â collaborated with Cabinet, one of our very favorite magazines in the whole wide world. We feel oh so lucky to have her.
And you will be hearing more from her here, on the Toxi-blog. So stay tuned.
Images of “Caca Grande”, a new book for children by Carlos Amorales, renowned Mexican artist.
It was a couple of years ago that the amazing Vanessa Eckstein—founder of Blok Design, and also our esteemed partner in “The Blok+TÃ³xico Film Project”—told me about a dream of hers: to create an editorial project for children, in collaboration with acclaimed and imaginative international artists.
And finally. It is here. Poop. Grand poop. The First one.
“Poop in the air, poop in the trees, poop on your chin, poop on your knee: Mexican artist Carlos Amorales’ children’s book revels in the stuff, rendering these scenes in bold, scatological brown and black silhouette. Amorales (born 1970) has already established an impressive reputation as an artist working in a variety of media–animation, performance, video, sculpture, photography and works on paper–and here explores that singular niche within artists’ publications: the artist’s book sort of for children and definitely for adults. Caca Grande plays fast and loose with the brown stuff, dispatching it to places it had previously never been, with joyous abandon.”
Amorales likes the fact that it is an open-ended book that leaves much room for children’s imagination, for mental creativity, touching upon adult’s taboos with a certain humor and even a certain darkness that is so much a part of childhood.
Mmm. We like that too.
And so welcome into the world, Lampyro. An editorial project by Blok Design and Editorial RM, with contributors selected by Patrick Charpenel and Ana Elena Mallet. Books for children–and the not so children too.Â By visual artists, architects,Â composers and filmmakers. Soon on their way: Francis AlÃ¿s, Liam Gillick, Herzog and de Meuron, Robert Staedler, Melanie Smith, Marcel Dzama, Pipilotti Rist and Sanaa. Impressive list. Can’t wait for more. Childhood will never be quite the same again it seems…
“Reality is merely an illusion, albeit a very persistent one.”
By CarlosÂ Casas (ES)
Music: Andrea Belfi (IT)
EVILÂ 03:46Â Â |Â Prix Ars Electronica 2010Â |
Evil (3:30) Evil variations 1
is part of a archive works I ve been developing to uncover a certain ghostly fluid inherent in film, a way to deconstruct and use archive material as mortar for a new audiovisual matter. These works are only a way to give new life to this material, as well as constructing a new vision. Evil uses samples expands or extends the opening shot of Touch of Evil, by Orson Welles.Â Considered the most remarkable long shot in the history of cinema, it also includesÂ an amazing sound design work, and music, that at it s time was more than revolutionary and was only understood and applied years later when Walter Murch reedited the film through WellesÂ´s notes.Â Evil is the first on a series of variations developed with italian musician and drummer Andrea Belfi. Â It is trough these notes that I found inspiration to rework and recompose these scene.
Orson Welles: “In scoring the picture, it was planned to use, for the most part, rock and roll and latin-american rhythm numbers. The streets of a border town are always noisy with the blare of various loudspeakers, broadcasting from the entrance of night clubs…bars and cantinas. Considerable use was to be made of this. It is very important that the usual rancheros and mariachi numbers should be avoided and the emphasis should go on afro-cuban rhythm numbers. …This rock and roll comes from radio loudspeakers, juke boxes and in particular, the radio in the motel. It is very important to note that in the recording of all these numbers–which are supposed to be heard through street loudspeakers–that the effect should be just exactly as bad as that. The music itself should be skillfully played, but it will not be enough in doing the final sound mixing to run this track through an echo chamber with a certain amount of filter. To get the effect we’re looking for, it is absolutely vital that this music be played through a cheap horn in the alley outside the sound building. After this is recorded, it can be then loused up even further by the basic process of re-recording with a tinny exterior horn….Â And since it does not represent very much in the way of money, I feel justified in insisting upon this, as the result will really be worth it.” “All the above music of course is “realistic”, in the sense that it is literally playing during the action. For the purpose of clarity in these notes, this music will be referred to as ‘background music’, as distinguished from ‘underscoring’, a term which will be used to designate that part of the music which accommodates dramatic action and which does not come from radios, night clubs, orchestras or juke boxes. In other words, the usual dramatic music (used) in a picture. This underscoring, as will be seen, is to be most sparingly used, and should never give a busy, elaborate, orchestrated effect. What we want is musical color rather than movement; sustained washes of sound rather than…melodramatic or operatic scoring.”
(Carlos Casas is a TÃ³xico padrino, constant accomplice, fellow list maker–with more projects joint coming soon. He also gave a fabulous cinema workshop for “La Incubadora”–a multidisciplinary program created by TÃ³xico for the 12 best students of a private university in Mexico City.)
“A border is mainly and first of all a word that can be used in all directions–painful and essential, beautiful or disastrous, sane or hysterical. Borders are our definitions, helpful in retrospect–in hunting: memory, frustration, trespassing, seduction, violence, beauty, politics and religion… in a way– borders areÂ the “skin” of places and also a rough skin to most ideas.”
One of my very favorite talks of TEDGlobal 2010.Â And it does make one wonder why we insist on conventional methods of education when it comes to that very unconventional (almost fantastic) thing we call a human mind.
(TÃ³xico is part of the TED Senior Fellows crew. Mmm.)
Says Pink Tentacle:
The University of California, San Francisco (UCSF) maintains a collection of 400 health-themed woodblock prints from 19th-century Japan. The collection — which includes drug advertisements, illustrated instructions for treating and preventing contagious diseases, and visual guides to the human body — offers a unique look at Japanese medical knowledge in the late Edo and early Meiji periods. Here are a few images from the collection.
Trailer de “Verano de Goliat”, de NicolÃ¡s Pereda.
Pereda acaba de ganar el premio deÂ “Mejor filme Orizzonti” en el Festival de Venecia.
(“Verano de Goliat” se estrena en noviembre en el DF; serÃ¡ distribuida por Interior 13–queridos aliados de TÃ³xico. AdemÃ¡s, Gabino Rodriguez, el protagonista de todas las pelÃculas de Pereda, tomÃ³ el TÃ³xico Workshop de Cristoffer Boe)
I sometimes feel that every sentence contains a ghostly commentary on its own processes.
- Ian McEwan-
“The way I knew her photographs… some of them I still remember as torn pieces of paper that she would bring back from the darkroom, I remember them tacked on walls around her bed or on a this wooden screen she had at one place where we lived… I had this enormous sense that photograph was this secret of hers.”
Short documentary from the 70s in which Doon Arbus talks about Diane Arbus–legendary photographer and also her mother.
(Biuriful images, biuriful words.)
“I want to photograph the considerable ceremonies of our present because we tend while living here and now to perceive only what is random and baren and formless about it. While we regret that the present is not like the past and despair of it ever becoming the future, its innumerable inscrutable habits lie in wait for their meaning… these are our symptoms and our monuments. I want to simply save them, for what is ceremonial and curious and commonplace will become legendary.”
Part II of the short documentary on Diane Arbus.
Wonderful, mesmerizing short film by Carlos Armella. Do click.
“Winner of over a dozen film festivals, including the Golden Lion in Venice and published in the American Cinematographer Magazine of June 2010, Land and Bread is a piece of art that could only be achieved through film. With what seems as one single shot trough a day, Isi Sarfati and Carlos Armella developed a technique to achieve this suttle camera movement. Sarfati calls it a human motion control.”
“Giacomo (Jacomo) Franco (1550-1620) spent his whole life in Venice where he worked as a cartographic engraver and publisher in the family business.Â ‘Viaggio da Venetia a Constantinopoli per Mare’ (Voyage from Venice to Istanbul by Sea) — was ostensibly a navigational guide that saw a number of editions. The Viaggio plates (64 in the informal ‘Carte Geografiche’ suite) depict all the major cities, islands and visible landmarks along the recommended sailing route through the Adriatic, Ionian, Mediterranean and Aegean Sea.”