Life Driven by Death: Animation Aesthetics and the Comic Uncanny | Paul Flaig Pixar spin on this illusion , where everyday things, like the toy protagonists of Toy Story or the lamp emblem in the company s logo(created in Lasseter s first computer-animated film, Luxo Jr. [1986]), become empathetic, life-like personalities. s narrative unfolding and formalconstruction.Yet life in the films is one that is meaningful only in its proximity to death. lives their relatable shape. ToyStory films is the mortality of toys , a theme even more apparent in ToyStory 3 , in which the toys fears that their playmate will abandon them are personified in the character of an embittered stuf fed bear, who claims that toys are just trash waiting to be thrown away Nothing suggests this possibility of death more than the toys being at the mercy of their human playmates, since whenever they are with people the toys must play dead.This dual obsession with animation and mortality chimes with many of the analyses of animation included in two essay collections edited by AlanCholodenko, named and s words,
E. V. DAY Les Pâtisseries du Plaza Athénée, Automne-Hiver 2010 2011 Christophe Michalak, chef Pâtissier du Plaza Athénée, nous présente un aperçu du “lookbook” automne-hiver de ses délicieuses créations. Biscuit imbibé au jus de fruits exotiques, recouvert de sabayon à la vanille et d’une gelée de fruits : Ananas, banane et mangue des Philippines (ci-dessus). Baba au rhum enrobé de chantilly vanille, de meringue et de bavaroise aux marrons de l’Ardèche. Dacquoise aux pignons, enrobée de caramel fondant et d’une mousse aérienne au café de Colombie. Biscuit imbibé de citronnelle et de gingembre, recouvert d’un crémeux et d’un sabayon de chocolat des caraïbes. Vous l’aurez compris, nous ne restons en aucun cas de marbre devant cette esthétique culinaire et allons tenter le jeu de la dégustation le plus vite possible ! Biscuit financier sur lequel viennent se poser quelques poires pochées en brunoise, recouvertes d’une mousse au sirop d’érable du Québec.
azuma makoto documents a bonsai tree's journey around the globe oct 16, 2015 azuma makoto documents a bonsai tree's journey around the globe azuma makoto documents a bonsai tree’s 10-year journey around the globephotography by shunsuke shiinoki / courtesy of azuma makoto azuma makoto: shiki — landscape and beyondzhulong gallery, dallasoctober 23 through december 5, 2015 from now until december 5, 2015, dallas’ zhulong gallery presents ‘shiki: landscape and beyond’, an exhibition of sculpture and photographic works by floral sculptor azuma makoto. a series of large-format photographs, shot by azuma’s collaborator shunsuke shiinoki, illustrates the nearly ten year journey of a bonsai tree around, and above, the globe. encapsulated by an open steel frame, the suspended botanical sculpture has traveled from derelict government spaces, to sublime natural landscapes, some in extreme environments that these plants would never naturally inhabit. ‘shiki I x sanddune III’ ‘shiki I x powerplant’ ‘shiki I x underwater’ ‘shiki I x destroyed monument’ ‘shiki I x geyser’
untitled artscape International Osamu Ishiyama (1944-), an outsider architect who tends to work for outsider clients (the disabled, the deviant, the disenfranchised), is an exemplary member of the so-called "Red School" of Japanese architecture. A classification championed by historian Terunobu Fujimori, himself a high-profile Red School dilettante, the Red School is the subversive alternative to the more mainstream White School -- the former defined as visceral, warm, heavy, thick, rough, handmade, the latter as cerebral, cool, light, sharp, transparent, machined. The distinction isn't always easy to make: a slight shift of viewpoint places Tadao Ando's geometrical compositions of raw concrete in either camp (Fujimori calls him "pink"), and since the turn of the millennium Toyo Ito seems to have abandoned purest White for a trajectory through ever-deepening Red. Ishiyama was a student of Takamasa Yoshizaka, a professor at Waseda University who worked for Le Corbusier during the early 1950s.
Flong - Interactive Art by Golan Levin and Collaborators FACTORY FIFTEEN Résidence de l'artiste Lia Giraud - LIZIERES Depuis son ouverture en 2011, Lizières accueille des artistes en résidence issus de divers domaines offrant ainsi à chacun un espace de travail propice à la création, l’expérimentation, la recherche et la transmission de son projet. Lizières, avec le soutien de la DRAC Picardie accueille en résidence l’artiste Lia Giraud. Résidence en collaboration avec le musicien Mathias Durand Experiementations Vivant/son Cette résidence porte sur la mise en relation d’un système vivant et d’un dispositif sonore. Origines Comment “imager” le son? Comment passer du sonore au visible sans appauvrir ces deux expériences perceptives? Le vivant comme interface perceptive Le vivant peut-être considéré l’interface privilégiée d’une rencontre son/image. En modifiant les propriétés du milieu dans lesquels ils sont émis, les ultra-sons permettent à certaines espèces marines de communiquer et de se situer dans l’espace.
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