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What is the difference between The Hobbit and the news? Not as much as there should be | Charlie Brooker Quick, close your eyes for a second and picture the 1920s. What did you see? If you're anything like me, the projectionist in your head put on a newsreel consisting of black-and-white footage of flappers doing the Charleston, or a queue of men in flat caps patiently waiting for the great depression to kick off in earnest. And chances are the footage was jittery and slightly speeded-up. It's a curious testament to the power of moving pictures that you have to strain to remember that in reality, people walked at a normal pace back then. Our perception of eras seems chiefly dependent on the limitations of the technology that records them. Then in the 80s, our memories are transferred on to video, lending them a shiny, slightly tinny feel. Around 2005 things start making the transition to HD – and then we get to today, and a weird new trend is emerging.

Welcome to the official BILL VIOLA website STUDIO ERWIN OLAF киноинфо | самое интересное из мира кино Jeff Koons JEFF KOONS Metallic Venus, 2010–12 Mirror-polished stainless steel with transparent color coating and live flowering plants 100 x 52 x 40 inches (254 x 132.1 x 101.6 cm) 1 of 5 unique versions © Jeff Koons Jeff Koons Listed Exhibitions (68 Kb)Jeff Koons Bibliography (148 Kb) Jeff Koons was born in 1955 in York, Pennsylvania. He received his B.F.A. at the Maryland Institute College of Art in Baltimore and studied at the School of the Art Institute of Chicago. Since his emergence in the 1980s Jeff Koons has blended the concerns and methods of Pop, Conceptual, and appropriation art with craft-making and popular culture to create his own unique iconography, often controversial and always engaging. His work explores contemporary obsessions with sex and desire; race and gender; and celebrity, media, commerce, and fame. Jeff Koons' artworks rarely inspire moderate responses, and this is one signal of the importance of his achievement.

Eli Evans plays chicken by Eli S. Evans There is a moment in Jean-Luc Godard’s 1966 Masculin Feminin in which the character played by a young and brilliant Jean-Pierre Léaud claims that one day at home while eating mashed potatoes his father discovered why the earth goes round the sun. “Galileo discovered it first,” he a moment later concedes, “but all of a sudden, just like that, my father had rediscovered why the earth goes round the sun exactly as Galileo did originally.” It’s a joke, of course – after all, one need not have specific knowledge of the work of Galileo in order to be living in a world organized in part according to the assumption that the “earth goes round the sun,” and in which that fact is therefore not something to be discovered but, if anything, only noticed. It’s all a bit maddening. Herzog during the filming of Burden of Dreams About the Author: Eli S.

La place de la métaphore en sociologie 1Dans toutes les activités de modélisation, les modes de pensée métaphoriques, c’est-à-dire le transfert de sens d’un domaine à l’autre, le générateur de formes rendant visible ce qu’on ne voit pas, la réduction de l’étranger au familier, la chaîne des liens entre les différents objets, ont un rôle heuristique important bien que lourd de nombreux paralogismes. Dans les sciences sociales, dans ces disciplines qui ne peuvent ni ne savent construire leurs objets comme des objets formels, qui forment leurs concepts par différences ou similitudes, contrastes ou dégradés entre les éléments d’une série d’observations et dont le raisonnement est foncièrement comparatif, ce rôle est déterminant, il est presque un principe d’économie, un rasoir d’Occam. 5Est-ce que l’histoire des usages et des modi operandi des métaphores, des synecdoques, des métonymies et des autres tropes et paralogismes à l’œuvre dans les sciences sociales pourraient nous aider à pallier cette carence ?

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