Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
A ' revised edition of the original exhibition Future Cinema , held at ZKM, was held at the ICC in Tokyo to a year after its first realization. Starting from the observation that all the tools and interface communication (from the screens of mobile phones to billboards bright), leading to the connection of any object or concept with an imaginary cinematic, freeing slowly adopted by the media, such as television or cinema . The moving image, then, in his mutation, from the exclusive domain of the fixed screen, film and television before then, is acquiring a palpable ubiquity in the multiplication of screens and their portability that is changing the visual patterns and, as a direct consequence even our perception. Among the works selected are the 17 works for the network created by YOUNG-HAE CHANG HEAVY INDUSTRIES, 'Tracing the Decay of Fiction: Encounters with a Film by Pat O'Neill', an installation in which you navigate in a former grand Los Angeles overlapping depictions of decadence with the ghosts of former customers and traces they have left, 'Be Me', by Max Dean and Kristan Horton, an animation of facial expressions of the artist who in turn mimics the expressions user, 'So So So Somebody, Somewhere, Some Time 'by Maurice Benayoun, an interactive world of scenes in network explorable 360 degrees binocular vision, tracing through their own eyes a' retinal collective memory ',' Church on Fifth Avenue 'Jim Campbell, a matrix of 32×24 (768) pixels, made of LEDs, which incorporates the passage of pedestrians reproducing them, so as to pass away from the reality continues its discrete representation, 'Field-Work @ Alsace' of Fujihata Masaki and Kawashima Takeshi, where a trip to Alsace is played by combining spatial data obtained with a GPS along with images shot in a searchable archive with a virtual map, 'Pedestrian' by Paul Kaiser and Shelley Eshkar, a model of a square with the figures that passing through cpmioni mapped with textures taken from the real world and the whole projected in the street, and 'Mission to Earth – Soft Cinema edition' of Lev Manovich.