View allAll Photos Tagged Perceptions
I took a long trip
and now I'm back again
to the point where I began.
And everything I left behind
followed me, preceded me.
Souvenirs are patient, they only know
the lassitude they provide.
Lāadjudant Metz du poste de commandement interarmĆ©es de thĆ©Ć¢tre (PC IAT) distribue lāargent CFA aux militaires du camp franƧais de Bamako, au Mali, pour l'opĆ©ration Serval - CrĆ©dits : CCH A. Dumoutier/SIRPA Terre
It's an interesting thought about how this scene may be perceived, and what influnces our thoughts. Is it more menacing because it is night, or perhaps because of the slight tilt. Is the nearest character more threatening because he is just out of focus and blurred. Is tension built because we can see that our "victim" who is running to the safety of a lit area then has to run on into a darker area again.
Ok it is just a couple of unrelated pupils jogging back to their houses of residence but I do quite like this location with it's pools of light and shade
Embossed background, vellum corners and a punched shape shamrock that is heat embossed with clear embossing powder. The perception is "lucky".
I did this with my Macro lens, converted everything to black and white other than the iris, and softened a few areas. This is the first picture I've done in my new Photoshop CS4.
taken at Hepworth Gallery in Wakefield, West Yorkshire. UK. August 2013,
An interesting look at perception as a number of sculptures large and small were placed in front of the metal sheet that was bent on a curve, and depending on where you stood to view it reflected different images.
An exhibition by Julien Maire
Stereolithographic projections & Expansion/Contraction sculptures
Media Archaeology is a new science. It's not studying the history of cinematograph and gramophone, but how our perception of the world is transformed through the camera lens and the speaker. The audiovisual is like a soundtrack, a visual tracking shot moving in parallel to us; pictures and sound are visual fictions that moved away from reality, but disrupt and influence our relation to reality.
In French, "3D cinema" was also called "relief cinema" (relief as in "relief map" or "bas-relief"). The term went out of style when we were forced to admit that "relief cinema" didn't exist. "Relief" evokes materiality, while "3D" is commonly understood as a mathematical and computational concept. Through expanding & contracting pieces, and stereolithographic projections, Julien Maire's installations indirectly address new technologies, media archaeology and manipulate fiction.
For more than 10 years, Julien Maire has mastered and used in unexpected ways advanced technologies such as CNC mills, laser cutters, precision optics, etc. Today, 3D printers are naturally also part of his toolbox.
For these two new pieces, Julien designed and built all original parts, mechanisms and components using the whole range of machines available at Fablab.iMAL, from Ultimaker and Mendel DIY printers to the laser-based Form1 3D printer.
About Julien Maire
Graduated from the Academy of Fine Arts Metz, Julien MAIRE is a French new media artist with impressive works such as Exploding Camera, Low Res Cinema, Demi-Pas.
Since the mid-1990s, he has worked between performance art, media installations and cinema to produce live performative works that are hybrids of genres and media.
His installations and performances have been featured widely and internationally at prestigious venues such as Ars Electronica, Digital Art Festival, European Media Art Festival, Film Festival Rotterdam, Sonar, Transmediale, ZKM, ICC (Japan), Empac (New-York),... Julien was the winner of the NTAA award (Update_2 biennial) in 2008 and was nominated for the World Technology Award in New York in 2009.
Julien was invited by iMAL in 2004, 2010 and 2012, and is now permanent resident, installing his workplace at FabLab.iMAL where he is one of the managers.
