View allAll Photos Tagged alien
Alien, Occupation, an Oz alien invasion movie.
Supanova Expo, Sydney Olympic Park, Sydney, Australia (Saturday 16 June 2018)
Stop on our way driving the 470 miles between Las Vegas and South Lake Tahoe. Years since I've driven on the wrong side of the road.
I decided to take a last-minute crack at the speederbike challenge over at LSB. :>
I like my model. It was fun to build and it's extremely swooshable. :D
Shots of my NECA Aliens figures I took when that version of Vasquez was released.
Some Photoshop adjustments in brightness/contrast & color balance. Film grain was also added. Taken on my Nikon D7000.
Alien UFO pilots, such as this one, start their training at an early age, beginning with basic RC UFO's.
Also testing a new green background. :)
I'm convinced that Aliens crash-landed in Roswell, NM back in 1947... but what the government didn't want us to know is that they were balloons. Here is proof, and they were everywhere that day. LOL!
The marines & eggs are from NECA. The chestburster victim is from McFarlane's Queen Alien set. Vasquez, I think, is the best marine figure NECA have released. Just love her.
Made some adjustments in brightness/contrast, & colour balance.
Nikon F4. AF Nikkor 50mm F1.4D lens. Kodak Portra 800 35mm C41 film.
to be very clear, i dont’ know what this is.
ok, i take that back. i do know what this is. it’s a big black floating metal box sitting in the middle of a forest. to be more specifically clear: i don’t know why it exists.
i has no windows, nor does it have any plumbing or electricity. which leads me to the only rational conclusion one can come to when confronted with a big black metal box in the middle of the woods. which is: it’s an alien observation pod. or condo.
but regardless of it’s intended or unintended utility i posit that it’s great architecture. i mean, if i were an architect (which, clearly, i’m not) i would look at this big black metal box in the woods and say to myself, ‘who, that’s cool’.
and i imagine many architects strive to make buildings and structures that are, simply, weird and cool. which seems like a noble and valid pursuit. i mean, of course architecture ideally would involve the creation of spaces that serve real world purposes and have nice quotidian functionality. but some architecture can also aspire to just be odd and interesting and cool. like this big black accidental box in the woods.
oh, i looked around for alien footprints but found none. but, of course, aliens are clever and would probably not leave obvious footprints. and/or they were hovering over the ground.&nb ssp;or both. i saw no hovering foot prints either. but to be honest, i don’t know what hovering foot prints would actually look like.
moby
French postcard by Editions Mercuri, no. 467. Image: Spanish lobby card for Alien (Ridley Scott, 1979). The Spanish title is 'Alien, el octavo pasajero'.
"In space, no one can hear you scream" is the tagline of the Sci-Fi Horror classic Alien (Ridley Scott, 1979). A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades a spacecraft. Alien stands as one of the more thought-provoking, yet utterly terrifying horror films ever. Sigourney Weaver is amazing as Ellen Ripley, who became an iconic character in film history. The film won an Oscar for special effects, including the alien designed by Swiss artist H.R. Giger.
It is the year 2122. The U.S.C.S. Nostromo (Italian for "mate"), a commercial cargo spacecraft, is flying to Earth with several million tonnes of ore on board. The ship is manned by seven people and a sophisticated computer, which the crew call "Mother". The crew members are the men Dallas, Ash, Kane, Parker and Brett and the women Ripley and Lambert. The crew is woken up from hibernation by the ship's Mother computer to answer a distress signal from a nearby planet. Capt. Dallas's (Tom Skerritt) rescue team discovers a bizarre pod field, but things get even stranger when a face-hugging creature bursts out of a pod and attaches itself to Kane (John Hurt). Over the objections of Ripley (Sigourney Weaver), science officer Ash (Ian Holm) lets Kane back on the ship. The acid-blooded incubus detaches itself from an apparently recovered Kane, but an alien erupts from Kane's stomach and escapes. The alien starts stalking the humans, pitting Dallas and his crew (and cat) against a malevolent killing machine that also has a protector in the nefarious Company. While still a student at the University of Southern California, script writer Dan O'Bannon had teamed up with director John Carpenter to make a comic science fiction film called Dark Star. His experience making this film gave Bannon the idea of making a similar film, but with a horror theme instead of a comedy. A few years later, he began writing a screenplay around this idea. Around the same time, Ronald Shusett began working on a screenplay that would eventually become Total Recall. He contacted O'Bannon after seeing Dark Star, after which the two decided to work together on Alien. However, O'Bannon had not yet thought about what the monster should look like.
Swiss artist H.R. Giger's alien design and Carlo Rambaldi's visual effects for Alien (1979) creepily meld technology with corporeality, creating a claustrophobic environment that is coldly mechanical yet horribly anthropomorphized, like the metallic monster itself. Director Ridley Scott keeps the alien out of full view, hiding it in the dark or camouflaging it in the workings of the Nostromo. Lucia Bozzola at AllMovie: "Signs of '70s cultural upheaval permeate Alien's future world, from the relationship between corporate capitalism and rapacious monstrosity to the heterogeneous crew and Ripley's forceful horror heroine. However, the intense frights and gross-outs are credited with making Alien one of the biggest hits of 1979 (it premiered on the two-year anniversary of Star Wars); Giger, Rambaldi, et al. won the Oscar for Best Visual Effects." Alien went on to spawn some genre-bending sequels: the actioner Aliens (1986), dark prison drama Alien 3 (1992), and the exotically grotesque Alien Resurrection (1997). In 2003, a director's cut of Alien (1979) was released in cinemas, with some additional scenes. The franchise now counts seven films. Roger Ebert: "Certainly the character of Ripley, played by Sigourney Weaver, would have appealed to readers in the Golden Age of Science Fiction. She has little interest in the romance of finding the alien, and still less in her employer's orders that it be brought back home as a potential weapon. After she sees what it can do, her response to "Special Order 24" ("Return alien lifeform, all other priorities rescinded") is succinct: "How do we kill it?" Her implacable hatred for the alien is the common thread running through all three "Alien" sequels, which have gradually descended in quality but retained their motivating obsession."
Sources: Roger Ebert (RogerEbert.com), Lucia Bozzola (AllMovie), Wikipedia (Dutch), and IMDb.
And, please check out our blog European Film Star Postcards.
Something I doodled a while back and finally got around to illustrating.
As usual, a simple little drawing mushroomed into something much more complicated. While I was drawing Alien Abe, the idea to turn it into a pseudo 1970s-style movie poster popped into my head, complete with folds and aging effects (movie posters used to be folded up until the 1960s or 1970s, when someone finally got the bright idea to roll them up and ship them).
I'm not sure about that tag line, but it was the best I could come up with. It's tough to turn a Lincoln quote into a violent movie catchphrase.
I haven't quite decided on an origin for Alien Lincoln. Maybe he came to Earth in the 1860s and was so impressed with the real Lincoln that he shape shifted to resemble him and tries to live by his example (but doesn't quite measure up to the philosophies of the Great Emancipator). Or maybe not.
I need to work on the red stripe some more. I think it needs to look more like splashed blood. The Lincoln logo was hand drawn. It came out OK, but it probably needs some tweaking. I'm happy with the way the steampunk raygun turned out though.
Drawn in Photoshop on the graphic tablet.
Want to see more? Check out my new blog! All the cool kids are doing it!
Back before the invasion, the A.D.U. was a pair of star searchers looking for life from other worlds.
Quite the relaxed time, parked in a field, good tunes blasting from their custom jukebox trailer, scanning the skies for broadcasts, sipping on a cool drink. They hoped to get a transmission from extra terrestrials, but the closest they ever got was 'Space Truckin'."
It wasn't until those hooligans from outer space came along in their van, defacing the rolling fields of wheat that things got serious. This was the A.D.U.'s field for driving around in, not some green skinned jerk's. When Uncle Sam came a-calling, the Alien Discovery Unit was the first to be called to defend our planet, and with some government funding they became the force many of us now know today.
---------------------
Built as a last minute partner to Lino's custom A100 van for the 46th Lugnuts build.
Barcelona,
Along Las Ramblas are a multitude of street performers.
ALIENS :))
Photo by, Hakan Şan Borteçin
"Thanks to everyone who takes the time to view, comment, my photo." ...
"Tüm paşlaştığım fotoğraflarıma, vakit ayardığınız ve beyendiğiniz için tüm dostlarıma teşekkür edirim... :))
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 â Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and â70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the â90s, with many new chapters forming in recent years. Riot Grrrlâs influence on contemporary global culture is increasingly evident â from the Russian collective Pussy Riotâs protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance â a reflection of the movementâs artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Womenâs Studies Professors Have Class Privilege / Iâm With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
Visiting the summit of Mount Etna volcano in Sicily often allows you to find yourself in places that did not exist a short time before, or which will vanish soon thereafter. Changes are common in Etna's summit area, and they are among the most frequent, most rapid and most dramatic compared to all other volcanoes on Earth.
The place where my wife Catherine is standing is quite a new feature on Etna - it is the peak of a cone that started growing in the late-1980s and eventually reached its present height of about 3290 m in 2007 (minus a few meters of volcanic fallout that have been added by nearby volcanic activity since). The peak is the summit of the old cone of the Southeast Crater, which grew mostly during an exceptional sequence of short, violent, "paroxysmal" eruptive episodes in 1998-2001 (a total of more than 100 paroxysms). In March-May 2007, little growth occurred during the last four paroxysmal eruptive episodes from this crater. Soon thereafter, the activity shifted from here to a new vent, which lay more than 250 m further downslope on the eastern side of the cone.
Four years ago, when standing on this spot and looking down toward the east, you would see the new crater that had started growing on the side of the old Southeast Crater cone. We informally named it the "New" Southeast Crater to distinguish it from the old cone, and it rapidly built up a second cone next to the old one. By late-2013 you would no longer be able to look down from this spot, but the summit of the new cone would now stand right before you, at nearly the same elevation. There have been a few more changes since 2013, but essentially the growth of the new Southeast Crater cone has slowed down significantly, and so it stands at virtually the same elevation as the old cone.
The peak of the new cone is visible in the background, behind my wife, who is standing on colorful deposits of sulfur and other chemical elements mixed with sulfur. These deposits form from precipitation of these elements from hot gas issuing from countless cracks and holes (fumaroles) both on the old and new cones. Our visit, carried out on 8 July 2015, was a trip to fantasy land - to a place that was not there a few years ago and that will not remain the same for long.
No quarto, Victor pareceu incomodado com a presença da alien misteriosa.
-Droga, como vamos ter privacidade assim? - Ele reclamou.
-Tudo bem, eu não acho que ela vá acordar tão cedo. - Lizzie sorriu maliciosamente.
--------------------
Bom, essa parte não faz diferença para a história e eu não ia postar, mas achei até que seria legal para ver um pouco como eles são juntos, já que não posso postar as histórias deles agora.
Vou aproveitar para avisar que amanhã vou viajar, então provavelmente não vou postar nada até segunda. Provavelmente vou perder o desafio da semana, mas vou tentar tirar uma foto com o tema durante a viagem para ao menos postar atrasado ou sei lá.
Já cansei de esperar a doll nova, espero que ela chegue logo! Se considerar todo o tempo que eu quis ela, já to esperando há uns 2-3 anos u_u
monólogo interno: tenha paciência, cara, você comprou ela ontem
ALIEN (1979)
It's not easy finding good period shots of this model so have created this view from various sources as an attempt to capture its look/feel in the film.
A fews train track nails this Alien might need to build his ship to go back home. Taken in Sherbrooke, Quebec
The Queen of the Night plant on our porch has three flower buds right now, which should open soon - the flower lives for only one night. The buds look very alien to me, with their curling tentacles.
Lighting: An SB-800 with a 3/4 CTO gel and a snoot behind the subject and camera right, and an SB-900 with 1/4 plus green and 4-stop ND gels camera left.
194/365
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.