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These sea creatures are embedded in the floors of the walkway between terminal A and B and the central garage.
From The Creature Walks Among Us, a disturbing film where scientists attempt to try and surgically alter the Creature from the Black Lagoon so that it can live on land, instead of the sea. It eventually ends up looking like Tor Johnson or Coleman Francis.
The Glownosaur has no bones so nobody discovered it yet. Its body texture is squashy soft but the layer underneath is thick to absorb impact. It has a specila glowing light to attract its prey. The prey gets sucked to its mouth which ids located above its eyes. This creature can fly 1m above the ground and can swim up to 100 m/h. It comes out at night and sleeps underneath the sand. It feeds on fish, plankton and other sea creatures. By Anton and Joseph age 10 from Muswell Hill Primary School in London
Images from a workshop I taught in Nottingham on 18th September 2011
Blogged - gillianleesmith.wordpress.com/2011/09/26/whimsical-creatu...
Dirty muddy footprints at the top of a garage door at our apartment complex. One of those overhanging panels used to be peeled back. Hopefully the creature that made the prints was outside when the hole was patched...
my submission to the Foxtrot Collectives 2nd Issue Zine - title/theme 'the scary creature' drawn in ink and whacked into noodlechop to add a little 'out of this worldliness'!!! Is he scary???
From the left to the right:
Yoshi the Woodling, Boneka Kayu, Deer Faith from Charles' Creatures Cabinet
Les Maîtres aux rinceaux d’or. Dieu crée les oiseaux et les poissons. Heures dites de Joseph Bonaparte. vers 1415. BNF, Paris
Ironstone intaglio: Snake-headed Genius
Period: Imperial Date: 2nd century A.D. Culture: Roman
The Metropolitan Museum of Art.
Creature at the winter carnival in Evolene, Switzerland. The "peluches" wear wooden masks representing cats, foxes, or wolves - rarely a human being. These face masks are real works of art and are carved by regional artists, who sometimes wear their own creations.
Their bodies are covered in untanned sheep, chamois, fox or marmot hide, and they carry cow bells, to be rung when they approach a victim!
The boys enjoy lying on our old California King-sized comforter, which we loosely form into a dog-sized bed.
It normally rests on the floor in our bedroom and sees frequent use, especially when the weather turns too warm to spend the night on The Big Bed with us.
Our Daily Challenge - Jun 30, 2014 - "Comfort"
Daily Dog Challenge 972. "Creature Comforts"
Stop on by Zachary and Henry's blog: bzdogs.com
This creature appears on the sand when walking on Great Island. Is it Bob Dylan or Oscar Gamble?
The picture was taken in a tidal area so it is likely that it washed up this way and doubtful that it was "staged" by hikers
This was started from the middle line & then I worked outward. I was just playing with materials, but today as I look at it I see creatures. It makes me think about the Imaginery Animals that Carla Sondheim wrote a book about carlasonheim.wordpress.com/
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Creatures #5
Pier Giorgio De Pinto & Katja Vaghi
Una collaborazione tra il performer e artista transmediale Pier Giorgio De Pinto e la coreografa e danzatrice Katja Vaghi
Sede
i2a Istituto Internazionale di Architettura.
Limonaia di Villa Saroli, Viale Stefano Franscini 9, 6900 Lugano, Svizzera
Durata dell'evento
Venerdì 5 Maggio, 2017
dalle 19:00 alle 19: 30 (30 minuti totali)
Sabato 6 maggio 2017
Quattro eventi: alle 11.30 poi ogni due ore ovvero 13.30, 15.30, 17:30 (30 minuti ad evento)
Creatures # 5 fa parte della Festa Danzante / Fête de la Danse / Tanzfest
Festa Danzante Ticino
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CREATURES #5 è un'installazione interattiva di Pier Giorgio De Pinto coadiuvata dalla presenza della danzatrice Katja Vaghi. Lei osserverà , riprodurrà ed elaborerà il movimento generato dal pubblico di fronte all'installazione digitale.
Oltre ai cinque sensi tradizionali, importanti per le nostre attività quotidiane ci sono anche l'equilibrio e il senso cinestetico o propriocezione. Questi ultimi due sono centrali nella danza. La danza, in tal modo, lavora prevalentemente con il nostro sesto e settimo senso! L'installazione vuole rendere il pubblico consapevole del proprio movimento e di quello degli altri per trasmettere il messaggio che qualsiasi movimento prodotto da qualcuno può potenzialmente generare materiale per la danza.
Una fotocamera tramite il software utilizzerà alcuni effetti per webcam che decodifica I visitatori davanti ad uno schermo. L'installazione modifica il risultato degli effetti grazie al movimento e alla forza della luce naturale che viene catturata dalla telecamera. Analogamente, ad intervalli specifici, la danzatrice osserverà , riprodurrà ed elaborarà i movimenti prodotti dal pubblico davanti all'installazione.
L'intento è quello di rendere il pubblico consapevole dei propri movimenti e di quelli degli altri. Quando I visitatori interagiranno con l'installazione saranno per lo più a conoscenza delle loro intenzioni, ma non del potenziale estetico che staranno generando. Allo stesso modo, il pubblico avrà la scelta di continuare ad interagire con l'installazione e/o con la danzatrice.
Un sentito grazie a Tiziana Conte, Ludovica Molo, Luca Crosta, i2a Istituto Internazionale di Architettura e a tutto lo staff di Festa Danzante.
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Creatures #5
Pier Giorgio De Pinto & Katja Vaghi
Collaboration between the performer and digital interaction artist Pier Giorgio De Pinto and the choreographer and dancer Katja Vaghi
Venue
i2a International Institute for Architecture.
Limonaia, Villa Saroli, Viale Stefano Franscini 9, 6900 Lugano
Event duration
On Friday 5th May 2017
19:00-19:30
On Saturday6th May 2017
On going with dancer’s intervention every 2 hours for 30 min. Four slots starting at: 11.30, 13.30, 15:30, 17.30
Creatures #5 is part of the Fête de la Danse / Tanzfest / Festa Danzante
Festa Danzante Ticino
#creatures5 #festadanzante
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CREATURES #5 is an interactive installation by Pier Giorgio De Pinto supplemented with the presence of the dancer Katja Vaghi. She will observe, reproduce and elaborate the movement generated by the audience in front of the digital installation.
Beside the five traditional senses, important to our everyday activities are balance and the kinesthetic sense or proprioception. These last two are central to dance. Dance thus work predominantly with our six and seven sense! The installation wants to make the audience aware of their and other people’s movement and convey the message that any movement produced by any one can potentially generate dance material.
A camera via software will use webcam effects decoding people in front of a screen. The installation modifies the result of the effects thanks to movement and strength of natural light caught by the camera. Similarly, at set interval, the dancer will observe, reproduce and elaborate the movements produced by the audience in front of the installation.
The intent is to make the audience conscious of their own movements and that of others. When interacting with the installation they will mostly be aware of their intentions but not of the aesthetic potential they are generating. Thus, the audience will have the choice of continuing interacting with the installation and/or with the dancer.
Many thanks to Tiziana Conte, Ludovica Molo, Luca Crosta, i2a International Institute for Architecture i2a and the staff of Festa Danzante.
#creatures5 #festadanzante