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I'm fascinated by the interface between photography and more traditional graphic arts. For that reason I love movies like Sin City, the 300 and the Watchmen, if only from a visual perspective. This is a little Frank Miller, Robert Rodriguez and Quentin Tarantino returned with thanks
PACIFIC OCEAN (Apr. 18, 2021) – Sailors aboard Military Sealift Command hospital ship USNS Mercy (T-AH 19) tie down an MV-22B Osprey assigned to Air Test and Evaluation (HX) Squadron 21 of Naval Air Station (NAS) Patuxent River, Md., on the ship’s flight deck Apr. 18. Mercy is underway off the coast of Southern California completing a Dynamic Interface exercise, where the ship’s aviation facilities will be evaluated for compatibility with the V-22 Osprey and MH-60 Seahawk, and establish launch and recovery windows in adverse weather conditions. Mercy recently returned to its homeport in San Diego from a regular overhaul in Portland, Ore., where improvements were made to its flight deck to support multiple aircraft platforms. Mercy must be in a five-day-activation status in order to support missions over the horizon, and be ready, reliable and resilient to support mission commanders. (U.S. Navy photo by Mass Communication Specialist 3rd Class Luke Cunningham)
"When shall we three meet again, in thunder, lightening or in rain."
Explore #430 ! Thank you.
Thank you all for popping along to my stream and may your Gods be kind to you and go with you always.
Thanks again, Tony.
Diese und noch einige mehr Skulpturen stehen im Garten der Heerser Mühle in Bad Salzuflen. Etwas creepy, aber beeindruckend!
Artoo has always been known to stick his thing into other machines, but this time it was Threepio's turn.
I have been talking with a fascinating scientist who’s working on genetically-modified neurons to innervate the brain from a silicon substrate. The goal — connect prosthetics to the cranial nerves and eventually, replace all sensory input to the brain with a computer interface. Well… how complicated would this be? While the human brain has 86 billion neurons, he estimates that there are only 4 million cranial nerves to connect, and 3 million of them come from the retina (the color-coded photoreceptors).
Who might volunteer to have their head and spinal cord cut out of their body and their skull removed, to be reborn as a cyborg, fed by an ECMO machine? Many terminally ill cancer patients have not suffered a neurodegenerative disease. Their body will die while the mind is still ripe.
I do not believe we will be able to upload our consciousness to a silicon substate, as Ray Kurzweil has long predicted, at least not any time earlier than we will grow an AI that exceeds human intelligence. The brain in a vat is very different. A prosthetic hijacking of the interface to the sensory cortex is a much simpler task. The inscrutable complexity of the cortex remains just that. We just need to couple to the extant external interface to the body.
He makes it sound… imminent. While the sensory cortex is notable for its neuroplasticity, (the ability to remodel sensory input), can it be this dramatic — from body to borg?
I thought of the adage from Hunter S. Thompson that arose while watching a boxing match on an ether binger: “Kill the body and the head will die.”
Thanks to Genevieve being an MIT alumnus, I can get behind the paywall of the MIT Technology Review October issue on the Mind. Professor Lisa Feldman of Northeastern postulates a problem: “Your brain did not evolve to think, feel, and see. It evolved to regulate your body. Your thoughts, feelings, senses, and other mental capacities are consequences of that regulation. Since allostasis [regulation of body systems] is fundamental to everything you do and sense, consider what would happen if you didn’t have a body. A brain born in a vat would have no bodily systems to regulate. It would have no bodily sensations to make sense of. It could not construct value or affect. A disembodied brain would therefore not have a mind. I’m not saying that a mind requires an actual flesh-and-blood body, but I am suggesting that it requires something like a body, full of systems to coordinate efficiently in an ever-changing world. Your body is part of your mind—not in some gauzy, metaphorical way, but in a very real brain-wiring way.
Your thoughts and dreams, your emotions, even your experience right now as you read these words, are consequences of a central mission to keep you alive, regulating your body by constructing ad hoc categories. Most likely, you don’t experience your mind in this way, but under the hood (inside the skull), that’s what is happening.”
She elaborates, as you might assume: “When your brain remembers, it re-creates bits and pieces of the past and seamlessly combines them. We call this process ‘remembering,’ but it’s really assembling. In fact, your brain may construct the same memory (or, more accurately, what you experience as the same memory) in different ways each time. I’m not speaking here of the conscious experience of remembering something, like recalling your best friend’s face or yesterday’s dinner. I’m speaking of the automatic, unconscious process of looking at an object or a word and instantly knowing what it is. Every act of recognition is a construction. You don’t see with your eyes; you see with your brain. Likewise for all your other senses. Just as your memory is a construction, so are your senses. Everything you see, hear, smell, taste, and feel is the result of some combination of stuff outside and inside your head. Affect is just a quick summary of your brain’s beliefs about the metabolic state of your body, like a barometer reading of sorts.
Brains evolved to control bodies. Over evolutionary time, many animals evolved larger bodies with complex internal systems that needed coordination and control. A brain is sort of like a command center to integrate and coordinate those systems. It shuttles necessary resources like water, salt, glucose, and oxygen where and when they are needed. This regulation is called allostasis; it involves anticipating the body’s needs and attempting to meet them before they arise. If your brain does its job well, then through allostasis, the systems of your body get what they need most of the time.
To accomplish this critical metabolic balancing act, your brain maintains a model of your body in the world. The model includes conscious stuff, like what you see, think, and feel; actions you perform without thought, like walking; and unconscious stuff outside your awareness. For example, your brain models your body temperature. This model governs your awareness of being warm or cold, automatic acts like wandering into the shade, and unconscious processes like changing your blood flow and opening your pores. In every moment, your brain guesses (on the basis of past experience and sense data) what might happen next inside and outside your body, moves resources around, launches your actions, creates your sensations, and updates its model. This model is your mind, and allostasis is at its core.”
Anil Seth from the University of Sussex phrases it more strongly in Our brains exist in a state of controlled hallucination: “The brain is always constructing models of the world to explain and predict incoming information; it updates these models when prediction and the experience we get from our sensory inputs diverge.
The entirety of perceptual experience is a neuronal fantasy that remains yoked to the world through a continuous making and remaking of perceptual best guesses, of controlled hallucinations. You could even say that we’re all hallucinating all the time. It’s just that when we agree about our hallucinations, that’s what we call reality.”
P.S. photo above is a movie prop from Robocop 2
The Contax RTSIII, originally released in 1990, was the final top-of-the-line Contax pro-level 35mm manual focus film SLR body. It was designed for professionals and serious amateurs. The RTSIII was the third and final member or the RTS series, and was preceded by the RTS in 1974 and the RTSII in 1982. The RTSIII, and its older siblings, as well, are fabulously designed and built machines. The RTSIII, compared with the RTS and RTSII, was built with the relatively modern technology of the early 1990s, and is fabulous in every detail. The camera is all metal and built with a beautiful matte black finish. No expense was spared by Kyocera. This is the ultimate Contax camera to use when shooting film and Contax/Yashica Mount Carl Zeiss glass. The RTSIII is more or less comparable with the F4 in the Nikon world, although the two cameras had very different design philosophies. Of course, unlike the early generation autofocus F4, the Contax RTSIII is still manual focus. Contax did not adopt autofocus in their film SLRs until the AX (with manual focus lenses!) and the last generation N1/NX series. Regardless, the fabrication materials, as well as the fit and finish, of the RTSIII appear slightly superior to the F4. The RTSIII, at 1,150g, has similar size and weight as the F4 (1,090g) and F4s (1,280g) and is just slightly lighter than the integrated Nikon F5 (1,210g). Of course, you need to add the considerable weight of the batteries and whatever all metal and glass Carl Zeiss lenses you need in your bag. Thus, the RTSIII is designed for no-compromise professional shooting. Alternatively, if you are looking for a high-end Contax film SLR that is of similar quality and technological level as the RTSIII, but is also more mobile, for travel or other use, the RX and RXII are recommended. In the following article, I will describe the RTSIII in detail, including its strengths and weaknesses as a pro-level film SLR.
One feature or the RTSIII that Contax liked to mention first in its marketing materials is the Real Time Vacuum ("RTV") mechanism, which holds the film perfectly flat in the camera during exposure. One has to admit that this concept and its execution are fascinating. The RTV system works by combining an electromagnetically controlled suction device with a ceramic film pressure plate. When you depress the exposure release button half way, the camera sucks the film against the pressure place to insure extreme film flatness. The RTV system appears to be most useful in overcoming a design flaw in 35mm film cartridges. It holds the film flat even when the film has been deformed by sitting loaded in the camera for a period of time. Without RTV, according to Contax, the impact of any deviation from perfect film flatness can be greater than the resolution of Carl Zeiss lenses. (This deformity impact can be seen with other 35mm film cameras as well, of course.)
By the way, the RTSIII and the ST are the only Contax SLR bodies that incorporate a ceramic film pressure plate. However, while the 167MT utilizes a more traditional aluminum plate, the RX, AX, S2 and S2b incorporate a special aluminum alloy film pressure plate which appears almost as smooth and finely machined as the ceramic plate in the RTSIII and ST.
The RTSIII provides a choice of either center-weighted average metering or tight 3 mm spot metering of ambient light. In accordance with the Contax design concept of the time, the camera specifically does not include any multi-segment (matrix) metering system. The very tight spot meter area allows detailed exposure analysis when desired and necessary. This metering system is clearly designed for photographers who want to take the time to determine the best exposure by themselves, not let some black box algorithm determine the exposure from a virtual database of exposure situations. Perhaps the conservative designers felt that multi-segment exposure metering technology was still unproven, and certainly not ready for their flagship professional model. Indeed, it is true that compared with modern DSLR cameras of today, and even the sophisticated color matrix metering of the Nikon F5 and F6, the matrix meter on the F4 was barely more advanced than the Automatic Multi-Pattern ("AMP" or first-generation "matrix") metering of the Nikon FA. Multi-segment meters of the time we still easily fooled by common difficult lighting situations. So we can see why Kyocera might have taken the approach that they did. For situations when even the spot meter cannot guarantee the proper exposure, the RTSIII has a built-in Automatic Bracketing Control ("ABC") function that shoots three frames at normal, over and under exposures as determined by the meter in increments of +- 0.5 or +- 1.0 EV. The camera will take one frame with each press of the shutter release button, or shoot three continuous frames if the exposure release button is held down, depending on how the motor drive selector is set.
THE RTSIII provides shutter speed priority ("Tv"), aperture priority ("Av") and manual ("M") exposure modes. There is no program ("P") mode on this body because, again, Contax presumably assumed that anyone who buys this camera wants to control the shutter and aperture by him or herself. (However, the camera has a backdoor program exposure mode feature, where the RTSIII will adjust the shutter speed up or down in Tv mode if proper exposure cannot be obtained with the set shutter speed and the range of apertures available on the lens in use.) The RTSIII includes an exposure lock function which can be used to adjust exposure on an off-center subject, then lock the exposure setting without keeping one's finger on the exposure lock lever. As with the RX and AX, exposure can be locked using either center-weighted average or spot metering.
Another exciting and compelling feature of the RTSIII is the flash exposure system. Again, this camera is not designed for "point and shoot" flash photography, but for the photographer willing to carefully adjust flash exposure, the on-film results can be astoundingly good. Of course, the RTSIII provides TTL direct flash control that utilizes a special center-weighted pattern, which is somewhat narrower than the pattern used for center-weighted average metering in ambient light. The unique flash feature of this camera, however, is its pre-flash TTL spot metering capability. To use this system, one points the 5 mm area defined by the microprism collar in the viewfinder at the subject and pushes the special pre-flash TTL spot metering lever. The camera triggers the flash and locks in the proper length of flash illumination on that subject (subject to the assumption of 18% gray for the subject itself). This flash setting is maintained until the pre-flash TTL spot metering lever is turned off or reactivated. If the system is unable to obtain proper flash exposure given the selected aperture, a scale at the bottom of the viewfinder indicates the degree of under or over exposure. The user can then adjust the aperture until the flash exposure indicator shows proper exposure. (The same flash exposure indicator works with standard direct TTL flash metering, without pre-flash, but only shows three possible outcomes: correct exposure, underexposure, or overexposure).
The pre-flash TTL spot metering system on the RTSIII is analogous to the more complex, but not necessarily more effective, multi-segment flash control functionality on Nikon and other camera brands of the time. With matrix flash control on the Nikon F90X, for example, one is depending on the F90X camera, SB26 flash and D-type lenses to automatically correct for difficult flash exposure situations. In practice, such systems did not always work. While Nikon has never made clear exactly what algorithms it uses when operating in fully-automatic flash modes, some users have noted that the technology's sophistication is not up the level of its hype, and the on-film results are often less than satisfactory. With pre-flash TTL spot metering on the RTSIII, one simply points the 5 mm center spot at the main subject, presses the pre-flash TTL spot meter lever, recomposes the frame as desired and shoots. With this system, the RTSIII produces extremely accurate flash exposures even in the most difficult situations. (Note: aperture may need to be adjusted if the subject is significantly different from 18% gray.) No other camera on the market at the time could compete with the accuracy of the RTSIII for flash exposures (unless you used a separate hand-held flash exposure meter to set exposure). For balanced fill flash, the photographer again must make the adjustment manually. This can be done simply by setting the ambient exposure in M mode, then adjusting the flash exposure down using the exposure compensation dial on the camera. Alternatively, if the preflash meter is used, one can adjust fill flash with the aperture ring when in Av mode. In Av mode, lock exposure for ambient light, aim the spot meter at the subject, and release the preflash lever. If you want flash power on the metered subject to be less than 18% gray, close down the aperture ring. Shutter speed will adjust accordingly to maintain correct ambient exposure. Of course, experience or manual flash bracketing is required to absolutely insure the most pleasing results with balanced fill flash.
The RTSIII, in keeping with its positioning as a pro-level camera, has a very bright, virtual 100% visual field, full-information long-eyepoint viewfinder. The camera displays all the information that the photographer could want in the viewfinder. Viewfinder indicators appear as white letters and numerals against a visually attractive, deep blue illuminated background. The Contax system of showing the range of available shutter speeds vertically at the right side of the viewfinder is particularly appealing and easy to use. (This same layout is used on the RTSII, ST, S2, etc.) The only disadvantage of the viewfinder design is that the illuminated blue viewfinder display is sometimes difficult to read in bright outdoor picture taking situations. Conversely, in very dark situations, the back-lit viewfinder display brightness sometimes overpowers the image of the subject.
While not visible from the camera’s exterior, Kyocera claimed that they used the highest quality components and electronic designs in building this camera. This can easily be believed given the incredible over-engineered feel of this camera, as well as the high price at which it was sold new. Contax did a great job implementing traditional analog-style knobs and switches, which actually are electronic controls that are connected to the camera's circuitry. As a result, Contax achieved the perfect combination of modern electronic camera technology with traditional and very intuitive analog style interface.
The RTSIII offers the highest specifications and greatest number of professional features of any manual focus Contax film body. For example, it provides shutter speeds from 32 seconds to 1/8000 second with 1/250 flash synch. (Note: The maximum synch speed is apparently 1/200 second in automatic exposure modes. Contax said this is to insure compatibility with a wide range of electronic flash units.) The RTSIII has an extremely heavy-duty and solidly constructed body, and super smooth and fast film advance and rewind speed.
The RTSIII runs on either 6 AA batteries or one 2CR5 lithium cell. The lithium battery is much lighter (a benefit with a heavy body like this) and seems to provide somewhat longer battery life. However, the lithium option does not permit the camera to wind as quickly as the AA cells (i.e. 3 fps vs. 5 fps). Presumably weight is not a primary factor for photographers who choose the RTSIII, so such photographers will probably opt for the AA batteries to achieve the higher performance.
The RTSIII includes mirror lock up (the only other Contax body in that generation to do so is the S2), vertical shutter release, two motor drive speeds (3 fps and 5 fps), eyepiece shutter, non-electronic shutter release cable compatibility to eliminate battery consumption in very long bulb exposures, electronic depth-of-field preview control, multiple exposure capability, built-in dioptric adjustment, interchangeable focusing screens, etc. Unlike the 167MT and the ST, the tripod socket on the RTSIII is located at the center of the camera base (an absolute must for loading heavy professional lenses onto this solid body). The standard-feature data back is quite useful because it allows you to print the date and time vertically between frames. However, unlike the AX, the RTSIII databack cannot print exposure information on the first frames of the roll.
A slight disadvantage of the RTSIII is that, unlike the RX and AX, but similar to the same generation ST, it does not provide enhanced communication between the body and Contax TLA electronic flash units. You must set the film ISO and lens aperture manually on the flash. More importantly, you cannot use flash exposure compensation control on the flash itself and instead must use the exposure compensation dial on the camera body as described above. Thus, you cannot set different exposure compensations on the body and flash unless you set the RTSIII in M mode and control flash compensation with the exposure compensation dial on the camera.
In summary, the RTSIII is a fantastic camera that pursues the Contax "thinking photographer" design concept close to the theoretical limit. In my view, the only significant irritation is the viewfinder display brightness, which can be hard to see in bright light, and which may overpower very dark subjects. Besides its precision tank-like construction and pro-level specifications, the most useful feature of the RTSIII is its unique pre-flash TTL spot metering capability.
Copyright © 1997-2015 Timothy A. Rogers. All rights reserved.
(DSC_5639sr1cr1sr2br+20)
Interface, an installation by Frank Straatman ( in cooperation with Wia van Dijk), 2017-2018. On display at Beeldentuin / Sculpture Garden Landgoed Anningahof, Zwolle, Holland.
3 YN560 IV's Aimed directly at windows. Evenly spaced all the way down CR- Blended with ambient layer.
Afternoon light on Soho buildings...
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This photo is part of a new batch of Sony QX100 photos I have put together to accompany a blog post that describes the QX100's interface, shooting modes, and various menu options. You can read that blog post here:
Unlike the first batch of New York City photos I took with the QX100 that I posted last week which were not altered in any way, this photo and the others I am adding along with it have been edited in Lightroom.
*Taken using an iPhone 4S as the viewfinder for the Sony QX100.
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View my New York City photography at my website NY Through The Lens.
Interested in my work and have questions about PR and media? Check out my:
About Page | PR Page | Media Page
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In the dark of the night when it's just you and your subject and you move in for the close up...
you wonder what they're thinking.
Note: To view in Large and in Black in the new Flickr interface, either click on the photo, click on the magnifying glass logo, or press "F" on the keyboard.
Emily Murphy Park, Edmonton, AB, Canada
June 23, 2010
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CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
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