View allAll Photos Tagged postmortem
Distilling A Franchise: A Lara Croft GO Postmortem
Antoine Routon | Technical Direction, Square Enix Montreal
Location: Room 134, North Hall
Date: Thursday, March 17
Time: 10:00am - 11:00amDistilling A Franchise: A Lara Croft GO Postmortem
Antoine Routon | Technical Direction, Square Enix Montreal
Location: Room 134, North Hall
Date: Thursday, March 17
Time: 10:00am - 11:00am
This is a very neat image. When I purchased it, I thought I was getting a copy of an earlier daguerreotype--and the original image may, in fact, be a circa 1850-1855 daguerreotype or ambrotype. What just became clear to me, after scanning the image, was the extent of the overpainting. The widow's dress is almost completely so, and her face and hair also show quite noticeable overpainting. It is similar to the portrait in this brooch from my collection www.flickr.com/photos/60861613@N00/5030375687/in/set-7215...
The photographer is "Julius Brill, 204 Chatham Square, New York." Some cursory research has shown that Brill was active from at least 1855 and worked straight through the 1860s in Chatham Square.
The 'out to dry' wetsuit that maintained its human form made an interesting image, perhaps of a recently departed surfer?
I've Decided to NOT try for a 365... it would have started today... Do note that if I do not upload for several days it is because I have ended up in the hospital (again...)-but that just makes it more challenging!
p.s. these contacts are a bitch and a half- I would NOT reccoment em!
nephew an first son-in law of Augustus
for educational purpose only
please do not use without permission
It is possible that this woman is not in mourning, but might be wearing a black Catholic chapel veil.
League of Legends Postmortem
Tom Cadwell and Steve Snow (Riot Games)
Copyright The Photo Group 2011
All rights reserved
I promised my sister that I would scatter her ashes along paths in her favorite nature reserve. She died last month (January 2025). I kept my promise.
Slayer @ The Fillmore Silver Spring, Silver Spring, MD, on Tuesday, November 19, 2013.
North American Tour 2013:
Hell Awaits
The Antichrist
Necrophiliac
Mandatory Suicide
Captor of Sin
War Ensemble
Postmortem
Altar of Sacrifice
Jesus Saves
At Dawn They Sleep
Die by the Sword
Spirit in Black
Hallowed Point
Seasons in the Abyss
Strike of the Beast
(Exodus cover)
Dead Skin Mask
Raining Blood
Black Magic
Encore:
South of Heaven
Angel of Death
Martin Pichlmair (Broken Rules GmbH), Felix Bohatsch (Broken Rules GmbH), Tracks: Independent Games Summit
Yes, I have evidence of Life After Death and I was able to take a picture of it! And Life post mortem seems to be pretty good. Excellent literature, love, music, dancing. I wonder if they get to eat....
Performance by Joan Morey, "POSTMORTEM. Pour en finir avec le jugement de dieu" (2006-2007). Reenactment by Sònia Gómez programmed within the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 27 September 2018. Photo: Noemi Jariod. Courtesy the artist.
Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
POSTMORTEM. Pour en finir avec le jugement de dieu
[POSTMORTEM: To Have Done with the Judgment of God] 2006–2007
Fragment from panel 7 of "POSTMORTEM. Project in Seven Tableaux" (2006–2007). The performance uses the radio poem "To Have Done with the Judgment of God" (1947) by Antonin Artaud, with a duration of 23 min 49 s, as its choreographic score. The first performance of this piece for a single
female performer took place as a part of "POSTMORTEM". It was repeated as a part of later projects with either a female or male performer.
Made inert as an individual by the skin-tight garment that
covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.
Text by Latitudes.
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
Yo-SD Anne SWD
Since I like old Victorian pictures, especially postmortem photography a lot, I tried it for my sweet dolls.
On December 11 2019, Lorenzo Redaelli discussed his strategy for turning concepts into playable prototypes for the students of the Master of Arts in Game Design at IULM University. The event took place at Cascina Moncucco during GAME CONTEXTS, one of the Program’s core courses.
How can you design a successful video game without prior game design experience? Lorenzo Radaelli, an alumnus of the M.A. in Game Design at IULM, discusses his design philosophy through a detailed postmortem of Milky Way Prince: The Vampire Star, a first-person interactive visual novel about an abusive relationship between two individuals, one of whom suffers from Borderline Personality Disorder. A love/erotic story between a guy and a “shooting star” that follows players’ decisions, Milky Way Prince suggests that falling in love with somebody who suffers from BPD is like falling in love with a star. What did Lorenzo learn from this process? And what are the take away ideas for aspiring game designers? The journey from zero to game is full of challenges, failures, and surprises.
Lorenzo Redaelli received his M.A. in Game Design in October 2019 from IULM University. He also received a B.A. in Communication, Media, and Advertising in 2017 with a Thesis titled “Gojira vs. Godzilla; How Hollywood reinvented Japanese Kaiju movies" from the same school. Among his passions are Japanese culture, art, and interactive storytelling. He directed several animated shorts, shot an independent film, and produced two albums. In 2019, his final project, Milky Way Prince: The Vampire Star, was accepted at several international festivals, including Game On: El arte en juego (Buenos Aires, Argentina) and Game Happens (Genoa, Italy). Lorenzo lives and works in Milan.