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I used the large clear set of cupcakes for this little guy...
Scalloped paper is making memories Noteworthy.
It's 1865 and the telegraph is heading west. George Crane, wanting to keep law and order out of his territory, is out to stop the construction. The engineer on the job is Ken Mason and he is the grandson of Zorro. As Crane sends his men or Indians to stop the work, Mason repeatedly puts on the Zorro costume and rides to the rescue in this 12-chapter serial.
Clayton Moore
September 14th, 1914 — December 28th, 1999
Clayton Moore, though best remembered today as television’s Lone Ranger, had a lengthy and distinguished career in serials. Moore was a physically ideal serial lead, but his greatest strengths were his dramatic, quietly intense speaking voice and expressive face. These gifts helped Moore to convey a sincerity that could make the most unbelievable dialogue or situations seem real. The bulk of Moore’s cliffhanger work was done after World War 2, when serials’ shrinking budgets cut back on original action scenes and made the presence of skilled leading players more important than in the serial’s golden age. Moore, with his sincerity and acting skill, was just the type of actor the post-war serials needed.
Clayton Moore was born Jack Carlton Moore in Chicago. He began to train for a career as a circus acrobat at the age of eight, and joined a trapeze act called the Flying Behrs after finishing high school; as a member of the Behrs, Moore would perform for two circuses and at the 1934 World’s Fair. An injury to his left leg around 1935 forced him out of the aerialist business, and after working briefly as a male model in New York he moved to Hollywood in 1937, beginning his film career as a stuntman. He played numerous bit roles in addition to his stunt work for the next three years, among them a miniscule part in his first serial, Zorro’s Fighting Legion (Republic, 1939), as one of the members of the titular group. Edward Small, an independent producer allied with United Artists, cast Moore in his first credited parts in a pair of 1940 films, Kit Carson and The Son of Monte Cristo. The former featured Moore as a heroic young pioneer, the latter as an army officer aiding masked avenger Louis Hayward. Following these two films, Moore began to get credited speaking parts in other pictures. In 1941 he played the romantic lead in Tuxedo Junction, one of Republic Pictures’ “Weaver Brothers and Elviry” comedies, and the next year the studio signed him for his first starring serial, Perils of Nyoka (Republic, 1942).
Perils of Nyoka (Republic, 1942) was a vehicle for Republic’s new “Serial Queen,” Kay Aldridge, who played Nyoka Gordon, a girl seeking her missing scientist father in the deserts of North Africa. Moore was the heroic Dr. Larry Grayson, a member of an expedition searching for the “Tablets of Hippocrates,” an ancient list of medical cures sought by Nyoka’s father before he disappeared. Nyoka joined forces with Grayson and his expedition to locate Professor Gordon and the tablets–and to battle Arab ruler Vultura (Lorna Gray) and her band of desert cutthroats, who were after the Tablets and the treasure hidden with them. Perils of Nyoka was a highly exciting serial, with consistently imaginative and varied action sequences, and colorful characters and locales. Although Moore took second billing to Aldridge, his character received as much screen time as hers and his performance was a major part of the serial’s success. Moore, with his intense sincerity, made his nearly superhuman physician character believable; the audience never felt like questioning Dr. Grayson’s ability to perform emergency brain surgery on Nyoka’s amnesiac father in a desert cave, or his amazing powers of riding, wall-scaling, marksmanship, and sword-fighting, far beyond those of the average medical school graduate.
Moore went into the army in 1942, almost immediately after the release of Perils of Nyoka. He served throughout World War Two, and didn’t resume his film career until 1946, when he returned to Republic Pictures to appear in The Crimson Ghost. The impact of his starring turn in Perils of Nyoka was diminished by his long hiatus, and he found himself playing a supporting role in this new serial. He was cast as Ashe, the chief henchman of the mysterious Crimson Ghost, and aided that villain in his attempts to steal a counter-atomic weapon called a “Cyclotrode.” Ashe was ultimately brought to justice, along with his nefarious master, by stars Charles Quigley and Linda Stirling. The Crimson Ghost showed that Moore could play intensely mean villains as well as intensely courageous heroes. His sneering, bullying Ashe came off as thoroughly unpleasant, as he stalked through the serial doing his best to kill off hero and heroine.
Moore returned to heroic parts in his next cliffhanger, Jesse James Rides Again (Republic, 1947). The serial’s plot had Jesse, retired from outlawry, forced to go on the run because of new crimes committed in his name. Jesse and his pal Steve (John Compton) wound up in Tennessee, where, under the alias of “Mr. Howard,” Jesse came to the aid of a group of farmers victimized by an outlaw gang called the Black Raiders. The Raiders, secretly bossed by local businessman Jim Clark (Tristram Coffin), were after oil reserves beneath the local farmland, but Mr. Howard ultimately outgunned them. James’ own identity was exposed in the process, but he was allowed to escape arrest by a sympathetic marshal. Jesse James Rides Again was Republic’s best post-war Western serial, thanks in part to the unusual plot device of an ex-badman hero. Moore was able to give Jesse James a dangerous edge that most other serial leads couldn’t have pulled off; his cold, steely-eyed glare when gunning down villains seemed very much in keeping with dialogue references to Jesse’s outlaw past.
G-Men Never Forget (Republic, 1947), Moore’s next serial, cast him as Ted O’Hara, an FBI agent battling a racketeer boss named Vic Murkland (Roy Barcroft). O’Hara broke up various protection rackets organized by Murkland, but his efforts were hampered by Murkland’s impersonation of a kidnaped police commissioner (also played by Barcroft). G-Men Never Forget possessed a tough and realistic atmosphere not typical of gang-busting serials, and Moore delivered a grimly determined performance well-fitted to the serial’s mood. Moore’s acting, good supporting performances, skilled direction, and a well-written script made G-Men Never Forget a superior serial, one that could hold its own against earlier gang-busting chapterplays like the Dick Tracy outings.
Moore’s next serial was Adventures of Frank and Jesse James (Republic, 1948), in which he reprised his Jesse James role. Joined this time by Steve Darrell as Frank James, Moore tried to help a former gang member named John Powell (Stanley Andrews) develop a silver mine. Part of the mine’s proceeds were to be used to pay back victims of James Gang robberies, but the plan was derailed by a crooked mining engineer (John Crawford), who discovered the mine contained gold instead of silver and murdered Powell to keep this find secret. Crawford then used every trick in the book to keep Moore, Darrell, and Noel Neill (as Powell’s daughter) from developing the mine, but the James Boys unmasked his treachery by the end. Frank and Jesse James drew heavily on stock footage and plot elements from Republic’s earlier Adventures of Red Ryder, and was thus more predictable than its predecessor, but it was still an entertaining and well-made serial. Moore again made Jesse seem both sympathetic and (when fighting the bad guys) somewhat frightening.
By now, Moore was established as Republic’s premiere serial hero; however, his next cliffhanger would lead to his departure from the studio and change the course of his career. The last in a long line of Republic Zorro serials, Ghost of Zorro (1949) starred Moore as Ken Mason, the original Zorro’s grandson, who donned his ancestor’s mask to help a telegraph company establish a line in the wild West in the face of outlaw sabotage. Like Adventures of Frank and Jesse James, the serial was somewhat derivative of earlier outings (particularly Son of Zorro), but smoothly and professionally done. Moore delivered another strong performance, but for some odd reason Republic chose to have his voice dubbed by another actor in scenes where he was masked as Zorro. This strange production decision did not diminish Moore’s potential as a masked hero in the eyes of a group of television producers who were trying to find an actor to play the Lone Ranger on a soon-to-be-launched TV show; Moore’s turn in Ghost of Zorro landed him the part. Moore debuted as the Ranger in 1949, and played the part for two seasons on TV. During this period, he did make one apparent serial appearance in Flying Disc Man From Mars (Republic, 1950), but all his footage actually came from The Crimson Ghost.
In 1952, Moore was dropped from The Lone Ranger without any explanation from the producers, who apparently feared that Moore was becoming too identified as the Lone Ranger, and that he might become so sure of his position that he’d ask for a bigger salary. John Hart replaced Moore as the Ranger for the show’s third season, and Moore returned to freelance acting. He played numerous small roles in feature films, made multiple guest appearances (usually as a heavy) on TV shows like Range Rider and The Gene Autry Show, and also found time to make four more serials.
The first of these was Radar Men from the Moon (Republic, 1952), which featured Moore as a gangster named Graber, who was working with lunar invaders to bring the Earth under the dominion of Retik, Emperor of the Moon (Roy Barcroft). Scientist “Commando” Cody (George Wallace) opposed the planned conquest with the aid of his flying rocket suit and other handy gadgets. Moore met a fiery demise when his car plummeted off a cliff in the last chapter, and Retik came to a similarly sticky end shortly thereafter. Moore’s characterization in Radar Men from the Moon was reminiscent of his performance as “Ashe;” once again he performed deeds of villainy with swaggering relish.
Moore’s next serial, Columbia’s Son of Geronimo (1952), was his first non-Republic cliffhanger. He returned to playing a hero in this outing, an undercover cavalry officer named Jim Scott out to quell an Indian uprising led by Rodd Redwing as Porico, son of Geronimo. The uprising was being encouraged by outlaws John Crawford and Marshall Reed to serve their own ends, and Scott and Porico ultimately joined forces to defeat them. Son of Geronimo remains one of the few popular late Columbia serials, due to its strong and unusually violent action scenes and the forceful performances of Moore and his co-stars, particularly Reed and Redwing.
Moore’s last Republic serial was Jungle Drums of Africa (1952), in which he played Alan King, an American mining engineer developing a valuable uranium deposit in the African jungles. Moore was assisted by lady doctor Phyllis Coates and fellow engineer Johnny Sands and opposed by a group of Communist spies (Henry Rowland, John Cason) and their witch-doctor accomplice (Roy Glenn). While Drums drew extensively on stock shots of African animals to augment its jungle atmosphere, it relied to an unusually large extent on original footage for its action scenes and chapter endings, and the result was a modestly-budgeted but enjoyable serial that served as a good finish to Moore’s career at Republic.
Gunfighters of the Northwest (Columbia, 1953), Moore’s final serial, cast him as the second lead, a Mountie named Bram Nevin who backed up RCMP Sergeant Jock Mahoney. Moore, in his first and only “sidekick” role, played well off Mahoney; while the latter’s character was the focus of the serial’s action, Moore’s role was really more that of co-hero than of a traditional sidekick. The serial pitted the two leads against the “White Horse Rebels,” a gang of outlaws trying to overthrow the Canadian government. Though thinly-plotted, Gunfighters, with its nice location photography and good acting, was the last really interesting Columbia serial; it was also Moore’s last serial. In 1954, he returned to the Lone Ranger series, its producers having been forced to realize that Moore was firmly established as the Ranger and that audiences wouldn’t warm up to his substitute John Hart. The fourth and fifth seasons of the show featured Moore in his familiar place as the “daring and resourceful masked rider of the plains.”
After the Lone Ranger series ended in 1956, Moore reprised the role in two big-screen movies and then retired from acting. He remained in the public view, however, making personal appearances throughout the country in his Lone Ranger garb. Publicly and privately, he upheld the ideals that the Lone Ranger–and his serial heroes–had upheld on the screen: courage, charity, and a sense of justice. In 1979, he was barred by court order from making personal appearances as the Lone Ranger because the property’s owners worried that Moore’s close identification with the character would undercut a new Lone Ranger film. Moore nevertheless maintained his status as the “real” Lone Ranger in the eyes of fans, and, after the failure of the new Ranger feature, he was allowed to resume his mask in 1984. Moore died in Los Angeles in 1999, leaving behind several generations of fans that honored him not only for his TV persona, but for the kindess that characterized the off-screen man behind the mask.
Part of Clayton Moore’s success as the Lone Ranger was due to his respectful attitude towards the character. While some actors would have had a hard time taking a masked cowboy from a children’s radio show seriously, Moore’s performance was as heartfelt as if he had been playing a Shakespearian role; he gave the part all the benefit of his considerable acting talent. Moore played his cliffhanger roles, heroic and villainous, with the same respect and the same wholeheartedness. It’s no wonder that serial fans hold him in the same high regard that the Lone Ranger’s fans do.
This is where the solid background comes in handy. My favorite tool in PH CS is the Magic eraser. It erases things within the same color spectrum. The tricky part is making sure it doesn't erase too much. This is where tolerance comes in handy. Tolerance tells the magic eraser how much to erase. So since there is a solid colored background I can use i higher tolerance. NOTE watch the subject carefully as you do this you might accidentally erase more than you wanted so just ctrl z so step back.. if you need to go farther back than one step hit ctrl +alt+z (love this tip)
So now erase all the stuff you don't want.
NEXT STEP!!
Hate crimes against muslims in the US in 2007 went up by 22% over the last year. The 2006 rates were, in turn, 8% higher than the previous year.
According to polls cited in a recent report by CAIR (Council on American-Islamic Relations), roughly half of the US population say they have negative perceptions of Islam, and one out of every 4 Americans hold “extreme anti-Muslim views".
Expressions of anti-muslim religious hate in the United States, generally coupled with expressions of militant support for Israel and Zionism, have experienced a huge rise in popularity thanks to a climate of domestic intolerance and racism which has been carefully cultivated by the neo-cons in the Bush administration.
The growth of right-wing radio and the political ascendancy of militant Christian Zionists within fundamentalist christian Churches, along with the omnipresence of representatives of Zionist think tanks on the mainstream TV and print media -- all these have contributed to this depressing trend.
This culture of hatred wasn't summoned out of thin air, however. There is a long history of attacks on mosques and muslims in the US which predate the Bush administration and the attacks of September 11. For example:
1994: An arsonist started a fire that burned to the ground a nearly completed mosque in Yuba City. CA.
1995: The Islamic center in Springfield IL was destroyed by arson.
1995-SEP-17: Vandals painted obscenities and graffiti on the windows, walls and trees of the Islamic Center of Passaic County, in Patterson, NJ. Flammable liquid was found on the floor of an outbuilding; this might have been an attempted arson.
1995-SEP: Vandals attacked the mosque at Clarkston, GA by breaking windows, damaging lights, discharging fire extinguishers, and burning satanic symbols (inverted pentagrams) into the carpet.
1995-OCT-21:The Islamic Center and Masjid of Greenville, SC, was destroyed in an arson attack. A suspect was later charged.
1995-OCT-21: Vandals painted an obscene message on the wall of the Flint Islamic Center/Genesee Academy in Flint, MI.
1996-MAR-19: Employees of a radio station in Denver, CO entered the local mosque after morning prayers. They allegedly played the national anthem on a trumpet, harassed the worshipers, and broadcast the incident live on radio.
1998-JAN-28: A 23 year old man was arrested for allegedly smashing a concrete block through the glass front door of the mosque in Fort Collins, CO.
1998-JAN-29: Vandals scattered metal spikes in the parking lot of the Flint Islamic Center in Flint, MI. A number of cars had flat tires.
1998-FEB-22: A vandal threw a beer bottle through the second floor window of the mosque in Bloomingdale, IN.
1998-MAR-8: Someone torched three school busses owned by the local Islamic school in Ottawa, ON Canada.
1999-MAY: A man was arrested after fleeing in his car from the area of a mosque in Denver CO. Loaded weapons, machetes, hundreds of rounds of ammunition, and bomb making materials were found in his car. Jack Merylin Modig was later arrested. He allegedly said "I am an enemy against the Islamic nation [sic] and I was going to take care of business."
1999-JUN-23: CFRB, a Toronto, ON Canada radio station broadcasted a live call-in program. The initial topic dealt with a Greek Orthodox priest who refused admittence of a seeing-eye dog into his church. A caller criticized religious extremism. He said "Nero burned the wrong people - he should have burned the Muslims." The announcer tried to change to another topic.
1999-MAR-5: A mosque was seriously damaged by an arsonist in Minneapolis, MN
1999: Three youths were charged with vandalism of a Villa Park IL mosque, near Chicago. They allegedly threw several large chunks of concrete and a glass milk bottle through four windows of the Islamic Foundation.
2000-JUN-20: A gunman seriously injured a worshiper at an Islamic Center in Memphis, TN. The door to the mosque was damaged by a shotgun blast.
2000-NOV: A suspicious fire gutted the lobby of a mosque in Surrey, British Columbia, and severely damaged the rest of the building. There were no injuries reported. Witnesses reported seeing a van speeding away from the mosque just before an explosion was heard.
2001-JAN: Vandals targeted the Islamic Center of Southern California.
2001-FEB *: Vandals attacked a mosque in Winnipeg, MB, Canada. They smeared animal feces, eggs and white paint on the front of the building. Garbage was strewn around.
2001-MAR-16: Several youths, one with a baseball bat, allegedly attacked two Muslims who were standing outside of their mosque in Sparks NV. One Muslim had his arm broken. The other was more seriously injured and was in critical condition in hospital after undergoing three operations. A member of a nearby church ran to help stop the attack.
........
Please give your support to CAIR
Over the last decade, American exports to the Asia-Pacific region have steadily increased. Great, right? But over that same period, our share of the rapidly growing Asia-Pacific market has declined by about 43%. This “shrinking slice” has cost the U.S. economy hundreds of billions of dollars in trade and untold numbers of jobs.
In this infographic, we illustrate how, in 2020 alone, leading Asia-Pacific economies will import almost $10 trillion in goods – expanding the economic pie and creating enormous opportunities for American exporters and workers.
But America faces serious challenges in Asia, most notably a growing number of regional trade deals that shut out U.S. exports.
For a more in-depth look at this tantalizing but tenuous opportunity, read our new report: Boatloads of Growth: Recapturing America’s Share of Asia Pacific Trade.
Hello Flickr world!! This is the amazing shrinking woman tutorial. First we begin with pictures of all the elements trying to keep the lighting similar (because it's easier that way). Please note the picture of the shrinking woman had a "solid colored background" (reads: taped together bags) this will make future steps easier so keep that in mind too.
We open all the pictures in photoshop(or gimp the tools are very similar). The picture in the upper right corner is the setting, the left is the shrinking woman, and the lower right is the D10 she will be holding because she is a geek... yes yes she is... NEXT STEP!!
4"x4" shrink film pictures with mosaic. Making these to donate to auctions to raise money. I will have the winners send me pictures that I will create on shrink film.
Uploading in honor of the fact that I just saw House's season finale tonite. (^_^)
Anyway, the first episode of House that I ever saw was part 1 of the season finale where Amber dies. I turned on the tv partly into the episode and so I was UTTERLY confused. The whole time I really did not understand what was going on, and then the episode ended with House realizing that the person had to do something with an Amber necklace (which of course I did not understand) and I didn't realize that it was a season finale thing and never saw part 2 of the season finale.
Soooo since then I've seen the last 2 seasons completely and a large scattering of the earlier episodes as well. I finally saw the last 2 episodes of that season finale when Amber dies and MAN! Did they not pull their punches! That had to have been the most grueling, biggest roller coaster ride of emotions in two episodes. What a work of art. I was so stunned and emotionally battered I didn't know what to do with myself, lol. (thus this photo)
So I've decided there are 3 ways I would ideally die: the way Amber died; Notebook style; or the one with the snow and everything (that one takes a bit of explaining).
Anyone recognize the title reference? \(^▽^)/
Dan was testing his new project
*The Shrink Ray*
and what do you know it works Dan saw his dog and he was looking at her in Aw but he was not scared or worried all he could say is *aww why would i be scared of you Millie your as cute as a button and you would never hurt a fly your too cute" Dan then raised his arm to get her attention she saw him and gave him a slobbery lick and then she started sniffing at Dan she reconized his smell she was happy she was very eager to eat him but she didn't she nearly but she tries to stop her self but she dousn't know how so i should feel sorry her and Dan because fair play Millie is trying to stop her self and Dan is the victom
Pour le premier dimanche du lieu unique, aux champs libres à Rennes, Lawrence Malstaf, artiste visuel de renommée internationale, a présenté Shrink. À la fois performance physique et fascinante sculpture vivante, Shrink est une installation qui interpelle.
Un immense sac en plastique transparent, suspendu à un haut châssis; une pompe permettant d’aspirer l’air dans le sac afin d’y faire le vide; et, comme emballé dans le sac, le corps du performer qui rétrécit inexorablement, au fur et à mesure que le vide se fait et que la pression augmente.
blogs.leschampslibres.fr/lespremiersdimanches/2014/01/14/...
FILE PAI
Paulista Avenida Interativa
Paulista Interactive Avenue
ESPAÇO FIESP
Lawrence Malstaf - Shrink 01995 - Bélgica Belgium
Christoph Haag, Martin Rumori, Franziska Windisch & Ludwig Zeller - Open Circuit - Alemanha | Germany
Alessandro Ludovico & Paolo Cirio - Face to Facebook - Reino Unido | United Kingdom
Coletivo COLETORES: Toni William, Flávio Camargo, Daniela Cordeiro & Karina Marques - Máquina/Brinquedo - Brasil | Brazil
Eduardo Omine - Fragments In Curved Air - Brasil | Brazil
Elie Zananiri, Hugues Bruyère & Mathieu Léger - Peptone - Canadá | Canada
Esther Hunziker - DUMP - Suíça | Switzerland
Julian Jaramillo Arango - The Happy Cube - Brasil | Brazil
Lauren McCarthy - Conversacube - Estados Unidos | United States
NaJa & deOstos (Project Team: Ricardo de Ostos, Nannette Jackowski, Manuel Jimenez, Thomas Sicouri) - Ectoplasmatic Housing - Reino Unido | United Kingdom
PirarucuDuo: Fernando Visockis & Thiago Parizi - Acusmograma - Brasil | Brazil
Rafaël Rozendaal - Towards and Beyond.com - Holanda | Netherlands
Ricardo Iglesias García - Surveillance Cameras: they are alive! - Espanha | Spain
Tamás Waliczky - Marionettes - Hungria | Hungary
Yoshi Akai - Heart 'n' Beat (Biorhythm Synthesizer) - Japão | Japan
FNAC
Arnt Jensen - LIMBO - Dinamarca | Denmark
Gaijin Games - BIT TRIP BEAT - Estados Unidos | United States
Mediatronic - Monsters Probably Stole My Princess - Reino Unido | United Kingdom
METRÔ TRIANON-MASP
Rafaël Rozendaal - Carnal Fury.com - Holanda | Netherlands
Rafaël Rozendaal - Hot Doom.com - Holanda | Netherlands
Rafaël Rozendaal - Hybrid Moment.com - Holanda | Netherlands
Rafaël Rozendaal - Jello time.com - Holanda | Netherlands
Rafaël Rozendaal - The Persistence of Sadness.com - Holanda | Netherlands
MASP
Rejane Cantoni & Leonardo Crescenti - Solo - Brasil | Brazil
LIVRARIA CULTURA
Arnt Jensen - Limbo - Dinamarca | Denmark
Daniela Arrais & Luiza Voll - Invente um sorriso - Brasil | Brazil
Ricardo Barreto, Maria Hsu & AMUDI - feelMe - Brasil | Brazil
That Game Company: Jenova Chen - flOw - Estados Unidos | United States
CINE LIVRARIA CULTURA
Matthias Hoegg - August - Inglaterra | England
Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia
Animatório - Neomorphus - Brasil | Brazil
Bertrand Bey & Pierre Ducos - La Détente - França | France
Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil
Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil
Fábio Yamaji - O Divino, de repente - Brasil | Brazil
Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France
INSTITUTO CERVANTES
*Instalações | Installations:
Andreas muk Haider - skia - Áustria | Austria
Tim Coe - A Perfect Face - Áustria | Austria
*Anima+:
8-Bits Team: Valere Amirault, Jean Delaunay, Sarah Laufer & Benjamin Mattern - 8-Bits - França | France
Alan Becker - Animator Vs Animation - Estados Unidos | United States
Alessandro Novelli - The Alphabet - Itália | Italy
Alexander Gellner - 1 Minute Puberty - Alemanha | Germany
Andrew Huang - The Gloaming - Estados Unidos | United States
Ben Thomas & Leo Bridle - Train of Thought - Inglaterra | England
Birdo Studio: Luciana Eguti & Paulo Muppet - Bonequinha do Papai - Brasil | Brazil
Birdo Studio: Luciana Eguti & Paulo Muppet - Caixa - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Allan Sieber - Animadores - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Jimmy Leroy - Pequeno Cidadão - Brasil | Brazil
Brendan Angelides & Cyriak Harris - Eskmo - Estados Unidos | United States
Christopher Alender - Eye of The Storm - Estados Unidos | United States
Coala Filmes: Cesar Cabral - Dossiê Rê Bordosa - Brasil | Brazil
Dante Zaballa & Matias Vigliano - The Head - Argentina | Argentina
David O’Reilly - Please Say Something - Irlanda e Alemanha | Ireland and Germany
David O’Reilly - The External World - Irlanda e Alemanha | Ireland and Germany
David Wilson - Japanese Popstars “Let Go” - Inglaterra | England
Dominik Käser, Martin-Sebastian Senn, Mario Deuss, Niloy J. Mitra & Mark Pauly - Silhouettes of Jazz - Estados Unidos | United States
Esteban Diácono - Ólafur Arnalds - Ljósið - Argentina | Argentina
Fábio Yamagi & Denis Kamioka ‘Cisma’ - Photocopy Romance - Brasil | Brazil
Fernando Sanches - Xixi no Banho - Brasil | Brazil
Gabrielle Lissot, Pierre Lippens, Laurent Jaffier & Nicolas Deprez - Tous Des Monstres (All Monsters) - França | France
Guilherme Marcondes - Tyger - Brasil | Brazil
Guillermo Madoz - Head Honcho - Argentina | Argentina
Hi-Sim - Jump - Inglaterra | England
Home de Caramel - Alone Together - Espanha | Spain
Jasmin Lai - Brave - Estados Unidos e Tailândia | United States and Thailand
Jason Wishnow - Oedipus - Inglaterra | England
Jean-Paul Frenay - Artificial Paradise, Inc - Bélgica e França | Belgium and France
Joanna Lurie - Tree’s Migration - França | France
Joaquin Baldwin - Sebastian's Voodoo - Estados Unidos | United States
Joaquin Baldwin - The Windmill Farmer - Estados Unidos | United States
Ken Turner - TIM - Canadá | Canada
Lee Tao - Seedling - Canadá / Canada
Lemeh42 - Wool & Water - Itália / Italy
Leszek Plichta - Dreammaker - Polônia e Alemanha | Polland and Germany
Malcolm Sutherland - Bout - Canadá | Canada
Malcolm Sutherland - Umbra - Canadá | Canada
Marc Silver - There Are No Others - Inglaterra | England
Marlies van der wel - Protest Flatness - Holanda | Netherlands
Martin Piana - LUMI - Argentina | Argentina
Martin Woutisseth - Stanley Kubrick, a filmography - França | France
Matatoro Team: Mauro Carraro, Raphaël Calamote & Jérémy Pasquet - Matatoro - França | France
Matthias Hoegg - August - Inglaterra | England
Matthias Hoegg - Thrusday - Inglaterra | England
Max Hattler - SPIN - Inglaterra | England
Meindbender Animation Studio - The Pirate - Suécia | Sweden
Michael Paul Young - The Interpretation - Estados Unidos | United States
Michal Socha - Chick - Polônia | Polland
Michal Socha - Koncert - Polônia | Polland
Mr McFly - Baseball - França | France
MUSCLEBEAVER: Tobias Knipf & Andreas Kronbeck - How your money works - Alemanha | Germany
Napatsawan Chirayukool - What makes your day? - Tailândia e Inglaterra | Thailand and England
Pahnl - Nowhere near here - Inglaterra | England
Peppermelon TV - Advanced Beauty - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - First - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - Target - Friends with you - Inglaterra e Estados Unidos | England and Unites States
Robert Seidel - Vellum - Alemanha | Germany
Rogier van der Zwaag Nobody Beats The Drum - Grindin - Holanda | Netherlands
Ross Phillips - 5 Second Projects ( Ballons) - Inglaterra | England
Ross Phillips - 5 Second Projects ( Reverse) - Inglaterra | England
Sasha Belyaev - The Rite of Youth - Letônia | Latvia
Scott Pagano - Pororoca - Estados Unidos | United States
Scott Pagano - Trust In The 'M' Machine - Estados Unidos | United States
Serene Teh - Parkour - Cingapura | Singapore
Stephen Irwin - Black Dog's Progress - Inglaterra | England
Stephen Irwin - Horse Glue - Inglaterra | England
Sylvain Marc - Cocotte Minute - França | France
Sylvain Marc - Fertilizer Soup - França | France
Tanya Aydostian - L'autre - França | France
Taylor Price - Hunt - Canadá e Estados Unidos | Canada and United States
Treat Studios - E4 - Inglaterra | England
Veronika Obertová - Viliam - Eslováquia | Slovakia
Wesley Rodrigues - Pinga com Saquê - Brasil | Brazil
Zach Cohen - The Chair Not Taken - Itália | Italy
Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia
Animatório - Neomorphus - Brasil | Brazil
Bertrand Bey & Pierre Ducos - La Détente - França | France
Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil
Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil
Fábio Yamaji - O Divino, de repente - Brasil | Brazil
Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France
*Game:
Colibri Games - The Tiny Bang Story - Rússia | Russia
*Maquinemas | Machinimas:
Tom Jantol - Brief Encounter - Croácia / Croatia
Tom Jantol - Dear Fairy - Croácia | Croatia
Tom Jantol - Duel - Croácia | Croatia
Tom Jantol- The Remake - Croácia | Croatia
Tom Jantol- Wizard of OS: the fish incident - Croácia | Croatia
METRÔ VILA MADALENA
Alex May & Rudolf Kremers - Eufloria - Reino Unido | United Kingdom
Alexander Bruce - Hazard: The Journey of Life - Austrália | Australia
Christoffer Hedborg - Toys - Suécia | Sweden
Paolo Pedercini / Molleindustria - "Every Day The Same Dream" - Estados Unidos e Itália | United States and Italy
Richard E Flanagan / Phosfiend Systems - FRACT - Canadá | Canada
METRÔ CONSOLAÇÃO
Soraya Braz e Fábio Fon - Via Invisível - Brasil | Brazil
METRÔ BRIGADEIRO
Soraya Braz e Fábio Fon - Via Invisível - Brasil | Brazil
CENTRO CULTURAL SÃO PAULO
*Workshop:
Claudia González & Christian Oyarzún - Open Source Generative Electronic Music Devices – Chile | Chile
Cristiano Rosa - DIY Together – Brasil | Brazil
Hye Yeon Nam & Carl DiSalvo - Huggable Nature, Community Workshop – Estados Unidos | United States
Ricardo Palmieri -VideoMapping e Realidade Expandida | VideoMapping and Expanded Reality – Brasil | Brazil
*Symposium:
19.07.2011
André Rangel - Portugal | Portugal
Metacriação e composição algorítmica: Reflexões sobre a distância entre o criador e o público | Meta-creation and algorithmic composition - Reflections on the distance from the creator to the audience
Ali Miharbi - Turquia | Turkey
Top-down X Bottom-up: Obras recentes | Top-down vs. Bottom-up: Recent Works
Eric Siu - Honk Kong e Japão | Hong Kong and Japan
Corpo dirigido pela mídia: Massagem de karaokê | Media Driven Body: Karaoke Massage
Ben Jack - Nova Zelândia | New Zealand
Cérebros, computadores e emergência: Mágica mental em um mundo digital | Brains, computers and emergence: Mental magic in a digital world
Kazushi Mukaiyama - Japão | Japan
IJIROS
Mesa Redonda | Round Table
Daniel Gonzalez Xavier (coordenação e mediação | coordination and mediation) Brasil | Brazil; Fernando Velázquez - Montevidéu-Uruguai; Milton Sogabe - Brasil | Brazil; Miguel de Castro Perez - Brasil | Brazil; Ricardo Palmieri - Brasil | Brazil; Vanessa Fort - Brasil | Brazil
Processos mistos de criação e gestão de práticas artísticas, tecnológicas e culturais: Uma aproximação aos Encontros AVLAB e outros modelos de gestão compartilhada e em constante trânsito físico/online | Mixed processes of creation and management of artistic, technological and cultural practices: An approach to the AVLAB Meetings and other shared and in constant physical/online transit management models
20.07.2011
Andreas muk Haider - Áustria | Austria
Skia
Hye Yeon Nam - Coréia e Estados Unidos | Korea and United States
Por favor, sorria | Please Smile
Julian Jaramillo Arango - Brasil | Brazil
O Cubo Feliz | The Happy Cube
Matt Roberts - Estados Unidos | United States
Quem está no controle? Criando arte com dados em tempo real e interação do usuário | Who is in control? Creating art using real-time data and user interaction
Ricardo Iglesias García - Espanha | Spain
Arte, robôs e câmeras de vigilância | Art, robots and surveillance cameras
Mesa Redonda | Round Table
Ana Carla Fonseca (Garimpo de Soluções) Brasil | Brazil; Expedito Araújo (Vivo EnCena) Brasil | Brazil; Laura Corrêa (ItsNoon) Brasil | Brazil; Piatã Stoklos Kignel (Banco Santander) Brasil | Brazil
Economia Criativa | Creative Economy
21.07.2011
Sergio Roclaw Basbaum - Brasil | Brazil
Percepção e experiência em ambientes digitais: tecnoestese e infocognição | Perception and experience in digital environments: tecnoaesthesis and infocognition
Eduardo Patrício - Brasil | Brazil
Desenvolvimento de Instrumentos Musicais Digitais como atividade composicional | Development of musical instruments as a compositional activity
Giuliano Obici - Brasil | Brazil
Lanhouse e seus devires | LAN houses and their devires
Claudia Paulina González Godoy - Chile | Chile
Arte, Hardware Aberto e Cultura DIY | Art, Open Hardware and DIY Culture
Douglas Easterly - Nova Zelândia e Estados Unidos | New Zealand and United States
Escapando ao solipsismo: Inteligência Artificial, design de jogos | Escaping Solipsism: Artificial Intelligence, Game Design
Victoria Messi - Argentina | Argentina
Anti Utopia: Arte Eletrônica na América Latina | Anti Utopia: Electronic Art in Latin America
Gabriela Previdello - Brasil | Brazil
Fluxo da informação na contemporaneidade: a memória reordenada nas estruturas do FILE Arquivo | Contemporary information flow: the reordered memory on FILE Archive structures
Mesa Redonda | Round Table
Eliane Weizmann (coordenação e mediação | coordination and mediation) Brasil | Brazil; Alessandro Ludovico (neural) Itália | Italy; Alexandre Matias (Editor do caderno de cultura digital do jornal O Estado de S. Paulo) Brasil | Brazil; Régine Debatty (we make money not art) Bélgica | Belgium; Victoria Messi (El Pez Eléctrico) Argentina | Argentina
Jornalismo Cultural | Cultural Journalism
22.07.2011
Fernando Macedo - Brasil | Brazil
"Música para fala e trinta minutos", por PirarucuDuo | "Music for speech and 30 minutes" by Pirarucu Duo
Eduardo Omine - Brasil | Brazil
Fragmentos em ar curvo | Fragments in curved air
Christian Oyarzún Roa - Chile | Chile
G: Representações e reformulações do global de uma perspectiva meridional | G: representations and reformulations of the global from a South view
Karla Schuch Brunet - Brasil | Brazil
Geografias do Mar # Ilhas | Geographies of the Sea # Islands
Rachel Zuanon Dias / Geraldo Lima - Brasil | Brazil
Desenhando biointerfaces usáveis para jogar: o BioBodyGame e o NeuroBodyGame | Geographies of the Sea # Islands
Mesa Redonda | Round Table
Franklin Lee (AA) (coordenação e mediação | coordination and mediation); Anne Save de Beaurecueil (SUBdV) >; Robert Smith Stuart (Kokkugia); Sandro Tubertini (BDSP); Thiago Mundim (AA)
Coreografando Arquitetura Computacional | Choreographing Computational Architecture
i set about making a barrel looking shrink pot from some ash,and once made i thought it would make a fine drinking vessel so i set about making the handle and lid,which was a challenge! no glues or nails used in construction,just a hand filed tapered pin for the hinge,all i have to do now is seal around the base with brewers pitch to make it water tight.
Today I played with something so cool and different!
I made buttons of my son's face!!! ^u^
I LOVE transparent things so this worked perfectly for me!
I was looking for cool and different ways of making my own labels and I think I found it.
I did not have time to work on the labels yet, but as soon as they are done, I'll post in here.
The buttons are very easy to make: you just need to have the Shrink Dinks plastic, scrapbook cutter, punch hole, permanent marker pens and an oven. You cut the plastic, make your drawing on it, put it on the oven and it's done!!! ^u^
It shrinks and gets thicker than the original plastic! It's so cool!!! ^u^
You can make a lot of stuff with it!!
To learn more: www.shrinkydinks.com/
Time Range: 1985-2021
Landsat 1-8
Authors: Daniel Thiex, Sabina Dolenc
Contains modified USGS Landsat data [1985-2021], processed by Sentinel Hub
The Aral Sea was once the fourth largest lake in the world. When the Soviet Union diverted two major rivers to irrigate farmland in the 1960s, the inland sea was cut off from its source. Since then, the Aral Sea has been slowly disappearing. These images from various satellites and collections show how the Aral Sea has changed in recent decades.
Amazingly we work with the object she will be holding much like we did the woman. We use the magic eraser and remove as much of the background as you want to deal with (you can see i just focus around the object itself) then select it using the rectangle marquee again. Then copy/cut then paste it into the main picture we have been working on. Then use the transform option to make it to the size you want kinda keeping it about where you want it in the picture so you can see if the size is right...
Okay NEXT STEP!!
Once you have copied and pasted the subject in you should see two layers, one layer is the original picture of the dice bowl, the second is the slightly over sized woman. Keep the woman active, highlighted... selected... the little bar blue.. whatever.. keep working on that.
Now that we have our woman sitting on the dice box we have to make her fit to scale. Within the edit menu, head towards the bottom to where you see TRANSFORM!! hold your mouse there until a second menu pops out to the side. Now select scale. This will let you change the size of the amazing shrinking woman!!
Stephanie writes: "The cosmetic makeup company, MAC, (not to be confused with the computer company) recently came out with a new collection of makeup. This new collection was called "overrich" and they are jars of loose pigments that are commonly used for eyeshadow. MAC sells pigments all the time, and they have always been 7.5 grams. With the new colors, however, there was a rumor they were only selling 4.3 grams of pigment, in the same size jar as the 7.5 gram pigments, and at the same price. I went online to the MAC website, and the website said the new overrich pigments were the usualy 7.5 So I went to my local MAC counter to buy this new collection. Before purchasing, I asked the sales representative If the new pigments came with less product. She told me no, they are all the same. So I purchased a few jars of the new collection. I went home, opened up my jars, and saw they were only half full! I looked on the box, and the box said "4.3 grams". So, the MAC website and the MAC sales associate both lied to me. I immediately emailed MAC customer service and told them how deceptive this was. They emailed me back a couple days later with a generic email that said they were sorry for the confusion, and the new MAC pigments come with 4.3 grams. They did not explain why their website and the MAC associate pulled the bait and switch on me. 2 Days ago, nearly 2 weeks after the collection has come out, they finally decided to change their website sizing for the new pigments. It's too late for many of us, however, that already purchased the items. So basically, MAC decided to shrink their new products by nearly 45% and lie to their customers about it. I have the MAC response email: "Thank you for taking the time to contact us and for your interest in M.A.C. With regard to your comments, Pigments weight varies based on the density of product. Containers can appear to be less than full due to settling of the product. We would also like to inform you that Blonde’s Gold, Heritage Rouge, Copperbeam, Vintage Gold, Antique Green and Museum Bronze are 4.3g, while Mauvement and Mega-Rich are 7.5g. We apologize for any misunderstanding; please be assured your comments have been forwarded to the appropriate executives. We trust the above addresses your concern. We hope that we have the opportunity to serve you in the near future. Again, thank you for taking the time to share your thoughts and concerns. Sincerely, Kiola Toussaint-Brew Response Representative Global Consumer Communications"