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era domingo y Lorenzo acariciaba mi cara. más tarde, y perdido, desapareció la austeridad y alguna gota sentí caer. un domingo nunca es un domingo sin su desajustada dosis de nostalgia.
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Poem from the visual poetry book SemSé. Published in edition of 100.
44 pages in color.
Every copy signed and numbered by the artist Ragnhildur Jóhanns.
Up I go
Higher I climb
To the sky I rise
Further up, farther up
Going and going
Climbing and climbing
Rising and rising
Don't look down now, do not look down no more
These images represent three distinct visual sensing techniques. The top picture represents a true-color image, the middle an infrared image, and the bottom an elevation image. The images were taken in March 2008 over Hatteras Island, North Carolina.
To learn more about remote sensing, visit:
Remote Sensing Division, National Geodetic Survey
Coastal Remote Sensing Program, NOAA Coastal Services Center
(Original source: National Ocean Service Image Gallery)
Pages done for Decorated Page Workshop, Lesson 4 Cutouts and Addons plus Patterns and Motifs, also Lesson 3 stamped background.
My big Roman numeral ten is both a cutout and an add on. It doesn't show, but I also used my new Versamark inkpad to stamp it. I like the look. It's very understated.
The X's/Roman numeral 10 serve as both motif and pattern. The hand carved stamp that I stamped with my new Versamark inkpad is also patterning. I love the Versamark! I'm going to get a lot of use out of that one.
The piece that reads Mon Jesus is from my great-grandfather Aristide Huybrecht's funeral phamplet. He was a French speaking Belgian who emigrated to Canada.
I didn't think about it when I was picking the pictures to use for the collage, but I like that David is looking toward his descendent Jesus on the cross.
Visual Kei CD
Various artists Double CD
V.A CD Shock Edge 2002
SUPER COMPLATION CD
blog:http://v-keiband.blogspot.com/
Live visual at Kazantip Festival in Ukraine played live with my homemade software CloneMixer 3.0
100% realtime and 100% generated graphics.
Video here : vimeo.com/48329794
UnionDocs presents the first screening of the Optical Boundaries tour. This program features three filmmakers whose respective works explore a variety of environments as well as the formal properties of the film medium. Though working independently, their films culminate in an examination of the film material as a true document of past and present. Each artist calls attention to the process of separation and recombination through the use of discarded View-master cells, appropriated 16mm nature footage, and a kaleidoscopic amalgam of the new and old world.
Program runtime approximately 60 minutes.
HHOOWWLLby Steve Cossman
USA, 2010, 7 minutes, 16mm
Shot on a Kodak Cine II special effects camera, a collection of recognizable masks are captured and layered on film. The screaming colors fuse together in a choir of haunting forms, slipping and melting on the screens surface.
CRUSHERby Steve Cossman
USA, 2010 video transferred to 16mm
An unabridged photograph translated from its still print. Read left to right, pixel by pixel, CRUSHER mechanically sequences single color as single frame creating organic waves of color.
TUSSLEMUSCLE by Steve Cossman
USA, 2007-9, 5 minutes, 16mm
The work presented is a reflection on humanity’s ecological relationship and the ritual of restoration. The violent pulse speaks with a sense of urgency and chaotic struggle while the hypnotic arrangement keeps us in blinding awe us to its condition. TUSSLEMUSCLE is composed of 7,000 single frames, which were appropriated from view-master reel cells. Each frame was hand-spliced to create a linear film-strip.
tonal tide by Ross Nugent
USA, 2009,9 minutes, 16mm
This camera-less film was conceived as a darkroom performance to expose the potential and vulnerability of the color film stock at hand. Both the image and sound were created by flashing raw stock; a peculiar pattern emerged in the soundtrack area as light was scattered by the edge of the film base.
Spillway Study/ Carpe Diez by Ross Nugent
USA, 2010, 8 minutes, 16mm
This three-projector piece was created as a color separation project using 16mm Kodachrome nature photography footage from the late ‘70s as its source. The original was optically printed onto three strands and arranged to simultaneously abstract and call attention to the forces at hand. Using a primary color filter on each projector (R-G-B) and some precise hand-jiving, I combine the images and tease out a range colors.
Sahara Mosaic by Fern Silva
USA, 2009, 10 minutes, 16mm
An orientalist kaleidoscope that constitutes a geographically complex yet cinematic whole. From Egypt to Las Vegas: the old and the new world are reflected and doubled in this experimental travelogue.
Steve Cossman received his BFA in Sculpture from Albright College and went on to study Animation in the Czech Republic at FAMU. After returning to the United States, he worked as artist assistant to John Chamberlain from 2006-2009 during which his focus turned primarily to film and video work. Currently he lives and works in Brooklyn, NY. There he is founder/director of Mono No Aware, an ‘annual exhibition of expanded cinema’ showcasing contemporary artists who incorporate live projections as part of their work. Cossman believes that ‘time is constantly moving within a framework of units and that this irrepressible motion is the nexus of human experience’. Working to create a resonating interval, he often re-structures a familiar sequence within a patterned visual language causing the viewer to give thought to established perceptional relationships. Recent film screenings of his work include Ann Arbor Film Festival, Chicago Underground Film Festival, Milwaukee Underground Film Festival, Seattle International Film Festival, and VideoEx in Zurich. His work can be found in the collections of the University of Seattle, WA, University of Hartford Art School, and The Len Lye Foundation, New Zealand. A solo show of his video works will be held in March 2011 at Trinity College, CT.
Ross Nugent hails from wilds of Western Pennsylvania. He earned a BA in Film Studies at the University of Pittsburgh and studied film and video production at Pittsburgh Filmmakers, where he began working in media exhibition in 2003. Ross served as the Exhibition Coordinator from 2005-2008, and matriculated to the University of Wisconsin-Milwaukee to pursue an MFA in Film. He is also the Program Manager of the UWM Union Theatre, the Faculty Advisor for the Milwaukee Underground Film Festival, and an instructor in the Film Dept.
His film, video, installation, and sculptural work is rooted in using process-oriented techniques of film production, including contact and optical printing, and examines nostalgia and decay as mediated through cinema. Poetic gestures emerge through hand-manipulation of film material, which serves as the impetus for many of his artistic endeavors. His current work includes live cinema projects. Exhibitions of these multi-projector performances include The Museum of Modern Art (NYC) as part of a group show utilizing Analyst projectors, Mono No Aware (NYC), and recently at the Onion City Experimental Film and Video Festival (Chicago).
Since 2005, Fern Silva has been an active filmmaker whose personal journeys and impulsery disposition give rise to his visionary process. He has created a body of film, video, and projection work that conveys a congruent existence through the aesthetics of reflections and detriments within controlled microcosms. His work has been screened and performed at various festivals, galleries, and cinematheques including International Film Festival Rotterdam, New York Film Festival, Anthology Film Archive, Images Festival, IndieLisboa International Film Festival, Bangkok Experimental Film Festival, Biennale Bandits-Mages Festival, Roulette Gallery, Millennium Film Workshop, White Box Gallery, 119 Gallery, and P.S.1. Fern Silva is from central Connecticut, he received a BFA from Massachusetts College of Art and his MFA from Bard College. Fern will be screening two works as part of this years Views from the Avant-Garde.