cvstodia

Quiera y @bailecomoquiera

artchipel:

Patricia March (Spain) - Lo sutil en lo invisible

Patricia March is a Spanish artist based in Valencia, for whom the time is something like water that erodes and destroys the form while new ones are building. Like the rain, time is cyclic. In March’s drawings, there is a double reading, one from left to right and the other from right to left. The characters seem dominated by water movement, while resurfacing. That’s how artist perceives the time, and she uses the paper polyester, which allows her to perform these washes and erosion.

[more Patricia March | artists found at foxmouth]

(via poopingiscute)

prostheticknowledge:

Litterae Finis

Textmode demoscene winner of TDMC 2012 put together by Trauma - very impressive stylistically rendering 3D objects in ASCII.

Video embedded below:

Alternatively, you can download the demo yourself at Pouet here (it is much much better than the video above, sharper and cleaner, Windows only).

prostheticknowledge:

manwitha.mov

My submission for the ‘Run Computer Run’ AR show exhibition ‘Economics + The Immaterial’: avant-guard film classic ‘Man With A Movie Camera’ meets 8-Bit aesthetics of computers which had an impact in Russia.

Apologies for gratuitous self-promotion - video and synopsis below:

manwitha.mov from Rich Oglesby on Vimeo.

Created for the ‘Economics + The Immaterial’ exhibition, part of the ‘Run Computer Run’ show at the Rua Red Gallery from May 25 to 13 July.
runcomputerrun.com/?page_id=8313

A visual experiment of curiosity and theoretical connections, of culture and technology (in particular, Russia), information transference and reproduction through media, analogue and digital.

The project aims to be a combination of two Russian cultural artifacts, a visualization of the results. First, “Man With A Movie Camera”, an avant-guard film directed by Dziga Vertov, demonstrated the creative use of filming, employing techniques developed and practiced for years by the director. In the context of this piece, the original film could be considered a “demoscene production”, exploring and pushing the creative possibilities of a technology. Second, the growth of ZX Spectrum clones in Russia during the 1980′s, in which colour and cheap digital computing grew from reverse-engineering and redevelopment. The availability of these various computer clones evolved a homebrew creative scene around the former Soviet bloc. There is still a strong creative demoscene around these machines in Russia today.

The whole of the ‘Man With A Movie Camera’ film has been converted into a representational format within the ZX Spectrum graphics protocol, reduced to 256 by 192 pixels, with each 8 by 8 pixel area represented by just two colours available from the system. The original file was downloaded from the internet (in .mov format) – it is worth bearing in mind that this file of information itself has travelled to and from various technological formats itself: without even taking into consideration the editing and filming or the original film, the information has been transferred to video tape, then a digital video file, and then on a video hosting site, each stage which has it’s own technical protocols which would effect the fidelity of visual representation.
The film has been converted to ZX Spectrum visual protocol manually on a shot by shot basis to produce the best representation of the film as much as possible.

Asi fue?

Galis

heavygraffic:

Edgar Allan Poe portrait by Cristiano Siqueira

(via noisenoisenoise)

Glitch de toner y papel

sirmitchell:

For my recent show at Mondo Gallery I put together a collection of Bastards. Proofs and damaged prints that I ripped up and created new portraits out of. The results were interesting, sometimes hilarious, and once in a while, terrifying. You can see all 23 on sirmikeofmitchell.com

You can see (and purchase) them in person at Mondo Gallery in Austin, TX until May 25th.