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Knowing what each term used in typography means is very useful, however, I want to learn more about the subject. The do's and dont's of typography and creation processes are still quite foreign to me, therefore I will be sure to ask my teachers for a book recommendation which will help me better understand the subject, preferably one that's available in the library so I don't have to look for pdf files.
Sources: Adobe guide (a text file listing typographic terms followed by descriptions of each one of them).

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From the research that I've done on Saul Bass I've learned that typography plays an important role when conveying a message through text. However, most importantly, this message is not exclusively transmitted by the typeface but also by arrangement and placement of words, as you can see in the poster Bass made for the motion picture Anatomy of a Murder, which presents the text in a truncated form within the silhouette of a torn human body. This helps transmit an additional emphasis on the term Anatomy, by presenting the body in a separated and analytical (in the sense of individually observed) manner, and the term Murder, illustrated by the horizontal disposition of the illustrated body, which facilitates the writing of the words in a traditional linear fashion, making the act of reading them easier. The torn body also evokes the feeling of violence!
The fact that Bass has created works for motion pictures (not posters, but actual typographical works within a movie e.g. North by Northwest & Psycho) made me notice the importance of typography in media which I consumed after my research, including, also, the area which I want to study in my bachelors course, videogame design. I was reminded of iconic sequences in games such as the Metal Gear series, Borderlands series' opening sequences, Undertale and Typing of the Dead which both use typography as a gameplay aspect, either as a quick boss mechanic or as the whole game's premise!
Fact is that Saul Bass's work is impressive in the aspect that it possesses an iconic aesthetic which is easily identifiable, which is something difficult to achieve, especially if you produce for mainstream media, which is the case however good the works to which he produced may be. A simple, and loose style which still elegantly demonstrates the essence of the message which is being given seems to be quite an achievement for someone who works with typography.
Therefore, I feel as if exploring typography is a fantastic idea for me. This seems to be a great resource of expression which I've been wrongfully neglecting, and this was made clear by Bass's efficient stylistic versatility, which spans from posters to film sequences.

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A book I saw during the library induction— it caught my eye due to its introduction which was eloquently written and extremely interesting to read. Even though it is a book which focuses on photography, the lone, small amount of text in it, to me, felt like its greatest quality.
The introduction was an excellent example of how context is important for art. The pictures however interesting or impressive they may be, are a mere repetition of the same message, which is made clear by the introduction.
When it comes to photography techniques, the book doesn't bring much to the table. Most pictures are subject-specific and when there are multiple subjects present, there isn't much dynamic between them. If anything, the book is a documentation of impressive costume and character design with heavy cultural and rustic elements. This and the fantastic introduction text make this work worth looking at, since it is a very quick read.

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Giaccomo Balla-
Futurist, works possess static representations of movement.
Angled lines, half swirls, waves dynamic colour blocks
relevant: Swifts: Paths of movement + Dynamic Sequences 1913

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Website which concentrates creative knowledge, extremely useful for looking at news, trends and references for future projects. Great platform for research, with written info and sources for works.

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Another great source of news and references regarding, more specifically, the visual arts, with better written articles but less  research friendly interface. Probably better than It's Nice That in my opinion for most things, though it is useful to know both websites for a wider array of research subjects.

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Each winter in Ely, Minnesota, a crew treks out onto a frozen lake to cut hefty blocks of ice from its surface. They haul the thick chunks to storage, where they're stacked, covered in sawdust, and preserved for use the rest of the year, a once-necessary method of refrigeration rarely applied today. Consisting of dozens of people, some who have been dedicated to the cause for decades and others who joined in the last year or two, the team engages in the age-old practice of harvesting the frozen blocks at the property of legendary explorer and preservationist Will Steger.

Produced by Gravity Films and directed by Nathaniel Schmidt, "Ice Ball" follows the crew throughout two seasons as they endure below freezing temperatures, a typical condition for Minnesota winters that made filming extra challenging, at the explorer's sustainable enclave in the North Woods. The short documentary spotlights the community that's gathered around Steger since his Arctic expeditions and chronicles their devotion to more sustainable ways of living.

As the disastrous effects of the climate crisis accelerate, historic methods like the ice harvest reduce the reliance on carbon-based energy sources and offer an urgent alternative. "All of the ice shelves that I've traveled on in the polar regions, north and south, they're not there anymore. We're at this crisis now, the human race and the planet. We're going to have to innovate out of it, and this is what it's about," Steger says.

According to Short of the Week, Schmidt is currently working on a feature-length documentary about the life of a Wiradjuri woman. It's slated for release next August, and in the meantime, you can find more of his work on Vimeo.

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Each winter in Ely, Minnesota, a crew treks out onto a frozen lake to cut hefty blocks of ice from its surface. They haul the thick chunks to storage, where they're stacked, covered in sawdust, and preserved for use the rest of the year, a once-necessary method of refrigeration rarely applied today.

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Suggested work included in the brief bibliography. Interesting concept, though I believe it to be incoherent with my intention of creating a very physical and sturdy 3D model. This, however is very interesting for my entropy project. Seeing this made it clear that I should be open to any possible changes  that I might come up with as I develop my skills throughout the foundation course.

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I saw a tumblr post with this fantastic cross/letter t. Turns out it was a project by Jack Archer done a few years ago called "TV Typeface." Really liked this retro project. Going to try and contact him to get a poster of one of these images. Checkout the bts above.

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Project Details via his website:
"A project inspired by the phrase "Turn off your TV" mentioned in a lecture by adventurer Alastair Humphreys. To illustrate this idea I built a shelving unit to house 15 small televisions; creating a dot-matrix grid where individual TV's could be turned on or off, to produce different letterforms and numbers.
Below is a time lapse film documenting the set-up, process and tear-down of the project. A digital camera recorded the film by capturing a single image every 06 seconds. Thanks to Beccie, Rich and John."
[/note]

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I saw a tumblr post with this fantastic cross/letter t. Turns out it was a project by Jack Archer done a few years ago called "TV Typeface." Really liked this retro project. Going to try and contact him to get a poster of one of these images. Checkout the bts above.

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From his many works I got interested in one specifically which inspired me for the presentation of my collection. However, since my collection is much more light hearted than his, the inspiration didn't come from the concept of his installation but the physical display of it. The way the cables overlap each other, connecting from portrait to portrait reminded me of a detective's cork board you see in movies and tv series, where you see pictures and newspaper articles which are linked with string to indicate connections. This was clearly not an intended allusion of Boltansky's but I found the comparison quite enlightening for my own work.

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A good work of art can never be read in one way. My work is full of contradictions. An artwork is open-it is the spectators looking at the work who make the piece, using their own background. A lamp in my work might make you think of a police interrogation, but it's also religious, like...

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Blimp knot- the one I decided to use for my project. Knowing how to make some knots can be extremely useful even for artistic practice, whether it is to create an ornamental element or to use them more functionally. This website has many more knots separated by type and usefulness. Very good resource to have!

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Blimp Knot | Knot Tying | Survival Knots

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this is survivalworld.com's guide to tying a blimp knot including step by step instructions with pictorial and instructoinal video

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The concept of found objects telling stories resonated with me. I felt as though I wanted to tell a story with my collection of stolen socks therefore I made sure to think of a way to build a narrative through the works I developed throughout the week. His work is interesting because without context it just looks like an anachronistic pile of garbage, but through context the work grows in meaning and impact exponentially. I wanted that for my collection.

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Pitt Rivers Museum, Oxford

We know that earlier cultures such as the Babylonian (2200 BC - 538 BC), the Ancient Greek (1600 BC - 197 BC) and the Roman (396 BC - 410 AD) all had collections, which almost certainly had economic, religious, magical, historic, aesthetic or personal connotations for the owners. However, it wasn't until the Renaissance (literally meaning rebirth) of art and literature in fourteenth-century that there consistently appeared collections which were preserved and interpreted - the modern definition of what a museum is.

These collections were created as a result of a growing desire among the peoples of Europe to place mankind accurately within the grand scheme of nature and the divine. This need developed during the fourteenth century and continued into the seventeenth century (the period of the Renaissance). These collections were generally known as cabinets, or curiosity cabinets, in England and France, and in the German speaking countries they were called kammer or kabinette. Greater precision was sometimes applied to the description of the collections in these cabinets, so there were kunstkammer (art cabinets), schatzkammer (treasure cabinets), rüstkammer (history cabinets), and finally wunderkammer (marvel or curiosity cabinets). Within the time period that these cabinets were created (the Renaissance) the terms wunderkammer or curiosity cabinet became the generic terms for them.

Wunderkammer or curiosity cabinets were collections of rare, valuable, historically important or unusual objects, which generally were compiled by a single person, normally a scholar or nobleman, for study and/or entertainment. The Renaissance wunderkammer, like the modern museum, were subject to preservation and interpretation. However, they differed from the modern museum in some fundamental aspects of purpose and meaning. Renaissance wunderkammer were private spaces, created and formed around a deeply held belief that all things were linked to one another through either visible or invisible similarities. People believed that by detecting those visible and invisible signs and by recognizing the similarities between objects, they would be brought to an understanding of how the world functioned, and what humanity's place in it was.

The wunderkammer collections were displayed in multi-compartmented cabinets and vitrines, (which later in the Renaissance grew to be entire rooms), and were arranged so as to 'inspire wonder and stimulate creative thought' (Putnam p10). Exotic natural objects, art, treasures and diverse items of clothing or tools from distant lands and cultures were all sought for the wunderkammer. Particularly highly prized were unusual and rare items which crossed or blurred the lines between animal, vegetable and mineral. Examples of these were corals and fossils and above all else objects such as narwhal tusks which were thought to be the horns of unicorns and were considered to be magical.

As time passed and the wunderkammer evolved and grew in importance, the small private cabinets (which nearly all wunderkammer had begun as), were absorbed into larger ones. In turn these larger cabinets were bought by gentlemen, noblemen and finally royalty for their amusement and edification and merged into cabinets so large that they took over entire rooms. After a time, these noble and royal collections were institutionalized and turned into public museums. A very few examples of this process are: the cabinet of the London apothecary James Petiver (c.1663-1718) which was bought by Sir Hans Sloane, and became the basis of the British Museum. The great natural history cabinets of Fredric Ruysch (1638-1731) and Albert Seba (1665-1736), both of which were bought by Tsar Peter the Great of Russia (1672-1725), and can still be viewed in the kunstkammer gallery in St. Petersburg (Leningrad). And finally the Ark, the Wunderkammer of John Tradescant Senior (c.1570-1638), and John Tredescant the younger (1608-1662). This large and varied collection was open to the public for payment of sixpence (unlike the vast majority of other wunderkammer, which were kept private) in the Tradescant's home in Lambeth. This collection had been recognized for it variety and even utility while controlled by the Tradescants, but it was under the ownership of Elias Ashmole (1617-1692) who inherited it by deed of gift through inheritance from John Tredescant the younger in 1659, that the collection's scientific usefulness was finally and fully acknowledged.

Elias Ashmole donated the collection to Oxford University in 1677. He did this in the belief that the study of nature was 'very necessaries to humaine life, health, and the conveniences thereof' (MacGregor 1985 p206). The Ashmolean museum is the oldest public museum, and the first purpose built museum in the world. However, it was not its originality that brought recognition of its utility. A collection of curiosities had been a part of Oxford's Bodlean Library almost from its start. What was almost certainly responsible for the Ashmolean Museum's intellectual success was its laboratory and lecture hall, housed respectively on the ground and first floors of the original Ashmolean Museum building. These facilities helped enable scientific research and discovery, in much the same way that the research centers and library at the Tate galleries help art scholars and researchers today. The scholarly and educational aims that were Elias Ashmole's founding objectives for the museum are still driving forces behind its work.

The period from the late seventeenth to the early eighteenth century saw the decline and death of the Renaissance and the beginning of the classical age, the Age of Reason. During this period the beliefs of the Renaissance were challenged and overturned, and new ways of viewing and understanding the world were introduced. However, the Renaissance approach to collection and display did not die out completely at the end of the seventeenth century but continued in pockets, which survive in various forms even today. The Pitt Rivers Museum in Oxford is an excellent example of a modern curiosity cabinet with modern collection methods, meanings and purposes.

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Digging the Thames with Mark Dion - Look Closer | Tate

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We know that earlier cultures such as the Babylonian (2200 BC - 538 BC), the Ancient Greek (1600 BC - 197 BC) and the Roman (396 BC - 410 AD) all had collections, which almost certainly had economic, religious, magical, historic, aesthetic or personal connotations for the owners.

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Adjustable knot - the one I used temporarily to help set up the ropes and to keep everything in place while I wove the M. Also very useful!

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Dedicated to the unknown artists by Susan Tate

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Dedicated to the unknown artists by Susan Tate

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The concept of taking a mundane object and elevating it to something more special was something that I absolutely needed for my collection. One thing that worried me was the fact that many people thought I just emptied my sock drawer in the morning and brought it to class, and that was my collection. I was worried about how I could make it so people would take their time to look at my work and realize that the socks were in fact stolen. The fact that in this exhibit the lack of information regarding the artists who made the original works is the main focus gave me the idea to not show my collection at all, instead show representations of it and make its absence the major coherence factor to the concept of them being stolen!

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Dedicated to the Unknown Artists consists of 14 panels, featuring over 300 original postcards depicting waves crashing onto shores around Britain. A large map annotated with each of the locations featured in the postcards is included in the first panel. The title identifies the work as a tribute to the overlooked and forgotten artists who painted, photographed or hand-tinted the numerous seaside images. By making such commonplace objects the subject of a dedicated and extensive presentation, Hiller gives the mundane new status. This work also demonstrates Hiller's interest in the theme of memory and memorials.
Gallery label, October 2013

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dossiers and exhibition catalogues and 1 painted wooden book stand

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'Dedicated to the Unknown Artists', Susan Hiller, 1972-6 | Tate

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Artwork page for 'Dedicated to the Unknown Artists', Susan Hiller, 1972-6 Dedicated to the Unknown Artists consists of 14 panels, featuring over 300 original postcards depicting waves crashing onto shores around Britain. A large map annotated with each of the locations featured in the postcards is included in the first panel.

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I have always liked his style so I saw this assignment as an opportunity to learn more about this artist. Even though his protest pieces aren't necessarily his most popular, they still showed me some interesting ways in which personality may manifest itself through a protest that comes from one's own experience and frustrations. Here is linked Harings official website which has plenty of information about him and his works.

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Established by the artist in 1989, the Keith Haring Foundation perpetuates Haring's artistic and philanthropic legacy through the preservation and circulation of his artwork and archives, and by providing grants to children in need and those affected by HIV/AIDS.

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I first saw their works in an exhibit at MASP, and when I saw their work being recommended for research I was reminded of the extremely powerful and fascinating way they protest. The use of statistics and shocking facts, accompanied by rallying cries gives their claims immense intensity. I took this into consideration when trying to provide ways to inform observers of the issue I was protesting. Here is linked their (extremely polished and impressive) website from which I did my research on them.

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We are so excited to tell you about our new book: hundreds of projects about sexism, racism, corruption and other bad behavior in art, film, culture and politics ... we just can't stop! Help us keep up the fight, especially in these times. CREATIVE COMPLAINING WORKS!
xoxo, Guerrilla Girls

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We are so excited to tell you about our new book: hundreds of projects about sexism, racism, corruption and other bad behavior in art, film, culture and politics ... we just can't stop! Help us keep up the fight, especially in these times. CREATIVE COMPLAINING WORKS! xoxo, Guerrilla Girls

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He is a very impressive designer whose minimalist style caught my eye mostly because I feel like I must learn to produce more minimalist works.
He is well known for his anti-war posters, which present witty compositions using perspective, negative space and strong symbolism to provide an extremely strong impact on the observer. Bold colors and easy to identify graphic elements are what respectively bring attention and facilitate understanding. Very important things to consider when designing posters. Here is linked an article on his anti-war protest posters.

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If Shigeo Fukuda were alive today, I wonder what he would say; what he would make. The Japanese influential graphic designer - he passed away in 2009 - used minimal graphics to voice antiwar and environmental advocacy messages. Perhaps the most well-known, or the one that stands out most to me, is "Victory 1945," showing a projectile artillery shell heading straight for the opening of the cannon barrel. It was this type of visually humorous yet elusive style that made Fukuda's posters so powerful.

Although Fukuda had a few commercial clients like UCC Ueshima Coffee, the majority of his work was devoted to social and cultural concerns. He "was known for acerbic antiwar and environmental advocacy posters," wrote design writer Steven Heller, "that distilled complex concepts into compelling images of logo-simplicity." He did a lot of work for Amnesty International, one of the more memorable a poster showing a drawing of a clenched fist interwoven with barbed wire.

In times like this, when Japan prepares to take a step towards a dark path, the presence, or lack thereof, of people like Shigeo Fukuda becomes especially pronounced.

An example of his cultural work is shown above. The official poster for the 1970 World's Fair in Osaka.

Fukuda did, of course, have a few commercial clients. One of them was UCC Ueshima Coffee, for which he designed these playful, repetitive ads. He once told Idea Magazine that "I believe that in design, 30 percent dignity, 20 percent beauty and 50 percent absurdity are necessary."

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Antiwar Posters by Graphic Designer Shigeo Fukuda

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If Shigeo Fukuda were alive today, I wonder what he would say; what he would make. The Japanese influential graphic designer - he passed away in 2009 - used minimal graphics to voice antiwar and environmental advocacy messages.

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I wanted to look at works of Brazilian artists and decided to research this group specifically because they act in the city I live in and many of their works are in the region in which I live, so I have seen their creations before, I just hadn't realized they belonged to this group specifically. It is good to research a contemporary group and, even better, one that walks the same streets you do because you can get very close to their perspective of the world. The likelihood of their issues also being my issues is very high, therefore helping me identify ways through which I could protest problems I face in my daily life. From them I had the idea of sticking posters on walls. I also liked the idea of using a traditional Brazilian art style for my posters but I thought that it would be extremely incoherent contextually for me to do so. Here is linked a collection of pictures of their works displayed on the streets of Sao Paulo. Many of them are still there! I made sure to check some of the locations I recognized in person.

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I want to say many things about this artist but I'll keep things short. First of all she is a master of impact and her works feel fresh and contemporary, yet tell stories of struggles from decades ago. This evokes reflection on how some big issues still go unresolved after so many years. I want to do that for my project but to be honest I haven't a clue on how to do it. Her choices of color are also very good. I honestly feel like there isn't any other way one could have arranged the pallete of her works. I would do well to remember her choice of colour since this is an area in which I lack so much skill. The clear, clean typography used by her is also fantastic for protest pieces since it is so easy to read. I must use something like that for my posters. Maybe the Ubuntu terminal font would be a good candidate. Here is a link for a decent collection of information on her.

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Conceptual artist Barbara Kruger rose to prominence in the 1980s for prints that juxtaposed black-and-white found photographs with bold, invented texts. In her most famous works, she prints wry and earnest slogans-"I shop therefore I am" and "Your ...
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Barbara Kruger - Biography, Shows, Articles & More | Artsy

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Discover and purchase Barbara Kruger's artworks, available for sale. Browse our selection of paintings, prints, and sculptures by the artist, and find art you love.

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Since a major problem I faced with my protest was obscurity I decided to also try to reuse awareness toward the issue I brought up since, in my opinion, it is of concern for everyone who uses the internet or is dissatisfied with the influence of investors and obsessive regulation and monitoring by governments regarding new technologies.
The following links present a "what is" and a "why is" to my protest regarding the boycott of the potential uses of blockchain technology. These links are what the two QR codes on my works direct you to.

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Blockchain - security in plain sight

It is a widely accepted belief that computers are unreliable when it comes to storing information. Unless you put the machine away in some absolutely secluded and completely secured bunker without any Internet or human access, someone (or something) will find a way to break into it and damage your data. It has seemed for quite a long time, that this problem has no actual working solution, only the obscure "illuminati confirmed" kind. Well, while that type of problem-solving might work just fine for some, serious businesses usually require more down-to-Earth approaches.

Thankfully, there is one now. The name of it is blockchain, and the technology, while seemingly simple and transparent, is, in fact, impenetrable.

Blockchain is the imminent future of our computer networks. It's a very cost-efficient system, in which everyone is the judge and protector of information, both theirs and someone else's. Inside of a blockchain, there is no danger that your data will be stolen, changed or tampered with - simply because everyone is watching and keeping exact records of everything that has ever happened within the system, while the whole process is securely protected with cryptography.

In this article, we'll explain you what blockchains are and how they operate. However, most importantly, we will present you with some ways, in which you can implement blockchains into your own business or life. In order to prove our points, we will also provide examples of some of the successful blockchain-based businesses, both in financial and non-financial sectors.

So what is a blockchain?

A blockchain is a system of computers, in which information is stored and shared among all participants of the network. There is probably no easy way to explain how a blockchain works, but we'll try our best.

Imagine that you want to send your neighbor Betty a message, which contains the phrase "Hello!" Now, in the real life, you would normally walk up to Betty and tell her the message directly. But what if Betty is thousands of miles away from you? You'd most likely write a card/letter/note saying "Hello" and give it to her in some way: via mail or email, via a mutual friend of yours, etc.

Pretty much, it seems that the job is done, and there is nothing to worry about. However, there are still quite a few possible situations, where things can go wrong. In order for Betty to get your message, the mail company would have to be responsible enough not to lose the letter somewhere along the way, or the email service would have to be secure enough not get hacked all of a sudden, or your friend would have to be reliable enough not to forget about passing it over. In all three cases, you'd have to put your trust in other's hands, and believe that they will go through with the task.

This is how all transactions work, and people have learnt to deal with it. However, what if you want to send not a message saying "Hello!", but, let's say, one with the list of all nuclear codes in the world? Or maybe you'd like to send Betty a billion dollars? Would you rely on your friend (or anyone else for that matter) in this case? Didn't think so.

What a blockchain does is that it essentially takes away the need to rely on another person/service/institution in whatever it is that you do. And here is how.

It all started in 2009, when a certain someone named Satoshi Nakamoto published an article. There is no information available about the author (or maybe even authors?), but this piece of writing has changed the way we see and store data forever. Nakamoto's revolutionary idea encompasses a type of storage, in which everyone sees what's inside and make sure it's real. Not a single bit can be changed - once something is on the network, it stays there forever.

This is, essentially, what a blockchain is. All data shared within a blockchain is compressed in blocks, and once a block has been added to the chain, there is nothing that can alter it. In case you need to change something, you add another block on top of the previous one, thus notifying everyone that you've changed something. However, it is still possible to go a block back and see how everything looked before.

Let's go back to the example with Betty for a second now. Imagine that you and Betty had a nasty argument of a sort, and you decide to write a mean letter saying something like: "Betty is a real piece of work! You shouldn't be friends with her ever!!!" and send it through the blockchain. Once this letter has been approved, it's compressed into a block, and added to the chain, and everyone can see now that Betty is a meanie. However, a couple of days later you both calm down and figure everything out, and you write another letter through the blockchain, but this time it says "Betty is the best person in the world, she is my absolute BFF!!!" Whooosh, and this letter is also approved and added to the chain, and now everyone can see it.

Of course, the first thing everyone would see is this new letter, the one where Betty is great to be around. But all of the network users would still be able to go back a block or two, and see that first one, where she is a terrible person, with whom no one should be friends. See what we mean here? A blockchain is a records holder, a place where all data entered is kept safe and sound for you to read and analyse.

What is truly fascinating about blockchain is that there is no central storage. Every single member of the blockchain has a copy of all data. You don't necessarily have to store the whole thing, but you can if you want. With that said, no one can simply walk in and, let's say, change a coma in some sentence in your version of data, because then many other members of the network would still have the real copy, and it will simply exclude yours, deeming it incorrect. Your block will be renewed later, once it's cleared and fixed, but, until then, it'll be kept separate from all others. Only owners can make changes, it's a rule.

When you become a blockchain member, you get two keys: a private one and a public one. As for the receiver's key, it's randomly generated for each message/file/transaction. Now, you could encrypt information so that anyone could read what your files say, but you could also make it appear as a list of files, which only the receiver can view or download. That stuff's optional and depends solidly on the type of blockchain.

How does the system know it's you making changes or sending messages? Well, with the help of those keys and asymmetric cryptography.

Your first key (the private one) is used to encrypt data. Remember that "Hello, Betty!" message? When you want to send it through a blockchain, the system takes it and runs it through an algorithm alongside your private key. As a result, your message is encrypted and has your signature on it (which is sort of a randomly generated footprint, unique to your private key and to every new message sent).

In order for Betty to see the message, it has to be approved, compressed into a block and added to the chain. This approval is done by other members of the blockchain (or should we say by their computers) and with the help of that public key. Basically, several users run your message and your public key though yet another algorithm, which then checks whether the signature on that message has been generated with your private key. If it has, your message is compressed into one of the blocks, and queued to be added to the chain.

Later, Betty can easily access the message using the receiver's key, which is in turn generated somewhere along the lines of encrypting and signing your messages/transactions.

As for today, no one can hack your private key, because it would take several hundreds of years, given that keys are simply ridiculously long and complicated strings of numbers and letters. We would be lying if we told you that things cannot change in the future though, as scientists can always invent machines capable of decrypting codes of any length in a matter of seconds. However, until that happens, you can be sure that with a blockchain your data is safe no matter what.

Now, let's sum everything up:

Blockchain is the new way of transparent data storage. There are some global blockchains, such as the bitcoin one, but a blockchain can also be created for a separate company or community.

Many of blockchain users store the complete copy of all its data, and it's regularly updated. Meaning that even if one particular copy is damaged, there are always hundreds of backup versions.

Everyone can form a block of data. After the network checks its validity, the block is added to the chain. You cannot change the block, only add a new updated one on top of it. However, it would still be possible to see the previous block, and compare the two.

All info is encrypted with mathematical cryptography, which makes any form of fraud impossible. You are the only person capable of doing anything with your own data.

There is no need for the "middle-men", all transactions happen from person to person. There is no central ruling power. Every member has a voice, and every voice is valid. In blockchain, the majority decides, and if someone wants to go against its decisions, they'd have to build their own blockchain.

How does this help you?

Usually, the technology of blockchain is associated with money. It's easy to explain: blockchain transactions are secure and free (meaning that you don't need to pay for the transaction, like you would with a bank). However, there are many more applications for blockchains, both within and outside the area of commerce.

1. Money Transferring. Let's begin from here, since we've already mentioned it. Money transactions in blockchains are done with the help of various cryptocurrencies, such as bitcoin, for instance. Those transactions are extremely secure and charge-free, meaning that you can send money to a remote worker on the North Pole and not be afraid that someone's going to steal it along the way.

2. Smart Contracts. These are a very secure way to make sure that all terms of a certain contract are fulfilled. The result is achieved by the fact that smart contracts are unbiased and neutral towards all parties involved, they have no human emotions and no incentive to cheat. They are basically algorithms, which run only if all necessary conditions are met. Combine it with the fact that all record of activity is kept within the blockchain, and you get yourself the most transparent way of doing business that is currently known to humanity.

3. Verification of information (identity/ownership/veracity). If something has been added to the blockchain, it stays there forever no matter what. This means that identities cannot be stolen or altered simply because there is only one identity for each person in the blockchain record. The same goes for their accomplishments: Matt will not say that he painted the picture, because thousands of ledgers say that this work belongs to Betty.

4. Distributed Cloud Storage. This feature would be useful to anyone in need of storing vast masses of information for a relatively cheap price. If you take all your info, encrypt it and store in tiny bits on all computers in the network, you know for a fact that it's safe and sound. Most importantly, it will not cost you as much as normal cloud storage would, simply because there are no intermediaries - you pay directly for the service.

5. Proof-of-Provenance. In production of commodities, it is often a case that producers don't create all necessary parts, but simply assemble the ones they've bought from elsewhere, creating a final product as a result. However, if something is wrong with one of those pieces before the assembly, the one at fault would be not the producer of that particular part, but the final product producer. Blockchains could be used in avoiding such unpleasant situations. The final producer could add logs of each step of production to the blockchain, thus granting themselves the ability to present a credible record of the whole process to investors, stockholders, or to whoever it may concern.

6. Networking and IOT. Blockchains can become a very useful base to provide communication within a certain company or system. For instance, IBM and Samsung have created a platform called ADEPT Autonomous Decentralized Peer-to-Peer Telemetry, which implements blockchains to form a base for cheap autonomous communication between all machines involved. In the other words, they've created a blockchain-based Internet of Things (a system of electronic devices, which are connected to the Internet, and interconnected among themselves).

To be frank, possibilities are limited only by imagination when it comes to blockchain. The system is so grand, promising and versatile, it could be implemented wherever you want it. We can prove this by providing examples of businesses, which are already successful in their usage of blockchains.

Who are they?

Abra uses the technology of blockchain to make global bitcoin and other blockchain-based money transfers possible. You can store money in a wallet on Abra, or send it to anyone in the world, all without having a bank account, or paying for transactions.

Guardtime is an Estonian project, which implements blockchain technology to provide industrial cybersecurity.

Augur is a blockchain-based predictions market. People can place bets here on both sports and stocks, but it is also in the mind of its creators to allow betting on elections, natural disasters and pretty much anything else.

This platform promises to rebuild the whole industry of music. Phil Barry, the man behind Ujo, created it with a desire to solve the problems of streaming music, and also make the business easier and more transparent: employ smart contracts between artists and recording studios, list all creators, ensure veracity of their ownership of music and so on.

Ubitquity is a platform, which makes real estate easier. Given that a house is listed in here, you can find any information about it: often stuff that owners or real estate agents might have wanted to hide, all without middle parties and additional costs.

We've mentioned this before: using blockchains to make sure that every part of the complete future commodity is traceable, documented and of good quality. This is exactly the purpose of Provenance.

Storj is decentralized (which means hack-resistant) cloud storage, which offers people an ability to keep their information for less money and with a higher level security. The interesting thing is that you could rent out your own additional digital storage space, which opens prospects for a whole new blockchain market.

It's practically the heaven for all online retailers. OpenBazaar connects buyers and sellers directly and employs smart contracts, all to reduce the purchase cost and improve the security of transactions. All in all, blockchains are a very promising branch of IT development. Not only would they help you build a secure, trustworthy and transparent system, but they are also constantly evolving, meaning that it is quite possible that some day they'd have new features, which are even better adapted to your personal needs. Take whatever IT product you have in mind, be it a website or a mobile application, blockchains would be a wonderful addition to anything you want to do. The versatility of blockchains and the inherent security they provide make them an invaluable addition to any company that's looking for an impenetrable way to store or share their data.

Now you know that blockchains are not just about the bitcoin, this technology has a wide variety of uses across several fields of business. If you're interested in applying blockchain in your business, please feel free to contact us and get answers to all of the relevant questions.

Useful links and further reading:

1. Know More About Blockchain: Overview, Technology, Application Areas and Use Cases

2. How The Blockchain Will Secure Your Online Identity

3. Looking To Integrate Blockchain Into Your Business? Here's How

4. BlockChain Technology: Beyond Bitcoin

5. Blockchain: Simple Explanation

6. Some Simple Economics of the Blockchain

7. Blockchain Reaction: Tech Companies Plan for Critical Mass

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What Are Blockchains and Why Your Business Needs Them

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Blockchain - security in plain sight It is a widely accepted belief that computers are unreliable when it comes to storing information. Unless you put the machine away in some absolutely secluded and completely secured bunker without any Internet or human access, someone (or something) will find a way to break into it and damage your data.

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Over the past few years, inventions in the fintech space have been rapidly transforming into innovations thanks to early commercialization, mass acceptance and adoption.

Cryptocurrencies have been around for a long time, but they have gained maximum traction and attention in the past decade. After the launch and success of Bitcoin, other cryptocurrencies soon followed, trying to break in the Fintech industry.

The rise and success of cryptocurrencies has been such that today, there are more than 1,100 cryptocurrencies currently trading in the financial market.

The price of cryptocurrencies ranges between approximately a quarter to thousands of dollars. Although recently, Bitcoin broke an all-time record high and hit a historic mark when its value peaked at a whopping $5,856.10 on October 13, 2017. The $5,000 mark has long been a threshold of high-anticipation in the bitcoin community.

The currency, which is up more than 400% this year, is turning heads of businesses, financial institutions and governments all around the world. But it's also raising regulatory concerns and questions.

In this article, BI Intelligence, Business Insider's premium research service, explores the regulations surrounding cryptocurrencies worldwide and their subsequent impact and spread.

BII

Cryptocurrency Regulations Around the World

Amongst world economies and governments, cryptocurrency has been a topic of continual debate. Many governments feel that allowing cryptocurrency for legal transactions and use would ultimately result in loss of economic power and a shift towards decentralized economies globally.

Even though many countries across the world permit cryptocurrencies, they have been under scrutiny and seen with skeptical eyes in many others. Certain countries have gone to the extent of banning the currency, making its use, possession, and trade illegal.

BI Intelligence has gone into further depth in identifying and listing the blockchain regulations and associated issues in the U.S., Europe, and the rest of the world.

Blockchain Regulations in the U.S.

According to The Columbia Science and Technology Law Review, the regulatory responses to emerging technologies, and to blockchain in particular, range from excitement to suspicion to indifference.

The law review states that the U.S. federal government has not exercised its constitutional preemptive power to regulate blockchain to the exclusion of states (as it generally does with financial regulation) or even expressed intention to do so, regardless of the interest of federal agencies. And so the states remain free to introduce their own rules and regulations. As an example, although New York did not enact state-wide legislation recognizing blockchain for record-keeping purposes, in June 2015 it became the first state in the U.S. to regulate virtual currency companies through state agency rulemaking.

In 2017, at least eight U.S. States have worked on bills accepting or promoting the use of Bitcoin and blockchain technology, while a couple of them have already passed them into law.

The most important developments for blockchain's regulation and implementation in the U.S. in an evidentiary context occurred in Arizona (recognition of smart contracts), Vermont (blockchain as evidence), Chicago (real estate records), and, most importantly, Delaware (pending initiative authorizing registration of shares of Delaware companies in blockchain form).

In the U.S., Bitcoin is set to be given the same financial safeguards as traditional assets. The U.S. Commodity Futures Trading Commission has granted LedgerX, a cryptocurrency trading platform operator, approval to become the first federally regulated digital currency options exchange and clearinghouse in the U.S.

Blockchain Regulations in Europe

The overall approach of the EU towards the blockchain technology is positive and welcoming. The EU appears to be following the path of an innovation-first business philosophy, which could end up supporting development of virtual currencies from two angles: 1) encouraging the exploration of use cases to test impact and laws, and 2) giving entrepreneurs confidence that their "approved" applications will be more trusted by their target markets.

This approach, combined with the EU's scope as regulators for a 28-country economic bloc, could not only encourage an ecosystem of thinkers and doers, but could also end up making Europe a prime destination for blockchain development, as businesses choose the continent for their domicile and as talent flocks to the area.

Earlier this year, the executive arm of the European Union government revealed that it is working on the blockchain to support distributed ledger-based projects. According to this official press release published on February 7th, the Commission is considering growing its efforts on supporting more projects related to the distributed ledger technology (DLT).

The European Commission is "actively monitoring Blockchain and DLT developments" and is working on exploring "DLT benefits and challenges as well as fields for application in financial services".

The official press release also clarified that the Commission wants to "pilot projects to foster decentralized innovation ecosystems and help reshape interactions between consumers, producers, creators and among citizens, businesses and administrations to the end benefit of society."

Switzerland has become one of the main European hubs for cryptocurrency and blockchain development. This has been spearheaded by the Crypto Valley Association, a Swiss non-profit blockchain and cryptographic technology ecosystem, which has started to develop an ICO Code of Conduct in light of China's recent ban of token crowdsales.

BII

Regulating Blockchain Technology Worldwide

Blockchain is the technology of choice for many startups. As per research by Outlier Ventures Research Team in May to June of 2016, 200 new startups were added in six weeks. Businesses and startups popped up around the virtual technology and sprouted with lightning speed. While many countries are supporting the development of the digital currencies, thus encouraging new ways of transacting and new businesses to bud, there are some that have boycotted the new technology, deeming it as an illegal negative disruption that brings financial instability and global economic unrest.

According to the Congressional resolution proposed July 14, 2016 in the U.S., "blockchain technology with the appropriate protections has the potential to fundamentally change the manner in which trust and security are established in online transactions through various potential applications in sectors including financial services, payments, health care, energy, property management, and intellectual property management."

The hundreds of pilots and proofs-of-concept currently in motion are but a tip of the iceberg when it comes to potential applications of the blockchain technology.

The world is slowly and steadily learning and experiencing the advantages this new age of technology has to offer, which is why the story is constantly developing and changing.

More to Learn

The red-hot currency is here to stay and has the potential to further disrupt traditional industries and transactional methods. Even though the mass adoption may see bumps due to opposition from world economies and governments, the digital currency is sure to make headlines due to mass adoption by the tech buffs and cryptocurrency aficionados swearing by the currency's revolutionary power.

BI Intelligence has put together two detailed reports on the blockchain: The Blockchain in the IoT Report and The Blockchain in Banking Report to give you all the latest insights and an in depth insider view into the world of this techno-currency revolution.

To get these reports, plus immediate access to more than 250 other expertly researched reports, subscribe to an All-Access pass to BI Intelligence. As an added bonus, you'll also gain access to all future reports and daily newsletters to ensure you stay ahead of the curve and benefit personally and professionally. >>Learn More Now

You can also purchase and download the full reports from our research store:

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How the laws & regulation affecting blockchain technology can impact its adoption

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Over the past few years, inventions in the fintech space have been rapidly transforming into innovations thanks to early commercialization, mass acceptance and adoption. Cryptocurrencies have been around for a long time, but they have gained maximum traction and attention in the past decade.

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This research was very interesting for me, not because of the new things I may have learned about the history of photography and cinema, but because it expanded my understanding of what may be considered film-making and photography. Some of the methods that have been in use for centuries have possible applications nowadays which may even be more effective than modern methods for certain situations. This helped me think of many possible uses for such techniques, which are also very appealing for me because some of them seem very practical whilst not being resource intensive. The methods which I've looked at are also fascinating to me because I can see how someone's knowledge of photography and film-making may be used for such methods. This means that photography isn't limited to cameras and neither is film-making, or at least not in a direct manner. Having this outlook on such practices can really help me develop my creative work in such fields in very interesting and exciting directions.

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The History of The Discovery of Cinematography - 1400 - 1599

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An Illustrated Chronological History Of The Development Of Motion Pictures Covering 2,500 Years Leading To Cinematography In The 1800's

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The Magic Lantern and Moving Images before 1800

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Academia.edu is a platform for academics to share research papers.

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This article is part of a larger research project on the different forms attraction has taken in the cultural series "animated pictures."
Our discussion will begin at its emergence with optical toys such as the phenakisticope, the zoetrope, and the praxinoscope. We will attempt to demonstrate the ways in which it might be useful to address the question of cinématographie-attraction by resituating it before the fetish date of 28 December 1895, when tradition tells us it was born. We will be careful to keep in mind that the cinématographie-attraction paradigm would itself soon yield to the institution "cinema"—to "cinema-narration," we might say—thereby diminishing the importance of attraction by placing it under the thumb of narrativity.

Nevertheless, it is essential in a study such as this to enquire into the various possible meanings of the term "threshold" and the different concepts underlying it. Beyond threshold as a demarcation zone within a visual experience which extends over time, we will also inquire into the material thresholds of the different apparatuses. We will also inquire into the complex play of the various levels within these same apparatuses where borders and limits may be at work.

In this study, we will examine, the "animated picture" phenomena found between the period 1830-1900. Throughout this period, during which optical toys and animated views formed part of the same paradigm, attraction was the primary structuring principle. The workings of the phenakisticope and the zoetrope, their rotation, repetition, and brevity, established the form of attraction which was to dominate throughout the period.

The predilection of the earliest animated pictures for wriggling about, for trepidation, and the ephemeral is a good indication of how optical toys and animated views were part of the same cultural series. 6 While socio-cultural factors, above all, determined that this series would place attraction centre stage, the role played here by the limitations of the apparatus need also been akcnowledged. One of the earliest major constraints that made it possible for attraction to dominate within the cultural series "animated pictures" was the medium used to convey these images.

The phenakisticope, for example, was a cardboard disk upon which a dozen figures were arranged in a circle around its edge(Fig. 1). Note in passing the extremely limited number of figures and the overweening simplicity of the series of images: here, a dancer turning on himself; in other models, a woman sewing, a jumping dog, a parading horseman, etc. The number of figures was of course limited by the way the drawings were arranged—radially, on the axis of the imaginary rays emitted by this wheel, the phenakisticope disk.

The limitations of the apparatus thus condemned it to a repetitive and inalterable demonstration of a series of figures forming a loop. Here it is impossible, in principle, to identify the head or the tail, giving free reign to attraction. Because of the brevity of the series of images, attraction necessarily took precedence over narration, and the ad nauseam repetition inherent to the device's functioning magnified the attractional aspect of the moving figures. This series of images was hostage to both circularity and repetition. No gap was possible, because the virtual head and the tail had to join up and match. The phenakisticope's very design meant that the thresholds of beginning and end were absent from it.

This at least is the impression phenakisticope designers strived to impart. With a few rare exceptions, the intervals between the phenakisticope's figures were measured to give the impression of a gradual moving forward of the "action," making it impossible to identify which of these figures was the very first in the series. The phenakisticope's figures made up a series with neither head nor tail. Set in motion by the rapid turning of the disk, which brought about an inalterable flow of images, the succession of figures was thus free of any disjunction or aberration. There was no breach in the rigid continuity of the figures, which would have allowed a glimpse of narrative. Narrative had no place in such an apparatus, because of the programmatic limitation of the dozen images engraved on the disk, images condemned to turn endlessly, to perpetual movement, to the eternal return of the same.

Here and there we can find a few examples of disks which transgressed this rule of the endless loop. These disks, despite the limited narrative potential of the apparatus, appear to have wanted to stray on the side of narration (or at least on the side of anecdote). But this was a necessarily repetitive narration. The attempt to develop a minimal narrative sequence by establishing an initial situation, followed by its modification and closure, meant that the action depicted on these disks tried to defy the limitations of the apparatus. But not without provoking aberrations in the continuity of the action each time the initial image reappeared. This was the case with the disk distributed by Pellerin & Cie.(Fig. 2) showing two fishermen harpooning a whale. Here the head and the tail are easily identifiable. In the first image, the whale is rising to the surface. The two men throw their harpoon at it, and it will remain lodged in the whale's body until the end of the series of figures. When the disk is rotated, the final figure is necessarily followed by a recurrence of the first, in which the whale recovers its initial integrity in a truly "regressive" manner.

Examples of this kind of disk reveal one of the peculiarities of the phenakisticope. If a designer did not consent to submitting his figures to the strict continuity/circularity of the apparatus, he had to accept the fact that each revolution of the disk would create a visual interruption—unless a clever and ingenious narrative pretext was employed, as was the case with the disk manufactured by Thomas MacLean(Fig. 3). Here the character's nose, which is cut off with an axe, returns with each rotation. In this way the interruption, by means of the narrativisation of which it is the subject, was in some way effaced. This is a good example if ever there was one of how the topic of the disk, or its "story," was subjected to the way the apparatus functioned.

However there are few known examples of this kind of disk. Was it that the disruption, at the time, was noticeable enough to induce designers of disks to stick almost uniformly to a model of continuity? And yet, despite the break in the movement's continuity with each passing of the final image, producing a spasmodic effect, the element of attraction was just as present here (if not more so, in some respects, given the repetition of the visual shock produced by the interruption).

It would appear that the scarcity of disruptive subjects was a result of the limitations the apparatus imposed on designers of phenakisticope disks. Don't all apparatuses impose a way of conceiving the subject they depict? In fact, something proper to the mechanics of the apparatus itself can be seen in the bodies depicted on the disk? The phenakisticope's format and the way it functioned suggest a "world" in which everything was governed by circularity and repetition, a world which annihilated any hint of temporal progression. The subjects are like Sisyphus, condemned ad infinitum to turn about, jump, and dance. In another sense, the figures are machine-like: untiring and unalterable, they are "acted-upon subjects" rather than "acting-out subjects." The lack of interruption in the sequence of images was essential to the creation of this effect of uninterrupted and perpetual movement, this ahistorical temporality within which beings and things could turn about for ever, without any threshold marking the beginning or end of their wild journey. Many disks depicting machinery, gears, and levers(Fig. 4) emphasize this aspect; as eternal and unbreakable machines, they are emblematic of the wildest dreams of modernity?

The experiments of optical toy designers brought about a series of modifications to the apparatus which, eventually, made it possible to place the subject in a historical temporality, thereby making it pass to the level of "acting-out subject." The zoetrope arrived on the scene about the same time as the phenakisticope. With the zoetrope,(Fig. 5) the principle underlying the illusion of movement remained gyration, and as long as its drum remained of modest size, the number of images was as limited as the phenakisticope's. With the zoetrope, however, the images and the apparatus are no longer joined as one. When a user picked up the phenakisticope's disk of images, he or she was also picking up the apparatus itself. With the zoetrope, the apparatus is on one side and the strip of images on the other. Users thus felt the presence of the apparatus a little less. Moreover, the longitudinal rather than radial arrangement of the figures made possible a major transformation in the conception of animated pictures. While the zoetrope also appears to have been inexorably condemned to the return of the same, the transformation it introduced by separating the images from the apparatus, substituting a flexible strip for the disk, made possible some minor innovations in the medium's "language," as we shall see later on. 2 Here we will focus our attention on the first signs of the paradigm which we propose to call c inématographie-attraction, a paradigm in which the question of "thresholds" seems to us to be essential. 3 Moving picture programs juxtaposed, one after the other, a long string of often disparate views. Viewers of the period, for that very reason, were called upon to enter into a dozen sometimes completely heterogeneous worlds, one after the other, at the same screening. 4 The cinématographie-attraction experience was essentially an experience of discontinuity. Full of interruptions and sudden starts, this experience was a chain of shocks, a series of thresholds. The concept of the threshold will be particularly useful here, because it allows us to problematise the various kinds of discontinuity which punctuate the cultural series "animated pictures." This punctuation took the form of one of two primary structuring principles running through this series and modulating its development: attraction and narration. 5

What exactly was involved, then, in the move from a rotating disk to a flexible strip? With its rectangular shape, the zoetrope strip necessarily came with a head and a tail. In order to put the figures into motion, the user had to place the flexible strip inside the drum and create a loop, an endless loop. However, like the phenakistiscope, every time the user placed the strip in the drum, the head and the tail had to match, thereby voiding the beginning/end distinction proper to the strip. Circularity thus remained at the heart of the apparatus.

With the zoetrope, the horizontal quality of the strip imposed limits of another sort on the series of figures: longitudinal limits (at the upper and lower limits of the strip). While the circular arrangement of figures in the phenakisticope sometimes pushed them to go beyond the very border of the disk (as seen in this disk by T.M. Baynes(Fig. 6), which gives the illusion that the rats are literally fleeing off the surface of the disk), the zoetrope's horizontal nature encouraged instead the linear development of the images. The action was conceived of in a slightly more "historical" manner, a little more like narrative.

Since it did not always succeed in containing the ebullience of the images, the edge of the phenakisticope was not always an inviolate threshold. In addition, on a symbolic level, its circularity limited the action depicted to an absurd length of time, in which closure was impossible. The radial arrangement of the images ensured that they were invariably organised in relation both to the centre and to the edge of the disk. Centrifugal and centripetal force reigned there equally, along with a sense of movement beyond the confines of the disk. The phenakisticope functioned according to both explosion and implosion (even if it was possible, on occasion, to depict the tranquil movements of a dancer turning about). Like the kaleidoscope, the phenakisticope belonged more on the side of the cosmic, of the big bang, and of the expansion and contraction of the universe(Fig. 7).

On the other hand, the horizontal arrangement of the figures on the zoetrope strip encouraged a linearisation of the action performed by the subjects depicted. Despite the repetitiousness of the figures and their evident quality, in the end, as attraction, the zoetrope infused them with a hint of self-realisation, with an aspiration to spread their wings, we might say. A yet-to-come which would of course never materialise, because everything simply turned in circles. Because of the nature of its construction, however, the apparatus allows us to catch a glimpse of this.

So too, the zoetrope was much closer to the terrestrial. Here animated pictures lost a large part of their propensity to fly off in all directions, of their whirlwind and high-riding quality. With the zoetrope we are nevertheless still in the realm of attraction, but its "horizontalisation" of the figures, their linearisation, made it possible for narrative elements to seep into the series of images. Here, the figures were inscribed in a more matter-of-fact manner: they were brought back, neither more nor less, to terra firma, where they moved laterally, a common enough kind of movement for terrestrial animals (perhaps it was not without cause that the zoetrope's original German name was the zoo-trope). Moreover, in these scenes the ground was often depicted as part of the "décor," at the bottom of the strip, where it should be, without the troubling curvature it had in the phenakisticope. In addition, the zoetrope drum was itself equipped with a floor, on which the strip rested when the user put it into place.

The use of a flexible strip opened up new possibilities for presenting the figures. The zoetrope made it possible to exhibit images from two distinct strips at the same time. This was far from a negligible innovation, especially if we consider how this kind of manipulation bears a strange similarity to editing. 7 Here are some of the "combinations" a major distributor of zoetrope strips was advertising as early as 1870(Fig. 8):

Very effective and humorous Combinations can frequently be made by overlapping one strip of Figures with the half of another strip...Amongst some of the most effective of these combinations, the following numbers will give very amusing results: 4 & 5, 7 & 10, 3 & 13 (etc.). 8

Note the effect, for the zoetrope user, of these "syntactical" combinations: a systematic alternation between two figures in movement was established, in the A-B-A-B pattern. Here the imperturbable filing by of the zoetrope's endless loop was called into question. And yet the basic quality of the images had not changed: "zoetropic editing" was more attraction than narration. We are not invited to follow, narratively speaking, the vicissitudes of this or that zoetropic figure from one time, space, or situation to another. Rather, we are invited to take delight in the transformation-substitution relationship the images are subjected to and which they illustrate. This is a recurring metamorphosis of the figure, not a reiterated following of the action.

Such a combination of strips made it possible, all the same, to transgress the canonic rule of the zoetrope, its homogeneous parade of images, a rule it shared with the phenakisticope. Here, however, the series of images contained thresholds, in the form of interruptions, which broke the rigid framework of figural unicity and opened the door to bifidity. Yet this form of editing remained a prisoner of the drum's circularity, which was clearly a coercive structure. The turning wheel continued to turn, indefinitely. Thresholds rose up, making it possible to pass, first, from the end of series A to the beginning of series B, and then from the end of series B to the beginning of series A ( ad nauseam), but these thresholds were repetitive: we always come back to the same end, we always come back to the same beginning. The alternation did not allow the action to start up again narratively, nor to start a new "chapter": it only allowed it to start up again attractionally. The "befores" and "afters" were not, to borrow Umberto Eco's expression, essential "befores" and "afters," capable of containing the action effectively and of allowing it to aspire to the status of an embryonic minimal narrative sequence. 9

Émile Reynaud's transformation of the zoetrope put this attraction/narration tension into play in a particularly apparent manner, as seen in his praxinoscope (1876), praxinoscope theatre (1879), and praxinoscope projector (1882). In the end, in his optical theatre ( Théâtre optique, 1892), narration came to the fore as the primary structuring principle.

As the reader is no doubt aware, the three varieties of praxinoscope functioned in roughly the same way and according to the same basic principles as the zoetrope (rotating drum, flexible strip, etc.) The invention's originality lay in its prism of mirrors which, located at the centre of the apparatus, replaced the zoetrope's cut-out slits. The introduction of this prism made it possible to get around the serious problem of reduced luminosity and to develop a system which, after a few alterations, proved to be particularly well-suited to narrative development. The weak luminosity of previous optical toys obliged their designers to opt for simple figures with strong outlines, to neglect the background almost entirely, and to limit the scene to a repetition of a minimal sequence of events. With his praxinoscope, Reynaud introduced a new approach to the figures by emphasising the precision of the drawing and by exploiting the subtlety of the colours.

This new way of conceiving the figures was strengthened by a constant tendency on Reynaud's part to isolate the figures and to make them conspicuous. This tendency was seen, first of all, in the large black lines separating each figure on the praxinoscope strips, and then by the separation of figure and background in Reynaud's three other inventions, including the optical theatre. When we examine a stationary praxinoscope strip, the black lines visibly isolate the figures from each other(Fig. 9), but what is of greatest importance is that these bars played the same role when the images were set in motion. With the praxinoscope (or in Reynaud's version of it at least), the image seen in the show had become a framed image. 10 With Reynaud, the moving figure was in fact delineated on all four sides: by the vertical bars to the left and right, and by the upper and lower edges of the mirror on the top and bottom. 11 Needless to say, this isolation of the figure was not complete; normally, the viewer of the praxinoscope would see three images at a time in his or her field of vision. The presence of the vertical bars on the strip, in conjunction with the play of mirrors, nevertheless made it possible to set one of these (the one most closely facing the viewer) off from the others and to detach it from the whole. Previous optical toys had not sought to isolate the image in this way. They invited the viewer, rather, to a "group performance." The absence of borders between the figures prevented any of them from standing out, and the two or three figures in the viewer's field of vision presented themselves to view simultaneously and more or less equally.

The isolation and conspicuousness of the image was amplified by Reynaud in the second and third versions of his apparatus—the praxinoscope theatre and the praxinoscope projector—in which the number of figures presented to the viewer's gaze was generally even more limited. These apparatuses sometimes allowed only a sole figure in motion to filter through to the viewer. To obtain this result, Reynaud placed a mask between the images and the viewer which functioned as a passe-partout and cast the figures onto a black background. This allowed for the superimposition of a décor, which was painted on another material and remained immobile. Reynaud thus brought about a radical separation between figure and background, a procedure he retained right through to the optical theatre.

Nevertheless, the optical theatre broke with the model of the toys which preceded it. In the different versions of the praxinoscope, the image remained a prisoner to the drum and, as in the phenakisticope and the zoetrope, the action formed an endless loop. With the optical theatre, Reynaud repudiated the model of the endless loop. He broke the intrinsic circularity of the apparatus and turned his back on the canonical tradition of optical toys. Moreover, the optical theatre was not, properly speaking, a "toy": the viewer no longer manipulated the apparatus directly, which was now hidden from sight; he or she simply watched the images file past.

Unlike earlier apparatuses and all other optical toys, the head and the tail of the strip used in the optical theatre were not designed to meet. Here we find thresholds of the first degree, literally a beginning and an end. The principle of circularity was dethroned in favour of linearity. For the drum, a closed receptacle which kept the strip of images prisoner, Reynaud substituted two reels—one dispensing the strip, the other taking it up—which made it possible to view the strip, which now wound onto itself, from head to tail(Fig. 10). Also, not only was the image seen as a framed image, but it was also a unique and singular image. The strip was composed of a series of distinct frames. The isolation of the figure within the apparatus corresponded to the isolation of the figure on the screen; henceforth there was only one image, the changes to which the viewer followed.

Reynaud's apparatus thus went beyond mere gyration, beyond the mere thrill of seeing the strip repeat itself, beyond pure agitation. Here, even if attraction was still welcome, narrative had taken over from it as the primary structuring principle. A strip such as Autour d'une cabine ("Around a Cabin," c. 1895) was in fact part of a new paradigm, within which narration would play a decisive role. The story told in this strip (as well as in Pauvre Pierrot ["Poor Pierrot," c. 1892]) eloquently went beyond the threshold of minimal narrativity. In Autour d'une cabine we see an initial title card, followed by an establishing "shot" and a conflict and its resolution, before finishing with a finale: on the sail of a small boat in the centre of the image, we read "The Show is Over" ("La représentation est terminée"; Fig. 11). The narrativity this strip demonstrates was possible because Reynaud was able to give his series of images the development required for any narrative to occur.

The optical theatre thus carried out a transformation of the apparatus which was both quantitative and qualitative. It had more images, many more even, but at the same time and paradoxically, for the viewer there was now only one image, magnified a hundred times to boot. In addition, this image was external to the viewer. In the case of optical toys, the viewer became one with the apparatus; he or she was in the apparatus, became the apparatus. In the optical theatre, the image put into motion was, on the contrary, completely independent of the viewer. The viewer was cast beyond the limits of the apparatus and was kept at a distance from it, no longer having anything to manipulate. In short, this new autonomy of the image depicted, which derived from the conspicuousness of the image and the configuration of the new apparatus, represented a turning point in the history of the series "animated pictures."

The imposition of first-degree thresholds was a decisive factor in the advent of this turning point. Before it became possible to introduce such narrative thresholds as the beginning and the end, however, it was necessary to establish second-degree thresholds (the head and tail of the strip, the frame around each image). The conspicuousness of the "representing" image on the film strip itself was reflected on the screen by an equally effective conspicuousness of the "represented" image. This exceptional process of rendering the figures autonomous and conspicuous—and this is essential to our argument here—is also found in the development of cinematic views, as we shall see below. All things considered, this process took shape around what we might call dynamic and static thresholds. In the beginning, with the phenakisticope, there was no head or tail: the beginning and end were aleatory and mobile thresholds—and thus dynamic—subject to the wishes of the viewer-user and to the chance elements of the apparatus. The beginning and end of the show were purely conjectural. It was necessary to act from inside, so to speak, in order to impose a beginning and end as true thresholds. It was necessary, first of all, to define a common denominator, the figure, by gradually imposing on it increasingly rigid—and thus static—thresholds capable of rendering it conspicuous in relation to the other images in the series. In a sense, these second-degree thresholds were the sine qua non of the eventual introduction of first-degree thresholds. As long as the figure was seen by the viewer alongside two or three other images, it could not become part of a narrative temporality. Each figure referred to those beside it, and necessarily remained on the level of attraction. Once the figure had been promoted to the rank of a sole and conspicuous image, by means of those things used to delineate it, it became possible to envision the migration of newly imposed static thresholds towards the representational limits of the apparatus: the head and the tail, the beginning and the end, which henceforth served to delineate in a clear-cut manner the entire series of figures.

From this we might conclude that attraction, which is based above all on repetition and circularity, is more at home in an open system than in a closed one. It would also appear that its model par excellence is the endless loop. These two features were present in the first apparatus for viewing animated photographic views to arrive on the world market, the Edison Kinetoscope.

This device, invented in the early 1890s, took up a number of procedures which were in the air at the time, particularly in the work of Reynaud. First of all, there was the flexible, perforated strip divided into distinct frames. However, with his animated photographs, Edison kept his distance—for the time being at least—from the resolutely narrative model Reynaud privileged with his animated drawings. The kinetoscope remained in the bosom of attraction, thereby exploiting the immense potential for the marvellous that animated views first possessed. Moreover, it is significant that the kinetoscope and the strips designed for it shared many features with optical toys, which were also in the camp of attraction. Its subjects were shown against a plain background, without any décor whatsoever. The strip had no apparent head or tail and was arranged to form an endless loop through the device's system of pulleys. Most often, the action depicted was extremely simple and relied heavily on the agitation of the figures and repetitive outbursts of action (such that we might describe the kinetoscope's subjects as acted upon rather than acting out). Finally, viewers themselves operated the mechanism, this time by inserting a nickel.

Naturally, there are limits to the analogy between optical toys and the kinetoscope. After all, the short strips it showed were not meant to be presented end to end, over and over, as was the case with optical toys. The apparatus designed by Edison and Dickson imposed without fail initial thresholds, pre-determined limits; it was necessary that the strip have a starting point and that it end by stopping at another point. And yet these thresholds were not first-degree thresholds, which truly delineate the action and what it depicts. Rather, they were abrupt and unpredictable: the action began in media res and it ended in media res. Despite the realism of the images and the pre-determined length of the film, kinetoscope strips fell fundamentally and resolutely into the camp of attraction. This is the case with the strip Sandow [1894], for example.

When the Lumière brothers arrived on the scene a few years later with their cinematograph, they took animated pictures out of this "jack-in-the-box," thereby contributing to establishing projection as the standard when exhibiting animated pictures. The landscape was irredeemably altered as a result, and yet attraction still remained the primary structuring principle, even if the cinematograph could no longer be considered a toy. In fact, it was trumpeted as sophisticated technology. In addition, the viewer was no longer responsible for setting the images in motion. Moving picture programs were clearly situated on the side of the "stage show" and easily took their place alongside variety shows, travelling fairs, etc.

Although viewers of animated views appear to differ from users of optical toys, they nevertheless shared a number of qualities, whose importance would be reduced with the advent of cinema- narration. In the cinématographie-attraction, for example, the viewers remained highly involved in the act of screening animated views; far from being reduced to silence, they were participants in a collective experience similar to that which took place in the parlours where optical toys were consumed. Cinematograph viewers, like the users of optical toys, could even exercise a form of control over the unfolding of the "figures," as their reactions influenced the projectionist's rendering of the picture. In addition, early moving picture programs were most often made up of disparate titles with considerable potential for attraction; indeed film strips were often presented pell-mell, in a relatively aleatory manner, like zoetrope strips. The fascination these views exercised rested almost entirely on the cinematograph's ability to capture and recreate movement. The form these views took, which was determined primarily by the limitations of the apparatus—such as the brevity of the film strip—was clearly propitious to their presentation in redundant and disordered programs likely to plunge the viewer into a considerably baffling temporal experience.

The cinematograph image, like that of the kinetoscope and the optical theatre, was framed. The thresholds bordering the image limited any movement beyond the frame, making the cinematograph's subjects " framed" subjects. Moreover, these subjects were acted-upon (rather than acting-out), and thus had a great potential for attraction. However, the fact that they were framed created a space which would soon prove to be propitious to narration. While the adoption of the flexible strip (since Reynaud in any event) had made it possible to introduce spatial thresholds which served to enclose the image, most often Edison and Lumière animated views were, just the same, without truly effective first-degree temporal thresholds (start/finish): the strip had a beginning (the head) and an end (the tail), but there were simply material thresholds, which acted without taking into account the course of the action depicted. Without well-defined beginnings and endings, these views thus remained permeable objects, consumed with spontaneous joy by viewers whose attention did not linger on them after they had sped by.

As for second-degree temporal thresholds, those gaps, found throughout the film strip, whose appearance was the product of some form of fragmentation or another (an out-and-out cut, a spot where filming had been halted and then resumed, etc.), took a while to appear. Film images in these very early years resisted breaks and interruptions, and it seems correct to assert that, within the view at any event, a fluidity similar to that of optical toys prevailed. When cuts began to appear in greater number, they were seen by viewers, (many indicators point to this), as inopportune or even disagreeable interruptions. However, for narration to impose itself as the primary structuring principle, viewers had to learn to adapt to breaks in the film's continuity, which would soon be found in profusion in the pluripunctual animated view. At the same time, viewers had to accept the presence of first-degree temporal thresholds (the thresholds of the beginning and the end). These thresholds contained the view and, by their very presence, short-circuited attraction's propensity always to provide something else to look at, even if only along the principle of the eternal return of the same. While the end effect of views was for a long time to be attractional in nature, the introduction of thresholds for entering and exiting the view at its extremities made it possible, thanks to the insertion of a few fundamental narrative elements, for these two systems, attraction and narration, to co-exist within the view.

The manufacturers of views, just like the viewers, had to gradually "get over" the various second-degree thresholds which soon came to dot views in order, precisely, to be free of them. To cross a static threshold is to transform that threshold into something that makes possible a degree of permeability between things of the same nature. In a word, it turns the static threshold into a dynamic one. Hence the increasing use of off-screen space and the increasing use of camera movements, two procedures which made it possible to take in a larger space and to expand the range of possibilities offered by narration. In this way it became possible, within the view itself, to break the unicity and static quality of the frame with increasing ease and to go beyond the limits imposed by the photogram.

It then fell to the shot, or rather to the "tableau," to gain autonomy and thereby become in turn (but in a yet uncertain manner) a rigid entity, a static unit. The earliest pluripunctual films strung together, most often in a highly erratic and relatively mechanical manner, a series of unipunctual views which did not enjoy a great deal of concatenation among them. Here again, however, the rigidity of these newly imposed thresholds, those bordering the tableau, was soon overcome in favour of a true permeability of the constituent parts of the view. This encouraged an edge-to-edge communication between units that ultimately made it possible for the "tableau" to become a "shot." In its turn, the linking of shots created the conditions for the rise of editing, a major factor in the emergence of narration as the primary structuring principle. Naturally, we will make no attempt here to describe the numerous and subtle technological, cultural and economic factors underlying the process whereby the view became autonomous. Suffice it to suggest that this delineation of the head and the tail was carried out parallel to the development of the different forms of narration typical of cinema-narration.

The question of thresholds is thus very profitable for arriving at an understanding of the development of the series "animated pictures." It also makes it possible to better understand the movement from cinématographie-attraction to cinema-narration. Finally, we could mention here that the nature of the thresholds we have discussed is closely connected to the medium on which the images are found. Readers may have remarked throughout this article how each of the apparatuses impose thresholds which truly fashion the way the animated pictures are conceived. The phenakisticope disk, the zoetrope's flexible strip, and the celluloid used in cinema, because of their very material, determine the way in which the systems of attraction and narration hold sway over the other and give form to the uncertain desires of the figures which move about upon them in their respective ways.

In this respect, it is interesting to examine recent developments in the use of digital animated pictures. As Lev Manovich has remarked, the sequential images which abound on the Internet (such as Flash and QuickTime) share a number of features with the earliest animated pictures. 12 This form of animation, which has inaugurated a new paradigm in the cultural series animated pictures, bears a strange resemblance to the images we have been discussing in this article: its images are of reduced size and short duration, they are shown in a loop, etc. It is significant that these same forms, whose primary interest rests almost entirely on their power of attraction, have resurfaced with these new media. However, as we might have guessed, it is now possible to see on the Net various examples of short narrative films created with the help of animation software. This use of the apparatus for narrative ends is just one of many possible avenues that could be taken. Since digital images modify considerably the relationship with the reality they depict—and this was the case of the earliest cinematic images—it is easier for them to find their way into the camp of attraction. We must also not forget that the history of cinema, or rather the history of the cultural series of animated pictures in general, was not a gradual and direct march towards narration. The question of crossing thresholds (and of becoming free of them) illustrates one of the possibilities in the growth of a medium (the possibility, it must be said, whose central role in the process of cinema's institutionalisation has to do with external factors unrelated to the medium alone). As a system, attraction is fully assumed, so much so that it has never ceased to be present, sometimes to a considerable extent, in cinema-narration. The recent rise of spectacular, giant-screen cinema, such as IMAX, is proof of this, if proof were needed. The expression "cinema-narration" appears to eclipse attraction completely, but the system in question owes its name to the simple fact that narration is its primary structuring principle. Beyond the primary principle lay many other things, in particular attraction.

Translated by Timothy Barnard

André Gaudreault is a tenured faculty in the Département d'histoire de l'art et d'études cinématographiques at the Université de Montréal, where he heads both GRAFICS (Groupe de recherche sur l'avènement et la formation des institutions cinématographique et scénique) and the CRI (Centre de recherche sur l'intermédialité). He is also the director of the scholarly journal Cinémas. He has presented a number of scientific papers and has published extensively both scholarly articles and books on filmic narration and/or early cinema.
Nicolas Dulac is a Ph.D. student at both Université Paris III Sorbonne-Nouvelle and the Université de Montréal, where he is also a film history lecturer and a research assistant at GRAFICS. His research interests are early cinema, film historiography and seriality in mainstream film production.

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This article is part of a larger research project on the different forms attraction has taken in the cultural series "animated pictures." Our discussion will begin at its emergence with optical toys such as the phenakisticope, the zoetrope, and the praxinoscope.

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ShadowLight Productions exposes the general public to the art of Shadow Theater. We strive to help preserve indigenous shadow theater traditions, and to explore and expand the possibilities of the shadow theatre medium by creating innovative interdisciplinary, multicultural works.

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Table of Contents

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camera obscura, ancestor of the photographic camera. The Latin name means "dark chamber," and the earliest versions, dating to antiquity, consisted of small darkened rooms with light admitted through a single tiny hole. The result was that an inverted image of the outside scene was cast on the opposite wall, which was usually whitened. For centuries the technique was used for viewing eclipses of the Sun without endangering the eyes and, by the 16th century, as an aid to drawing; the subject was posed outside and the image reflected on a piece of drawing paper for the artist to trace. Portable versions were built, followed by smaller and even pocket models; the interior of the box was painted black and the image reflected by an angled mirror so that it could be viewed right side up. The introduction of a light-sensitive plate by J.-N. Niepce created photography.

The Editors of Encyclopaedia Britannica Adam Augustyn.

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camera obscura, ancestor of the photographic camera. The Latin name means "dark chamber," and the earliest versions, dating to antiquity, consisted of small darkened rooms with light admitted through a single tiny hole. The result was that an inverted image of the outside scene was cast on the opposite wall, which was usually whitened.

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Throughout the classes I developed an interest in calligraphy. I tried different methods though I haven't yet gone much into depth on methods and the proper ways to execute strokes, select pen nibs or intensity/quality of ink. I don't plan on learning such subjects any time soon, though copying letters from the following references and identifying patterns helped me understand aspects of traditional typography better. There are certain ways stems and serifs are made, proportions between letters, x-height, ascenders, etc. which I identified and tried applying to my typeface. The followings links are the more useful references I found. Most of them weren't made using thin pen nibs. This is because I felt that thicker strokes were easier to replicate for me as a beginner.

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Comparison of H.P. Behrensmeyer's improvement over 50 years.

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Select full page spreads from a 17th century German book on calligraphy entitled The Proper Art of Writing: a compilation of all sorts of capital or initial letters of German, Latin and Italian fonts from different masters of the noble art of writing. Although some can be recognisable as letters, it seems that a penchant for elaborate decoration has made most of them wonderfully illegible.

See more images in the whole book housed in our post in our Texts collection.

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Select full page spreads from a 17th century German book on calligraphy entitled The Proper Art of Writing: a compilation of all sorts of capital or initial letters of German, Latin and Italian fonts from different masters of the noble art of writing.

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Allicient | Taking Your Knowledge & Technology At Higher Level

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It is the art of writing that has different strokes, brushes and bursting with fine-art design writing. It is usually used for wedding invitations way back years ago, but recently more and more design elements are using calligraphic font style as part of their full-packed layout.

Various Calligraphy Fonts :-

Lamar Pen is a classic and stunning hand-writing calligraphy font style of Mirabeau Buonaparte Lamar. His stylish and elegant hand writing results to a remarkable calligraphic font that looks awesome when letters are combined with one another.

Burgues Script is a very famous font for over 100 years that inspired many penmanship schools. This beautiful calligraphic font is designed by famous and skillful penman Louis Madarasz that is known for his contribution in the art of calligraphy.

Dom Loves Mary is a tribute to the Debi Sementelli's in-laws namely Dom and his wife Mary as a font symbol of beautiful life together. This calligraphic font is created to give your design a complimentary approach of both style and uniqueness.

Hummingbird is an old-fashioned but stylish calligraphic font with many cursive details and stylish scripts. The uniformity of this font style looks disciplined and very attractive when put all together. The variation of letters is also very elegant that can complement to any design layout.

Aphrodite Slim Pro is under the calligraphic font family of Aphrodite Pro but with more detailed characters. This calligraphy font has over 1,000 glyphs and the swashes are very stylish with many curves and flourishes created by Maximiliano Sproviero and Sabrina Mariela Lopez.

Scriptina Pro is upgraded by Fredrick Nader and Roger S. Nelsson published under CheapProFonts, as their 100 th font released. This calligraphic font has numerous available alternates that are all beautifully design to fit with any design layout.

Edwardian Script ITC is a stylish calligraphic font with lots of flourish and cursive details. It has a very sophisticated letterforms and characters that look like a result of pointed steel pen. This can be a perfect font for your wedding invitations or to other event invitations.

Perfumerie Script Pro is beautifully designed by Sabrina Lopez that has many stylish and classical calligraphic details. It has 2,500 available glyphs and font style is based on the author's own calligraphy which makes it unique than other calligraphic font styles.

Hiatus is a warmer approach for formal and classical scripts that lets you create the most unique combinations of letterforms with enough letter spacing in both capital and small letters. This calligraphic font will be the best font style for whatever type of occasion.

Corinthia Pro is a simple but very attractive calligraphic font. It has beautiful cursive details designed by Colin Brignall. This font is inspired from Gill Sans and Railway Type which looks cleaner and beautifully design to soothe any calligraphic design layout.

Monte Carlo is a traditional type of calligraphic fonts but offers many cursive details and swashes all in one font style. This beautiful script font is designed by Rob Leuschke with many flourishes and ornate that complements each other perfect font for wedding invitation.

Always Pro font family is available in 6 different styles namely light condensed regular, condensed light, black, fat and regular. This calligraphic font is designed by Anton Scholtz and each font style is very stylish and with lots of curls and ornate.

LD Wedding is a beautiful collection of letterforms inspired from Engraver's Old English font. This calligraphic font is the lighter version of it and it is one of the most famous font styles for wedding invitations since 19 th century.

Bellissima Script Pro is inspired from the library of Alex Trochut's grandfather created by Ramon Stirling in 1844. This beautiful calligraphic font is similar to other famous wedding fonts like Burgues and Conpendium but not from the same font family.

Carolyna Pro Black is a bolder version of Carolyna Pro that looks very elegant and stylish. This calligraphic font is designed to give more emphasis on modern hand writing that can be read easily even on far view. It looks hand written but with lots of cursive details.

Samantha Upright Pro is a very stylish calligraphic font style with lots of connected strokes, curls and beautiful flourishes. It has over 2,700 available glyphs to offer that can be perfect for wedding invitations and other event invitations.

Poem Script Pro is one of the most stylish calligraphic font styles ever created. It has a very unique strokes and thin cursive details. This is the collection of American pen script style in 19 th century and it is one of most used font for poems.

PF Champion Script Pro is a beautiful font family that offers you variety of advanced details and stylish approach. It looks very powerful and beautiful letterfoms with uniformity that offers lots of curls on both capital and small letters.

Quarzo is a flexible and stylish calligraphic font with detailed rounded angles. This font has a very consistent stroke with generous spacing that looks beautiful when it is printed, this can be a perfect font for wedding invitations and alike events.

French Kiss is entirely different from most of the calligraphic fonts since it has broader strokes and separated letters. It doesn't have much cursive details and flourishes but it still look classical and beautiful font perfect for event invitations.

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Allicient | Taking Your Knowledge & Technology At Higher Level: Commonly Used Calligraphy Fonts

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It is the art of writing that has different strokes, brushes and bursting with fine-art design writing. It is usually used for wedding invitations way back years ago, but recently more and more design elements are using calligraphic font style as part of their full-packed layout.

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This book was recommended in the project brief. I decided to read it since I wanted to read about photography to get more in-depth knowledge about the subject. Initially I had the intention to maybe learn about techniques or equipment, however I was pleasantly surprised to learn that the book presented reflections on the different natures of photography and the impacts of it in modern society and our artistic process.
This book reminded me much of John Dewey's "Art as Experience", a very philosophical book on the nature of art and how it is perceived by people within different environments. Sontag's book says very similar things related to good photography, especially in the first part of the book.
Photography, though it may be a representation of reality with extreme fidelity, is still an edited work of opinion and perspective, and however clear and analytical it may be, it is something which requires context to truly thrive as a means to relay information, whether it is of scientific or artistic nature. Unlike film, the act of photographing  is one of exclusion and choice which is powerless without the knowledge of why a certain photograph was taken in a certain way. This means that interpretation plays a big role in the way someone experiences photography.
Knowing this I wonder what methods one may use to relay the context of an image, and if it is always necessary to provide such knowledge. I can't help but feel as if showing the entirety of the context of a picture would overwhelm people, though simultaneously, giving little to no context may not allow your pictures to appear as what they were intended to be, possibly diminishing their value.
Perhaps being aware of the public which will experience your works or making it so a collection of similar works is presented would allow you to cut corners when giving context, making it possible to avoid the use of text.
The context and reasoning behind a picture are extremely important. During the presentations for my works I have the opportunity to explain my thought process. Perhaps I should try to provide as much of my thought process as possible without using text or saying much for the presentation of this week's project.
I think that grouping pictures together and using physical space to separate and order my works would be good to make the progression of my ideas clear.
Also, if I develop a more contextual work, drawing more attention to it by presenting it in a different plane or orientation might help with making sure an observers' attention  is drawn properly.
The other parts of the book I felt were a bit repetitive, though informative. Many important photographers, relevant works and their respective impacts are mentioned then and that makes such chapters very useful to me as a student who has yet to learn about the field of photography. I will be sure to refer back to such chapters whenever I feel as though I might find good references for research within them.

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An interesting artist whose work is extremely emotional and human, narrating tales of sexuality and expression of self. I feel as though the expression of my emotions is extremely difficult through visual mediums. I can write, but can't paint or draw my thoughts, and to see someone so skilled at conveying their feelings through photography, a medium which usually obscures its user in objective terms, is extremely inspiring end educational in the sense that it shows that representation is in its nature a narrative, and when regarding the representation of abstract elements, this narrative may take many shapes however obscure or counter intuitive they may be (as long as the interpretation of the subject is the one desired).
To achieve such results Woodman makes wide use of human subjects within constructed sets. The pictures are built before they are taken, which is an interesting way to produce photographic pieces. In my eyes, photography has a great charming point to it which is the element of discovery within the physical space. To look at a scene and from it edit out a piece which to you expresses something you desire to share. Woodman's work, though, presents a counterpoint to this concept. To create a bent, twisted reality, but which is still reality nonetheless, being presented as a bizarre collection of strange events and shapes and unnatural interactions. This creates a sense of shock. It is reality, and it is very clearly not a chance encounter from everyday life, but still, since the medium is photographic, it feels very real, therefore intense and relatable.
Perhaps I should study photography of such nature into greater depth. It isn't exactly coherent with my intentions with photography, though I believe that I must toss my ambitions and desires aside while I am still so early in my studies of such medium.

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View Francesca Woodman's 246 artworks on artnet. From exhibitions to biography, news to auction prices, learn about the artist and see available photographs for sale.

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Photographer whose works present ethereal scenes which, through similar techniques, appear either peaceful or unnerving. Her works interested me quite a bit since most  make use of unusual photographic techniques which are of a nature relatively new to me. Unclear, blurred pictures which are beautiful still, not looking like the mistake of an amateur, but like the work of someone who builds scenes carefully edited from reality using a tool in ways which it wasn't intended to be used.
However, the more fascinating aspect of her work may well be the camera angles and choice of subject. Though the artist may take pictures using similar methods and of similar subjects, the feelings each image conveys, without any additional context whatsoever (which is extremely interesting for me, definitely something I must try to replicate), are sometimes antitheses of one another.
This is due to, as I've already mentioned, camera positioning/ angle and framing. Angles slightly off kilter and subjects clearly defined, especially if they are large yet almost entirely framed, give off an intense unnerving feeling of anxiety, while slightly overhead angles of center-framed subjects within easy to recognize environments have extremely peaceful effects.
This is interesting because, much like in film, the positioning of the camera is able to do much of the work of its user when it comes to conveying a message, and this proves to be especially relevant for photography since it is a method which provides very little space for development of context.
I want to try to replicate her method of photography in a simpler manner. I enjoy the surreal aesthetic of blurred, overlapping subjects and I believe that if I manage to find an easy way to produce such results I might be able to take fantastic pictures which I was unable to before.

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Photographer well known for his appropriation of common objects to transform them into cameras.
His works caught my attention due to their emphasis on method. Though context-heavy, making them less interesting for my current objective for this assignment, the process of creating a photographic device is interesting for it provides an exercise on perspective and a reflection on the limits of the medium of photography. Indeed, to create a photographic device is quite easy and there are plethora methods one may use to create such pieces, though the main difficulty presented is accuracy and practicality.
For the sake of artistic, less functional purposes, I believe that practicality may be discarded, though an acceptable ammount of accuracy must be achieved for satisfying results.
An extremely under or overexposed image will not be appealing, regardless of the method or context provided. Perhaps a more conceptual work may prove to be an exception to such rule. Indeed I just now thought of many cases which would render my last statement untrue, for example, if you take an overexposed image to the point of it being irrecognizable and present it as a sheet of paper on which you can write or draw. Maybe that might be an interesting concept to work with, though I digress.
To take unusual objects to construct a camera, though usual objects for our daily lives, is to present the everyday in a different manner, through a perspective arbitrary yet immutable of an object within its intended environment. To do so is also to work within self-imposed limitations, and to test the limits of a medium which is fundamentally based off of limits (equipment, cropping, printing, etc.).
Studying alternative methods of photography can be very useful for me, though Pippin's works inspired me to test the limits of my camera and to see how far I can take it and how much I can extract from reality (in an interpretative sense) with it.

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The title of this work Bath Tub Converted into a Pin-Hole Camera suggests that the performance and mechanics of making the photograph not the image itself are the main subject of the work. Indeed, Steven Pippin has written that he is 'fascinated with the idea of constructing a camera whose viewpoint is not some external subject, but instead one having the capability of looking back in on itself toward its own darkness. An instrument designed with the intention of recording its own mechanism and features. A singular entity bearing no relationship to anything other than its own intricate and elaborate operation'. (Quoted in Steven Pippin 1993, p.7)

To make the work, Steven Pippin took a wooden board large enough to cover the top of a bath and drilled one very small hole into the centre of it; next, he mounted a bath tub upside down on a wooden stand in the corner of a bathroom. In complete darkness, he then lined the inside of the bath with sheets of 8 x 10 inch light-sensitive and sealed the wooden lid over the bath. Having thus created a rudimentary pin-hole camera, he lay naked on the bathroom floor while light flooded the room for ninety minutes. Once the process was completed, Pippin reassembled the sheets of photographic paper into a rectangular grid to form the coherent image presented here. The naked figure surrounded by the distorted features of the bathroom is clearly visible in the negative photographic image.

As with other photographs of this period, the subject of the image is related directly to the means of production, that is to say a bath tub converted into a pin-hole camera. In this instance, the reclining nude refers to a more conventional use of a bath as a secluded space in which to lie naked and inert. Pippin's appropriation of the bath for his own deliberately convoluted project has left the body displaced on the floor. However, the self-referential nature of Pippin's work extends beyond self- portraiture and the practice of using an object converted into a camera to photograph the usual contents of that object. What might be considered imperfections, such as the distorted window, recall images from the early history of photography and emphasise the fundamental processes of photography. While the use of a bath as a camera may be seen as an act of heroic absurdity, the hard-won nature of the image serves as a critique of the effortlessly achieved accuracy of modern photography.

Further reading:
Steven Pippin: The Rigmarole of Photography, exhibition catalogue, Institute of Contemporary Art, London 1993, reproduced p.23

Toby Treves
June 2000

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‘bath tub converted into a pin-hole camera’

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'Bath Tub Converted into a Pin-Hole Camera', Steven Pippin, 1984 | Tate

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Artwork page for 'Bath Tub Converted into a Pin-Hole Camera', Steven Pippin, 1984 To make this work, Pippin overturned a bath tub and mounted it on a wooden stand. In complete darkness, he lined the bath with photographic papers and sealed the top, leaving only a pin-hole at the centre.

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Summary

from Laundromat-Locomotion (Walking in Suit) (-; Complete group) Laundromat-Locomotion (Walking in Suit) 1997
Photograph on paper
support: 760 x 763 mm
on paper, print
Purchased 2001

Steven Pippin first experimented with temporarily transforming washing machines into cameras in 1989 after he had noticed a number of similarities in the workings of washing machines and the development of photographs . For him 'the elaborate and precise mechanism of the washing machine was a perfect system for making photographs. The eye of the machine (with the addition of an aluminium hood combining lens and shutter device) adapted to the transition of camera lens with the slightest of intervention. The pre-wash, rinse, main wash and final rinse cycles adapted to the chemical process of developer, rinse, fixer and final wash all of which were accurately temperature controlled.' (Steven Pippin, 'Pictorial Troubleshooting', in Discovering the Secrets of..., p.56.)

London-based Pippin made his first Laundromat images in 1991. In 1997, using a row of twelve commercial washing machines in a laundromat based in Bayonne, New Jersey, he made a number of more ambitious series titled Laundromat-Locomotion. The title of these series refers to the analysis of human and animal motion undertaken by pioneering photographer Eadweard Muybridge (1830-1904). Published as Animal Locomotion in 1887, Muybridge's study examined movement through sequential images using a number of cameras furnished with mechanically tripped shutters. There is a direct relationship between Muybridge's work and Laundromat-Locomotion. Pippin has written that the more he thought about Muybridge 'the more it seemed necessary to pay some kind of tribute' and added that the excessive scratching caused by the negatives being spun at 500 rpm in a washing machine unexpectedly gave his images 'some degree of authenticity by making it look like an original Muybridge from one hundred years ago. The scratches on the negative surface becoming a substitute for time, an artificial ageing process lending the pictures an accidental air of authenticity.' (Steven Pippin, 'Applied Photography', in Laundromat - Locomotion, pp.153, 154.)

Pippin's Laundromat-Locomotion series of 1997 mark the ambitious culmination of his washing machines project and Laundromat-Locomotion (Walking in Suit) is especially remarkable for the range of clarity to abstraction as the sequence progresses. It was produced in an of five (of which this is number one) and consists of twelve black and white contact prints made from negatives which were fixed to the back of the washing machines' drums, opposite the opening. Having previously set up twelve cotton tripwires in front of the adapted washing machines, the artist triggered the shutters sequentially by walking across the tripwires. The photographs portray him in profile, wearing a suit. Pippin often wears a suit while working and in this case he purposefully wore one both to install his apparatus and in the photographs as an 'ordinary' counterpoint to his eccentric activities, in order to blend in with the laundromat's customers.

The suit worn by Pippin and clothing in general are a critical element of this work. Indeed, as the artist has stated, the idea of 'the physical mass of clothing inside the machine being replaced by the more ephemeral image of the clothes, projected inside by the action of light reflected from a suited figure walking past the outside, was the primary concept or meaning of the work, and is crucial to any understanding of it.' ('Applied Photography', p.157.)

Further reading:
Laundromat - Locomotion: Mr. Pippin, San Francisco Museum of Modern Art 1998, reproduced pp.18-9
Discovering the Secrets of... Monsieur Pippin, exhibition catalogue, Fonds Régional d'Art Contemporain Limousin, Limoges 1995

Giorgia Bottinelli
June 2002

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'Laundromat-Locomotion (Walking in Suit)', Steven Pippin, 1997 | Tate

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from Laundromat-Locomotion (Walking in Suit) (-; Complete group) Laundromat-Locomotion (Walking in Suit) 1997Photograph on papersupport: 760 x 763 mmon paper, printPurchased 2001 Steven Pippin first experimented with temporarily transforming washing machines into cameras in 1989 after he had noticed a number of similarities in the workings of washing machines and the development of photographs .

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Photographer whose works are mostly portraits. Focuses heavily on the development of an aesthetic within her collections and tries to encapsulate the personalities of her subjects.
Her works interested me mostly because of what one of my classmates said regarding my 60 Images assignment. I was told that the images I took didn't feel connected, though they may have been of various different subjects, they were still part of a single assignment, therefore it may have been a good idea to try to keep a stable visual aspect between them.
I agreed with such statement, though I felt stumped when trying to figure out what I could have done to achieve a common visual theme.
This artist's worked helped me better understand what a common set of picture looks like. Colors, focus, subject positioning and situation. All of these are good ways to determine a common visual aesthetic.
This is very clear with this artist's collections, though the following link was the more interesting one for me since it presents the thought process of the photographer in her own works.
I must learn how to both photograph human subjects in a better manner and how to establish a common visual aesthetic. Perhaps making a faux collection of photographs using different methods might be a good way to help me understand how I could build a common visual theme

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A few minutes into my conversation with Annie Leibovitz, she informs me that my premise is bogus. The terms she uses are gentler, but my idea-to discuss five or so individual pictures from her new book, Annie Leibovitz: Portraits 2005-2016, and give a behind-the-scenes sense of what goes into them-is not really the point, she warmly corrects me. "To me," she says, "it's not just about the individual pictures. The power in the effort that goes into creating a body of work-how the pictures are brothers and sisters to one another."

You can create a whole new story in a book, Leibovitz says. The story of this particular volume began as the photographer was wrapping up her work on Women, another book-length project conducted with Susan Sontag. "I just had all this work I wanted to clear out," Leibovitz tells me, "and I was excited by the idea that the book would end with Hillary Clinton-maybe I'd do a portrait of her in the White House." Now, the photographer admits, the book "doesn't quite have an ending-it meanders about."

Duly chastened, with a corrected understanding of the purpose and vision of this book, I proceed anyway, and the legendary photographer gamely plays along.
Kim Kardashian and Kanye West

"The image itself came from a series of photos done for Vogue. Anna Wintour called me up and told me her plan to put Kim and Kanye on the cover. It was controversial at the time because people were feeling something like, What does Kim Kardashian do for a living? No one was quite too sure. I knew just about as much as everyone else knew; I had seen Kanye in concert; I had seen the TV show while channel surfing.

But they were planning on getting married at that time, and Anna loved the idea of a romantic piece. Their baby had already been born, and Kanye was very proud of the baby's nursery: the furniture, the color of the walls. He had designed all of it. At the time, they were still living in the family house, with Kris, and it was the only room in the house that was their room, while they were waiting for their own home.

I really wanted to have the cameras for the show in the picture. In the final shot, you couldn't see the cameras, but I wanted to capture that sense of perpetual engagement with screens."
Patti Smith (in Electric Lady Studios)

"I had worked with Patti Smith many times, starting in the '70s, when I photographed her for her first cover of Rolling Stone. Later, after she sort of went into seclusion and then returned to New York, she was just walking the streets and rang my studio door. She came up and I did a very simple portrait of her against gray paper. Patti understands photography so well-she is kind of like a photographer's muse. There's something about her that is like when Georgia O'Keeffe sat for Alfred Stieglitz.

Even though I've worked with her so many times, I've been very nervous each time because I felt like she belonged to Robert Mapplethorpe. There was a feeling of, Do I have the right to take this portrait? By the time I took this picture, Robert had died. It was taken in the Electric Lady Studios, where I'd worked many times before. She was working with her son, Jackson, who was recording something at the time, and her daughter, Jesse. I wanted to photograph the whole family together, but this was the image that came out of the shoot-with all those wonderful recording studio objects in the background."
Cindy Sherman

"I had always been enamored with Alexander Liberman's The Artist in His Studio series. The opportunity came along to do something with Cindy Sherman, who I admired so much. I thought I would do something with her working, but in the end, we just did a simple portrait in her studio. I decided to overexpose her so that she appeared very washed out, almost like a blank canvas.

Of course, there is some nervousness, any time you take a photographer. When you're taking a photo of a photographer, you both kind of know what the other person is doing. It's always a little awkward in that sense. The subject wants to help you out, but they also don't want to seem weird. Having been been photographed myself, I know this feeling."
Samantha Power
"This photo was taken in the residence of the United States ambassador to the United Nations in the Waldorf Astoria, in the office that they set up in the apartment. I think Samantha Power had just become U.S. ambassador to the U.N. and had just moved in. It was winter, and it must have been late afternoon or early morning, since there's not much light-probably the morning, since it looks like her son has just woken up. Her son came into the room and just sat in her lap, and that was when the photo fell into place: the working mother, whose job never ends."

Sheryl Sandberg
"I had met and photographed Sheryl before we did this portrait. For that earlier portrait, I wanted to photograph her with her children, but her husband was reluctant. Eventually, we took a few family portraits very quickly. Later, when her husband died, I had these photos of the whole family, and I sent them to her. She was always so sweet about what it meant to have those photographs.

This photo was one of the first she did after her husband died. I wanted to photograph her in her office at Facebook because I was doing a series on powerful women, but this photo is actually taken in a little conference room, since she and Mark don't really have offices. She couldn't have been more friendly or chipper. She just came into the room and sat down in the chair like that, with her leg folded under her, in her leather skirt. I loved her confidence. I'm sure her leg fell asleep by the time I got the picture."

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Annie Leibovitz on 5 Images That Have Shaped Her Career

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A few minutes into my conversation with Annie Leibovitz, she informs me that my premise is bogus. The terms she uses are gentler, but my idea-to discuss five or so individual pictures from her new book, Annie Leibovitz: Portraits 2005-2016 , and give a behind-the-scenes sense of what goes into them-is not really the point, she warmly corrects me.

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Artist whose works have many different aspects, though one predominant theme is photographs of single subjects with plain backgrounds. He also, however, worked with interventions on his photographs during and/or after the printing process.
This latter aspect of his works was what made me research this artist. To manipulate photographs in such manners is something which I had never done, therefore I was interested to see to what lengths other artists went in their interventions. The use of paint and solvents to degrade and obscure images was what interested me the most for these methods are powerful narrative building tools.
I would like to try using such methods for the found photographs assignment this week.

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Official website of The Irving Penn Foundation, with background information on the life and career of photographer Irving Penn. Includes images, biography, chronology, exhibition list, bibliography, and news.

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These talks were extremely interesting for me since they touched on the business side of artistic practice. In this case, especially focusing on solutions for the issues artists have nowadays due to lack of funding.
The first talk proposed an interesting, though simple concept of shared gallery spaces and the use of contacts and connections to set up exhibits at low costs. This model seemed to work in a small scale, though in my head I can't see it becoming sustainable. Basing a business model on friendship and camaraderie works to a certain extent, from what I understood. It, however, is limited by complicated aspects which don't necessarily reward merit and effort, and to me that doesn't sit well. Too uncertain and too situation-specific.
However, during this first moment, some interesting topics came up, such as the engagement of younger audiences to art, the format which galleries assume and how an artist's success can benefit their contemporaries.
Regarding these questionings I had the respective thoughts:
- As someone who represents the target youth of the curators who were on stage, I believe that truly galleries must change their format to capture our attention. Nowadays simplicity, emptiness and silence are too uncharacteristic to the youth, used to experiencing multiple medias simultaneously and used to a saturation of production. There is also a great interest now in personality and aesthetic. This is reflected mostly on music, fashion and the current zeitgeist which permeates both, so intrinsically connected. Perhaps an appeal to certain aesthetics regarding the charismatic subcultures of today, though not with the intention to exclude, but to expose, should attract attention of the icon-hungry youth of today.
- The concept of collaboration is interesting, and definitely a step in the right direction. I believe so because it allows viewers to experience diversity and actively make comparisons and relations and truly immerse themselves in a theme, subject or method. Another thing which would be interesting would be for galleries to perhaps motivate artists to be welcoming to new publics or at least provide a less one-sided experience when someone is observing an exhibit. Motivating conversation, relaxation, expression and comfort. The youth isn't interested in quietly pacing around a room for an hour. Unless they are truly immersed in the artists' practice, which is extremely rare.
- The most interesting point of discussion in my opinion. The creative sector is the furthest thing from a zero-sum game. The art SCENE is what matters, the current trend, the clashing rivals. Aesthetic can't be built by a single person and that's the wonderful thing about art. The more contributors to either a common movement or a common locale, the louder said movement or location becomes, reaching more and more ears and attracting more and more attention. The development of artistic practice also benefits multiple people other than the ones actively developing the most popular practices. Culture spreads and has tangible value. It motivates consumption and interaction, creates movement and attracts people, therefore benefiting all of those who surround the vanguard. This reminded me of an article regarding the development of decentralized coinbases and how it could be done via the gamification of income. Perhaps I should explore this idea further, creating a faux whitepaper for the application of said technique to the artistic medium. If not useful now, it will at the very least stimulate me to pursue knowledge regarding the art business practice.
Now, regarding the second part of the presentation, I didn't have as many extravagant thoughts, though I had a single, practical inspiration. Seeing the presentation of a digital gallery format I at first was not amused, however, once the concept was explained to me I quickly took interest in it. To create art for the sole purpose of exposing it online.
Somehow I had never thought of that, perhaps because I had only seen digital art galleries composed of photographs of works which lost their appeal in digital form. However, if you create works with the intention of exposing them online, you can make use of the digital medium to achieve powerful results, especially regarding exposure and accessibility.
This concept made me want to study HTML programming to build websites which are inherently art exhibits. I will first explore the programming language to understand its limits. Once I do so, I will be able to assess my possibilities within the medium.

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Com o objetivo de incentivar novos modelos no meio cultural e impulsionar projetos inovadores a levantar voo, surge o projeto DADO - Fomento à Colaboração e ao Exercício da Arte.

O projeto inicial DADO ARTE acontece na segunda semana de abril, como um evento paralelo à SP-Arte. O evento acontecerá dentro do Santos Augusta, o mais novo edifício projetado por Isay Weinfeld, o qual abriga além de escritórios, um hub cultural no coração da região da Paulista. Um seminário sobre arte contemporânea será realizado ao longo de dois dias, com palestras de profissionais que pensam modelos alternativos de implementação e desenvolvimento de negócios dentro do mercado, enfatizando as experiências, os aspectos formativos, modos e estratégias de atuação de cada palestrante.

A série de apresentações e debates é apenas a primeira etapa do programa. Na sequência, um comitê formado pelos palestrantes irá analisar novos projetos encaminhados pelo público através de uma chamada aberta lançada pela organização, dos quais um será escolhido e encaminhado para viabilização.

Por questões principalmente geográficas e econômicas, existe uma lacuna entre a intenção e a implementação de novos projetos no circuito artístico nacional. DADO se apresenta como uma plataforma para fornecer esse acesso e servir como um catalizador do desenvolvimento da cena local, proporcionando integração entre os agentes atuantes no meio e revelando novas perspectivas para o público.

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Com o objetivo de incentivar novos modelos no meio cultural e impulsionar projetos inovadores a levantar voo, surge o projeto DADO - Fomento à Colaboração e ao Exercício da Arte. O projeto inicial DADO ARTE acontece na segunda semana de abril, como um evento paralelo à SP-Arte.

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These lectures, given in succession, presented to me an outlook on the Brazilian animation market. Until then I didn't quite know it was as well developed as it is now, and I was pleasantly surprised to learned that even more growth is predicted. This fact, combined with the outspoken need for professionals in the area sets a good perspective for anyone interested in working within such areas in the near future. I, though not very interested in the prospect of becoming a 2D animator or an illustrator, was happy to learn that the Brazilian government is injecting millions of Reais into the video games sector of Brazilian economy. This is huge news for me, for it allows the exclusively small videogame design companies currently active in the country to grow into more powerful entities, capable of producing more elaborate works and likely needing skilled professionals. If this incentive bears fruit my chances of being able to work with what I want will be much greater, since I believe that, if the current game design scene in Brazil remains the same, my options will be extremely limited regarding employment.
After attending to these lectures I realized that I have to learn more about the companies in Brazil currently working with game design and, if possible, keep tabs on their progress. I would like to know and accompany their growth if it happens, and perhaps already start establishing communication for possible internships.

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Ao reunir artistas, unicórnios e apaixonados por animação em uma távola redonda, a Split tornou-se um estúdio de animação a navegar de vento em popa pelos mares dos mais diversos projetos animados, seja para TV, cinema, internet e ou games. Hurraaayy!

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Since Jaygo's presentation regarded the students interested in the still image pathway, there wasn't much in it which caught my attention. I was, however, intrigued by the fact that illustration and design students were able to develop works which not only regarded their respective courses, but also other creative practices, such as animation and filmmaking. This made me wonder what would be the limits to my practice during the second semester of this year. Perhaps I should ask Kevin Fenemore about this, since I already have ideas of interesting things I could do for my final project.
Leopoldo's lecture was also interesting because I learned that he had already made a game before. A simple one, but a game nonetheless. This inspired me to perhaps pursue practices and mediums alien to game design with the intention of finding new methods and forms for the development of games.

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Brazilian artist whose photography works were recommended to me for research by one of my tutors.
His photographic pieces were recommended to me because among them there are some which present overlapping images forming abstract patterns. Subjects in these pictures are carefully framed, though not in their entirety, since the focus is expression, not reproduction. This style of photography is interesting to me because it can be reproduced by one of the filters I've built. I will make attempts at photographing in such manner, though I will have to experiment with lighting and maybe use tripods to avoid getting blurry or underexposed pictures.
The fact that the pictures Barros takes are usually in black and white makes me want to try this also, since it reduces the amount of information photographs have, therefore giving more focus to shape and volume. I believe I would also feel more confident photographing in black and white because I personally am not a fan of color. This is an issue, though, perhaps I feel this way because I lack practice and familiarity with the use of color. To force myself to go into depth in this subject might also be a good idea for me to develop myself.
Here is linked a website which collects information regarding the artist and his works,.

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Geraldo de Barros (1923 - 1998), is a Brazilian painter, photographer and designer.
He was one of the exponents of vanguard in Brazilian art, a precursor of concrete art and pioneer in abstract photography.
He was also active as a furniture designer from the mid 50's (Unilabor) until the end of the eighties (Hobjeto), deeply involved both in the function of design and in the social structure of the economy he was actuating in.

Geraldo de Barros is represented in Brazil by Luciana Brito Gallery and in London by Augusta Edwards Fine Arts

Some furniture pieces are re-edited in Brazil by Dpot
Latest news:

Entre Construção e Apropriação - Antonio Dias, Geraldo de Barros e Rubens Gerchman nos anos 60. Curadoria de João Bandeira, 6.4 - 3.6.2018, SESC Pinheiros, São Paulo, Brasil.

The book Sobras published by Chose Commune winner of the 2017 Nadar Gens d'image Prize. Congratulations to the editors!

Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros, part of the initiative Pacific Standard Time: LA/LA, The J. Paul Getty Museum, Los Angeles, 6.9.2017 - 11.2.2018

Geraldo de Barros - Fotoformas e Sobras, Fundação Arpad-Szenes / Vieira da Silva, Lisboa, 15.5 - 17.9.2017

The book Sobras published by Chose Commune is nominated for the Award "Best Historical Book" at Rencontres d'Arles 2017

The Revolution is dead - long live the Revolution! From Malevich to Judd, Centrum Paul Klee, Bern, 13.4 - 9.7.2017

20.4.2017 - Presentation by Fabiana de Barros of the book Sobras - Geraldo de Barros, published by french editor Chose Commune, Musée de l'Elysée. Lausanne.

Geraldo de Barros, Sobras, DOCUMENT Gallery, Chicago, 25/2 - 8/4 2017

ARCOmadrid, - Galeria Luciana Brito, Madrid, stand 7D07, 22 - 26 feb 2017

ART Basel/Miami - Galeria Luciana Brito, 1 - 4 dec 2016, Stand M4.

Geraldo de Barros: Geraldo Industrial. From 5/11/2016. Galeria Luciana Brito, Av. Nove de Julho, 5162 - São Paulo.

The book "Geraldo de Barros - Isso", by Fabiana de Barros, SESCSP Edition, is awarded with the first prize for the Written Texts at the 30º Prêmio Design MCB.

MOSTRA | COLEÇÃO MCB - NOVAS DOAÇÕES, exhibition at the Museu da Casa Brasileira in São Paulo. Opening: 24/11/2016.

Geraldo de Barros: Off Center, Sicardi Gallery, Houston, TX, USA

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Geraldo de Barros (1923 - 1998), is a Brazilian painter, photographer and designer. He was one of the exponents of vanguard in Brazilian art, a precursor of concrete art and pioneer in abstract photography.

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Artist whose woodcut works were recommended as good research for me by one of my tutors.
The use of the woodcut technique is interesting to me for this project because, even though I want to make a video, I also want to create some sort of physical outcome as well. My intention is to create a poster if I have enough time.
I decided that I want to use woodcut as a printing method because it is cheap, simple and yields unique results with imperfections. The fact that negative spaces are carved out of the wood makes the reproductions in the material imperfect and jagged, complementing heavily stylistic designs well.
This artist's works gave me good insight on how the use of positive and negative space is made in woodcut, and what techniques and designs deliver the feel which I want to associate with my work.
Since most Brazilian woodcut artists develop pieces which illustrate folklore, seeing the work of Goeldi was a good way for me to experience other ways in which the technique may be used, especially when analyzing his illustrating the malice of crime-infested Rio de Janeiro.
Here is a link to a website which possesses a collection of this artist's works and plenty of information on him as well.

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Oswaldo Goeldi - Site Oficial do Projeto Goeldi

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Confira as obras separadas por segmento de trabalho. Mais obras podem ser consultadas atraves do email: goeldi@goeldi.com.br

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Yet another artist recommended to me due to his creations using the woodcut technique.
This artist is extremely interesting for me, not only when it comes to his woodcut works but also because of his paintings. The expressionist style is very appealing to me, probably because of the intensity of pieces which its source is sometimes hidden at first sight, although very clearly felt. This creates a more active experience of the pieces and sets disturbing feelings of unease and discomfort on the viewer, which is something quite intentional. The effectiveness of such effect is astonishing to me. I must research the expressionist movement in greater depth whenever get the chance to do it.
Now, regarding Kiefer's woodcuts, the use of disturbing imagery combined with overarching shapes which loom over the subjects or create patterns in perspective seem to be the source of the feeling of unease one gets from such works. Colors and narrative also play a big part in this feeling (which I want to be able to reproduce), black and tame, fading tones of yellow and red combined with reproductions of death and decay, complimenting each other and reinforcing a feeling of loss.
This can be used not only for a poster for my piece but also for my piece itself. I want it to be disturbing and overwhelming because that is the narrative I am going with. My video is an improvement of my (in my opinion) failed protest piece. And I want to give it my all.
Ideally, if I have time to prepare a good enough complimentary piece for my video I will most definitely develop something with a style in sync with Kiefer's woodcuts. I have already sketched out some basic ideas of what that would look like,  though I also want to, firstly, apply the knowledge regarding expression of unease in my video.
Here is a link which collects information regarding Anselm Kiefer's woodcuts

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Anselm Kiefer (*1945 in Donaueschingen, lives and works in Paris) is one of the most important artists of our era. And the ALBERTINA Museum is mounting a first comprehensive retrospective that includes over 35 monumental masterpieces from his famous woodcuts along with important pictorial series and thematic groups such as Ways of Worldly Wisdom: The Battle of Hermann, The Rhine and Brünhilde – Grane.Kiefer’s oeuvre bears witness to his intense interest in German history, cultural history, and mythologies. An individual approach to collage, numerous painterly reworkings, and experimental materials and techniques make each of his works a unique statement that stands on its own while still remaining networked on multiple levels with Kiefer’s pictorial worlds in terms of both content and form.

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Brazilian expressionist painter whose works I decided to revisit for reference.
Having researched Anselm Kiefer, I decided to revisit this Brazilian artist's work hoping to get more information to develop my video piece. By the time I researched this artist I already am sure that there won't be enough time to produce a proper poster for my video, though the expressionist style is still a point of interest to me for the development of my video.
Again, the results which I am trying to obtain are achieved by this artist through disturbing imagery. This time, however, elements in pieces are mostly limited to the main subjects, these being the main point of discomfort. The message here is more blunt, less delicate. It is impressive, though I don't believe that this approach would be ideal for me. Being inexperienced and also trying to achieve this result in a different medium present are big obstacles which I would have to surmount to not come off excessively aggressive or fail at conveying unease. Color plays a big role in creating the proper setting in the more disturbing pieces of Portinari, confirming the fact that I will have to carefully think about them when developing my video.
Though interesting for someone who is interested expressionism, for this piece specifically, it would be too risky to attempt something in Portinari's style.
Here is a link to his official website, which collects artworks of his and articles regarding the artist.

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Being a piece of expressionist cinema, this was a recommendation one of my tutors gave me when I showed interest in expressionism.
Being the oldest movie I have ever watched, it was interesting to me to compare storytelling techniques and artifices used with today's cinematographic practices. Most importantly, however, I was glad to see a manifestation of expressionism in video. This helped me consolidate my ideas regarding what an expressionist cinematographic piece would be like, though the technological difference and the nature of my project and the movie are much too great.
This difference, however, inspired me to work with technology as much as possible, stretching and distorting it like the sets of the movie are stretched and distorted. This was probably one of the better ideas I had for this project and I intend on working with it. Of this I am sure.
Going back to the movie though, I identified two other issues I will have to face when producing my video. The first one being actors, the second being narrative.
Regarding the actor issue, I personally am not good at acting and do not know any good actors. Though not on my mind at first, however, I seem to have always thought of not focusing on acting. I will shy away from it as much as possible, for I feel as if I can ruin my video with a poorly acted scene.
Regarding the narrative issue, I will have to condense my narrative into two minutes or less. For this I will have to sacrifice either exposition or clarity. The choice seems obvious to me. Having liked Kiefer's work I believe that uncertainty is the way for my video. This choice also gives me more chances to work with the technique I want to use, which is ideal. I will insert a screenshot of one of my favorite scenes of the movie.

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Yet another expressionist artist, though different from the other here on this list due to his use of color. The tones aren't as inherently associated with suffering or unease, which is interesting because that doesn't mean that they don't convey such feelings.
Analyzing his artworks I was able to understand better how color cannot be dissociated from shape or context for it interacts with both elements, influencing and being influenced, and though colors may have very strong ideas associated with them, such ideas can be warped and manipulated to have the very opposite impressions on an observer.
The imagery depicted is also not inherently menacing or disturbing, which is fascinating since it still feels this way, and the source of discomfort is always hidden underneath the observer's nose, though its presence is very clearly felt. Replicating this effect would be very useful for my video, though I am unsure as to whether I will be able to achieve the same level of subtlety as Munch achieves (the answer is clearly no, though I will still try), but if I don't I will probably scrap this idea because I don't want to risk not having the effect I want on my viewers.

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Technique I want to use for my video. Research for this took much longer than I expected and since it uses a software which is inherently problematic to intentionally corrupt data, crashes, file compatibility issues and general uncertainty make the video tampering process frustrating and time consuming. Still, this is, I believe, a good way to create internet-age expressionist art.
Being based off data corruption, sampling and superposition of footage, this technique yields visual results which are disturbing in nature due to their clearly flawed nature. With careful editing and some knowledge regarding the (many) peculiarities of datamoshing, one is able to control outputs and predict effects. Getting familiar with the technique was crucial, but since it is not popular or well documented, I could only learn methods and technique by reverse engineering footage I found and going through lots of trial and error.
Frustrating as it may have been, I believe that the effort paid off, since I was able to be in control of the outcomes I achieved, which was my main objective when I decided to use datamoshing for my video.
As a final note, I want to make sure to express the interest this project evoked in me to learn more about the more technical aspects of digital file formats, since datamoshing is based off of the tampering of compressed video data. I believe that through the manipulation of data I may e able to work with digital artistic processes, much like the chiptunes of old game consoles.
Here is a link to a website with very basic information regarding datamoshing. The guides here only teach the basics of production. Most of the techniques and effects I had to come up with by myself.

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Datamoshing is the process of manipulating the data of media files in order to achieve visual or auditory effects when the file is decoded. In some cases the term datamoshing is used perfect Replica Watches best quality to describe this process applied to any type of media file - I like to think it applies solely to video since it results in moving images being moshed together. Regardless of the application of the term, datamoshing videos can be done quite easily with free, cross-platform tools.

Modern compressed video files have very complex methods of reducing the amount of storage or bandwidth needed to display the video. To do this most formats don't store the entire image for each frame.

Frames which store an entire picture are called I-frames (Intra-coded), and can be displayed without any additional information.

Frames which don't contain the entire picture require information from other frames in order to be displayed, either previous or subsequent frames, these frames are called P-frames (Predicted) and B-frames (Bi-predictive). Instead of storing full pictures these P-frames and B-frames contain data describing only the differences in the picture from the preceding frame, and/or from the next frame, this data is much smaller compared to storing the entire picture - especially in videos where there isn't much movement.

When a video is encoded, or compressed, a combination of these types of frames are used. In most cases this means many P-frames with I-frames interspersed at regular intervals and where drastic visual changes in the video occur. More information on frame types can be found here.

If an I-frame is corrupted, removed or replaced the data contained in the following P-frames is applied to the wrong picture. In the above video I-frames have been removed and so instead of scenes changing properly you see the motion from a new scene applied to a picture from a previous frame. This process of corrupting, removing or replacing I-frames is a very popular video datamoshing technique and what this tutorial will focus on.

Another video datamoshing technique involves selecting one or more P-frames and duplicating them multiple times consecutively. This results in the same P-frame data being applied to one picture over and over again, accentuating the movement and creating what's known as a Bloom effect.

For this tutorial we'll be using Avidemux, a free, cross platform video editing application. Generally the effects of datamoshing are viewed as errors, or undesirable and thus applications like Avidemux try their best to correct these errors and eliminate glitching distortion. For this reason the latest version of Avidemux isn't very good for datamoshing, but some older versions, such as 2.5.6, available here, work just fine.

After downloading and installing Avidemux 2.5.6 Open the video you want to mosh.

Avidemux may show warnings depending on the type of file you're using, select No and continue.

Next click the Configure button below the Video dropdown on the left. Select the Frame tab and then change the Maximum I-frame Interval from 300 to 99999999 then click OK. By changing this setting we're allowing the video file to be played back even if it has unusually few I-frames, one every 99999999 frames.

With this setting changed the video must be saved and then reloaded for it to take effect. Save the video with a new name to indicate that the Maximum I-frame Interval has been adjusted.

To remove I-frames we use the slider at the bottom of the interface, it displays the current frame type below the video navigation buttons, you'll mostly see Frame Type: I (00) and Frame Type: P (00). The first frame will most likely be an I-frame and should be left in so that the video can start properly. To locate other I-frames click on the slider tab/grip to focus the slider then press the Up Arrow on your keyboard to jump to the next I-frame, the Down Arrow will jump to the previous I-frame.

Pressing delete now would delete the current I-frame and all subsequent frames so we have to reduce the selection to only the I-frame. This is done be pressing the Right Arrow key to move to the next frame and then clicking the mark B button below the slider. The blue selection border should update to show only the I-frame selected as illustrated below.

Now that only a single I-frame is selected press the Delete key on your keyboard to remove it. To remove all the I-frames use the Up Arrow to move to the next one and repeat the removal process. Try to avoid moving backwards through the video once you've removed I-frames as this can cause Avidemux to crash, stick to moving forward through the I-frames and removing them.

After you've removed one or more I-frames, Save the video and again select No if Avidemux prompts or warns you about something, smart copy for instance.

Once the video is saved open it up in your favorite player and evaluate the havoc you've wrought upon it.

The video included in this post was datamoshed using this technique, however the audio was slowed down using traditional video editing.#corruptabsolutely
Update
For those of you unable to run Avidemux 2.5.6 on OSX you can try running Avidemux 2.5.4 on Yosemite and Lion thanks to some instructions from Way over at Glichet.

Go to the Avidemux 2.5.4 binary archive here

Download avidemux2_2.5.4_intel.dmg

Unpack it and then drag avidemux2 to your Applications folder

Navigate to the Applications folder, right-click (or control+click) on avidemux2, and click Show Package Contents

Delete libxml.2.dylib and libiconv.2.dylib from the Contents/Resources/lib folder. *libxml.2.dylib can also be named libxml2.2.dylib

Open avidemux2

Windows

OSX

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Datamoshing is the process of manipulating the data of media files in order to achieve visual or auditory effects when the file is decoded.