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Altough being a really simple animation, that re-use lots of frames to make the animation be longer and has a very simple style,  'Nuggest' can really pass the message about adiction it wants to convey to the viewer. In the bigging the animatiopn is rather funny to watch, but by we get closer to the end, the screen goes darker and darker, contributing to the narrative of a character that is going deeper on his on misery. This makes me think that the scenarios (tones in this case) contribute a lot for the mood of the animation and its narrative. I will need to play closer attention on how I'm going to design the characters and scenarios for my animation, so that to make a consistent animation within the theme.

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This piece of Johnny Kelly is really intersting in the way it is practcally a infographic that mixtures a range of techniques from stop motion to traditional and digital animation. The way the elements move along with narrators speach makes the whole piece more intersting to watch, makes you became curious about the next thing he will talk than if it were just a video of someone trying to convince the audience of his point.

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Saatchi & Saatchi | New Directors' Showcase

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Johnny Kelly |  Procrastination | Saatchi & Saatchi New Director Showcase 2008

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This scene calls my attention for the way that it uses still photographs to create a stop motion, the man with the numbers is a still image but by making this still image move on the screen and rescaling it they can create a ilusion of movement for him. I might use some similar technique on my animation to make it faster to be animated.

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On this piece what calls my attention is the combination of stopmotion with puppets and traditional animation. Stop motion is a really good technique to consider using since it is quicker to animate (once you got the puppets done), but requires a lot of care and attention with the puppets position and camera placement. One other problem is that it is not easy to make corrections, once the photos are already taken.

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Classic Sesame Street animation - beach picture book

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Helpful site with information about EPIs and how to keep them clean and healthy to use. Helped me to have some ideas for possible topics to animate

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De acordo com o artigo de número 166 da CLT, toda a empresa é obrigada a fornecer aos seus funcionários, de forma gratuita, EPI (Equipamento de Proteção Individual) em perfeito estado de conservação e funcionamento, adequado ao risco do trabalho executado.

Vale ressaltar também que todo o equipamento de proteção individual a ser fornecido pela empresa aos seus empregados deve ser de qualidade comprovada, necessitando esse EPI conter o CA, ou seja, o Certificado de Aprovação emitido pelo MT (Ministério do Trabalho e Emprego) que comprove a qualidade e a eficiência do EPI mediante testes realizados.

De acordo com a NR 6, com relação aos EPIs, cabe aos empregados:

utilizar o EPI apenas para a finalidade a que se destina;

responsabilizar-se pela guarda e conservação;

comunicar ao empregador qualquer alteração que o torne impróprio para uso; e,

cumprir as determinações do empregador sobre o uso adequado.

Além disso, para que estejam sempre em condições de utilização, se faz necessário realizar a higienização do EPI, todavia esse processo merece alguns cuidados e recomendações.

Isso porque, muitos EPIs, quando submetidos a processos de higienização ou de "lavagens", podem se descaracterizar completamente, perdendo suas características essenciais como resistência e durabilidade, principalmente devido aos produtos químicos utilizados no processo de higienização.

Calçados, luvas, dentre outros, estão entre os EPIs passíveis de descaracterização quando submetidos a processos de higienização incorretos, principalmente quando estes forem artigos que contenham couro em sua composição.

Outro fato relevante com relação aos EPIs é a sua devida manutenção, que deve ser realizada quando necessária, tal como a substituição de lentes em óculos de segurança, substituição das videiras em protetores faciais, troca de válvulas e mangueiras em protetores respiratórios, dentre outros.

O importante é ressaltar que o EPI nunca pode perder as características expressas na NR 6, tal como "estar em perfeito estado de conservação e funcionamento". Dessa forma, todo e qualquer processo de reparo ou de higienização de EPI deve ser feito somente de acordo com as especificações do fabricante e pelos profissionais por ele designados.

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De acordo com o artigo de número 166 da CLT, toda a empresa é obrigada a fornecer aos seus funcionários, de forma gratuita, EPI (Equipamento de Proteção Individual) em perfeito estado de conservação e funcionamento, adequado ao risco do trabalho executado.

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A short traditional animation. What calls my attention on this one is the fact that it looks like (if it is not) a hand drawn animation. The way the scenes and the charecter are animated with such colourful elements contributes for it to keep the audience entertained. Using colours and cartoonish designs is a good way to catch the viewer attantion to the animation, I want to try doing something more colourful and cartoonish to create a fun thing to watch.

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What I found to most intersting on this  work of Michael Gagne is the relation between the sounds of the music and the shapes, objects and colours that display on the screen. Synesthesia is a characteristic some people have that allows than to subconsiusly relate and interpretate sounds on colours ( to actualy hear sound.

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SYNESTHESIA - Animation by Michel Gagné / Music by Gheorghe Costinescu

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What draws my attention on this artwork of György Ligeti is the way that artist found to create a new of music notation-an alternative type of music sheet- that not only marks the occurrence and the specific sound that must be played (like traditional music notation already does) but also represent the aesthetic character of the music being notated.
The work is, in a nutshell, consists of a sequence of graphical symbols that pass in a horizontal display with numbers in the bottom and a sort of musical composition of a range of sounds and noises. The horizontal display of the symbols and the numbers (marking time) are a clearly inherited from traditional music notation, but that is not the main point of this analysis. One of the first things one can note on this work of Ligeti is the relation between the sounds and the graphic symbols, where each symbol marks a specific sound (unlike Len lye's Lambeth Walk), making this piece to be, in fact, an alternative music sheet. Paying closer attention to the sounds and symbols, trying to comprehend which symbol represent which sound, makes it possible to "learn how to read" this music sheet. From this is possible for the viewer to try, in case he wants to (I, at least, tryed), predict how the music is going to develop.
Going deeper with this analysis, it's noticeable that the symbols weren't randomly picked. Firstly, their shapes, in a certain way, resemble the characteristics of the sounds they represent. For example: the comb-like horizontal symbols (after 38sec) mark the occurrence of a short, grainy, wheezing sound. This symbol not only serves to mark the occurrence of this sound and distinguish it from others during "reading", but also represent visually the aesthetic character of the sound. The number of horizontal lines, for me, resemble the weezing grainy part of the sound; it's worth mentioning as well that rubbing a comb's bristles on a hard surface produces a similar sound (I tested), although I lack data to affirm that the symbol is comb-like because the sound was made with a comb. Secondly, the music itself has a kind of futuristic aesthetic, noisy, grainy, wheezy sound that resembles, in my view, technology. The symbols for been geometrical hard coloured shapes ( lot loose and liquidy as in Lambeth Walk) also brings this sort of technological resemblance.

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Jan 5, 2012 ... In this case, the classic experimental electronic composition Artikulation by composer Ligeti has already had a visual score associated with it. Rainer Wehinger created the visuals above after the fact as an "aural score," intending visuals to present a visible "reading" of the sounds of the piece.

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This exposition was really helpful for me when having Ideas for this project. The movies, images and animations that appear on the multiple displays on this darkroom are intrincically related to to the music that is been played. they convey not only the sound and mood- for example, a fast music full of notes, instruments and strong volume, is representated by varius fast-passing images and animations with strong colours- but also convey what the music is about, its lyrics.

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this exposition was really interesting on the way that the artist chose to exhibit her work. considering that the work is about a tiny sculpture in various locations, to display it as a sequence of small photos makes me relate the photos size and frame to the characteristics of the sculpture itself. her work makes me think that my sculpture don't need to necessarily move, I could work with the idea of movement and represent it within the photos of the object, by changing angles, locations or maybe both.

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Guest Contribution by Doya Karolini

Yatzer investigates the very nature (be it the structure or the purpose) of a recent project that three young architects, Brandin Roat, Sergio Ramirez and Timothy Leung have worked on, as a participating piece for Burning Man 2009. It is called "Babel" and it has pretty much everything to do with the original masterpiece that was lost throughout the centuries....if it ever existed in the first place.

The Tower of Babel (in Hebrew: Migdal Bavel, according to the Book of Genesis, was nothing but an enormous tower (it had to have "its top in the heavens"), built in the city of Babylon: a cosmopolitan metropolis of its time (very NY-like), typified by a confusion of languages, also called "the beginning" of Nimrod's Kingdom. Yet not for the worship and praise of God, but instead, dedicated to the glory of man.

Well, the story is pretty much known to everyone, be it a believer, a Christian, a Buddhist, or a Muslim, or then again not. And it explains the origin of nations, of their languages, and of Babylon itself. But mainly, it displays the competition between God and humans, as wells as Lord's resulting contempt for human pride.

But this one right here and right now, is not about religious beliefs or the book of books, but a recent project that Brandin Roat, Sergio Ramirez and Timothy Leung have worked on, as a participating piece for Burning Man 2009. And yes, this too is called Babel. It comes not as a surprise. Not at all.

Yet this very Babel of our time, is not a group or an organisation, no, not even a social order. It is once again to its purest roots a single tower, built as the manifestation of the original belief that we as human should strive for the very best and achieve the yet to be imagined. And its 2009 builters, a bunch of deliberate and conscious designers and craftsmen of different background and different nationality, are actually some sort of pioneers, that are not afraid -be it by hybris, or by the original biblical story and end of Babylon, to push and test the limit by transcending boundaries created by men. But also to reveal the temporality of structure and acceptance of time as a countdown to inevitable demise.

As for the structure, a functional, rational and versatile product - in its purest pursuit of perfection- it is engineered to withstand in difficult condition.

Furthermore, the beautiful hexagon geometry was introduced to improve stability from wind forces and horizontal movement. The shape makes the efficient use of space and building materials real, actually very similar to the cells of a beehive honeycomb. Strategically, by juxtaposing each level, vertical and horizontal loads can be evenly distributed. And the tension rods act in favor to its tensile strength to further secure the structure.

Shipping pallet is readily available, yet it is built with the most efficiency: tough enough and able to withstand great deal of compression, while light can be automatically be transported by just one person. The small fill-in wood blocks strengthen the pallets, while providing more area for connection.

As a result of this architectural attempt, the very nature of the tower performs almost like an air chamber, encouraging vertical ventilation throughout -as cross ventilation run through- the adjacent window openings. Beside that, modular geometry of each pallet creates opportunity for stepping. So, it functions as a single entity while each floor -or each unit- is divided and differentiated by windows, constructed with various recycled materials.

Slitter of sunlight scans along as one climbs up the structure, until it reaches the deck level and experiences the majestic view of the Black Rock Desert, where it is actually built now, more than 30 feet above ground.

But you simply have got to see the tower in the night, when it turns into a lounge, dramatized by illuminating red lights and glowing stars.

Wanna bet? Maybe if the biblical tower looked alike, so perfect in form and function, yet simple and almost pure, it wouldn't have resulted God's contempt for the human race. Maybe it would have remained at its position in Babylon until now.
Opps. Or was that very last sentence a hybris? Hm. Even if so.
about the architects

Brandin Roat, 25, Sacramento raised with a degree from Calpoly, San Luis Obispo, currently working at BRR Architecture, San Francisco.

Sergio Ramirez, 27, was born and raised in San Francisco and received a bachelors of architecture at CalPoly San Luis Obispo in 2008. He practices as a freelance designer involved in the wide spectrum between graphic design and hands-on construction. He is interested in the sublime--turning pragmatism on its head, reinventing common and recycled materials to blur boundaries between, sustainability, sculpture, and architecture.

Timothy Leung, 25, grew up in Hong Kong S.A.R. and moved to the states for his higher education. He received his Bachelors of Architecture at CalPoly San Luis Obispo in 2008 and practiced Architecture briefly in Hong Kong. He plans to continue his work in becoming a more sensible, conscious designer in New York City. He is passionate in exploring and reinventing through mixed media and innovative construction methods.

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Under*standing the Tower of Babel | Yatzer

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Yatzer investigates the very nature of a recent participating piece for Burning Man 2009. It is called "Babel" and it has pretty much everything to do with the original masterpiece that was lost throughout the centuries....if it ever existed in the first place.

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More on how to properly hygiene the safety equipment.

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This piece of work of Len Lye calls my attention for many of its aspects, but the main characters that catch my curiosity and draw my attention is the way the music and the graphic elements in the movie dialogue perfectly with each other, one adding meaning- and also complementing- to the other.
The work is a movie that shows different, variated graphical elements( such as dots, lines, curves and shapes) with a range of colours as background, alongside with a music. Quickly one can realize that both music and images are intrinsically related to each other, the images reproduce various aspects of the sounds in the music, such as rhythm, mood, tone and timbre. Although there is no precise correlation between the moments (time, compass) when the sounds occur and the graphic elements, that is, not necessarily each element corresponds to a specific note in the music. For example: when the piano takes part (in 1min10s), lots of colourful dots appear, but there are more dots than actual notes; so each dot doesn't relate to a specific note. The images represent other aspects of the music being played (mood, rhythm, etc.), but doesn't work as a sheet music.
The different types of sounds are represented by different types of graphical elements. Continous sounds( like the ones produced by guitars)  are translated into continuous wavy lines, for example. The fact that the lines are continuous, for me, is a reference to the duration of the sounds and the wavy characteristic establishes an analogy with the way these sounds were made- which is by the vibration of the strings of the musical instruments used to produce this sounds-. The piano sounds follow the same logic, but with dots, resembling the shorter duration of the notes and the larger number of notes being played on the music. This work makes me realise that te images don't necessarily need to be a "different type of music sheet" to represent the sounds.

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An avant-garde piece produced by Len Lye, colours and shapes accompany the popular 1930s tune ‘Swinging the Lambeth Walk’.

Find out more information about this title at britishcouncil.org/film.

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Homemade Musical Instruments: Creating music is always fun, but making it with your own homemade musical instrument is much better. Luckily making your own instrument is easy and many can be made in an afternoon with little more than everyday items found around your house. ...

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Playing pictures: the wonder of graphic scores

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Artist and composer Tom Phillips ponders musical notation, and the brief but glorious union of art and sound

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Music Visualization - Synesthesia - Test2

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Music Visualization: Mute Math - Reset (HD)

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The 10 best theatre designs - in pictures

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The Observer's theatre critic chooses the 10 sets that changed the face of modern theatre, from a 1912 Hamlet to Punchdrunk's immersive Faust

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Adam's Passion is a joint work of Robert Wilson and composer Arvo Pärt.

Using light, space and movement, Wilson brings together in a "tightly-woven gesamtkunstwerk" Arvo Pärt's choral works Adam's Lament and Miserere, the double concerto for two violins Tabula rasa and the new work Sequentia, composed especially for this production and dedicated to Wilson by the author.

The plot features Adam who, after having been expelled from the Garden of Eden, anticipates all of mankind's catastrophes, blaming himself for them. In the end, he once again seeks the love of God.

As for many of his set designs, Wilson had the collaboration of architect and scenographer Serge von Arx. Ahead of the upcoming performance at Konzerthaus Berlin this month, Scenography Today has asked him for some comments.

Among the fifty realized, and ca. thirty un-realized, productions he has worked at, Von Arx thinks Adam's Passion stands out in the way the project has evolved out of an inner contradiction.

"Wilson's starting point working with this beautiful music was the assertion that the best way to listen to it is to close your eyes. A contradiction that actually has worked on stage," Von Arx says.

"It all started with something conceived in the head before, which then got changed and simplified and really boiled down to an essence that truly allows you to concentrate or to listen to the music. The unfolding visuals allow the listening even better than by having closed eyes, which is, I think, quite an interesting achievement in the clarity and simplicity of the vocabulary Wilson is using," he says.

In Wilson's productions, music is always a key aspect. "There are none of his works without the music," Von Arx says, "and usually, this is created together with the work. That is why he considers important that the composers are present as much as possible, so they can really sculpt and build the work together."

In Adam's Passion, on the contrary, the music was already established and the narrative had to be built on it. Except for the case of opera, where music is given but so is also the narrative, Adam's Passion is a rare case in which Wilson had to work on a "fixed thread", "so the work is not the constant dialogue or the weaving together" of the different components as we are used to seeing, instead "it is almost one fixed thread in which something is woven till the weaving almost disappears making the original thread, the music, even stronger and better acoustically visible," he says.

Another interesting aspect Von Arx highlights is the outcome of the production's relocation. Adam's Passion was first staged at the Noblessner Foundry in Tallin, a former submarine factory dating back to the early 20th century, a very different setting from the Berlin neoclassical concert hall. "It will be interesting to see how the production is moved from an industrial hall into this refurbished Schinkel architecture of the Berlin Konzerthaus. At first sight, the contrast could not be stronger. What will be the connection points, how differently will it be witnessed in the Berlin concert hall?" Von Arx wonders.

Adam's Passion will be performed at Konzerthaus Berlin, Germany, on 27, 28, 29 March.

Music by Arvo Pärt, direction, set and light design by Robert Wilson with the collaboration of Tilman Hecker (direction) and Serge von Arx (set design). Lights by A.J. Weissbard, costumes by Carlos Soto.

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Robert Wilson, Adam's passion | Scenography Today

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Adam's Passion is a joint work of Robert Wilson and composer Arvo Pärt. Using light, space and movement, Wilson brings together in a "tightly-woven gesamtkunstwerk" Arvo Pärt's choral works Adam's Lament and Miserere, the double concerto for two violins Tabula rasa and the new work Sequentia, composed especially for this production and dedicated to Wilson by the ...

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Discover & share this Animated GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

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Discover & share this Atonement GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

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Discover & share this Art GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

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methodical Significado, definição em Dicionário Inglês

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methodical significado, definição methodical: 1. Methodical people do things in a very ordered, careful way: 2. done in a very ordered, careful way:

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How to Export GIF from After Effects.pdf

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What I find the most interesting on this artist works is the way that she edits the photos to create this unreal scenarios. Like the way the images are framed, that give this sence of loliness. In my opinion that is caused by the way the perspective is explored in the photos.

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This work calls my attention mainly for the way the lights create shapes and moviments. For me the geometrical shapes and lights in moviment create a sort of futuristic aesthetic and the contrast betwen the bright colours and the dark environment, create a focus and a kind of imersion feeling that I find really intersting. Makes me want to experiment with lights in instalations .

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De la même façon, mais avec des thèmes plus simples, je fis en 1968 deux autres cellules, dont une couverte de lignes lumineuses parallèles avec un écart d'environ 30 centimètres, en constante vibration, et l'autre avec des murs courbes balayes sur toute leur longueur de lumières verticales qui se déplacent de gauche à droite à des intervalles irréguliers et à des vitesses différentes.

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This work first calls my attention for the quite intricate and complex metal/wire structure that, although, is a static object, conveys in a idea or impression of moviment. The main reason for that, I think, is because the structure is occuping the whole space and the lines, although strait lines, combined create a sort of wavy lines that transmits this sence of moviment

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Website of British sculptor Antony Gormley, creator of the Angel of the North, Field for the British Isles, and Quantum Cloud.

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This work drags my attention because of its colours and the shapes the are made with these tones of blue. The blueish tones that appear on this art work create a could atmosphere that dialogs with the geometrical forms contained in this room what, for me, resembles to computer circutes. Creating this technological environment. Makes me think that working with the combination of colour and structures can be helpful to create interesting environments. Should Experimente with it.

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Website of British sculptor Antony Gormley, creator of the Angel of the North, Field for the British Isles, and Quantum Cloud.

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This technology allows one to capture real objects or spaces in a series of photographs and convert it on 3D models later on. This could be really useful to capture my sculpture or at least help me to develop the 3D animation . The ReCap Pro is a software that can be used for this type of applications. It is expensive , but there is a trial version that could be used for this one project.

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VOLTERRA-DETROIT FOUNDATION

Digital preservation of ancient sites

Autodesk, Case Technologies, and the Volterra-Detroit Foundation scan key historical and archaeological sites in the ancient city of Volterra in Italy.

Image courtesy of The Volterra-Detroit Foundation

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ReCap | Reality Capture And 3D Scanning Software | Autodesk

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VOLTERRA-DETROIT FOUNDATION Digital preservation of ancient sites Autodesk, Case Technologies, and the Volterra-Detroit Foundation scan key historical and archaeological sites in the ancient city of Volterra in Italy. Image courtesy of The Volterra-Detroit Foundation

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Machine Invented by Nikolas Tesla. Produces visiable lightnings. I could make it a sculpute were the moviment is perseived by the lightnings.

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Unfortunatly a homemade tesla coil can only light up a lamp or make a really tinny lightning. To have a bigger effect I would require a lot of energy and machinery that I have on access to.

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Video that shows and explain some of the properties and fisics behind the plasma ball. It is not possible to handmade one of this, but it can provide a visual concept for my sculpture.

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This enormous sculpture made by Tomie Ohtake is a static work, made  out of metal, but the waves and shapes that give for to this gigantic sculpture convey an idea of moviment. Like it was a liquid form that was in constant moviment and it is now just frozen in time, but still has this tension of trying to get back to its moviment. https://www.institutotomieohtake.org.br/en/tomie_ohtake/interna/emissario-de-santos

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The works of this artist call my attention by the way the lines and the geometrical shapes are explored in his practice. As my identity is the methodical, I want to work with geometrical elements on the gif and this artist is great reference for this type of work. His costumes specially are quite interesting, the masks and props give away an futuristc aesthetic appeal, mainlly because of the geometrical shapes and lines that compond this objects.

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Space Dance, Gesture Dance, Rod Dance, Hoop Dance, Metal Dance, Form Dance, Scenery Dance, and the Triadic Ballet. In his stage ideas, Oskar Schlemmer used elaborate costumes to transform costumed and masked dancers into 'artificial figures' in which dance, costume and music are united.

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What drew my attention in the first place when analysing this piece of work is its spontaneous characteristics. At the start, it looks like it is just a recording of the landscape that appears on the window of a train and  a music playing on with the images show, but soon after a little of attention one realises that the video and the music are related in such a way that the video represents  the music (in notes, sounds, beats and rhythm). This way the landscape video works as a music score for the music been played. The easiest relation to track- because it is the closest element to the viewer- is the poles marking the beats of the music, for example.
What I find the most interesting on this piece is exactly this way that the artist found to represent music in a video. I have already seen music represented on lines of different thicknesses and lengths, in circles of different sizes, dots in a grid, and other graphic elements, but it was the first time I've seen a record of a landscape  (a place that actually exists). what makes me think that it was a really creative and out of the box solution that the artist found. Deepening the analysis, a landscape- an image- is something that interferes with our visual field, when the artist appropriate this landscape and transforms it into a music score it is no longer a mere landscape; It now transposes the visual field and start to possess meaning in the auditory field, creating a new way of interpretation of the image.

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This artist does lots of works that related to dance, performance and  stage action. The way that she uses costumes and performances to convey characters is what I find the most intersting on her works. Performance, in this example, is quite shy, she doesn't moves much, but that is exactly what pass the idea of her character. It is quite different to the one below that is fast and full of movement. Makes me think on how should I move myself in the performance of my gif to convey the "methodic" character that I need to show.

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Dual camera version of Elsie Diamond's performance at Amsterdam Burlesque Awards 2015 during the Neo Burlesque competition.

www.elsiediamond.com
www.thefaintingcouch.co.uk   

www.amsterdamburlesqueaward.com

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O escultor famoso por suas figuras moveis, os móbiles, nasceu em 22 de julho de 1898 em Lawton - Pensilvânia. Filho de pais artistas, seu pai era, também, um escultor e sua mãe uma pintora, convivendo com esse universo foi incentivado desde cedo a criar.

Aos nove anos de idade ele fez suas primeiras esculturas, um pequeno cão e um pato, para presentear seus pais no natal. Foram feitos a partir de pedaços, cortados e moldados, de folhas de latão. Apesar dessa facilidade, Calder não se imaginava um escultor.

Formou-se em engenharia em 1919 pelo Stevens Institute of Technology e teve vários trabalhos como engenheiro hidráulico e engenheiro de automóveis, trabalhou também em um navio. Antes de se dedicar à escultura ele foi pintor e ilustrador, em 1923 passou a estudar em Nova York, no Art Students League, tendo concluído o curso em 1926.

Em 1926, após visitar a Grã-Bretanha, fixou-se em Paris, onde conheceu os surrealistas, os dadaístas e os componentes do grupo De Stijl. Data dessa época sua amizade com Joan Miró.

Em Paris, Alexander apresentou um conjunto de esculturas em madeira. Construiu um circo em miniatura, com animais de madeira e arame. Os seus "espetáculos" eram assistidos por artistas e intelectuais.

Fez, também em arame, as suas primeiras esculturas: Josephine Baker (1926), Romulu and Remus (1928), Spring (1929).

A escala e dimensão destas esculturas varia bastante, podendo chegar aos cinco metros, como é o caso do mobile executado para o Aeroporto JFK, em Nova Iorque.

De 1931 datam as suas primeiras construções abstratas, nitidamente influenciadas por Mondrian, nesse mesmo ano Calder em uma de suas viagens conheceu Louisa James, sobrinha-neta do escritor Henry James, com quem se casou.

Os primeiros móbiles são de 1932. Em 1933 Calder voltou aos Estados Unidos. Comprou uma fazenda em Roxbury, Connecticut. Nessa fazenda nasceu sua primeira filha, Sandra, no ano de 1935 e em seguida a sua segunda filha, Maria, em 1939

Em 1948 viajou à América do Sul e novamente em 1959. Nessa última ocasião, visitou o Brasil, onde expôs no Museu de Arte de São Paulo. Em 1950 foi à Escandinávia.

Calder ocupa lugar especial entre os escultores modernos. Criador dos stábiles, sólidas esculturas fixas, e dos móbiles, placas e discos metálicos unidos entre si por fios que se agitam tocados pelo vento, assumindo as formas mais imprevistas - a sua arte, no dizer de Marcel Duchamp, "é a sublimação de uma árvore ao vento".

Calder foi o primeiro a explorar o movimento na escultura e um dos poucos artistas a criar uma nova forma - o mobile.

Nos últimos anos mantinha um estúdio em Saché, perto de Tours e embora vivesse aí a maior parte do tempo, mas, conservou sua fazenda de Roxbury, Connecticut e que se tornara um verdadeiro repositório de trabalhos e objetos feitos por ele.

Em 1952, Calder representou os Estados Unidos na Bienal de Veneza e foi premiado com o prêmio principal para a escultura. Ele também ganhou o Primeiro Prêmio de Escultura na Pittsburgh International de 1958.

Dois meses após sua morte em novembro de 1976, Calder foi condecorado com a Medalha Presidencial da Liberdade, atribuída pelo presidente Gerald Ford, no entanto sua família acabou boicotando a cerimônia em 10 de janeiro de 1977, a favor da anistia da Guerra do Vietnã.

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O escultor famoso por suas figuras moveis, os móbiles, nasceu em 22 de julho de 1898 em Lawton - Pensilvânia. Filho de pais artistas, seu pai era, também, um escultor e sua mãe uma pintora, convivendo com esse universo foi incentivado desde cedo a criar.

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Website of British sculptor Antony Gormley, creator of the Angel of the North, Field for the British Isles, and Quantum Cloud.

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The Edgerton Digital Collections project celebrates the spirit of a great pioneer, Harold 'Doc' Edgerton, inventor, entrepreneur, explorer and beloved MIT professor. This site is for all who share Doc Edgerton's philosophy of 'Work hard. Tell everyone everything you know. Close a deal with a handshake. Have fun!'

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what drags my attention on this artwork is the way that the artist uses light and shadows to convey a sort of dark and mysterious atmosphere. The figures that resemble monsters or creatures lurking around is what I think that creates this feeling. I really like the work with shadows and the types of outcomes that can be generated by this kind of approach, should experiment with shadows on this project.

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We chose life. What now, Georg? T-shirts? - Gallery Mendes Wood

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We chose life. What now, Georg? T-shirts? - Gallery Mendes Wood

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This exhibition had some interesting pieces of work that can be useful as inspiration for my work.  The first to notice on this works is the fact that they are all made of found objects, what naturally caused me, the viewer, to question the reason for the use of such materials in a so chaotic way. To work with trash and other manufactured things automatically make us think of political or environmental issues, causing the work to reach another level in the questioning of the reasons and decisions that gave shape to the piece of work right in front of us.
Found objects are a possibility of material to work with in this project, but I'm not sure if I want to add the characteristics and  reflections that are naturally carried by this type of material in my work.

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This museum had quite an interesting show of works display on its courtyard, that consisted of contemporaneous art sculptures. These were really helpful for me to figure out some types of expressions thought sculpture- for example, the one of the two persons walking on circles, that makes me think that might be a way to express some sort of routine- and also helped me to start thinking about materials that are more commonly used in sculpture works, such as wire, clay, and bronze (not going to work with this one, but is worth mention).

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A arte cinética de Abraham Palatnik é resultado da mudança do artista na forma de perceber e entender a arte. Filho de russos, nascido em 1928 em Natal, Rio Grande do Norte, Palatnik passou a infância em Tel-Aviv, onde fez curso de especialização em motores de explosão e aos 20 anos voltou para o Brasil. Artista consagrado pela criação de obras marcadas pela fusão entre o movimento, o tempo e a luz, de grande potencial visual e poético, o artista é um dos precursores, e hoje a maior referência, da corrente artística que ficou conhecida como arte cinética, na qual as fronteiras entre pintura e escultura se confundem e se ampliam. Ainda jovem artista, Palatnik mudou a forma de ver, fazer e entender arte quando conheceu o Hospital Psiquiátrico Dom Pedro II, coordenado pela Dra. Nise da Silveira. Ao ver obras de pacientes esquizofrênicos, que apresentavam uma produção excepcional, mesmo sem estudos sobre arte, Palatnik percebeu que realizava algo inócuo frente àquela produção rica de artistas que na grande maioria desconhecia o significado da expressão "arte". Assim, abandonou os pincéis e passou a ter uma relação mais livre entre forma e cor. Emydio de Barros e Raphael Domingues são dois dos artistas da instituição que influenciaram fortemente a produção de Palatnik. Um fato curioso foi que a comissão julgadora da I Bienal de São Paulo, em 1951, sem saber como classificar o trabalho do artista, se pintura ou escultura, concedeu-lhe menção honrosa em reconhecimento pelo trabalho original e inovador. Palatnik assina linha de mobiliário e objetos decorativos, e seus animais são valorizadíssimos no mercado atual. O artista vive e trabalha no Rio de Janeiro.
ONDE ENCONTRAR: palatnik.com.br

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A arte cinética de Abraham Palatnik é resultado da mudança do artista na forma de perceber e entender a arte. Filho de russos, nascido em 1928 em Natal, Rio Grande do Norte, Palatnik passou a infância em Tel-Aviv, onde fez curso de especialização em motores de explosão e aos 20 anos voltou para o Brasil.

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BA (Hons) Computer Animation and Modeling

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BA (Hons) Computer Animation and Modeling