audiovisual*

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A very Happy 100th Birthday to our National Parks! To mark the happy occasion, we’ve animated some of the stereoscopes that P. S. du Pont brought home from Yellowstone National Park as souvenirs. Clockwise, these are the Castle Geyser, the Bee Hive Geyser, and the humbly-named Economic Geyser

These stereoscopes, created by Frank J. Haynes, are from the P. S. du Pont Longwood photo collection, in Hagley’s Audiovisual Archives.

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Kurt Hentschläger (Austria/USA) - CLUSTER (2009-2012)

Generative Audiovisual Live Show. In the weightless choreography of CLUSTER, human figures appear mostly as anonymous particles, a pulsing, amorphous mass, a cloud of blurry matter from body parts and light. By its never fully predictable generative nature, CLUSTER describes a meta-organism with decidedly anti-individualistic character. © Kurt Hentschläger

[more Kurt Hentschlager | artist found at anti-utopias]

The demo/prototype for M/B is coming along nicely. I’ve added in a bunch of gameplay features and audiovisual polish, though a lot of the character animations and SFX are still unfinished or placeholders at this point. Anyway, I’ll talk about one of the core gameplay mechanics for a bit .

As I’ve mentioned before, many characters in this game, including the player character, are fictional or ‘imaginary’. As such, their abilities aren’t powered by your typical stamina/mana/MP resources, but by Suspension of Disbelief. 

Suspension of Disbelief (or SDB for short) is what lets a fictional character perform actions that range from the improbable to the completely impossible, while still staying grounded in the reality of its medium. A hero in an action movie repeatedly surviving against stacked odds, dodging bullets point blank and pulling out a huge weapon out of nowhere is something that might *stretch* the suspension of disbelief: is a character like that existing within the setting believable?

In the case of Make/Believe, SDB is an actual quantifiable resource that powers many of the player characters’ abilities. The more powerful and ‘unlikely’ a particular ability is, the more using it will stretch the suspension of disbelief. This means that even though the player character is imaginary, they can’t suddenly start flying around or become completely invincible and immortal (not at first, anyway).

In the case of the included video, SDB is used to power the physically impossible feat of dashing directly through the projectiles without taking damage. In practical gameplay terms it means that dashing in and of itself isn’t limited in any way, allowing you to maintain a constant and high level of mobility. Using dashes to dodge *through* projectiles, however, will tap into your SDB reserves (as it becomes increasingly less believable that a character could just phase through solid objects like that). If you run out of SDB, you lose this ability, and trying to dodge attacks will directly start to affect your Grip on Reality, which is this games counterpart to health: lose enough of it and the character will wink out of existence as it becomes too ‘unrealistic’ to maintain a physical presence.

SDB regenerates over time, but can also be restored by performing grounding skills, which I will talk about in greater detail at some other time. In the case of this video, it’s enough to know that parrying projectiles is a grounding skill, and that each succesfully parried projectile will restore some SDB.

The maximum amount of SDB the player character possesses will increase throughout the game by progressing through the story or completing certain quests, as the character ‘develops’ into something more powerful. More powerful fictional characters can ‘get away’ with more things while maintaining a grip on reality: superman remains relatively believable even while he’s busy blowing up galaxies by accidentally sneezing.

Lou Henry Posing on a Burro at Acton, California, 8/22/1891

Series: Photographs of People, Places and Events, 1962 - 2004.
Collection: Hoover Presidential Library Audiovisual Collection, 1962 - 2004

Taken 125 years ago, this  photo shows future First Lady Lou Henry Hoover riding a burro when she was 17 years old.

Lucrecia Martel on SOUND:

Interestingly, when one wants to learn to make films - to narrate audio-visually -,  even though the word “audiovisual” begins with audio, it is always the camera that prevails. (…) it seems like, in order to narrate audio-visually, the first thing you need to do is get a camera. In fact, on a movie set, the place where the camera sits is always important, where you put the tripod… Yet nobody knows where the microphone is! (…) The camera has its own stand and its own place, with people behind it, attending to it. Meanwhile in the sound department you have some guy holding a skinny cane, twisted and hidden away so you can’t see the microphone… People yell “you’re in the frame, you’re in the frame!”, it’s messing up the light, it’s casting a shadow on the scene… The person working sound is always this annoying individual which everyone (including myself, someone who thinks highly of sound) ends up hating because they keep messing up the shot.

The entire pictorial and photographic tradition, the organization of perception (in the West at least) is immensely tied to the visual point of view. (…)It seems to me sight as a means of organizing perception is very strong. It is highly determinant, but, like with everything else turned hegemonic, it invalidates as much as it proposes. Which is to say, the huge emphasis we place on the visual side negates the possibility to actually see.  
Whereas
sound does not have the same solid reference as image. And this ambiguity results in a higher state of alert in one’s perception. In fact when we have to work on sound for our movies, we change everything: instead of horses, they use coconuts, pieces of wood… All of that to add drama, to add effect where it is is lacking. (…) Sound is a less referential dimension. It is extremely evocative, very primitive and less structured at the level of meaning.
(…)
Out of everything cinema counts on to structure its narrative, sound is the only one that actually physically touches the viewer. Sound is the tactile dimension of cinema. What I’m saying is not science fiction or poetry. We live in this world immersed in a flexible fluid which we call “air”, and sound is the agitation of these molecules which come into contact with our body - not only our ears, but  throughout our entire bodies, as vibration. So it’s interesting that something which propose such a direct relationship with the viewer ends up as abandoned and devalued as sound has been, specially in film schools.
I think that my relationship with film comes via the oral narrative tradition. The movies i make, everything you experience there was stolen by me from the people in my family - the house, the words… To me, the sound dimension in my family is really quite monstrous (I don’t known what your families are like but I doubt there’s one family on earth whose sound dimension doesn’t possess this touch of monstrosity about it). 

youtube

Justin Kuritzkes’s album just dropped and it’s great. He continues to be inscrutable in all the best ways.

vimeo

DÄRKNIFE

“President Truman on the deck of his yacht, the U.S.S. WILLIAMSBURG, preparing to depart Washington for a vacation cruise to Bermuda, 8/16/1946″

Series: Photographs Relating to the Administration, Family, and Personal Life of Harry S. Truman, 1957 - 2004Collection: Audiovisual Collection, 1957 - 2006

Any summer vacation plans?

Hey hey all you great people out there! After my last post I took a little summer break. August is just the perfect month to do so around here and I was finally in the mood for some relaxation! Last week I got these two nice boards in the mailbox. These are midi controllable relay boards with eight 10A 250VAC / 30VDC relays each. If everything turns out fine, these will be the hearts of the final part of my ongoing audiovisual installation project. If you ask me, everything should be MIDI controllable. Cameras, washing machines, toasters, you name it… ;-)

vimeo

My good friend and amazingly talented being Chris Naum made this audiovisual time travel device from our incredible time in Marble, CO earlier this summer. This trip was a hoot and a half - do yourself a favor and click that sideways triangle.  The vibes are present and accounted for with this one!

Huge s/o to everyone along the way who made these few weeks what they were, you know who you are and I appreciate you.  Also many thanks to Woosah & Coldsmoke for bringing these plans to life

DID YOU KNOW…
there is a rock formation in Taiwan that many people think resembles the profile of Richard Nixon? The formation, made of 18-meter high coral reefs, known as “Sail Rock” (in Mandarin Chinese: Chuanfanshih), “Nixon Rock” or “Nixon’s Head” sits just off shore at a popular destination in Kenting National Park. Here is a vintage photograph of the rock from our audiovisual collections.
(Image: par.66.2.3)

anonymous asked:

What do you think are your favorite and/or the most persuasive Swendgame theories/metas ever written?

Hey Anon, thanks for the questions! 

It’s almost impossible to answer, not only because there are so many good ones, but because I go on reading sprees and then I don’t necessarily remember what I read where.

That being said, this answer to an ask by the now deactivated  every-heart-has-thorns has a special place in my heart. I think it’s because it acknowledges the importance of visual aspects in audiovisual storytelling. In school we are made to read books, analyze language… We’re very text-focused. We are somehow not trained to think much about visual storytelling, but when you are in that field, you do actually talk in images. You think about what is shown as much as you think about the words. The camera transitions, everything that’s in your frame. Everything talks. It’s not accidental, it’s people’s jobs. 

So apart from the fact that I still agree with all the sentiments in that post and it is really how I feel as well, even if it’s from two seasons ago, I really like the visual literacy of it.

Then there is also the Sacred Book of Swen which I devoured and where I discovered that writing analysis and speculation on tv shows was actually a thing.

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In honor of the ongoing Olympic games, we’re sharing photos of the thrilling games which took place at the Westinghouse picnic on September 13, 1919. The riveting events included (from top to bottom):

  • Push Ball
  • The Fat Man’s Race
  • The Button Sewing Contest
  • The Children’s Pie-Eating Contest
  • The Pipe Smoking Contest (which, apparently, devolved into chaos.)

You can see more of the edge-of-your seat action at our Digital Archives. From 1969.170, Westinghouse Steam Division Photos, in Hagley’s Audiovisual Collections.

New Steven Universe Episode Idea

Peridot finds an old cassette of Wu-Tang Clan’s Enter the 36 Chambers at a yard sale. She plays it on repeat in the barn, introducing Lapis to hip-hop. Lapis comes up with an idea for an audiovisual performance meepmorp, performed under the stage name MC Rapis Lazuli. The only gem who doesn’t think it’s absolutely terrible (it is) is Peridot.

tu-was-du-willst  asked:

Hey! I looked through the FAQ but couldn't find anything - sorry if I overlooked it and this has been asked before! I wanted to know if it is possible to tag recordings of spoken word poems, or if your are stricly written matter-only.

Thanks so much for checking our FAQ first! We would love it if people tagged recordings of spoken word poems, we accept all sorts of art forms (audio, visual, audiovisual, written, etc.) :) Have a great week!

Jennifer López se convierte en la madrina de la cocaina

La vida de la reina de la cocaína, la colombiana Griselda Blanco será contada en una película para HBO, y la protagonizará nada más y nada menos que Jennifer López, según cuenta Variety.

“Durante muchos años me ha fascinado la vida de esta corrupta y complicada mujer“, dijo J-Lo en un comunicado y añadió que “la idea de formar equipo con HBO” le pareció “perfecta” para llevar a la ficción audiovisual la vida de Griselda Blanco.

La película, todavía no tiene título ni se sabe quienes más participarán en el proyecto, y tratará el ascenso y caída de la narcotraficante.

Jennifer no solo será la protagonista sino también la productora.

Griselda Blanco

Griselda Blanco mejor conocida como “La viuda negra”, “La madrina de la cocaína”, fue una narcotraficante colombiana, cabecilla del Cartel de Medellín y pionera del crimen organizado en Miami en las décadas de 1970 y 1980.

A Blanco se le conoce por haber participado en la violencia relacionada con la droga conocida como la “Cocaine Cowboys Wars” que afectó a Miami desde mediados de la década de 1970 hasta principios de la de 1980.

En 1994 fue acusada por las muertes de dos grandes narcotraficantes cubanos y de un menor.

Las autoridades de Miami obtuvieron pruebas suficientes para acusarla de los tres homicidios; sin embargo, el caso se vino abajo por un tecnicismo que le permitió salvarse de una nueva condena y Blanco fue puesta en libertad el 6 de junio de 2004, luego de pasar veinte años en la cárcel.

Blanco fue deportada a Colombia en el año 2004. Antes de su muerte en 2012, fue vista por última vez en el Aeropuerto Internacional El Dorado.