Mysterious illustrator known as Dividus composes impressive surreal collages, featuring a wide range of characters. Inspired by the romanticism period, Dividus blends modern art with traditional art by transforming classical characters with surreal insertions. By removing their faces and identity, Dividus accomplishes to create successful and intriguing pieces by infusing images of landscapes.
Looks very interesting - upcoming event in Japan features fifteen performances that explore the application of creative tech with dance. The video below is only a trailer for the shows, but I am already loving the #DebugViewArt look:
Initiated by YCAM InterLab, Yoko Ando, a leading dancer from The Forsythe Company, and a group of software engineers in 2010. Since then, we have been developing the “Reactor for Awareness in Motion (RAM)” and this presentation is the result of our project that explores the possibilities of body expression through technology in the form of dance performance. RAM defines dance as something produced by the interaction between the dancer and environment rather than a predetermined choreography. Dancers take in surrounding information including other dancers’ movement and react to it according to certain rules they create.
As part of our research, we developed a system that captures the movement of dancers in real time and interfaces the information to a virtual environment which gives feedback to the dancers. With programming and capabilities design this virtual environment, the system becomes a tool for exploring the possibility of dance. Paired with the feedback system, this piece accompanies a number of small laboratories on stage in which various objects are placed. They move and shift in accordance with the movement of the dancers. These changes are converted into sound and light and feedback to the stage atmosphere and the dancers who send another signal to the labs. It is a huge “connection machine” involving the dancers, stage and the laboratories.
Most discussions about “benefits and risks” of the new Reproductive Technologies (nRTs) are based on the either tacit or explicit assumption that these technologies were developed in order to help individual infertile women and men to have a “child from their own flesh and blood.” Yet, as far back as the 1985 congress in Bonn, “Women against Reproductive and Genetic Engineering,” the participants concluded that the objective of the nRTs was not to help infertile individuals but, rather, to promote a new reproduction industry with the aim of overcoming the “growth” problems of industrial capitalism. As the old growth areas like steel, coal, etc. are stagnating or declining, the female body with its generative power has been discovered as a new “area of investment.