A Dip 9 love story (aka Noam really needs a slave)
Natasha re-conning Winnie's model
Dip 9 AV Brand Management:
Competitively taping off areas of the unit space:
the tableau
GRAHAM'S MODEL.
Nice Readings: http://www.oasejournal.nl/en/Issues
A big congratulations to our fellow Dip 9-ers, Manijeh Verghese and Elena Palacios Carral for their stupendous 5th year Technical Studies High Pass!
And to the rest of the 5th years, I hope you, like me, take pride in the love we got from Javier, Dear John, and Dear Kenny! A great round of TS!
Finally, to celebrate the occasion, ladies, Ryan has a little something he'd like to say:
Check out this link:
you can zoom down to the scale of 1 planck or zoom out to the estimated size of the universe.
its the updated Powers of Ten! (from 10 -35 to 10 27) - would have been a nice reference for my TS
Great Filmic Tableaux
Finally after half a year of talk, I finally made it to the Hermitage!
Stay tuned for the highlights!
Only 125 year old and still with us!
more here: http://socks-studio.com/
Deff and Mr ShaYs awesome titles and all our TS books (posted on behalf of NATS)
woohoo!
Thomas Cole
1838
I found this image in Daidalos and thought it might be a good reference for Elena's project.
This is an audiovisual articulation sequence diagram from Eisenstein's film 'Alexander Nevsky'.
Through my research on Jan van Eyck, I keep finding references that seem more suitable for Elena's project..
Here, the mirror is situated centrally in the painting, directly above the clasped hands of the wedding couple, who are standing in a room furnished in bourgeois style. The mirror has a lightly curved, convex form that not only reflects the objects in the room, but things happening beyond the picture's frame, as well. A gaze into the round mirror shows a clear view of the couple's back as well as two witnesses standing in an open doorframe. The crucial difference here is that the mirror is depicting something that has to be occurring where the viewer is standing. The viewer assumes the position of witness, becoming integrated in a peculiar way into the picture's story. The round mirror dissolves the separation between pictorial space and viewer's space, producing a continuous whole. This connection finds its correspondence in the represented scene of betrothal.
