MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY Edited by John C
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Holliday, Christopher. " Toying with Performance: Toy Story, Virtual
Holliday, Christopher. " Toying with Performance: Toy Story, Virtual Puppetry and Computer- Animated Film Acting." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 87–104. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 07:14 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 87 Chapter 6 T OYING WITH PERFORMANCE: TOY STORY , VIRTUAL PUPPETRY AND COMPUTER-A NIMATED FILM ACTING C h r i s t o p h e r H o l l i d a y In the early 1990s, during the emergence of the global fast food industry boom, the Walt Disney studio abruptly ended its successful alliance with restaurant chain McDonald’s – which, since 1982, had held the monopoly on Disney’s tie- in promotional merchandise – and instead announced a lucrative ten- fi lm licensing contract with rival outlet, Burger King. Under the terms of this agree- ment, the Florida- based restaurant would now hold exclusivity over Disney’s array of animated characters, and working alongside US toy manufacturers could license collectible toys as part of its meal packages based on characters from the studio’s animated features Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991), Aladdin (Ron Clements and John Musker, 1992), Th e Lion King (Roger Allers and Rob Minkoff , 1994), Pocahontas (Mike Gabriel and Eric Goldberg, 1995) and Th e Hunchback of Notre Dame (Gary Trousdale and Kirk Wise, 1996).1 Produced by Pixar Animation Studio as its fi rst computer- animated feature fi lm but distributed by Disney, Toy Story (John Lasseter, 1995) was likewise subject to this new commercial deal and made commensu- rate with Hollywood’s increasingly synergistic relationship with the fast food market. -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Wavelength (February 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido scope of the gaud y, raucous, erotic and exotic Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost. -
2020 LEXSEL Update Booklet FINAL
2020 SELECTED YEARLING SALE CATALOG CORRECTIONS & UPDATES FIRST SESSION Monday, October 5, 2020 Hip # 1 SLAY (American Ideal - Hunger Games) 1st Dam HUNGER GAMES PRIMROSE $32,423 2nd Dam WESTERN MONTANA TERRITORY $47,567 Third in leg Pennsylvania Stallion Ser. 08/11/2020 at Pocono Third in leg Pennsylvania Stallion Ser. 08/22/2020 at The Meadows 3rd Dam INCREDIBLE MARGIE Producers: ALLAMERICAN INDIGO (dam of AVOGADRO HANOVER $281,597), Iowa Hanover (dam of ELEGANT VIRGIN p,2,1:54.4) Hip # 2 ROBERTSIN (Muscle Hill - Sina) 1st Dam SINA BEAUTIFUL SIN $406,289 Beautiful Mrs A $7,594 2nd Dam THIRD REEF HIGGS BOSON $113,557 Hip # 3 CAPTAIN COOK (Captaintreacherous - Fresh Look) 1st Dam FRESH LOOK LOOK AND SEA $8,256 2nd Dam LIFETIME SUCCESS Producers: Lifetime Gal (grandam of BETTOR'S WISH p,4,1:47.3-$2,124,783) 3rd Dam THREE DIAMONDS Producers: Sign Of Life (grandam of TRUE TO MACH $302,597, MCLUCKY $235,395, PRODIGAL $142,905, MECHANICAL ART $102,646, ADIOS MAN $102,545, *FOUR P MONZA p,1:59.4h, WUNDER SHADOW p,3,1:58h), Trilogy Lobell (grandam of MILKY WAY RAE $266,544, AMERICANATION $167,180, *TECHTOPIA HANOVER p,3,1:55f) Hip # 4 MIXED DRINK - WITHDRAWN Hip # 5 BOMB HUGGER (Chapter Seven - Stylemaker) 2nd Dam PERSONAL STYLE PATRIARCH HANOVER 5 wins $235,266 Winner Keystone Classic 09/18/2020 Third in Final Pennsylvania Sires S. 09/06/2020 at Philadelphia Third in leg Pennsylvania Sires S. 08/31/2020 at The Meadows CLASSY GUY $97,495 PIPER HANOVER BT1:54.1 $16,050 Third in leg Kentucky Sires S. -
Northern Gothic: Werner Haftmann's German
documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology. -
Cartographic Perspectives Information Society 1
Number 53, Winterjournal 2006 of the Northcartographic American Cartographic perspectives Information Society 1 cartographic perspectives Number 53, Winter 2006 in this issue Letter from the Editor INTRODUCTION Art and Mapping: An Introduction 4 Denis Cosgrove Dear Members of NACIS, FEATURED ARTICLES Welcome to CP53, the first issue of Map Art 5 Cartographic Perspectives in 2006. I Denis Wood plan to be brief with my column as there is plenty to read on the fol- Interpreting Map Art with a Perspective Learned from 15 lowing pages. This is an important J.M. Blaut issue on Art and Cartography that Dalia Varanka was spearheaded about a year ago by Denis Wood and John Krygier. Art-Machines, Body-Ovens and Map-Recipes: Entries for a 24 It’s importance lies in the fact that Psychogeographic Dictionary nothing like this has ever been kanarinka published in an academic journal. Ever. To punctuate it’s importance, Jake Barton’s Performance Maps: An Essay 41 let me share a view of one of the John Krygier reviewers of this volume: CARTOGRAPHIC TECHNIQUES …publish these articles. Nothing Cartographic Design on Maine’s Appalachian Trail 51 more, nothing less. Publish them. Michael Hermann and Eugene Carpentier III They are exciting. They are interest- ing: they stimulate thought! …They CARTOGRAPHIC COLLECTIONS are the first essays I’ve read (other Illinois Historical Aerial Photography Digital Archive Keeps 56 than exhibition catalogs) that actu- Growing ally try — and succeed — to come to Arlyn Booth and Tom Huber terms with the intersections of maps and art, that replace the old formula REVIEWS of maps in/as art, art in/as maps by Historical Atlas of Central America 58 Reviewed by Mary L. -
2012 Utah National Parks Pow Wow Book
Life can be a lot like a jungle. There are exciting new things to discover as well as dangerous pitfalls that can threaten your life. Jungle animals leave footprints, or imprints in the soil that other animals can follow. Cub Scout leaders also leave imprints—impressions in the hearts and minds of young boys which will help them find their way in an often-dangerous and scary world. What imprint are you making? BOY SCOUTS OF AMERICA—UTAH NATIONAL PARKS COUNCIL UTAH NATIONAL PARKS COUNCIL POW WOW BOOK 2012-2013 Book Contributors Cover Artwork Debbie Wood Pony Express District Design Julia Oldroyd Rock Canyon District Monthly Core Values and Themes September Roger Dunn Bridal Veil Falls District October Angela Merrick Pony Express District Julia Oldroyd Rock Canyon District November Julia Oldroyd Rock Canyon District December Alleen Manning Lehi District January Felice Clements Black Hawk District February Sariah Hillam Rock Canyon District March Annette Adams Utah Lake District April Julia Oldroyd Rock Canyon District May Nancy Brimhall Alpine District June Alyson Mansfield Battle Creek District Laura Clement July Stacy Coley Timpanogos District Wendi O’Keefe Roxanne Lawson August Julia Oldroyd Rock Canyon District Supplemental Materials Character Connections Annaleis Smith Black Hawk District Activities and Worksheets Ann Shumway Mt. Nebo District Webelos Activity Badges Felice Clements Black Hawk District and Double-Takes Mary Halvorsen Hobble Creek District Record-Keeping and Valayne Ostler Alpine District Improving Family Involvement -
Perfume Album Download Perfume Album Download
perfume album download Perfume album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66a6ce6f68b01669 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Perfume album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66a6ce6faba5dab4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. -
Editor's Note
Editor’s Note Dear readers, Although Bauhaus is relevant throughout history, this German school of art remains an open issue in art, architecture, design, and communication, addressing the following question: To what extent is Bauhaus even possible nowadays? Thus, this was our question for the Art Style Magazine's Bauhaus Special Edition. Therefore, in an attempt to showcase some of the most important issues so our readers can attain a broad notion of this German school's legacy, our Editorial Team has been working diligently and participated in several significant events, talks, round tables, and exhibitions. The opening festival and construction of the Bauhaus Museum in Weimar, for example, offered a great view of the importance of the Bauhaus. Above all, in the sense of arts and crafts in connection with industry, this school outlined a relationship of teaching design from product development, consumption to the changes of living together. Recently, the so-called "Fishfilet scandal" – an attempt to prevent a live event by a German rock band – was an important facet in the discussion that the Bauhaus still plays a significant role in the political scene. As artists and politicians said, the ban on concerts means a "terrifying history" for Bauhaus-Dessau. A month ago, we heard news from a round table, and artistic interventions under the title "How political is the Bauhaus?". These talks had taken place in the Haus der Kulturen der Welt (House of World Cultures) in Berlin on January 19, 2019. It was part of the opening festival of Bauhaus's centenary and supported by the Senate Department for Culture and Europe. -
A FUND for the FUTURE Francis Alÿs Stephan Balkenhol Matthew
ARTISTS FOR ARTANGEL Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno Ryan Gander Robert Gober Nan Goldin Douglas Gordon Antony Gormley Richard Hamilton Susan Hiller Roger Hiorns Andy Holden Roni Horn Cristina Iglesias Ilya and Emilia Kabakov Mike Kelley + Laurie Anderson / Kim Gordon / Cameron Jamie / Cary Loren / Paul McCarthy / John Miller / Tony Oursler / Raymond Pettibon / Jim Shaw / Marnie Weber Michael Landy Charles LeDray Christian Marclay Steve McQueen Juan Muñoz Paul Pfeiffer Susan Philipsz Daniel Silver A FUND FOR THE FUTURE Taryn Simon 7-28 JUNE 2018 Wolfgang Tillmans Richard Wentworth Rachel Whiteread Juan Muñoz, Untitled, ca. 2000 (detail) Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno ADVISORY GROUP Ryan Gander Hannah Barry Robert Gober Erica Bolton Nan Goldin Ivor Braka Douglas Gordon Stephanie Camu Antony Gormley Angela Choon Richard Hamilton Sadie Coles Susan Hiller Thomas Dane Roger Hiorns Marie Donnelly Andy Holden Ayelet Elstein Roni Horn Gérard Faggionato LIVE AUCTION 28 JUNE 2018 Cristina Iglesias Stephen Friedman CONDUCTED BY ALEX BRANCZIK OF SOTHEBY’S Ilya and Emilia Kabakov Marianne Holtermann AT BANQUETING HOUSE, WHITEHALL, LONDON Mike Kelley + Rebecca King Lassman Laurie Anderson / Kim Gordon / Prue O'Day Cameron Jamie / Cary Loren / Victoria Siddall ONLINE -
RAYMOND PETTIBON to Wit
519 West 19th Street Fax 212 727 2072 David Zwirner New York, NY 10011 Telephone 212 727 2070 For immediate release RAYMOND PETTIBON To Wit September 12 – October 26, 2013 Opening reception: Thursday, September 12, 6 – 8 PM David Zwirner is pleased to present an exhibition of new works by Raymond Pettibon, on view at the gallery’s 519 West 19th Street space in New York. It marks the artist’s ninth solo exhibition with David Zwirner since joining the gallery in 1995. Pettibon’s work embraces a wide spectrum of American “high” and “low” culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and sexuality. Taking their points of departure in the Southern California punk-rock culture of the late 1970s and 1980s and the “do-it-yourself” aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement, his drawings have come to occupy their own genre of potent and dynamic artistic commentary. To Wit presents a wide range of drawings and collages unified by their bold, vivid lines and striking compositions. Fragments from American society have been distilled into key images, which often incorporate texts of varying length, from one word to several paragraphs. The selection of texts, spanning a broad array of influences from popular media to Marcel Proust, William Faulkner, Henry James, Gustave Flaubert, and the Bible, relate both rhythmically and narratively to the visual content of his drawings, although their relationship may not always be immediately apparent. No Title (Route 69, follow…), 2013 Collage, ink, and gouache on paper 27 ¼ x 17 inches (69.2 x 43.2 cm) Defined as “namely” or “that is to say,” to wit originally meant “to know” (from the Middle English, “to witen”). -
'A Collage of Globalization' in Documenta 11'S Exhibition
‘A Collage of Globalization’ in Documenta 11’s Exhibition Catalogue Antigoni Memou The 11th issue of Documenta — the recurring international exhibition of contemporary art that has been held in Kassel, Germany since 1955 — was conceived as a critical space, within which contemporary art and its relationship to postcolonialism and globalization could be problematized. Its sheer scale preceded any previous issues of Documenta: it took place over eighteen months from March 2001 to September 2002, was curated by Okwui Enwezor and five co-curators — Carlos Basualdo, Ute Meta Bauer, Susanne Ghez, Sarat Maharaj and Octavio Zaya — and consisted of five platforms staged in different world cities. The first four platforms were devised as community-based public discussions and workshops with film and video programmes in Vienna, Berlin, New Delhi, St Lucia, and Lagos, while the fifth one — the exhibition — took place in Kassel. These five themed platforms allowed eighty international contributors across many different disciplines to debate the challenges of contemporary democracy, issues of truth, reconciliation and justice, postcolonial cultural formations and global megacities.1 The primary aims underpinning all five platforms — despite the diversity and complexity of discourses and the range of artistic practices included — were to challenge Documenta’s Western-centrism, both in the spatial and in the cultural-historical sense, and to question universalizing conceptions of cultural and artistic modernity. Enwezor took the 9/11 events in New York as a starting point for rethinking an alternative postcolonial world, positing ‘Ground Zero’ as a symbolic site of 1 These discursive loci that preceded the exhibition in Kassel brought together a great number of collaborators, institutions and foundations, and were perceived as an integral part of the exhibition, rather than as supplementary or complimentary to it.