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Mashup of contemporary music and dance scenes from old movies. When I saw this installed in a big warehouse show, the audoi could be heard through the whole building. The video was projected in a booth with satin curtains and a backlit poster outside.
Josephine--this is absolutely phenomenal. The background sounds are very much like grains of sand dripping onto a floor and crackling, shifting--giving an overall impression of a 'sand dancer' that can dance--or just as easily be blown away. I get an impression of both fluidity and fragility. I'm also reminded of the powerful, anthropomorphic sand-spirit that appeared in "The Mummy"; Do you know if they were similarly produced? Thanks for sharing!
@Rebecca - I know, it's hauntingly gorgeous, right? The sand-spirit animation in The Mummy was produced using motion capture as well, but I think with more 'traditional' methods of motion capture, i.e., using reflective balls and/or other reflective gear that is placed on the body that enables motion tracking (like this: http://flic.kr/p/8MJyW ). The actor Arnold Vosloos, who plays the mummy, said, "They had to put these little red tracking lights all over my face so they could map in the special effects." (from http://en.wikipedia.org/wiki/The_Mummy_(1999_film)#Special_effects) - A major difference between this method & the technique used to create the sand dancer mentioned in the article, is that the sand dancer was created using the Kinect, which doesn't need gear to be placed on the body in order to achieve motion tracking. Basically, the Kinect was a huge step in consumer versions of motion sensing because it enabled the user to move around and capture movement in 3D without an extra interface (no reflective balls or lights needed -- the body becomes the interface).
I've never seen anything like this before, thanks Cassidy for posting it. Totally the new version of the Choose Your Own Adventure books I had as a kid.
This is great. I've seen this sort of thing all over the internet: people taking what was supposed to be a more or less passive watching device and making it interactive. I feel like this imperative to get people involved is what's going to be driving new developments in web technology.
"The thing that sets ReDigi apart from any company that has attempted to do what we are doing is our revolutionary patent pending technology that facilitates the "verification" and "hand off" of a digital music file from the seller to the buyer, ensuring both that the file is from a legitimate source and eligible for resale on ReDigi, and that any additional copies of a sold file that may have been made by the seller (e.g., for use on multiple devices in accordance with "fair use" limitations on copying for personal use), are also deleted."
"...revolutionary patent pending technology..." Really? Does that even exist? If so, doesn't that fairly solve the problem of 'pirating' by (what I am sure could be) the eventual spread and use of this device all over the internet--especially by "'Big Daddy"companies, such as EMI? What is this technology? If I understand correctly, from what I read ReDigi counts on those that acquire the files to delete any 'extra' copies that they could personally use...how much 'control' is there in that? It is sad, however, that EMI is able to exert enough market pressure that smaller companies (like RDIO) end up doing their bidding for fear of losing their brand cred; Sad, yes....surprising, no.
@Rebecca - Not sure what their patent pending technology is, but I'm curious. On the FAQ page , it says "Furthermore, in a process far superior to any other secondary market for media, we make sure any additional personal use copies of your song (e.g., for use on multiple devices in accordance with "fair use" limitations on copying for personal use), are also deleted from your computer and synced devices before we allow you to store the original in your Cloud and list it for sale." -- So it looks like it's not just relying on people to delete extra copies but rather, there's an automated process that checks that. And yes, sad that EMI pushed RDIO into that decision (and agreed, not surprising either).
The internet has intensified connections between people across the planet. In this episode we take a look at the impact of this new interconnectivity on the art world.
'RiP: A remix manifesto' is an open source documentary about copyright and remix culture. Created over a period of six years, the film features the collaborative remix work of hundreds of people who have contributed to this website, helping to create the
Koons argued that his sculpture was a “fair use” of Rogers’ photograph. Not only did the Court of Appeals for the Second Circuit disagree with Koons, it called his behavior “willful and egregious”
This is not to say that Koons loses all the time. In 2006, Koons actually won a lawsuit in which he sufficiently “transformed” a photograph from an advertisement for it to qualify as a fair use:
Cut is a netlabel providing free music with an emphasis on quality. Our aim is to show you that free music can be as valued and highly regarded as any other.