Around The Milky Way

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival

Valentin Rye – Around The Milky Way

In the distant future, several species inhabit the Milky Way. This scenario inspired the video, aiming to portray various forms of life and evoke a plausible atmosphere. Using images he created, the artist experimented with Stable Video Diffusion, a new video generation method. The objective was to expand the limits of this neural network and improve its output, resulting in the conception of this video.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

Space Odyssey 2002

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark

This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

Epistēmē
Titled with the Ancient Greek word for knowledge and understanding, the installation is born of the belief that we absorb knowledge through the senses, with the skin acting as an interface between the body and the world around us. ‘To illustrate the skin in states of transformation, I imagined it as a canvas for sensations felt and information absorbed. The digital manipulation in each film melds body and sensation, skin and material, reality and virtuality to express the effects of each product,’

Tribe City
Hundreds of beings and dreamlike and dystopian elements inhabit the digital and autonomous works that are part of this project. “It’s a portrait of the masses,” summarise the artists, whose fascination with group dynamics, technological phenomena and the ego are expressed in Tribe with an eclectic selection of individuals who bring to life deeply recognisable social attitudes. Collective behaviour and manipulation are recurring themes in SMACK’s work, which often uses popular visual references and light-hearted aesthetics to present us with an uncomfortable reflection of who we are.

休克雷奇默尔
ХЬЮ КРЕЧМЕР
guggenheim

Décrivant son travail comme « une fusion de différentes influences absorbées depuis des années », l’artiste tire principalement ses inspirations des peintures et sculptures du XXIe siècle. Travaillées et colorées, ses œuvres humoristiques, cyniques et ironiques sont une véritable mise en scène du quotidien. Amateur de la juxtaposition et de ses manipulations virtuelles, l’artiste-sculpteur d’images, fait entrer le spectateur dans un tourbillon imaginaire façonné par sa main.

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

SM-4N
Sarah Oppenheimer’s work explores how individual and collective action can shape the spaces we inhabit. A master of architectural manipulations, her work is interactive, psychological, performative, and at its heart, deeply social.

Audrey Large is a French designer based in the Netherlands. By bridging animation techniques with digital-to-material manufacturing processes, her work explores the potential of digital image manipulation as applied to the design of our material surroundings.

Art of The Prank
“Media Prank” and “Culture Jamming” were the main anti-media countercultural tactics. Skaags was the “grandfather” of the so-called “media hoax“. Long before discussions of “fake news” or “memes” , he used lying and manipulation against the corporate media itself, producing funny, cynical and ironic effects. He made the mainstream media experience its own poison over and over again.” Wilson Roberto Vieira Ferreira
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“Media Prank” und “Culture Jamming” waren die wichtigsten anti-medialen gegenkulturellen Taktiken. Skaags war der “Großvater” des sogenannten “Medienhoax”. Lange bevor er über “Fake News” oder “Meme” diskutierte, setzte er Lügen und Manipulationen gegen die Konzernmedien selbst ein und erzeugte lustige, zynische und ironische Effekte. Er ließ die Mainstream-Medien immer wieder ihr eigenes Gift erfahren.” Wilson Roberto Vieira Ferreira
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“Media Prank” (pegadinhas) e “Culture Jamming” (trolagens) foram as principais táticas contraculturais antimídia. Skaags foi o “avô” dos chamados “media hoax”. Muito tempo antes das discussões sobre “fake news” ou “memes”, ele usou a mentira e a manipulação contra a própria mídia corporativa, produzindo efeitos engraçados, cínicos e irônicos. Fez por inúmeras vezes a grande mídia experimentar seu próprio veneno.” Wilson Roberto Vieira Ferreira

ECHO CHAMBER
Performance audiovisuelle en plusieurs tableaux, Echo Chamber s’inspire des technologies qui permettent de sonder l’intérieur du corps, telles que les ultrasons et l’acupuncture, générant une composition sonore dans laquelle l’idée de résonance prédomine. En créant une interface modulaire à trois panneaux permettant de multiples manipulations, Messier a défini les limites des possibilités d’exécution d’une chorégraphie son et lumière. Saisissez de longues aiguilles comme s’il s’agissait de notes d’un instrument, perçant une plaque sensible à l’audio qui déclenche des séquences sonores.

Tube
S E T U P is a stage design and lighting design international studio founded by Znamensky Dmitry, Novikov Stepan and Zmunchila Pavel. The studio works in the field between contemporary art, lighting design and programming with a mission to explore the expressive opportunities provided by new digital technologies. S E T U P aims to create installations and multimedia works that can sharpen the physical perception of the environment and help explore more possibilities of image manipulation. Our creative product is high-tech multimedia work, concepts and laser installations. Our studio is open for experiments and is ready to cooperate with various artists to find the right visual interpretations for their work.

Urban imprint
“If there is to be a “new urbanism… it will no longer be concerned with the arrangement of more or less permanent … but for the creation of enabling fields….that refuse to be crystallized into definitive form; it will no longer be about meticulous definitions, the imposition of limits, but about expanding notions, denying boundaries, not about separating and identifying entities, but about discovering hybrids; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions – the reinvention of psychological space.”, Dutch architect + Harvard Professor, Koolhaas 959, writer of Delirious New York. URBAN IMPRINT is how we design a piece of this new urbanism, an augmented materiality , as we define it. An environment that is a ‘blank canvas’ to be reshaped by the future self.

Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.

Frederik Heyman and Wout Bosschaert

For MOMU3, Frederik Heyman creates, in collaboration with graphic artist Wout Bosschaert, 3 fashion films in which he infuses the rich collection of the ModeMuseum with digital life by using 3D scans and manipulations.

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MOMU3 では、フレデリック ヘイマンがグラフィック アーティストの Wout Bosschaert と協力して、3D デジタル化と操作を使用して ModeMuseum の膨大なコレクションにデジタル ライフをもたらす 3 つのファッション映画を制作しました。

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

atro enlevo

Entouré d’une atmosphère dense obtenue par la manipulation de voix de chansons anciennes et utilisant divers fragments de compositions industrielles, élaborés selon les paramètres réglables utilisés dans des logiciels spécifiques manipulés par un contrôleur MIDI, l’œuvre «Atro Enlevo» conduit l’auditeur dans l’obscurité et sortilège mystérieux.

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work atro enlevo

Plant Mutation
The idea of mutation and manipulation has always appealed to Nick Ervinck’s imagination. In the ‘plant mutation’ series, he uses 3D experiments to explore ideas of both organic and genetically engineered life forms. Nick Ervinck created an openness that will attract the viewer to consider his work from different angles. These works have both a poetic and a critical social dimension. On the one hand, the sculptural contradictions, such as inside/outside and rough/smooth, make these works purely poetic. The visual language of these organic sculptures has a surprising impact.

جورج ريدهاوك
乔治·红鹰

file festival
Native American GIF artist George Redhawk aka DarkAngel0ne, who is blind, uses them to “see” art. With the help of visual aides and using photo manipulation software designed for the visually impaired, Redhawk creates eerily captivating versions of his favorite paintings and photographs.

Lost Dimension
Lost Dimension Non-dimensional Cities is an immersive cinematic experience in which participants journey through an endlessly unfolding virtual cityscape that expands over all axes. This dimensionless cityscape is constructed from a large collection of point clouds and sounds. While the user is standing on the controller pod and navigates through this virtual world, a sense of physical instability takes over and the platform becomes an anchor to hold on to. The building blocks of the world are generated from depth map information and panoramic photographs obtained from Google Street View’s API. Depending on the user’s position in the virtual world these blocks are dynamically repositioned on a three-dimensional grid. By subtle manipulation of motion and sound, perspective distortion and shifts in balance Lost Dimension unquestionably re-calibrates the viewer’s perception of dimensionality.

Until I die
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

Project Florence
Plants synthesize a very large amount of information via electrical and chemical signals and deliberately make changes to themselves, their neighbors and the land nearby for their benefit. This signals caused by cell depolarization through ions fluxes such as K + , Ca2 + , H + , Na + , and Cl alert the whole plant for localized stimuli, such as biotic and abiotic stress and are one of the most universal properties of living organisms. In project Florence we take advantage of the sensibility of plants to different light frequencies and use it to trigger a plant response through manipulation and compare the similarities between plants and natural language processes.

object no. 9

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

Dutch-Croatian photographer Sanja Marušić uses an experimental approach to colour, composition, materials, and manipulations in her work to create dreamlike scenes that are at once cinematic and alienating.She travels the world in her production of these otherworldly images, finding settings and forms that play with our relation to the subconscious, simplifying the bodies of her subjects with geometric shapes, and abstracting the human form even further by incorporating stylised dance movements.Putting places above people, many of Sanja’s photographs are set in wide open futuristic spaces in an attempt to create surreal and alienating visual emotions. She often uses cool and bright colours as well as singular objects and accessories in order to create unique and enigmatic narratives.

Play
Invited to the Palais Garnier for the first time, the choreographer Alexander Ekman lived a dream: working with the dancers of the Paris Opera Ballet! In order to plunge them into the universe of his piece, he invited them to play. After all, isn’t dance also entertainment, amusement, practice, exercise and manipulation? Here, play is everything and everywhere. From the props to the sets. For, as the choreographer repeats, play makes us happy; one should never stop being a child. In the Massenet and Blanchine studios, photographer Anne Deniau focusses on certain emblematic props from this production, whilst playwright Nicolas Doutey reflects upon these new visual compositions.

장영혜중공업
Heavy Industries
dakota
I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.

Antistructures
Amusing head-scratchers: a fitting description for the surreal, towering collection of architecture by photographer Alex Lysakowski in the series, Antistructures. Standing out against perfectly banal backdrops, Lysakowski creates structures of magnanimous and exaggerated proportions with a mix of photography and digital manipulation.

Роуэн Мерш
The essence of Rowan Mersh’s work lies primarily within the complete understanding of a fabric or material. From understanding a textile’s inherent characteristics, from their structure and the way they are knitted, woven or formed, to the yarns used in their construction, an intuitive sense is able to develop. It is this affinity with the cloth that informs possible capabilities and potential for manipulation, and subsequently all his creations.

INposition
In the photo project INposition (2013), which was shot by a Hasselblad 501CM camera, she’s using playful manipulation of physical fragments to express existentialism or the limits of body and mind. Anna Horcinova staged her models – mostly dancers in physically difficult dance poses expressing an emotional state of mind together with a gesture. And with the help of the body she tries to cross the imperceptible boundaries between her subject and the world around it.

Class room chair

Polyfunctionality and deconstruction of everyday objects, irony and humour as weapons and moments of profound insight: these are some of the ideas behind the works by the architect, designer, sculptor and film-maker, Stefan Wewerka (born in 1928, in Magdeburg).
In his works, Wewerka pushes against conventional concepts relating to art and aesthetics, rationalism and functionalism. As a result for instance, the Last Supper is turned into a weird affair, the kitchen space turned into a kitchen tree. Wewerka’s unmistakable trademark is the manipulation of chairs. Sawn, hacked and bent out of shape, these chairs subversively thwart previously unquestioned concepts relating to furniture. In stark contrast to this, however, are his sculptural furniture designs, adapted to suit the requirements of the human body and its habits.

Александра Беллиссимо
Inhibit
Los Angeles-based Alexandra Bellissimo creates beautiful images by incorperating collaging techniques as well as digital manipulation. As a conceptual photographer, for her it’s all about the theory of “making” pictures instead of simply, “taking” pictures.

フィリップ·ラメット
Филиппа Рамета
Philippe Ramette est à la fois un artiste contemporain et photographe. Ce dernier se passionne pour les changements d’horizons et les manipulations photographiques sans l’aide de logiciel de retouche

سيدي العربي الشرقاوي
西迪·拉比·切考维
СИДИ ЛАРБИ ШЕРКАУИ
Fractus V
In Fractus V, I want to deepen the questions on information and manipulation; propaganda versus a more ‘objective’ and factual approach. I also take as a starting point ‘liberty of expression’. Certain taboos are often broken these days and certain truths are undeniable but we still miss the capacity to digest them or place them in the right context. Because of that we are often pushed in an ‘us versus them’ mentality. We have the information, but we don’t know how to use it.

КАТАРИНА ФРИЧ
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
LIKE ALL FRITSCH’S WORK, RATTENKÖNIG IS SIMULTANEOUSLY SEDUCTIVE AND UNNERVING. SHE OFTEN TRANSFORMS QUOTIDIAN OBJECTS OR ORDINARY LOOKING FIGURES INTO SOMETHING NEW AND STRANGE THROUGH REPETITION AND MANIPULATION OF SCALE AND COLOR. HER SCULPTURES ARE THE RESULT OF A TIME-CONSUMING PROCESS: A PIECE IS USUALLY MOLDED BY HAND, THEN CAST IN PLASTER, REWORKED, AND THEN CAST AGAIN IN POLYESTER.

Александра Беллиссимо
Female Imitation
She was born and raised in the Los Angeles area and attended the Art Center College of Design in Pasadena, CA. where she received her BFA in photography. Her body of work strongly revolves around the theory of “making” pictures instead of simply, “taking” pictures. She executes her visual intentions through incorporating traditional collaging techniques, as well as digital manipulation to each surreal photograph.

Hunter and Dog
Oliver Laric is an internet-based artist, born in 1981, in Innsbruck, Austria. Laric’s web-based artistic practice or net art is characterised by the manipulation and reinterpretation of existing cultural images. His work blurs boundaries between the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations.He has participated in many group exhibitions as well as in numerous solo exhibition worldwide. He currently lives and works in Berlin.

ארווין וורם
アーウィンウーム
ЭРВИН ВУРМ
Erwin Wurm, one of Austria’s most important and internationally famous sculptors, has been preoccupied with expanding the concept of sculpture since the 1980s. Wurm is primarily a sculptor, and traditional sculptural concerns such as the relationship between object and pedestal, the function of gravity, the fixing of form, and the manipulation of volume, play through all his work.
Increasing, remodeling or removing volume, the habitual interests of many sculptors, are given a new twist in Wurm’s work. Volume and adding volume are treated as sociocrital issues. In 1993, Erwin Wurm wrote an instructional book on how to gain two clothing sizes in eight days. Eight years later, he made his first Fat Car by plumping up an existing car with styrofoam and fiberglass, which resulted in a pitiful, chubby version of the original sportsy model. By taking the question of obesity, Wurm probes the link between power, wealth and body weight. He also wants to offer a sharp criticism of our current value system, as the advertising world demands us to stay thin but to consume more and more.

ФЛОРА БОРСИ
asphyxia
Flora Borsi is a popular digital artist from Budapest, Hungary. Her works is to visualize the physically impossible in a form of photo manipulation. These pictures are crafted with great balance of emotions, dreams and humor.

Guyons’ still life photography is his strongest and most explored work, where graphics, media art, and digital manipulation are all amalgamated to create striking and realised pieces. Evidentially each aspect of his work is measured and deliberate– that’s not to say though that spontaneity isn’t an element of his process.

休克雷奇默尔
ХЬЮ КРЕЧМЕР
Hugh Kretschmer is a professional digital artist and photographer from Los Angeles. He started photography at the age of 13 under the guidance of his father. His imagination and conceptual thinking is showcased beautifully through surreal photo manipulations. Hugh is specialized in advertising, photo illustration, editorial photography and design.

noomi rapace
Solve Sundsbo is a Norwegian fashion photographer who cleverly manipulates images making them out of the ordinary.
His work incorporates everything from X-rays and 3-D scanning to hi-tech manipulation and laborious hand-painted retouching. “If I’ve got a style,” says Sundsbo, “it’s that I’ve got no style.”

Катарина Фрич
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
Like all Fritsch’s work, Rattenkönig is simultaneously seductive and unnerving. She often transforms quotidian objects or ordinary looking figures into something new and strange through repetition and manipulation of scale and color. Her sculptures are the result of a time-consuming process: a piece is usually molded by hand, then cast in plaster, reworked, and then cast again in polyester.

XTERIORS II
In her ‘Xteriors’ series (2001 – the present), Desiree Dolron reveals her devotion to art history by giving her anonymous models a hint of a resemblance to the works of the Flemish Primitives and Johannes Vermeer. In images which, thanks to her control of light and subtle digital manipulations, hardly look like photographs at all, she produces a masterly approximation of the serenity and sense of mystery with which these painters imbued their work.more…

КАТАРИНА ФРИЧ
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
LIKE ALL FRITSCH’S WORK, RATTENKÖNIG IS SIMULTANEOUSLY SEDUCTIVE AND UNNERVING. SHE OFTEN TRANSFORMS QUOTIDIAN OBJECTS OR ORDINARY LOOKING FIGURES INTO SOMETHING NEW AND STRANGE THROUGH REPETITION AND MANIPULATION OF SCALE AND COLOR. HER SCULPTURES ARE THE RESULT OF A TIME-CONSUMING PROCESS: A PIECE IS USUALLY MOLDED BY HAND, THEN CAST IN PLASTER, REWORKED, AND THEN CAST AGAIN IN POLYESTER.

리시 엘
Lissy Laricchia aka Lissy Elle is a Canadian photographer who creates magical, paused in motion surreal photos. She plays with the subject, likes to change the rules of gravity and use smart props, location and digital manipulation. Her dreamy photographs are certainly pleasing on the eye, taking you off somewhere for a moment but the world within these images has also an air of mystery

manimals

Der alte chinesische Tierkreis besteht aus einem Zyklus von zwölf Tierzeichen, die mit Geburtsjahren verbunden sind. Sie sind: Ratte, Ochse, Tiger, Kaninchen, Drache, Schlange, Pferd, Schaf, Affe, Hahn, Hund und Eber. Es wird angenommen, dass eine Person Verhaltens- und Persönlichkeitsmerkmale, manchmal sogar körperliche Merkmale, in Bezug auf das Tierjahr aufweist, in dem sie geboren wurde. In den zwölf Porträts der Serie „Manimals“ interpretiert der Künstler Daniel Lee den chinesischen Tierkreis in der Gegenwart Begriffe durch Computermanipulation von fotografischen Bildern. Jedes Porträt repräsentiert das Tierzeichen dieser Person. Die “Manimals” -Serie besteht aus zwölf 24 “x 30” -Farbfotos. Die Originalbilder wurden mit Ektachrome in einer Mittelformatkamera fotografiert, dann digital konvertiert und mit der Adobe Photoshop-Software auf einem Macintosh Quadra 950 neu angeordnet.

CHAMPIONS OF ENTROPY

As a sculptor, I am interested in objects that act as catalyst for an anti-environment – a mindset or space that is not defined, and therefore, infinite in possibilities.The human tendency towards ordering has become an extension of ownership – to understand opens up the possibility of manipulation.Sculpture works in opposition to this.Sculpture is a demonstration of entropy – entropy being the measurable amount of disorder within any system. The system, in this case, is all order. Sculpture is potentially anarchy. The sculptural object is a celebration of wavering logic and structure, exposing the eminent disorder within all systems.

리시 엘
Lissy Laricchia aka Lissy Elle is a Canadian photographer who creates magical, paused in motion surreal photos. She plays with the subject, likes to change the rules of gravity and use smart props, location and digital manipulation. Her dreamy photographs are certainly pleasing on the eye, taking you off somewhere for a moment but the world within these images has also an air of mystery

Клер Морган
كلير مورجان
克莱尔·摩根
クレア·モーガン
클레어 모건
Les sangles et les tuyaux étaient attachés à son torse et à ses membres pour les alourdir après qu’il les ait jetés par-dessus bord. L’enquête policière n’a pas été en mesure d’établir la cause exacte du décès, mais affirme qu’elle a été étranglée ou s’est fait trancher la gorge.
La police a déclaré plus tôt que Mme Wall avait été poignardée à plusieurs reprises, y compris dans ses parties génitales, mais n’avait pas dit auparavant qu’elle pensait que cela s’était produit avant sa mort.

M. Madsen, 47 ans, a été officiellement accusé la semaine dernière de meurtre prémédité, une accusation équivalente à un meurtre; agression sexuelle; et une mauvaise manipulation d’un corps.

리시 엘
Lissy Laricchia aka Lissy Elle is a Canadian photographer who creates magical, paused in motion surreal photos. She plays with the subject, likes to change the rules of gravity and use smart props, location and digital manipulation. Her dreamy photographs are certainly pleasing on the eye, taking you off somewhere for a moment but the world within these images has also an air of mystery