Philolux

Migos Cover of Sweet Caroline

Joachim LapotreComment
James Corden links up with Quavo, Offset and Takeoff - the trio that make up Migos - for a drive through Los Angeles singing their biggest songs. James also apologizes for contributing to the destruction of the dab, and Migos uses some of the large amount of cash they brought for the ride for a quick shopping spree.

Björk’s Custom Gucci Gown for The Gate

Joachim LapotreComment
Creating Björk's custom Gucci gown for her new single The Gate. The design by Alessandro Michele took approximately 550 hours to make, and an additional 320 hours for the embroidery. The dress's fabrics include 5 meters of pleated iridescent PVC plastic material, 3 meters of PVC iridescent strips and 20 meters of pleated lurex organza.
the official video for the gate from björk's new album utopia.

Brian Eno - Thursday Afternoon (61 minutes version) 1984

Joachim LapotreComment

Thursday Afternoon is the eleventh solo studio album by British ambient musician Brian Eno consisting of one 60-minute eponymous composition. It is the rearranged soundtrack to an 80-minute video production of the same title made in 1984.

Since recording Discreet Music in 1975, Eno had shown a strong interest in creating music that can influence the atmosphere of the space in which it is played, rather than be focused on directly. The Thursday Afternoon video was conceived as a series of seven "video paintings" which can be looked at in passing without demanding full attention from the viewer. Each of the segments depicts simple imagery that has been treated with visual effects, much in the same way as Eno's music is often made up of simple instrumental performances that have been treated with audio effects.

The music on this album consists of multiple tracks of processed piano and electronic textures. The layers of the composition are phased so that their relationships to each other are constantly changing in a way similar to his previous Discreet Music piece. The album was also one of the first to take advantage of the (then new) extended running time of the compact disc format, containing only one 60-min track.

MUSIC

At just one track lasting 60 minutes, the music is ambient: beatless, flowing and ethereal.[5] Remixing and rearranging from the soundtrack to suit the CD media, Eno stated: "...the music wasn't recorded digitally. It was recorded on a 24-track analogue machine, and then digitally mastered."

An acoustic piano plays a series of notes and simple chords against a background of synths, which eventually dominate the entire soundscape. Though the composition sounds "static", in the sense that its length makes it seem like a solid "lump" of sound, it features many unstable elements that change in both timbre and volume over its entirety.

VIDEO

The original video, made at the request of and released by the Sony Corporation of America, was filmed in San Francisco in April 1984 and treated and assembled at Sony in Tokyo. Produced by Brian Eno and Daniel Lanois, it features seven "video paintings" of actress and photographer Christine Alicino, a friend of Eno's, and has a running time of 82 minutes. It was filmed in "vertical format," which necessitated the viewer either lie on their side or turn the television on its side, which often proved impractical for many viewers, and in most affected the picture tube's color purity adjustments. The DVD reissue presents it in both portrait and landscape formats so that this is no longer necessary.

The content is a series of images that stay static for some time and then slowly move forward, often to pause again. Various video techniques were implemented, such as image feedback, to create a very different interpretation of video and the nude.

Eno himself was aware of the newness of what he was doing. "I was delighted to find this other way of using video because at last here's video which draws from another source, which is painting ... I call them "video paintings" because if you say to people "I make videos", they think of Sting's new rock video or some really boring, grimy "Video Art". It's just a way of saying "I make videos that don't move very fast"."

The soundtrack was recorded at Dan Lanois's studio in Canada and is a longer, different mix.

brian-eno-recording-studio.png

Holistic Strata and Intensional Particle by S20 Hiroaki Umeda

Joachim LapotreComment
Recommended to play the video in HD. 2015 Choreography & Dance: Hiroaki Umeda Image Direction: S20 Visual Research: Ludovic Burczykowski Image Programming: Shoya Dozono Video Editing: Guillaume Gravier Sound & Lighting Design: S20 Production: S20 Coproduction: Le Manège – Scène Nationale, le manège.mons, la Gare Numérique – Jeumont, la Maison des Arts de Créteil, Stereolux – Nantes, Mapping Festival – Genéve -- A horizontal line projected on the screen tremors. Suddenly, for an instance, the line drastically multiplies as if to discharge its immanent energy. Similarly, when Umeda on stage trembles, covert energy withheld in his body is transmitted from the pelvis to the spine, to the arms, and lastly to the digital screen situated at the rear, in which the energy is visualized by curved lines reminiscent of a solar corona. When waterfalls and rivers are seen from afar, they seem to maintain static forms; yet, when one zooms into the same objects in a microscopic level, it is noticeable that they are consisted of ceaseless motions such as swells, waves, vortex and crosscurrents. Based on this creative concept, in Intensional Particle, Umeda reinterprets the particles in space as not static molecules but rather as 'active particles (or, mass points)'; and, visualizes, in space, the 'intensional force' that particles conceal. On stage, the corporeal, the photic and the sonar forces converge in exponential speed, and, at one point, it reaches the critical point of energy. Yet, the extremity is not sustained for long as it once again reverts back to a temporal equanimity by going through phase transitions. The transient shapes of digital particles which conjure images of dissolution of solids, sublimation of liquids, and algorithms of heat transference, synchronizes and synthesizes with Umeda's movements – yielding an entire universe that dances like a living organism. The audience will be experiencing a digital reality saturated with 'unstable stability': the raging streamlines vanishes after a minute, and the luminous waterfall vaporizes after a second. Therefore, despite the existence of an explosive canvas soaked with digital curvatures right before our eyes, it simultaneously gives us a fragile impression. When an evanescent expression per se of the body is embedded within the architecture of lights, which moves incessantly to maintain a split-second stability, sooner or later, the audience realizes that everything on stage will vanish in the next moment. As if to embody the ephemeral aesthetics underpinning the piece, here, on stage, the invisible forces come to the fore and the visual universe sink out of sight. Yet, the residue of heat still simmering after the experience of an informational overload will linger long in the audiences' bodies. --
official Web Site http://holistic-strata.ycam.jp/ Commissioned by: YCAM (Yamaguchi Center for Arts and Media) http://www.ycam.jp/ This video illustrates the production process of Hiroaki Umeda's latest dance piece Holistic Strata, one of the original works produced and performed at YCAM in 2011. Holistic Strata http://www.youtube.com/watch?v=6hXD1rQTJio

Old Masters GAN hybrid feedback + Face Feedback III by Mario Klingemann

Joachim LapotreComment
This is generated by a GAN I trained on old painted portraits. The GAN is fed with my own face markers and an additional feedback loop introduces some distortion. Sountrack: H15 by Flash Frequency https://flashfrequency.bandcamp.com/album/huetiful
Another GAN feedback loop that generates faces from scratch. This new version uses an additional model that allows for a 1024x1024 output and adds more details like skin texture, eyebrows and eyelashes. There are still several technical issues that I need to find a solution for, like for example the repetitive patterns that appear in low-entropy areas.

Daito Manabe, electric stimulus to face -test4 ( Daito Manabe 's friends )

Joachim LapotreComment

electric stimulus to face -test4 ( Daito Manabe 's friends )

Daito Manabe:Direction,programming and composition supported by Masaki Teruoka and Katsuhiko Harada: device Taeji Sawai: sound design

it's all white light with your naked eye.
my 3d scan + baby mocap = zombie
finger( myoelectric sensors) face (electric stimulus) daito manabe: programming masaki teruoka: engineering first machine learning + bio data test

The Kiyotomo Sushi Bar by Shiro Kuramata 倉俁史朗《Kiyotomo壽司吧》| M+ Collection

Joachim LapotreComment

M+, new museum for visual culture in Hong Kong, has recently acquired the Kiyotomo sushi bar, designed by Shiro Kuramata in 1988, as a highlight of our growing collection of design and architecture. Now deinstalled from its original location, the entire space, including interior finishes, furnishings and exterior façade, will be preserved and re-installed in the M+ galleries upon completion of the museum building.

Designer Matteo Thun

Joachim LapotreComment

Italian designer and architect Matteo Thun talks to Crane.tv in his studio in Milan about his illustrious career. Famed for being one of the co-founders of the Memphis Group, a collective that helped shape design and its style in the 80s, Thun is also the chair of product design and ceramics at the University of Applied Arts Vienna, and has worked as Creative Director of Swatch.