GRAVITY

The precise strength of Earth's gravity varies depending on location. The nominal "average" value at Earth's surface, known as standard gravity is, by definition, 9.80665 m/s².

 

 

"The impact that non Western

designers can have on the globalized market was demonstrated by

the huge success of Japanese designers who showed in Paris from

the late 1970s and early 1980s. At this time, it was still necessary for

designers to show within an established fashion week to gain

sufficient publicity and exposure to international store buyers."

"Japanese designers such as Yohji Yamamoto, Rei Kawakubo of

Comme des Garcons, Kenzo, and Issey Miyake’s work shocked the

Western fashion world into the realization that high fashion could

emanate from beyond its confines. Importantly, Japanese fashion

also provided an alternative vision of body and fabric and the

dynamic between them."

"Issey Miyake, for example, produced clothes that overturned

Western ideals of beauty and form and presented tightly pleated

textiles sculpted into points that pulled out from the figure. He

recreated femininity in line with architectural notions of space,

rather than cutting fabric in towards the natural form. His clothes

often swept upwards, and jutted out to emphasize the contrast

between body and garment."

 

A few sleeveless jackets and a pair of trousers that survive at Shadows on the Têche in Louisiana were handed down in the family as examples of clothing made entirely by slaves, who spun the yarn, wove the fabric, and stitched the garments. The garments, sized for a boy perhaps 10-15 years of age, are unusual—perhaps unique—survivals (Fig. 5).[13]

from

 

"In subsequent decades, youth culture presented a continued

disruption to social codes of behaviour and display. In Britain,

class played a significant part in shaping subculture’s nature. In the

1960s, Mods aped middle class respectability in neat, sharp

suits, while Skinheads toughened up this style to assert a strong

working class identity, based on workwear. In each case, youth

style was driven by a combination of its members’ search for

excitement and devotion to particular music styles. In the early

21st century, a more diffuse group within working, and

unemployed, youth emerged. ‘Chavs’ were condemned as tasteless,

for their unselfconscious flaunting of obvious branding and

disregard for middle class ideals of style. Media coverage exposed

embedded class prejudice, as the term quickly became associated

with criminality amongst teenagers on council estates. Chavs’

aggressive sportswear styles were connected to negative

stereotypes of the working class, as an easily grasped visible

incarnation of inner city lawlessness"

 

"Westwood’s design and retailing style were part of the fluidity of

subculture. Styles emerged and shifted as the music, street, and art

scene they were connected with moved on. This flexibility created

an exciting sense of community and currency around her store,

promoted by the DIY ethos of subcultures. As with Quant in the

1960s, it demonstrated how like minded shops could group

together to generate business and consolidate the fashion

reputation of an area. In the early 21st century, Alphabet City in

New York saw a similar constellation of designer makers opening

up in close proximity."

 

"As economies recovered during the 1950s, new initiatives began

to develop. One of the key examples of this was the growth of

designer owner boutiques that appeared in London by the end of

the decade. These demonstrated how fashion could evolve from

small scale entrepreneurs who understood their audience and the

kind of clothes they wanted to wear. In 1955, for example, Mary

Quant was prompted to open Bazaar on London’s King’s Road

by her own frustration with the contemporary fashion scene"

 

In wester society

"public sphere dominated by men"

 

tableaux vivants

A tableau vivant, French for "living picture", is a static scene containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with props and/or scenery, and may be theatrically lit. It thus combines aspects of theatre and the visual arts.

The 1969 film, The Color of Pomegranates directed by Sergei Parajanov presents a loose biography of the Armenian poet Sayat Nova in a series of tableaux vivants of Armenian costume, embroidery and religious rituals depicting scenes and verses from the poet's life.

 

"Although they might seem unplanned, such shops are part of

Comme des Garc¸ons’ strategy to remain at the forefront of fashion

retailing. Some of the stores remain open for only a few days,

others a year; none are advertised, other than through emails to

existing customers, perhaps a few posters in the local area, and,

crucially, through word of mouth. These processes mimic the

effects of a subculture, reaching out to opinion makers within an

inner circle already aware of the label’s status in the fashion

industry as pioneers of avant garde style and design. The guerrilla

store creates an atmosphere of exclusivity, intrigue, and excitement

around its products. It promotes the feeling that its visitors

12. The interior of Comme des Garc¸ons’ 2008 guerrilla store in

Warsaw is designed to look like a modernist furniture exhibition

68 Fashion

have privileged knowledge, and that they are taking part in a

semi covert event by shopping there. It therefore plays into the key

elements of early 21st century high fashion consumerism, by

emphasizing desire, lifestyle, and identity. As such, the store, again

like street cultures, suggests individuality yet membership of a

group. It advocates shopping as an experience, in this case akin to

visiting a small art gallery. Importantly, it builds the brand in a

manner that is in keeping with its intellectual ethos. It apparently

rejects the excesses and decadence of much fashion advertising

and retailing, while remaining a shrewd marketing device to target

its core audience, as well as luring in the curious passer by."

 

"If young designers gain

too much notoriety very early in their careers, before they have

gained sufficient financial backing and manufacturing capability

to fulfil orders, it can be hard for them to develop their businesses.

However, press coverage is viewed as crucial to building a profile

and, ultimately, to finding economic investment from a reliable

backer. This contradictory situation has particularly plagued

London Fashion Week, where art schools such as Central Saint

Martins School of Art and Design regularly produce talented

designers, but lack of infrastructure and government investment

leaves them vulnerable."

Mass production is the manufacturing of large quantities of standardized products, often using assembly lines or automation technology. Mass production facilitates the efficient production of a large number of similar products.

Mass production is also referred to as flow production, repetitive flow production, series production, or serial production.

In mass production, mechanization is used to achieve high volume, detailed organization of material flow, careful control of quality standards, and division of labor. 

POSITIVE

Product Standards

Certain production and manufacturing businesses adhere to agency standards to ensure all products of the same category are created to the same specifications between different facilities or companies.

For example, the wood products industry participates in international standards to maintain consistency of like products. This can include references to acceptable product sizing, water-solubility, grading, and composite properties. These standards ensure that when a person goes to a retail store to purchase an item, such as a two-by-four, the sizing is consistent regardless of the store visited or the product manufacturer.

POSITIVE

VJing

V-Jing is a broad designation for real-time visual performance. Characteristics of V-Jing are the creation or manipulation of imagery in real-time through technological mediation and for an audience, in synchronization to music. 

[real-time imagery through technological mediation for an audience in synchronization to music]

V-Jing often takes place at events such as concerts, nightclubs, music festivals and sometimes in combination with other performative arts. This results in a live multimedia performance that can include music, actors and dancers. The term V-Jing became popular in its association with MTV's Video Jockey but its origins date back to the New York club scene of the 70s. In both situations V-Jing is the manipulation or selection of visuals, the same way DJing is a selection and manipulation of audio.

One of the key elements in the practice of V-Jing is the real-time mix of content from a "library of media", on storage media such as VHS tapes or DVDs, video and still image files on computer hard drives, live camera input, or from computer generated visuals. In addition to the selection of media, V-Jing mostly implies real-time processing of the visual material. The term is also used to describe the performative use of generative software, although the word "becomes dubious (...) since no video is being mixed".

[real-time processing of the visual material]

[live camera input, or from computer generated visuals]

[performative use of generative software]

 

 

*Rollei Black Magic Gelatin

*Cyanotype Set

*SolarFast Supplies

-

*Schadograph

*Photogram

*Rayographs

Nobuo Kubota "Loopholes"

 

Notes

Elements of a scene in Film:

1.-Framing/Frame

2.-The Setting within the frame

3.-Lighting

4.-Props

5.-Costumes

6.-Hair and Makeup

All of this leads to composition.

Visual Scripting

Director Ian Barry on the set of House Husbands II

Character (arts)

From Wikipedia, the free encyclopedia

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In fiction, a character (sometimes known as a fictional character) is a person or other being in a narrative (such as a novel, play, television series, film, or video game).^[1][2][3] The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made.^[2] 

Derived from the ancient Greek word χαρακτήρ, the English word dates from the Restoration,^[4] although it became widely used after its appearance in Tom Jones in 1749.^[5][6] From this, the sense of "a part played by an actor" developed.^[6] Character, particularly when enacted by an actor in the theatre or cinema, involves "the illusion of being a human person".^[7] 

In literature, characters guide readers through their stories, helping them to understand plots and ponder themes.^[8] Since the end of the 18th century, the phrase "in character" has been used to describe an effective impersonation by an actor.^[6] Since the 19th century, the art of creating characters, as practiced by actors or writers, has been called characterisation.^[6]

{Characterization or characterisation is the representation of persons (or other beings or creatures) in narrative and dramatic works of art. This representation may include direct methods like the attribution of qualities in description or commentary, and indirect (or "dramatic") methods inviting readers to infer qualities from characters' actions, dialogue, or appearance. Such a personage is called a character.^[1] Character is a literary element.^[2]}

{The term characterization was introduced in the 19th century.^[3] Aristotle promoted the primacy of plot over characters, that is, a plot-driven narrative, arguing in his Poetics that tragedy "is a representation, not of men, but of action and life." This view was reversed in the 19th century, when the primacy of the character, that is, a character-driven narrative, was affirmed first with the realist novel, and increasingly later with the influential development of psychology.}

A character who stands as a representative of a particular class or group of people is known as a type.^[9] Types include both stock characters and those that are more fully individualised.^[9] The characters in Henrik Ibsen's Hedda Gabler (1891) and August Strindberg's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender, such that the conflicts between the characters reveal ideological conflicts.^[10]

The study of a character requires an analysis of its relations with all of the other characters in the work.^[11] The individual status of a character is defined through the network of oppositions (proairetic, pragmatic, linguistic, proxemic) that it forms with the other characters.^[12] The relation between characters and the action of the story shifts historically, often miming shifts in society and its ideas about human individuality, self-determination, and the social order.^[13]

[In the earliest surviving work of dramatic theory, Poetics (c. 335 BCE), the Classical Greek philosopher Aristotle deduces that character (ethos) is one of six qualitative parts of Athenian tragedy and one of the three objects that it represents (1450a12).^[24] He understands character not to denote a fictional person, but the quality of the person acting in the story and reacting to its situations (1450a5).^[25] He defines character as "that which reveals decision, of whatever sort" (1450b8).^[25] It is possible, therefore, to have stories that do not contain "characters" in Aristotle's sense of the word, since character necessarily involves making the ethical dispositions of those performing the action clear.^[26] If, in speeches, the speaker "decides or avoids nothing at all", then those speeches "do not have character" (1450b9—11).^[27] Aristotle argues for the primacy of plot (mythos) over character (ethos).^[28] He writes:

But the most important of these is the structure of the incidents. For (i) tragedy is a representation not of human beings but of action and life. Happiness and unhappiness lie in action, and the end [of life] is a sort of action, not a quality; people are of a certain sort according to their characters, but happy or the opposite according to their actions. So [the actors] do not act in order to represent the characters, but they include the characters for the sake of their actions" (1450a15-23).^[29]

Aristotle suggests that works were distinguished in the first instance according to the nature of the person who created them: "the grander people represented fine actions, i.e. those of fine persons" by producing "hymns and praise-poems", while "ordinary people represented those of inferior ones" by "composing invectives" (1448b20—1449a5).^[30] On this basis, a distinction between the individuals represented in tragedy and in comedy arose: tragedy, along with epic poetry, is "a representation of serious people" (1449b9—10), while comedy is "a representation of people who are rather inferior" (1449a32—33).^[31]

In the Tractatus coislinianus (which may or may not be by Aristotle), Ancient Greek comedy is defined as involving three types of characters: the buffoon (bômolochus), the ironist (eirôn), and the imposter or boaster (alazôn).^[32] All three are central to Aristophanes' "old comedy".^[33]

By the time the Roman comic playwright Plautus wrote his plays two centuries later, the use of characters to define dramatic genres was well established.^[34] His Amphitryon begins with a prologue in which Mercury claims that since the play contains kings and gods, it cannot be a comedy and must be a tragicomedy.^[35]]

< itemise >


< atomise >


< prioritise >

"Gamification"

FOR CONCEPT PURPOSES

notes:

"professionalisation and industry keeping entry players at bay"

"not only on an institutional and commercial level, but also on the idea of TINA; as a way to limit consumers and producers imaginations"

"what is acceptable? what is permissible? what is marketable? what is sell-able?"

Screenplay

• A screenplay, or script, is a written work by screenwriters for a film, television program, or video game. In them, the movement, actions, expression and dialogues of the characters are also narrated. 

• The major components are action (sometimes called "screen direction") and dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example descriptions of settings, character movements, or sound effects. The dialogue is the words the characters speak, and is written in a center column.

• Unique to the screenplay (as opposed to a stage play) is the use of slug lines. A slug line, also called a master scene heading, occurs at the start of every scene and typically contains three pieces of information: whether the scene is set inside (interior/INT.) or outside (exterior/EXT.), the specific location, and the time of day. Each slug line begins a new scene. In a "shooting script" the slug lines are numbered consecutively for ease of reference.

• Screenplay transitions were cues to the editing team that communicated how transitions between shots were to be handled. CUT TO was a simple direction that stipulated the literal cut from one scene to another — usually, but not always, referring to a location change as well. In older scripts, you would find such a transition between every new scene.

Scene (filmmaking)

• In filmmaking and video production, a scene is generally thought of as the action in a single location and continuous time.

• There is usually an opening scene and a closing scene. 

• While the terms refer to a set sequence and continuity of observation, resulting from the handling of the camera or by the editor, the term scene refers to the continuity of the observed action - an association of time, place or characters. 

Storyboard

• A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence.

Film

• A film storyboard (sometimes referred to as a shooting board), is essentially a series of frames, with drawings of the sequence of events in a film, similar to a comic book of the film or some section of the film produced beforehand. 

• It helps film directors, cinematographers and television commercial advertising clients visualise the scenes and find potential problems before they occur. 

• Besides this, storyboards also help estimate the cost of the overall production and save time. 

• Often storyboards include arrows or instructions that indicate movement. 

• In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens.

• Another benefit of storyboarding is that the production can plan the movie in advance. In this step, things like the type of camera shot, angle, and blocking of characters are decided.

Comic books

• Some writers have used storyboard type drawings (albeit rather sketchy) for their scripting of comic books, often indicating staging of figures, backgrounds, and balloon placement with instructions to the artist as needed often scribbled in the margins and the dialogue or captions indicated. 

Architectural studios

• Occasionally, architectural studios need a storyboard artist to visualize presentations of their projects. 

• Usually, a project needs to be seen by a panel of judges and nowadays it’s possible to create virtual models of proposed new buildings, using advanced computer software to simulate lights, settings, and materials. 

• Clearly, this type of work takes time – and so the first stage is a draft in the form of a storyboard, to define the various sequences that will subsequently be computer-animated.

Méliès at his studio in Montreuil

Advanced Screenplay Formatting John P.Hess