Skate attack
por mais parque e skates.
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por mais parque e skates.
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(via @brainpicker)
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quem faz uma coisa desse tipo tem meu respeito.
crew:
directed and animated by BLU
produced and distributed by ARTSH.it {http://www.artsh.it/blog/}
soundtrack by ANDREA MARTIGNONI
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A impressora foi desenvolvida pelo artista israelense ariel schlesinger, ela usa cartões perfurados que são lidos por um sistema embarcado e dispara um array de 5 latas de spray.
muito bacana!
(via @monogocoro)
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Uma forma muito interessante de se olhar sobre trabalhos feitos em graffiti em animações usando tecnologia + repositório [aberto!] de dados para isso. Já era hora de se ter algo do tipo disponível e catalogado na web.
BEM bacana.
About:
Graffiti Analysis is an extensive ongoing study in the motion of graffiti. Custom software designed for graffiti writers creates visualizations of the often unseen motion involved in the creation of a tag. Motion data is recorded, analyzed and archived in a free and open database, 000000book.com, where writers can share analytical representations of their hand styles. Influential graffitis artist such as SEEN, TWIST, AMAZE, KETONE, JON ONE and KATSU have had their tags motion captured using the Graffiti Analysis software. All tags created in Graffiti Analysis are saved as Graffiti Markup Language (GML) files, a new digital standard used by other popular graffiti applications such as Laser Tag and EyeWriter. Graffiti Analysis 2.0 is an open source project that is available online for free in OSX, Windows and Linux. Graffiti writers are invited to capture and share their own tags, and computer programmers are invited to create new applications and visualizations of the resulting data. What Martha Cooper did for archiving graffiti on film, and Chalfant/Silver did for archiving graffiti in video, Graffiti Analysis intends to do for archiving graffiti in code. The project aims to build the world's largest archive of graffiti motion and bring together two seemingly disparate communities that share an interest hacking systems, whether found in code or in the city.
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Uma entrevista bem interessante feita pela Wired com Banksy, sobre seu novo projeto, um filme. Nele os assuntos são tratados de um jeito muito similar ao que ele expõe na sua arte, relações de poder fracas e regras sempre na eminência de serem quebradas. Não dá pra distinguir bem o que é deboche, verdade e crítica.
Wired.com: After watching Exit Through the Gift Shop, I still couldn’t figure out if Guetta, the director-turned-artist, is for real. He doesn’t seem to know anything about art, yet you allowed him to make a film — and then he turned the tables on you. What do you think about him now?
Banksy: As far as I’m aware, Mr. Brainwash doesn’t know very much about art, especially his own. He seems to mainly judge the success of an art show by how many square feet it covers and whether it makes any money. This probably makes him the ultimate artist of our times.
Wired.com: You keep your identity secret — ostensibly because of your methods. Your appearance in the film suggests you will at some point unmask yourself. Is this documentary a small part of some greater burlesque theater, with your identity as the ultimate reveal?
Banksy: The film is the end of my public life rather than the beginning. This is the most you’ll ever see of me, if I can help it.
Wired.com: Your work explores power, tests power and is therefore revolutionary, encouraging people to subvert the powers that be. Mr. Brainwash kind of did this to you. He looked at the power structure around him (you and Fairey) and exploited it for his own ends. Does that make him a student — or a con man?
Banksy: Thierry essentially trespassed into the art business, and even in the wild world of vandalism there’s a lot of conservatism — people don’t like to see the rules being broken. The story of Mr. Brainwash should be inspirational, and in the hands of a more cheerful director it probably would’ve been. The film might come across as a bit cynical, but it’s important not to forget these are revolutionary times in art.
There’s a whole new audience out there, and it’s never been easier to sell it, particularly at the lower levels. You don’t have to go to college, drag ’round a portfolio, mail off transparencies to snooty galleries or sleep with someone powerful. All you need now is a few ideas and a broadband connection. This is the first time the essentially bourgeois world of art has belonged to the people. We need to make it count.
Trailer:
Página oficial: http://www.banksyfilm.com/
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O objetivo aqui é a partir de uma browseada básica trazer à tona conceitos que instiguem um debate e a colaboração.
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Quem tá por aqui:
Farley Millano { @farleymillano }
Alex Ferrer { @alexferrer }
Dui { @duii }
André Araújo { @andrelmaraujo }
Felipe Rodrigues { @feliperodrigues }