Since I stumbled upon it, this graph haunts me. I can’t stop finding areas where it may apply. Until I know what to do with it, I park it there.
Depuis que je l’ai découvert, je trouve des échos à ce diagramme dans plusieurs domaines. En attendant de savoir quoi en faire, je le range ici.
credit: Michell Zappa‘s loose ends via cfd’s shared items via FFFFOUND!
Le transfert depuis bruvu.com est réussi!
C’est le moment de remercier Robin Millette, de Waglo Labs, qui a initialement créé ce blog sur WordPress et en a pris soin pendant des années, puis Patrick Tanguay, de taste of blue, qui a fait la nouvelle installation sur WordPress MU chez iWeb et le design initial à partir du thème Shantia de Nofie Iman avant de partir pour Berlin, puis Francis Laplante, de iXmédia qui a fait l’intégration du domaine boutot.com et l’aménagement final. Merci à tous pour votre patience, qui a eu raison de toutes mes prétextes pour procrastiner.
On dirait que les éléments incrustés (vidéo et slideshow) n’ont pas suivi le transfert. Je vais arranger ça.
The move from bruvu.com is finally done!
It’s time to thank Robin Millette, from Waglo Labs, who has originally created this blog on WordPress and took care of it for years, and Patrick Tanguay, from taste of blue, who installed the new WordPress MU at iWeb and created the original design from the theme Shantia by Nofie Iman before leaving for Berlin, and Francis Laplante, from iXmédia who did the integration of the boutot.com domain and the final set-up. Thank you all for your patience that used up all my attempts at procrastination.
Oops! Looks embedded videos and slideshows haven’t followed. I’ll fix this shortly.
.
.
I guess you have to see the other photo to get the title.
Possible qu’il faille voir l’autre photo pour saisir le titre.
I love those silhouetted ladies. And by the way, as usual: if the artist recognizes his work, please contact me or comment here or on flickr.
J’aime ces silhouettes de demoiselles. Et en passant, comme d’habitude: si un artiste reconnaît son travail, qu’il n’hésite pas à me contacter ou à commenter ici ou sur flickr.
Je suis tombé par hasard sur cette image extraordinaire que je n’avais jamais vue et qui complète très bien les deux articles de Jonathan Jones dans The Guardian sur la nudité dans l’art. Curieusement, elle se trouve sur Wikipedia à l’article sur la Fontaine de jouvence, mais pas sur la page de Lucas Cranach. Cliquer sur la photo pour la voir en plus grand sur flickr.
I stumbled by chance on this fantastic image that I had never seen before and that completes very well the two Jonathan Jones’ articles in The Guardian about nudes in art. Strangely, it appears in Wikipedia on the Fountain of Youth page, but not on Lucas Cranach‘s one. Click on the picture to see the large size on flickr.
Jason Kottke calls it “the most information-rich paragraph I’ve ever read online…it’s like an entire film class in 12 lines”. It’s from a column named How to read a movie written by the great movie critic Roger Ebert:
In simplistic terms: Right is more positive, left more negative. Movement to the right seems more favorable; to the left, less so. The future seems to live on the right, the past on the left. The top is dominant over the bottom. The foreground is stronger than the background. Symmetrical compositions seem at rest. Diagonals in a composition seem to “move” in the direction of the sharpest angle they form, even though of course they may not move at all. Therefore, a composition could lead us into a background that becomes dominant over a foreground. Tilt shots of course put everything on a diagonal, implying the world is out of balance. I have the impression that more tilts are down to the right than to the left, perhaps suggesting the characters are sliding perilously into their futures. Left tilts to me suggest helplessness, sadness, resignation. Few tilts feel positive. Movement is dominant over things that are still. A POV above a character’s eyeline reduces him; below the eyeline, enhances him. Extreme high angle shots make characters into pawns; low angles make them into gods. Brighter areas tend to be dominant over darker areas, but far from always: Within the context, you can seek the “dominant contrast,” which is the area we are drawn toward. Sometimes it will be darker, further back, lower, and so on. It can be as effective to go against intrinsic weightings as to follow them.
C’est une citation extraite de l’article Comment lire un film, par le grand critique de cinéma Roger Ebert. Jason Kottke dit: “Je n’ai jamais lu sur le Web un paragraphe contenant autant d’information. C’est un cours complet de cinéma en 12 lignes.”
Point par point:
Right is more positive, left more negative.
Movement to the right seems more favorable; to the left, less so.
The future seems to live on the right, the past on the left.
The top is dominant over the bottom.
The foreground is stronger than the background.
Symmetrical compositions seem at rest.
Diagonals in a composition seem to “move” in the direction of the sharpest angle they form, even though of course they may not move at all.
Therefore, a composition could lead us into a background that becomes dominant over a foreground.
Tilt shots of course put everything on a diagonal, implying the world is out of balance. I have the impression that more tilts are down to the right than to the left, perhaps suggesting the characters are sliding perilously into their futures. Left tilts to me suggest helplessness, sadness, resignation. Few tilts feel positive.
Movement is dominant over things that are still.
A POV above a character’s eyeline reduces him; below the eyeline, enhances him.
Extreme high angle shots make characters into pawns; low angles make them into gods.
Brighter areas tend to be dominant over darker areas, but far from always: Within the context, you can seek the “dominant contrast,” which is the area we are drawn toward. Sometimes it will be darker, further back, lower, and so on. It can be as effective to go against intrinsic weightings as to follow them.
Il y a quelque temps déjà que je suis les aventures d’Elyse Sewell dans son LiveJournal, où elle raconte essentiellement ses découvertes visuelles et culinaires lorsqu’elle travaille en Asie, comme à Hong Kong ou aujourd’hui, à Shanghai. J’ai écrit dans MetaFilter que j’admirais professionnellement son aisance à raconter des histoires avec les combinaisons de textes et d’images que nous offrent les nouveaux médias. Elle a de plus un tact exquis pour interagir avec les gens qui commentent ses articles. Comme le montre cette charmante visite de Shanghai à vélo, avec une simple caméra de poche et un ordinateur portable elle maitrise maintenant à ravir la vidéo. C’est tout en légèreté, sans prétention. À nous tous d’en faire autant.
I have been following Elyse Sewell’s posts on her LiveJournal for some time. I wrote in MetaFilter a few months ago: “Professionally, I have to admire the flowing way she uses photography and text in the LJ context and the very light touch she has in handling the comments of her readers. She is a natural at mastering the new mix of text, images and interaction that the web has brought to us.” And now I shall add “the flowing way she uses video”, like in this delightfull visit of Shanghai on her bicycle. I hope we’ll all be able to communicate with such aerial simplicity in the near future.
Great find by Bruce Sterling in Amsterdam on the flickr, tumblr etc. meme.
We could all play with it and list our know-how.
Excellente idée dénichée par Bruce Sterling à Amsterdam, dans la série des flickr, tumblr, etc.
On pourrait tous s’amuser à lister nos savoir-faire de la même manière. Ça pourrait même marcher en français si on en lançait l’usage: autr, modératr, illustratr, éditr, rédactr, chauffr, buvr, accélératr, mentr, emmerdr, agitatr, motr, farcr, etc. Hahaha! :-)
Premier essai de l’outil slideshow de flickr.
D’abord, l’auteur de ce “papier collé” m’a contacté par flickr en y voyant mes photos de son oeuvre.
Ensuite, je lui ai dit que j’allais prendre des photos tant qu’il y aurait des traces. En voici une série (à remettre en ordre chronologique).
First try of the flickr slideshow tool.
The author of this pasteup contacted me through flickr where he had seen my photos of his work.
Then I told him I would take pictures of his pasteups over time. Here is a first series (I’ll have probably to re-order them chronologically).
Big statement made by this artist with just two big paste-up. Impressive work. The signature seems to read something like “idifs” but I am not sure. More info is welcome.
Ce nouvel artiste impressionne dès son arrivée avec deux oeuvres grand format sur papier collé. Ça frappe. La signature semble être “idifs” mais je ne suis pas sûr. Merci de me communiquer toute info.
