Kaleidoscopy-Ancient eyes

Ancient Eyes (Stereogram) from Matt Reed on Vimeo.

Cross your eyes and overlap the center of the two mandalas. With eyes properly crossed, a third mandala appears in the center of the other two.

The audio is a binaural beat of 8 HZ, creating a tone with the same frequency as your brainwaves during a deep dream-state... Mixed with slowed down Tibetan Ceremonial Music for Summoning the Spirit of Kindness.

Simulation of entrance to an alternate dimension.

Quiet Steam

Quiet Steam from Glenn Marshall on Vimeo.

This was my second video for Peter Gabriel. It's based on a recursive, repeating pattern technique I've developed in After Effects over the years.
This song is a remix of the more commercial single 'Steam' he released from his US album in 1993.

An interesting approach I thought would be to take images out of the original video, and apply my technique to these, thus 'remixing' the video - creating lots of new spiralling abstract animation using the original video as source.
What I thought was unique is that both the song and the video were remixed into a completely new piece.

More info on this video at my website butterfly.ie

Metamorphosis is a generative

Metamorphosis from Glenn Marshall on Vimeo.

Metamorphosis is a generative, algorithmic animation programmed entirely in Processing (www.processing.org) Music is by Boards of Canada.

The same animation system is now available as 'Zio' - an interactive iPhone app - itunes.com/apps/zio

my website-
butterfly.ie

COLORES LIQUIDOS

Colours from Charlie McCarthy on Vimeo.

Micro wave particles

Al Pacino - Micro Audi Waves from Hortelã Magenta on Vimeo.

The Tempest Act 4 Scene 1 By Shakespeare

Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep

Voces de la memoria

Palabras del olvido
Se doblan y se funden en diáfano silencio
Y en las sombras palabras de la memoria escucho;
La agitación de batallas,
nuestros padres asesinados por la espada
y la trémula vida que se escapa
La sangre que murmura como un país pecador;
De robos, asesinatos y un mar de sangre y fuego corriendo por la venas,
Los isleños fueron los primeros en ver los falsos dioses
Que destruirían y dieran fuerza a nuestro pueblo
que gritara con violencia y se apropiara del tesoro de su conciencia
Se alzan las voces, y se agitan como soles
Voces de conquista y miedo,
Voces de dioses falsos y engañadores
Voces Independencia y guerra
Sobre los ciclos de generaciones muertas se elevan,
Y susurran en lo hondo ámbito del tiempo
la sangre del sol fluye por nuestras venas
y nuestros deseos, profundos como raíces,
se entretejen y elevan sus altas ramas
y forman la consciencia de nuestra raza.
Nuestra memoria es cada onda de un rio de oro que siempre resplandece,
y llena cada árbol con un divino signo,
que en las noches magnéticas
iluminan la tenebrosidad del interior de los corazones solitarios
en su larga aventura de lucha y gozo
El rumor de nuestra olvidadas memoria es nuestro oro

James Joyce » Ulysses » Episode 14 - Oxen Of The Sun

The adiaphane in the noon of life is an Egypt's plague which in the nights of prenativity and postmortemity is their most proper ubi and quomodo. And as the ends and ultimates of all things accord in some mean and measure with their inceptions and originals, that same multiplicit concordance which leads forth growth from birth accomplishing by a retrogressive metamorphosis that minishing and ablation towards the final which is agreeable unto nature so is it with our subsolar being. The aged sisters draw us into life: we wail, batten, sport, clip, clasp, sunder, dwindle, die: over us dead they bend. First saved from water of old Nile, among bulrushes, a bed of fasciated wattles: at last the cavity of a mountain, an occulted sepulchre amid the conclamation of the hillcat and the ossifrage. And as no man knows the ubicity of his tumulus nor to what processes we shall thereby be ushered nor whether to Tophet or to Edenville in the like way is all hidden when we would backward see from what region of remoteness the whatness of our whoness hath fetched his whenceness."


"The voices blend and fuse in clouded silence: silence that is the infinite of space: and swiftly, silently the soul is wafted over regions of cycles of cycles of generations that have lived. A region where grey twilight ever descends, never falls on wide sagegreen pasturefields, shedding her dusk, scattering a perennial dew of stars. She follows her mother with ungainly steps, a mare leading her fillyfoal. Twilight phantoms are they yet moulded in prophetic grace of structure, slim shapely haunches, a supple tendonous neck, the meek apprehensive skull. They fade, sad phantoms: all is gone. Agendath is a waste land, a home of screechowls and the sandblind upupa. Netaim, the golden, is no more. And on the highway of the clouds they come, muttering thunder of rebellion, the ghosts of beasts. Huuh! Hark! Huuh! Parallax stalks behind and goads them, the lancinating lightnings of whose brow are scorpions. Elk and yak, the bulls of Bashan and of Babylon, mammoth and mastodon, they come trooping to the sunken sea, Lacus Mortis. Ominous, revengeful zodiacal host! They moan, passing upon the clouds, horned and capricorned, the trumpeted with the tusked, the lionmaned the giantantlered, snouter and crawler, rodent, ruminant and pachyderm, all their moving moaning multitude, murderers of the sun.

Onward to the dead sea they tramp to drink, unslaked and with horrible gulpings, the salt somnolent inexhaustible flood. And the equine portent grows again, magnified in the deserted heavens, nay to heaven's own magnitude, till it looms, vast, over the house of Virgo. And, lo, wonder of metempsychosis, it is she, the everlasting bride, harbinger of the daystar, the bride, ever virgin. It is she, Martha, thou lost one, Millicent, the young, the dear, the radiant. How serene does she now arise, a queen among the Pleiades, in the penultimate antelucan hour, shod in sandals of bright gold, coifed with a veil of what do you call it gossamer! It floats, it flows about her starborn flesh and loose it streams emerald, sapphire, mauve and heliotrope, sustained on currents of cold interstellar wind, winding, coiling, simply swirling, writhing in the skies a mysterious writing till after a myriad metamorphoses of symbol, it blazes, Alpha, a ruby and triangled sign upon the forehead of Taurus."

Sound Design by Egan Kolb

Egan Kolb Demo Reel: Sound Design from Egan Kolb on Vimeo.

Siggraph Opener

Siggraph Opener from KAMP - Music & Sound Design on Vimeo.

I´ll kill her

I´ll kill her from Joerg Barton on Vimeo.

i used Cinema 4d for 3d modeling and 3d Animation, Xfrog (as Cinema 4d plugin) for modeling and animating the plants and ornamental shapes and After Effects for 2d Animation and compositing.

CCTV Ink

CCTV Ink from Troublemakers.tv on Vimeo.

the ink was simulated in 3dsmax with the Krakatoa & Fume Fx plugins... They did tests with real and water to get a feel for how it should look, but again I think that all of the ink was simulated.

rio de ondas luminosas

LD from gkaster on Vimeo.

Un rio de ondas luminosas
Un rio de formas que cambian al ritmo del sonido
texturas de colores y aromas y cosas naturales,
cambian y evolucionan en sistemas orgánicos,
partículas dinámicas que se arremolinan
y disuelven en otra forma que las contiene,
fuerzas que arrastran el pensamiento,
el arquetipo de las fuerzas y su infinita red de ondas y estados

Near Sighted

Near Sighted from Renaud Duval on Vimeo.

A collection of macro clips taken with the Panasonic Lumix GH1.

Lens used: Sigma 105mm f2.8

720p60 on Smooth

Massive Attack-Splitting the Atom-directed by Edouard Salier

Massive Attack-Splitting the Atom-directed by Edouard Salier from edouard salier on Vimeo.

Mite from Rhett Dashwood on Vimeo.

Director / Producer: Rhett Dashwood
Audio: Cypheraudio

Colorful Vision in "Eye Candy" for Sony

Superfad Directs Colorful Vision in "Eye Candy" for Sony BRAVIA HDTV from Hype Communications on Vimeo.

Superfad’s new in-store campaign for Sony is a startlingly beautiful and surreal homage to Sony’s global brand message of “make.believe” and a tribute to the pleasure of “Eye Candy”. Unfolding in three parts, “Birth of Color,” “Explosion of Color,” and “Release of Color,” the project was directed and produced by Superfad and will be seen in stores and trade shows throughout the world.

The concept was inspired by the idea that from one’s imagination anything is possible. Drawing from the theatrical world of fashion photography, Superfad chose moments of visual drama and magic, with spherical objects representing the dot in “make.believe” as a connecting through-line.

Superfad Director/Executive Creative Director Will Hyde captured a live action, slow motion narrative with imagery that would showcase the picture value of Sony BRAVIA high definition televisions including color fidelity and detail. The project’s effects and animation, completed in just under three weeks, was creative directed by Carlos Stevens.

The project keenly represents Superfad’s methodology; one that eschews a singular signature style in favor of applying project-specific creative approaches to reveal the unexpected. With Sony’s “Eye Candy,” the blending of live action and animation comes together in a seamless marriage of visual intensity and wonder.

Client: Sony Electronics
Video Program Manager: Lisa Gonzalez

Nokta . from Onur Senturk on Vimeo.

Nokta (Dot) is an abstract film project which is an improvisation of organic pieces while considering themes like power, chance and luck.
I also wanted a perspective that can be subjectified by
viewers.

'I see some correspondence between the foundation of universal harmony on elliptical orbit and the predilection for the elliptic forms in Baroque architecture. In both cases harmony is still defined as unity within multiplicity, but it ceased to be static, namely, harmony expressed in one ideal geometrical form, and became so to speak dynamic. What was previously regarded as the deviation from the ideal form, was comprehended for the first time as an integral part of the form, or form of forms, which are capable of endless transitions one into another. ' [Amos Funkenstein, The Dialectical Preparation of Scientific Revolutions. On the Role of Hypothetical Reasoning in the Emergence of Copernican Astronomy and Galilean Mechanics.]

Cool videos

Vanishing Point from Bonsajo on Vimeo.

Particle Flow 2 from anthony mattox on Vimeo.

Chapter 17. Ulysses by James Joyce

What spectacle confronted them when they, first the host, then the guest, emerged silently, doubly dark, from obscurity by a passage from the rere of the house into the penumbra of the garden?

The heaventree of stars hung with humid nightblue fruit.




With what meditations did Bloom accompany his demonstration to his companion of various constellations?

Meditations of evolution increasingly vaster: of the moon invisible in incipent lunation, approaching perigee: of the infinite lattiginous scintillating uncondensed milky way, discernible by daylight by an observer placed at the lower end of a cylindrical vertical shaft 5000 ft deep sunk from the surface towards the centre of the earth: of Sirius (alpha in Canis Major) 10 lightyears (57,000,000,000,000 miles) distant and in volume 900 times the dimension of our planet: of Arcturus: of the precession of equinoxes: of Orion with belt and sextuple sun theta and nebula in which 100 of our solar systems could be contained: of moribund and of nascent new stars such as Nova in 1901: of our system plunging towards the constellation of Hercules: of the parallax or parallactic drift of socalled fixed stars, in reality evermoving from immeasurably remote eons to infinitely remote futures in comparison with which the years, threescore and ten, of allotted human life formed a parenthesis of infinitesimal brevity.




Were there obverse meditations of involution increasingly less vast?

Of the eons of geological periods recorded in the stratifications of the earth: of the myriad minute entomological organic existences concealed in cavities of the earth, beneath removable stones, in hives and mounds, of microbes, germs, bacteria, bacilli, spermatozoa: of the incalculable trillions of billions of millions of imperceptible molecules contained by cohesion of molecular affinity in a single pinhead: of the universe of human serum constellated with red and white bodies, themselves universes of void space constellated with other bodies, each, in continuity, its universe of divisible component bodies of which each was again divisible in divisions of redivisible component bodies, dividends and divisors ever diminishing without actual division till, if the progress were carried far enough, nought nowhere was never reached.




Why did he not elaborate these calculations to a more precise result?

Because some years previously in 1886 when occupied with the problem of the quadrature of the circle he had learned of the existence of a number computed to a relative degree of accuracy to be of such magnitude and of so many places, e.g., the 9th power of the 9th power of 9, that, the result having been obtained, 33 closely printed volumes of 1000 pages each of innumerable quires and reams of India paper would have to be requisitioned in order to contain the complete tale of its printed integers of units, tens, hundreds, thousands, tens of thousands, hundreds of thousands, millions, tens of millions, hundreds of millions, billions, the nucleus of the nebula of every digit of every series containing succinctly the potentiality of being raised to the utmost kinetic elaboration of any power of any of its powers.




Did he find the problem of the inhabitability of the planets and their satellites by a race, given in species, and of the possible social and moral redemption of said race by a redeemer, easier of solution?

Of a different order of difficulty. Conscious that the human organism, normally capable of sustaining an atmospheric pressure of 19 tons, when elevated to a considerable altitude in the terrestrial atmosphere suffered with arithmetical progression of intensity, according as the line of demarcation between troposphere and stratosphere was approximated, from nasal hemorrhage, impeded respiration and vertigo, when proposing this problem for solution he had conjectured as a working hypothesis which could not be proved impossible that a more adaptable and differently anatomically constructed race of beings might subsist otherwise under Martian, Mercurial, Veneral, Jovian, Saturnian, Neptunian or Uranian sufficient and equivalent conditions, though an apogean humanity of beings created in varying forms with finite differences resulting similar to the whole and to one another would probably there as here remain inalterably and inalienably attached to vanities, to vanities of vanities and all that is vanity.




And the problem of possible redemption?
The minor was proved by the major.





Which various features of the constellations were in turn considered?

The various colours significant of various degrees of vitality (white, yellow, crimson, vermilion, cinnabar): their degrees of brilliancy: their magnitudes revealed up to and including the 7th: their positions: the waggoner's star: Walsingham way: the chariot of David: the annular cinctures of Saturn: the condensation of spiral nebulae into suns: the interdependent gyrations of double suns: the independent synchronous discoveries of Galileo, Simon Marius, Piazzi, Le Verrier, Herschel, Galle: the systematisations attempted by Bode and Kepler of cubes of distances and squares of times of revolution: the almost infinite compressibility of hirsute comets and their vast elliptical egressive and reentrant orbits from perihelion to aphelion: the sidereal origin of meteoric stones: the Libyan floods on Mars about the period of the birth of the younger astroscopist: the annual recurrence of meteoric showers about the period of the feast of S. Lawrence (martyr, 10 August): the monthly recurrence known as the new moon with the old moon in her arms: the posited influence of celestial on human bodies: the appearance of a star (1st magnitude) of exceeding brilliancy dominating by night and day (a new luminous sun generated by the collision and amalgamation in incandescence of two nonluminous exsuns) about the period of the birth of William Shakespeare over delta in the recumbent neversetting constellation of Cassiopeia and of a star (2nd magnitude) of similar origin but lesser brilliancy which had appeared in and disappeared from the constellation of the Corona Septentrionalis about the period of the birth of Leopold Bloom and of other stars of (presumably) similar origin which had (effectively or presumably) appeared in and disappeared from the constellation of Andromeda about the period of the birth of Stephen Dedalus, and in and from the constellation of Auriga some years after the birth and death of Rudolph Bloom, junior, and in and from other constellations some years before or after the birth or death of other persons: the attendant phenomena of eclipses, solar and lunar, from immersion to emersion, abatement of wind, transit of shadow, taciturnity of winged creatures, emergence of nocturnal or crepuscular animals, persistence of infernal light, obscurity of terrestrial waters, pallor of human beings.




His (Bloom's) logical conclusion, having weighed the matter and allowing for possible error?

That it was not a heaventree, not a heavengrot, not a heavenbeast, not a heavenman. That it was a Utopia, there being no known method from the known to the unknown: an infinity, renderable equally finite by the suppositions probable apposition of one or more bodies equally of the same and of different magnitudes: a mobility of illusory forms immobilised in space, remobilised in air: a past which possibly had ceased to exist as a present before its future spectators had entered actual present existence.

bhaktihare

bhaktihare
Originally uploaded by noisecraft

2009 - 11 - Noviembre

2009 - 11 - Noviembre
Originally uploaded by GMH

öleo sobre tela

digital collage art-rabbit

digital collage art-rabbit
Originally uploaded by jamaica byles

digitalfishtail

digitalfishtail
Originally uploaded by jamaica byles

l'ennui detail

l'ennui detail
Originally uploaded by casajordi

SPRING

SPRING
Originally uploaded by moonmomma

La primavera

Portrait d'un écrivain (détail 3)

Portrait d'un écrivain (détail 3)
Originally uploaded by casajordi

Portrait d'un écrivain

Portrait d'un écrivain
Originally uploaded by casajordi

Cool collage!!

German Insect illustration

German Insect illustration
Originally uploaded by cordyceps

Ilustración Alemana de insectos

Andenkenkadaver

Andenkenkadaver
Originally uploaded by Parliamentrope

Russian Acanthus Floral Fabric

Russian Acanthus Floral Fabric
Originally uploaded by leslipepperdesign

Dolores

Dolores
Originally uploaded by TanjaN1

Joy!

Joy!
Originally uploaded by akaLunaMoonbeam

Chinese Fine Art Online

Chinese Fine Art Online
Originally uploaded by chinese5art.com

The Task

The Task
Originally uploaded by akaLunaMoonbeam

Flora vs. Fauna, UNDERWORLD IV

Flora vs. Fauna, UNDERWORLD IV
Originally uploaded by rsconnett

This one illustrates the occasional dominion of plants over animals, hence the title; "FLORA vs FAUNA"

The scrotal looking plants in the painting are California Pitcher plants, also known as "COBRA LILIES". These clever plant adaptations entice their insect pray into a narrow mouth, heading toward a digestive "pot" with inward pointing hairs, preventing the insect from reversing out, sort of like a lobster trap.

The big red "flower" is modeled after an Anthurium. However the stamen of this particular Anthurium is patterned after a "Sticky Trap" carnivorous plant, (the Drosera Capensis). But of course, Anthuriums don't have tendrillic appendages which capture hornets either. (But wouldn't it be wonderful if they did!)

blauer Nebelweg - blue fog

blauer Nebelweg - blue fog
Originally uploaded by publik_oberberg

Lonly woman

Lonly woman
Originally uploaded by Duong Quoc Dinh

Parque (XII)

Parque (XII)
Originally uploaded by Transmontano

Gamos (I)

Gamos (I)
Originally uploaded by Transmontano

out of time

out of time
Originally uploaded by glassysound

En Santa Elena, la montaña mágica

JellyFish

JellyFish
Originally uploaded by oc_layos

Slaty Helmet Orchid

Slaty Helmet Orchid
Originally uploaded by ~Squil~

Cool Orchid

Wave

Wave
Originally uploaded by Carlo Peluso

ondas del tiempo, the wave of sound
in different tempos

Ecos al leer a Swedenborg

Las cosas mentales son espirituales las corpóreas naturales, y a la inversa. Juego de espejos y correspondencias proyecta nuestro cuerpo, descienden por oscuros tramos y se eleva hasta completar la radiante esfera que es así mismo una rosa y universal cuerpo. Podemos ver correspondencias que ocurren entre el fenómeno espiritual y natural; un fenómeno naturales es la representación de uno espiritual, imagen sensible de la sustancia invisible. Cuando los atributos interiores del hombre son proyectados al exterior, son imagen móvil visibles de estados mentales eternos como cristales de roca que refleja las ondas de las luz al exterior y así mismo del exterior recibe y reforma las formas exteriores que se hacen interiores y exteriores al tiempo y se representan sensiblemente los poderes intrínsecos del hombre y el cosmos . Cuando éstos están en harmonia; lo interno y lo externo, superficie y profundidad, textura y etéreo, sagrado y profano, tiempo y espacio, todo se corresponde en doble y triple movimiento de correspondecias, sentido y razón se reflejan, superponen y trascienden en una red de sonidos y divinas letras

To a chinese Friend

Your old masters said;

The whole universe, infinite, vibrate within you;

The hundred school of thought,

The methods of government, war, and diplomacy;

the School of Law.

Taoism; seeking experimenting with the self and adapting it to the rhythm of nature.

Confucian and Taoist shifting with the music of nature.

Mohism and the idea of universal love

The Burning of the books and burial of the scholars by the first emperador

The suppression of freedom of speech (to be invented later prints) .

The infinite wall

The Wu Xing or the Five Movements;

Wood, fire, earth, metal, water; all are made of yin and yang in precise amounts.

That secret pentagon that time and his cycles have drawn

The structure of the cosmos; Mirrored in five phases:

Can you see the magic Flower?

There is a delicate Balance in the intricate movement of fire.

Geomancy

Oracle bones

Sun Tzu's and his Art of War,

The Chinese characters

I Chin and his cryptic hexagram, with a symbolic system used to perceive order in chaotic events,

The mythical Fu xi and the yellow river,

The feng shuim, the magic compass and the harmonic course of life-energy

The early instrument;

The Chinese astronomy and astrology,

The traditional Chinise medicine and music,

Military strategy and martial arts.

The magnetic river going through nature and mind

The powerful wizard from Magreb that in the book of one hundred and one night, arrive to China because he knows that there he can find the only one able to exhume the magic lamp, Aladin, and see the smoke become a genius as tall as the sky,

The world is made of correspondences, feels the wizard,

It is full of magical mirror where the small things are the key of the biggest.

In the Chinese calendar;

The sun is like fire

the moon like water.

The fire gives out light and the water reflects it

The armillary sphere and the music that sacred energy strike.

Laozi; author of the (Tao Te Ching)

The fire, the swords, the Dragons and Tigers.

The forgotten memory.

The secret mind.

All those things and thought had to be,

They had to be propitious to carry, in the course of time, your soul

Can you polish your mysterious mirror?

Let´s hear the echoes of your old master.

I ching- thought- in the dynamic balance of opposites;

The evolution of events as a process, and acceptance of the inevitability of change

Chuang-Tzu dreamed he was a butterfly and when He woke up he didn't know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi.

Laozi -said- The name that can be named is not the real Name;

Free from desire, you experience reality; Trapped in desire, you see only appearances.

Fu Hsuan, thought, Riches and honour are the handmaids of disaster

Takakusu, wrote, stop talking, stop thinking, and there is nothing you will not understand, pursue the light, and you will lose its source.

All are singing as moving music

They are dancing in the play of light and shadows, time and eternity

Heavy is the foundation of light.

Stillness is the source of movement. That is tao

They are talking, You can know the whole world without going out the door,

They are saying in secret tone;

Come into life, go into death.

Before you was born out of your mother, generations, thoughts, and an infinite civilization guided you,

Now you are visible,

in your place you stand with your robust soul.

and through your body, flows the universe.

La danza de los sueños

Cuando el hombre ha intentado dar una explicación del mundo que lo rodea surge el mito como una imagen palpitante de nuestro estado, un movimiento, un dibujo que representa lo incierto, lo problemático y cómico de nuestro estado, y es en éste humor en que surge el baile, la representación móvil de lo eterno, una forma de sentir el mundo, un estilo del vida, un acto que sublima a unos hasta el éxtasis religioso y enloquece a otros tras el hechizo de sensuales pasos y el turbulento movimiento de caderas.

Desde los más remotos tiempos, a trevés de geografías, religiones y filosofías, la danza ha encantado los sentidos y la mente de los hombre, incluso ha trascendido la humanidad, ascendido hasta las esferas sagradas de los dioses como un acto divino que simboliza el movimiento de la creación, la preservación y la disolución; Un ordenado ritmo que crea y rige las cosas, ya que la danza es en su naturaleza una cosa rítmica y repetida que vuelve sobre sí misma. El baile es el cosmos; Música hecha carne .

Si echamos una mirada a la historia veremos como el baile fue concebido como un principio creador del universo. De la pre-historia se han encontrado pinturas rupestres de hace más de 12.000 años donde se representaba el baile como un ritual sagrado, que gobierna el movimiento de las nubes, los cambios de las estaciones y es una forma de comunicación del cuerpo con el mundo físico y el mundo espiritual, como también lo hacían los chamanes de las tribus Colombianas en el periodo pre-Colombino. En India, entre el movimiento sensuales de pies y caderas encontraremos bailando al rey de la danza, Shiva, el bailarín Cósmico, fuente de todos los movimientos del cosmos; las pulsaciones de la sangre, los ciclos de las mareas, el despliegue de las flores, las vibraciones de la energía y el movimiento de las estrellas surgen de su movimiento divino. El propósito de su danza fue pensado como un medio de liberar los hombres de la ilusión del yo que refleja el mundo físico, ésto porque la danza induce al trance, al éxtasis y la experiencia de lo divino y por consiguiente, a la revelación de nuestro lugar en el cosmos. Desde las antiguas civilizaciones; Egipto, Grecia, Roma hasta nuestra América, el baile ha sido un acto de creación y recreación, capaz de transformar nuestras vidas.

Pero dejemos por ahora la historia, el baile sigue formando parte de nuestras vidas así como lo hizo con nuestros antepasados, es algo vivo y en evolución. Vivamos el baile en vivo, tomémonos de la mano y bailemos entre todos, descendamos a la temperatura de las calles y de los cuerpos en movimiento, al son de la música veremos cómo las diferentes formas de bailar pulen el lente a través del cual vemos la ciudad que nos rodea, ya que éste es parte de nuestra identidad, pasión y expresión. La música es nuestro espejo, el baile es nuestro reflejo.