En mil formas cambiantes nos saluda
la misteriosa fuerza del canto en esta Tierra:
allí es la paz eterna que bendice este mundo;
aquí, la juventud cuya agua nos inunda.
viernes
DE quincey
I was convinced was true; viz that the dread book of account, which the Scriptures speak of, is, in fact, the mind itself of each individual.
Of this at least I feel assured, that there is no such thing as forgetting possible to the mind; a thousand accidents may, and will interpose a veil between our present consciousness and the secret inscriptions of the mind; accidents of the same sort will also rend away this veil; but alike, whether veiled or unveiled, the inscription remains for ever; just as the stars seem to withdraw before the common light of day, whereas, in fact, we all know that it is the light which is drawn over them as a veil - and that they are waiting to be revealed, when the obscuring daylight shall have withdrawn.
KOGUIS POEM
Primero estaba el mar, todo estaba oscuro.
No había sol, ni luna, ni gente, ni animales, ni plantas.
El mar estaba en todas partes. El mar era la Madre ;
la Madre no era gente, ni nada ni cosa alguna.
Ella era espíritu de lo que iba a venir
y ella era pensamiento y memoria.
No había sol, ni luna, ni gente, ni animales, ni plantas.
El mar estaba en todas partes. El mar era la Madre ;
la Madre no era gente, ni nada ni cosa alguna.
Ella era espíritu de lo que iba a venir
y ella era pensamiento y memoria.
Act V, sc. 1 (line 54) by Shakespeare
Act V, sc. 1 (line 54)
LORENZO
How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
Sit, Jessica. Look how the floor of heaven
Is thick inlaid with patines of bright gold:
There's not the smallest orb which thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.
The reason is, your spirits are attentive:
For do but note a wild and wanton herd,
Or race of youthful and unhandled colts,
Fetching mad bounds, bellowing and neighing loud,
Which is the hot condition of their blood;
If they but hear perchance a trumpet sound,
Or any air of music touch their ears,
You shall perceive them make a mutual stand,
Their savage eyes turn'd to a modest gaze
By the sweet power of music: therefore the poet
Did feign that Orpheus drew trees, stones and floods;
Since nought so stockish, hard and full of rage,
But music for the time doth change his nature.
The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music
miércoles
An experiment with time
Las estrellas se hacen luces vibrantes, ojos, peces nadando a través del espacio, y se desprenden del tiempo y caen como nieve, pétalos del día, en las ondas de la música se conecta las estrellas, espejos, ondas, peces de fuego, voces ardientes, hacia dentro y hacia fuera se suceden las ondas cambiando de colores, rio onda luminosa, olas, alas vibrantes ansiosas, la ardilla te enseña el agujero
sábado
Se intensifica el aire
Se intensifica el aire, la lluvia silencia a los pajaros, y llenan el espacio de pensamientos fluyen y refluyen, en formas geométricas vibra el tejido del universo, los ciclos por segundo se curvan, funden , multiplican en vasto infinito, las ondas son mentales las partículas fijas estrellas, caen, están; los poros del universo, los ojos a si mismo se miran y se intensifica la vista y lo invisible se dibujan las energias del universo, su poderosa música; En lo alto resplandece la voz del trueno y las hebras de lluvia tejen un espejo
imágenes ves, sonidos, pensamientos, atmósferas, ritmos de la memoria, del pasado y posibilidades futuras, el cuerpo es el sentido del mundo, tejido de intensidades, vibraciones, solemne, sagrado, antiguo y nuevo, extraño y familiar, terrorífico y delicioso, sueño y realidad se alternan, ritmos vienen, los ves, ciclos y ciclos de generaciones, voces que retumban en la memoria y hablan entre si y se hacen señales vibran vibran y en el espejo ondean y miran a alguien que los mira, ojos hecho de ojos, red y transformación en objetos por breve instante, serobjeto, deliciosa forma, símbolo sensomental, rayos, lo escuchaste madre, como tiembla y gruñe desde más allá, será o no es más? Llueve, en el piso las aguas , caen y brincan de alegría, como nacientes estrellas, ahora resplandece el día, mira hermano más allá, sobre las montañas vamos, escuchas? Que raros sonidos hace un pájaro a estas horas donde ya no hay horas ni tiempo ni ya eso importa, se intensifica su luz mientras el viento corre los velos de las nubes chispiando,el viento sacude las ramas, sus brazos hacen señas, bailan, penden sus barbas ancestrales de sus rostros solemnes y alegres y lanzan hojas danzarines en las espirales de viento, se transforman en peces y en la lejanía se pierden unos y otros peces se empluman y vuela en espiral más allá de las altas montañas donde el sol se cubre de verdeoro, suena una música; vastos ciclos tejen la capa del sol y hace visible el mundo, al aligerase el paso de las orbitas y fuerzas mis pensamientos discurren rápidos y se curvan y funden con cosas sentidas, con las corrientes de aire, en espiral se pierden y gira el lenguaje, con las goteras que desde lo alto caen ansiosas de transformarse, con la voz del trueno, las intensidades del viento, de nuestro corazón, del instrumento, sopla, se tejen los hilos del tiempo en espacio y espacio espejo refleja más tiempo, va y vuelve la respiración reposada, orbitas, dimensiones y te acuerdas de la dulce explosión de puro blanco de aquella nevada, bailando y bailando los copos atravesando sobre las sombras vegetales como estrellas a través del silencio, padre nunca lo vio, pero tenia la esperanza que yo si y Él y ahora muerto y frio como la nieva sopla y yo Sintiendo el eco de las generaciones, el ancestral asombro, el eco de su respiración pensativa llenándolo y vaciándolo todo, imagen ves, la música que fue? El tiempo pasó y se llevo lo que pensaba las imágenes recuerdos esfumadas y transformadas lo veo entre el follaje trémulo veo como corre el rio sobre nuestras cabezas y en sus aguas la casa de los peces a una altura estelar murmura y resplandece de aurora y crepúsculo el rio precipitándose al olvido, rumor confuso del pasado llenos con signos y emblemas de nuestro destino sueña la eléctrica red que se urde en el agua allá y aquí si tan cerca y tan lejos ohmmm, siente como se contraen las largas curvas del tiempo, aquí en éste punto se vacían y arremolina su mágica substancia no pienses el laberinto es largo y te pierde pero siente como el aire sopla dulce entre frescos prados siente los hilos de luz que se trenzan en orbitas de tiempo a través de las hojas inquietas, toca las tibias espirales que se despiertan de las flores y lentas flotan como nubes de alegría en el húmedo silencio a través del tranquilo día siente los sentidos piensa a través de sus lentes el significado y su anverso gira los ojos hacia adentro y observa desde la eternidad tu sueño en perspectiva, sus luces y sombras, agonías y delicias, trémula la vida flota y en sus cuerdas vibra el universo , radiación electromagnéticas, cataclismos lejanos y cerca, formas coloridas en orden se entreteje y conectan en la red de la vida a través del espacio infinitofinito interexterno sensoideal
In the dream i do wander in the air
In the dream i do wander in the air
and i gallop and i control the furious night mare
In the dream im not, and yet, im the sacred blured fire
and my thoughts flourish sweet as oriental sapphire
in the open night i do walk while i sleep
and makes the shadows of dreams blaze and creep
in between the limit of the diaphanous adiaphanity
and i go happy in my bedboat into eternity
Los sentidos reflejan la sombra
martes
Mira el fuego eterno
Desnudo y asombrado el niño mira el fuego desafiar las sombras,
La disolución y sus eternas formas
En sus ojos las llamas se doblan y disuelven
y en un orbe de fuego y sueños se convierten
El niño observa, y el tiempo se detiene;
Observa las hebras fugitivas del fuego
Tejer una intrincada trama de remotas voces y reflejos;
Familiares como si fuera un ancestral lenguaje de hombres y animales
Extrañas y nuevas, llenas de asombro y cosas elementales.
Como una red de nervios el humo en lo alto se dispersa
Y se tiñe con la sangre del sol persa
El niño escucha y mira como si fuera parte del coro
Y en sus ojos el sol muere y nace como una llama de oro.
De súbito una corriente agita la fogata,
Y se ilumina el niño de noche y escarlata.
Ágiles las llamas bailan al ritmo de una canción
Que toca los dedos del viento en un caracol,
y todo se llena de olas, y el viento hace como un tambor
y se despliega en las aguas una obscura flor
y el humo se riza en triple vuelo abriendo un puente desde el centro del corazón
Sobre el profundo espejo de fuego y de imaginación
Hacia los remotos confines de las esferas
Donde se entretejen las formas del tiempo y sus letras.
domingo
Espejo inverso
En el espejo inverso escucho y observo, las ideas y el sentido
fluyen las formas como un rio, de memoria y olvido.
Fluyen los diversos estados; los colores en caos y el tiempo pasado
olores, orbes de texturas y el eléctrico fuego que el deseo ha alzado
viernes
lunes
Poemita
Ve, pequeño poema, y deséale a cada uno
Aventuras en sus noches y sueños en sus días
En cada hora una exigua epifanía o una dulce agonía
Ve, y cántale a cada uno, con silenciosas letras un conjuro
Aventuras en sus noches y sueños en sus días
En cada hora una exigua epifanía o una dulce agonía
Ve, y cántale a cada uno, con silenciosas letras un conjuro
viernes
lunes
viernes
Looking for a Vein
You and I
filled the earth
and it overflowed
with lives not lived
just wind in grass
and through leaves
dead but not fallen
we shiver and shake
and loosen our grip
our youth slipping silently
away
filled the earth
and it overflowed
with lives not lived
just wind in grass
and through leaves
dead but not fallen
we shiver and shake
and loosen our grip
our youth slipping silently
away
jueves
Mi cerebro
Mi cerebro callado como el cristal de la mente, irradia rápidas y tranquilas ondas que electrizan el sueño y la vigilia. Pasa los días encerrado en una caverna de huesos. Allí olvidado y secreto modula al ritmo de los sentidos las percepciones simultáneas y sucesivas del tiempo y la memoria.
Furtivo me mueve y yo lo muevo en el curso de un laberinto de geometrías de noches y de días. Yo Existo porque existe tu mágico templo, y sueño porque vibras al impulso de lejanos rayos que se enciende en el centro, atrapas el infinito en tu cristal abstracto, eres el puente que en red se extiende el laberinto de lo infinito y lo finito, el orden y el caos,los tiempos y pinturas de las generaciones de los muertos y la memoria de los vivos.
Obscuro espejo donde se corresponde el universo reflejando en un espacio microscópico el mundo inverso.
Los sentidos modulan para el cerebro un delicado espejo, los átomos de universos invisibles son reflejo; Y así el rítmicos ondear del sentido y el cerebro entreteje la red eléctrica de los sueños y el río de los pensamiento; La mente y sus flexibles estados proyecta un mágico teatro y este cuento. En las neuronas corre la energía de estos versos.Allí están inscritos los símbolos eterno; Aromas, texturas, colores, sabores, dimensiones, las estrellas haciendo señas, señales en el humo, mágicas letras, diáfanos espacios, el fuego de una tarde en la piel verde de la naturaleza y de las aguas, en el cerebro en secretos signos y geometrías esta el cosmos; El mágico cristal, viento, redes de luz y el verso se ondea, fluye y refluye, un haz de luz , una red crea. Sube y baja las frecuencias, cambia el tono, el contraste, las distinciones, en ritmo se repite con el tono de una encantación, se entretejen presurosos, y exaltados se encienden y suave ascienden, gira y rápido se agita y sútil se extiende y entre las hojas se mueven, en los aromas se calienta y crece y madura el sentido; Una fruta, continentes cargados de tiempo, mitologías, religiones, combates que retumban en las selvas, héroes, templos, pirámides y tumbas, mares, símbolos donde se cifra el origen de todas las canciones, criptogramas secretos que narran el primer días, y cifran el infinito y sus obscuras cámaras. Es en el celebro donde se atesora el universo y late la textura de lo eterno. Ese espejo que es la memoria donde se graban las mareas y formas del tiempo y sus rítmicas eras. Como olas de un mar infinito, imágenes móviles, abstractas, en el espacio interno, invisible, río de colores sonoros, red de luz y ondas de colores; Las formas se suceden y simultáneas se reforman en otras serie y niveles.
miércoles
Espejo obscuro
En el obscuro espejo se refleja
Las cosas comunes de cada día
Y en las noches las ideas que tejen la red de la vida
En una geometría sin espacio, fluye como el dia.
Las cosas comunes de cada día
Y en las noches las ideas que tejen la red de la vida
En una geometría sin espacio, fluye como el dia.
Amopolas
En al Jardin se eleva la amapola
y tiñe de sangre la tarde que declina
y releva a las sombras que se inclinan
una flor secreta y asesina
dawn passion
Las vastas fuerzas de los tiempos forma en sus articulaciones
la recién nacida vegetación del kosmos
hojas que vibran como símbolos
flores que se abren al reflejo de una callada música
Semillas de Soles fluyendo en el rio de las fuerzas
Nace y adquiere forma en el laboratorio del universo la alquimia de los sueños
martes
Sunrise in Cappadocia
Hot air ballooning in the golden light of sunrise, above the Cappadocian landscape is just like a dream
Fire Canoe #3
From last summer...convinced my wife to paddle for me...happy holidays to all my friends
lunes
Red de signos
Un rio de formas veo
Obscuras arden como un fuego
Colores, texturas, sonidos cambian y son un solo eco
Una red de signos en la memoria se ondean
Y Simultáneos se recrean;
La música de la naturaleza y las esferas
El tiempo, el espacio, la gravedad, la luz, el agua, la tierra
Formas dentro de formas suenan
En un haz de hilos el mágico ritmo
teje Un encantado designio
En sus órbitas danzan rápidas eras
En simetría crece la vida al giro de las esferas
Desde el centro y más allá de las fronteras
viernes
Magic mirror
I remember as a child my favourite place: it was behind my house, around big mountains, and the trees going down in a slope to drink like the cows in the stream. The place was planted with bananas, and exotic trees and there was a silent music vibrating everywhere. I was the flowing mirror of feeling and thoughts; I was a note of the universal chord. From a giant stone I could see the trees of mangoes expand in a line beside me and the slope was planted with rubber trees and some coffee and bananas and plantains with big leaves, and beyond there was a wood of bamboos and the stream. The place were alive with The hummingbirds and butterflies and insects were animated jewels, little spirits they were, living in the electric beams filling the space with supernatural radiance like the sound of the stream. It was a magic and exotic garden with the rhythm of nature and mind, ages and generations of fire and air and water, and feelings growing wild like living trees and mountains ascending high on the wing of birds, dancing in the wind around the radiant sun and the scents melting all senses, and the sleepy state when feelings feel themselves and get together in marriage with thought and compose the music of the world, and the greens turn into yellow and from yellow to red and blue, sleep turns into wakefulness, and desire into satisfaction. All was easy and the world was there, clear, transparent and new; in the leaves were articulated magic letters, the letters were trees, sentences were green constellations and the orchid the face of invisible suns. The heat was resting on the edge of the stream; the rain was an almondtree hair - in the palm of my hand stood a tree. He laughed and sang prophesies and their predictions were wings of parrots and macaws covering diaphanous spaces and there were birds called simple miracles; Everything was all. All were all, and in the fresh winds the day flowed like a river of murmuring leaves and birds like fish dancing in the waves of light with bright colours, strange forms, and in a spiral they ascended together singing above the web of light; The light runs everywhere and the water gets naked and jumps into itself. More naked than water. And the light is naked and looks into the water -More naked than a star. The bread is opened and the wind is spilled like wineblood. And the day grows and declines on water and in the face of the moon- see hear smell touch taste think_ together they link, dissolve and shrink; my body is the magic looking glass and every thought takes the natural colour and form.
Some philosophical ideas about human Mind
...The upshot is that while many ‘perceptions’ can be simultaneously in the mind, the mind can only pay attention to one of these perceptions at a time. The simultaneous perceptions are successively attended to, but to the mind it seems as though the attendings-to of each perception occur simultaneously. Thus, there must be some account of how it is that what is in fact a succession seems to the mind like a simultaneity, and an awkward distinction is necessary between the simultaneously given perceptions and our subsequent consciousness of those perceptions. Briefly, Stewart’s account of this phenomenon is as follows. All the point-perceptions are present in the mind simultaneously. The mind quickly and willfully moves attention from one of these perceptions to the next. Each of the acts of will corresponding to a shift of attention is so brief that it falls beneath the minimally discernible duration (Reid’s MDD) and is therefore not remembered by the mind as an individual act of will, or as a distinct act of attention. However, once the spotlight of attention shines on a perception, that perception (and the point that it is a perception of) gets remembered by the mind. Though each of the perceptions is noted by attention at a different time – there is in fact a succession of perception-attendings – these attendings are not noted as distinct because the
interval between them is too brief, beneath the MDD, even though they are sufficiently long as to be subsequently remembered. In this way the mind takes itself to have noticed all the perceptions simultaneously. consciousness is not a faculty that is aware of, or perceives, sensations, but rather is constituted by the having of sensations, let us imagine a human being born with his faculties perfect as in mature life, and let ussuppose a sensation to arise for the first time in his mind. … let us suppose the sensation to be …
that which the fragrance of a rose excites. … there will be, in this first momentary state, no separation of self and the sensation, – no little proposition formed in the mind, I feel or I am conscious of a feeling, – but the feeling and the sentient I, will, for the moment, be the same. (Brown, Human Mind, 297)
… because the knowledge of self, as distinct from the particular feelings, implies the remembrance of former feelings, – of feelings which, together with the present, we ascribe to one thinking principle…
Let us … suppose another sensation to be excited, as, for instance, that which is produced by the sound of a flute. The mind either will be completely absorbed in this new sensation, without any subsequent remembrance, … or the remembrance of the former feeling will arise. If the remembrance of the former feeling arise, and the two different feelings be considered by the mind at once, it will now … conceive the two sensations, which it recognizes as different in themselves, to have yet belonged to the same being. … The notion of self, as the lasting subject of successive transient feelings, being now, and not till now, acquired, through the remembrance of former sensations … In these circumstances, the memory of the past will often mingle with
and modify the present … (Brown, Human Mind, 297-8)
There is a persisting mind capable ofbeing the subject of multiple sensations synchronically and diachronically (where ‘is the subject of’ is not to be understood as ‘perceiving’ or otherwise ‘acting on’). But the mind does not necessarily conceive of itself as such, as a self, mind or subject. What allows the mind to conceive of itself as a self is its having of a present sensation along with a remembrance of a prior sensation. In these conditions the mind is forced to recognize itself as the persisting unity underlying the diversity of sensations There is, indeed, one other sense in which we often talk of our consciousness of a feeling, and a sense in which it must be allowed that the consciousness is not precisely the same as the feeling itself. This is, when we speak of a feeling, not actually existing at present, but past – as when we say, that we are conscious of having seen, or heard, or done something. Such a use of the term, however, is pardonable only in the privileged looseness and inaccuracy of familiar conversation; the consciousness, in this case, being precisely synonymous with remembrance or memory, and not a power different from remembrance. … (Brown, Human Mind, 302-3
When we think of feelings long past, it is impossible for us not to be aware that our mind is then truly retrospective … But when the retrospect is of very recent feelings – of feelings, perhaps, that existed as distinct states of the mind, the very moment before our retrospect began, the short interval is forgotten, and we think that that primary feeling, and our consideration of the feeling, are strictly simultaneous. … When it is any thing more than the sensation, thought, or emotion,
of which we are said to be conscious, it is a brief and rapid retrospect. (Brown,Human Mind,303)
Memory for Brown is a matter of the presence of a feeling whose intentional object is another, previously experienced, feeling. But crucially this diagnosis draws a distinction between two mnemonic phenomena: those for which the temporal interval between the memory-feeling and the remembered feeling is noticed because it is great enough, and those for which the temporal interval is so brief that the temporal interval is not noticed. The latter sort of case, which Brown describes as a rapid retrospect, results in a situation where the mind takes itself to simultaneously have a feeling and another mental state that has this feeling as its intentional object. This invites the confused suggestion that the mind in its usual mode of operation consists of the perception of perceptions
interval between them is too brief, beneath the MDD, even though they are sufficiently long as to be subsequently remembered. In this way the mind takes itself to have noticed all the perceptions simultaneously. consciousness is not a faculty that is aware of, or perceives, sensations, but rather is constituted by the having of sensations, let us imagine a human being born with his faculties perfect as in mature life, and let ussuppose a sensation to arise for the first time in his mind. … let us suppose the sensation to be …
that which the fragrance of a rose excites. … there will be, in this first momentary state, no separation of self and the sensation, – no little proposition formed in the mind, I feel or I am conscious of a feeling, – but the feeling and the sentient I, will, for the moment, be the same. (Brown, Human Mind, 297)
… because the knowledge of self, as distinct from the particular feelings, implies the remembrance of former feelings, – of feelings which, together with the present, we ascribe to one thinking principle…
Let us … suppose another sensation to be excited, as, for instance, that which is produced by the sound of a flute. The mind either will be completely absorbed in this new sensation, without any subsequent remembrance, … or the remembrance of the former feeling will arise. If the remembrance of the former feeling arise, and the two different feelings be considered by the mind at once, it will now … conceive the two sensations, which it recognizes as different in themselves, to have yet belonged to the same being. … The notion of self, as the lasting subject of successive transient feelings, being now, and not till now, acquired, through the remembrance of former sensations … In these circumstances, the memory of the past will often mingle with
and modify the present … (Brown, Human Mind, 297-8)
There is a persisting mind capable ofbeing the subject of multiple sensations synchronically and diachronically (where ‘is the subject of’ is not to be understood as ‘perceiving’ or otherwise ‘acting on’). But the mind does not necessarily conceive of itself as such, as a self, mind or subject. What allows the mind to conceive of itself as a self is its having of a present sensation along with a remembrance of a prior sensation. In these conditions the mind is forced to recognize itself as the persisting unity underlying the diversity of sensations There is, indeed, one other sense in which we often talk of our consciousness of a feeling, and a sense in which it must be allowed that the consciousness is not precisely the same as the feeling itself. This is, when we speak of a feeling, not actually existing at present, but past – as when we say, that we are conscious of having seen, or heard, or done something. Such a use of the term, however, is pardonable only in the privileged looseness and inaccuracy of familiar conversation; the consciousness, in this case, being precisely synonymous with remembrance or memory, and not a power different from remembrance. … (Brown, Human Mind, 302-3
When we think of feelings long past, it is impossible for us not to be aware that our mind is then truly retrospective … But when the retrospect is of very recent feelings – of feelings, perhaps, that existed as distinct states of the mind, the very moment before our retrospect began, the short interval is forgotten, and we think that that primary feeling, and our consideration of the feeling, are strictly simultaneous. … When it is any thing more than the sensation, thought, or emotion,
of which we are said to be conscious, it is a brief and rapid retrospect. (Brown,Human Mind,303)
Memory for Brown is a matter of the presence of a feeling whose intentional object is another, previously experienced, feeling. But crucially this diagnosis draws a distinction between two mnemonic phenomena: those for which the temporal interval between the memory-feeling and the remembered feeling is noticed because it is great enough, and those for which the temporal interval is so brief that the temporal interval is not noticed. The latter sort of case, which Brown describes as a rapid retrospect, results in a situation where the mind takes itself to simultaneously have a feeling and another mental state that has this feeling as its intentional object. This invites the confused suggestion that the mind in its usual mode of operation consists of the perception of perceptions
domingo
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
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
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
lunes
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."
viernes
miércoles
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.
sábado
rio de ondas luminosas
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
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.]
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.
viernes
jueves
Flora vs. Fauna, UNDERWORLD IV
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!)
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!)
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