compositional shifts II

I am posting this a bit late, but I am still working on this analysis. This series of two animations used the rules of the Taurneau composition, resulting in an image sequence that discusses multiplicity or simultaneity of instances discovered through a series of basic operands in making the animation: shift, overlap, multiply, move, flip, turn, etc. The next step is to provide a frame or boundary and to work on the timing of the changes.

Retroactive Immunity for Telecoms

Many lawsuits have been filed against various U.S. telecommunication firms. These firms have been violating wiretapping and privacy laws by continuing to monitor calls after the initial surveillance plan for Sept. 11 to monitor calls from potential terrorists. Senator Dodd and Russell Feingold wanted to make an amendment to retroactively strip the immunity from lawsuits that these firms have. Immunity was ultimately preserved. 

Talking Points Memo

The Washington Post

Fashion On the Media

This is something I heard on an On the Media podcast. Brooke discusses with a professor from RISD the cultural and political ties to recent trends in fashion and some of the important ties in Russia during the Bolshevik period in the early 20th century and Coco Chanel. It also has some funny clips from Zoolander. 

compositional shifts

The definition of field or fragment versus figure in this analysis becomes difficult. How do you make shifts, slices, and lines spatial? How do you abstract the edge of an amorphous kidney geometry? How do you translate co-spatial or simultaneous relationships in three dimensions?

This set of animations show 4 different views of the same animate object or set of objects. Each geometry has at least one animate face. There is a range of different amplitudes and time periods chosen based on the composition of the objects. How do you make something spatial using a series of lines and planes in an animation? How can that translate back to a physical static form?