List of Monumental sculpture projects 2015

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Sunday, 31 August 2014

New Media : Shared Media browser in sl, wearing your thoughts so others could share... internet tv in sl

New Media :  Shared Media browser in sl,

Top: a re-edited clip from an existing film diffused on youtube.

Middle:  wearing your thoughts so others could share... internet tv in sl

Or, just on a regular tv, that anyone could change with a list of preloaded international channels... and watch your own youtubes...

Tuesday, 26 August 2014

2 soft versions of Mobile Music : 1// White couture grade lambskin room and 2// a basic vw van size tent

2 Soft versions of Mobile Music House, 
(there is a third version composed of HuaHui Cubes)

Mobile Music : White Leather Room

Soft white leather Mobile Music House based on Neo-Ming Lantern Bed Pattern :  Fly me to the moon with a 24/7 Digital Guqin Music is played non stop by the computer.  Visitors were amazed by the soothing ambiance and sound.  A very successful installation.  At Poznan Zamek Chateau,  International Sculpture Symposium "Sensitivity".  Poland. 2005

Very soft couture grade white lambskin+tarlatten cotton
2.2m large x 4.5m long x 2.4m high 

Mobile Music : Mobile Music  tent (vw van) to be customised


inflatable dome for projection

Portable Half Transparent Inflatable Bubble Dome Tent

FOB Price: US $1 - 1,899 / Piece Get Latest Price
Min.Order Quantity: 1 Piece/Pieces
Supply Ability: 600 Piece/Pieces per Month
Port: Guangzhou
Payment Terms: T/T,Western Union,MoneyGram

Outdoor Durable Inflatable Planetarium Dome Tent

FOB Price: US $500 - 1,000 / Piece Get Latest Price
Min.Order Quantity: 1 Piece/Pieces ...
Supply Ability: 500 Piece/Pieces per Month ...
Port: Huangpu
Payment Terms: L/C,D/A,D/P,T/T,Western Union,MoneyGram,Paypal
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dome tent

 Transparent Dome Tent
Inflatable Transparent/ Clear Dome Tent

Clear inflatable tent, inflatable igloo, dome tent for 2014 sale

Monday, 25 August 2014

15 person tent dome

Mountain Hardwear Space Station 15 Person Tent 15人营地帐篷


Mountain Hardwear Stronghold Tent 山浩10人营地帐篷

  • ¥25600.00


40d nylon ripstop DWR canopy
70D Nylon Taffeta 1500mm PU/SIL fly
Paleria DAC Pressfit poles
2 dual canopy and mesh doors
Internal pockets
SVX windows for a brighter interior
Mesh and canopy zippered thru-vent
Internal perimeter skirt
Perimeter snow flaps
Reflective guy-out loops and zipper pulls
Reflective starter point
171 sq ft floor area
48 lbs 12 oz

Saturday, 23 August 2014


The 10 Greatest Pioneers of Animation You Should Know About

21 August 2014 Features, People Lists by J.E. González
animation pioneers
With a few notable exceptions, such as Walt Disney, The Termite Terrace from Warner Bros., Tex Avery and the duo of Joseph Hanna and Joe Barbera, animation has historically been an art with very little respect from the audience to its creators. Seen for many decades as mere children’s entertainment, animators from around the world and from very different trends have demonstrated that the possibilities of the genre are as infinite as the imagination of its makers.
Even though now animators, such as Sylvain Comet or Bill Plympton, and studios like Pixar and Ghibli have garnered respect and appreciation for its craft, it is important to remember those visionaries that opened doors to thousands of dreamers who wanted to make their paper dreams to come alive.

1. Émile Cohl (1857 – 1938)
Émile Cohl
Born in Paris in 1858, from very young age he demonstrated a skill for the arts in school. But it would be the chaos brought by the Franco-Prussian war and the subsequent Paris Commune that would guide him, as a vagrant in the streets of Paris, to his two major inspirations: the form of puppetry known as guignol and political cartoons, banned during the rule of Napoleon III, but heavily appreciated in the following Third Republic.
Cohl became a famous cartoonist in the bohemian groups of late 19th century Paris, working in several popular publications. He was thanks to his wit and humor landed on a job creating comical situations for Gaumont, the milestone film company that produced many classic French silence movies, including the serial Les Vampires.
Seeing the success of the scarce animation shorts available at the time among the public, Léon Gaumont commissioned Cohl the task to understand how animation worked, so the studio could produce their own. Cohl figured out the visual illusion while studying it frame by frame.
emile cohl animation
Cohl premiered his first short, Fantasmagorie, in 1908 and followed it with several works following more or less the same ever-changing dream-like style, with plots generally made up as he drew them, and a rudimentary technique based on making a drawing and then tracing it with a slight modification.
A method he abandoned for the less time-confusing use of cut-out figures with moveable extremities. Despite a wide success, after some personal problems and dissatisfied with the French studios, Cohl migrated to America, specifically Fort Lee, New Jersey where many early film studios were located.
It was in New Jersey where Cohl would invent one of the staples of animation: adapting George McManus’ The Newlyweds comic strip, Cohl made a series of monthly episodes that were denominated “animated cartoons”, thus creating an entire genre of entertainment. Despite the popularity of his work, he faded into obscurity after World War I, in which he returned to France to volunteer, and died at the age of 80 in poverty.

2. Quirino Cristiani (1896 – 1984)
Quirino Cristiani 2
20 years before Walt Disney amazed the world by giving a fairytale animated life, Italy-born Argentinean Quirino Cristiani had premiered in 1917 El Apóstol (The Apostle), a 70 minutes-long political satire made with cutout animation. The film, about the president of Argentina ascending the heavens to clean out Buenos Aires from vice and corruption, only to burn down the city with the thunder of Zeus, is widely regarded as the first animated feature film.
While animation in the United States flourished as farcical vignettes and were regarded as a mere novelty, Cristiani started his career on animation making an accompanying piece for a newsreel made by Fernando Valle, his long-time producer. Valle gave him a book by Émile Cohl to learn the process and proceed to touch, and sometimes poke fun of, world news and events in his productions.
His most ambition production would be done in 1931 with Peludópolis, a political fable where the leaders of Argentina are shown as pirates struggling for the leadership of a boat where for the first time an animated film that included sound.
Nonetheless, a coup d’état during mid-production forced Cristiani to change the plot of the film to present the current government in a heroic manner. Sound, meanwhile, was a achieved with a synchronizing the projection with a record that included dialogue and some songs. The movie was a financial failure that nearly drove Cristiani to bankruptcy.
Quirino Cristiani animation
In 1938, Cristiani was hired to make shorts based on the stories by children’s author Constancio Vigil. The first one was El Mono Relojero (The Watchmaker Monkey) which, despite being well-received by the audience, was the only one produced after Vigil decided to stop the series.
In 1941 Walt Disney travelled to Argentina, where he was shown some productions done by Cristiani and personally met him. Disney offered him a job but Cristiani refused since his own studios, now starting to focus on dubbing and making subtitles, proved very successful.
Sadly, in the 50’s and 60’s two fires destroyed most of Cristani’s oeuvre. Some loose fragments of Peludópolis notwithstanding, the only remain of Cristiani’s work on animation is El Mono Relojero, thanks to Constancio Vigil, who was given a copy as a gift.

3. Lotte Reiniger (1899 – 1981)
Lotte Reiniger
When Charlotte Reiniger, born in 1899, was a child she had one major fascination: silhouette puppetry. Young Lotte would even put up puppet shows for her friends and relatives, but while many grow out dreams and passions from childhood, Reiniger cultivated hers with the influences of theater and cinema.
She made short films, sequences and intertitles for silent movies (including Fritz Lang’s Die Nibelungen) and in 1926 she became the first woman to direct a feature animation film with The Adventures of Prince Achmed, the oldest surviving animated film, based on several stories from The Arabian Nights.
In 1923 Louis Hagen, a young Berlin banker who was a fan of Reiniger and had bought a large quantity of film stock as a precaution to the inflation that was hitting Germany, approached Reiniger to produce a film on any subject of her interest. For the next three years Reiniger and her co-animator and husband Carl Roch, worked on a studio built above Hagen’s garage on his house in Potsdam.
Prince Achmed was the only feature film by Reiniger. Despite World War II forcing her to move in several countries through Europe until finally setting in England, she dedicated the rest of her 60 years of career in animation to do dozens of shorts, mostly adaptations of fairytales but also notably several fragments of opera by Mozart and Bizet that were lauded by her friend, French filmmaker Jean Renoir, who regarded her entire body of work as “a visual expression of Mozart’s music”.

4. Ub Iwerks (1901 – 1971)
Ub Iwerks
In 1919 Ub Iwerks, a commercial artist of Kansas City born from Frisian immigrants met a colleague by the name of Walt Disney. They two quickly became friends and when Disney decided to try his hand in animation, Iwerks, a skilled draughtsman, was his first employee. Despite some setbacks, the two moved to Los Angeles in the early 20’s to work in the Alice comedies, a series loosely based on Alice in Wonderland that mixed elements of animation and live-action.
Together they created Oswald The Lucky Rabbit, Disney’s first cartoon character with Iwerks entirely animated the first short. When their distributor, Universal Studios, took away the character and most of Disney’s staff, Iwerks remained with his friend. To replace the character they came up with a mouse called Mickey Mouse, whith Iwerks as its chief animator, making shorts like Steamboat Willie where they would set the foundations of the Disney style.
Nonetheless some crashes between Iwerks and Disney, including the feeling that Disney was keeping most of the credit, led Iwerks to abandon the company and try his hand on starting in own studio in the early 30’s. It was a failure and Iwerks went through many animation studios, where he notably directed two Daffy Duck and Porky Pig cartoons, before returning to Disney.
Ub Werks spent the rest of his career focusing on special effects for cinema. He worked on Song of the South and Mary Poppins, the latter which would earn him his only Oscar, contributed to Disneyland rides such as The Haunted Mansion and Pirates of the Caribbean and, outside Disney, made some of the special effects for Alfred Hitchcock’s The Birds. Walt and Ub, despite previous falling outs and something of an unequal professional relationship, remained lifelong friends.

5. Willis O’Brien (1886 – 1962)
Willis O’Brien
At age 11, Willis O’Brien left his home in Oakland, California to become a cattle rancher. Along the years, he would end up working as a cowboy, a boxer, a railroad worker, a jockey, a bartender, a cartoonist and as a guide for paleontologists. It was in this job that he would develop a lifelong fascination with dinosaurs.
In his spare time O’Brien sculpted figures out of clay and with the help of a borrowed camera, he made a 90-second long stop-motion short about a dinosaur and a caveman. He got a $5,000 budget to expand it into a film, starting a career of over 45 years.
After making a series of short films for the Thomas Edison Company among other things, O’Brien was commissioned to make one of his most emblematic films: 1925’s The Lost World, an adaptation of Sir Arthur Conan Doyle’s novel from the same name. This time, O’Brien employed Mexican-American sculptor Marcel Delgado to make more realistic figures out of rubber skin with metal skeletons inside to facilitate movement, a technique standard in stop-motion today.
Willis O’Brien animation
Despite working on the preproduction of a series of cancelled projects, the head of RKO was so impressed with the test footage that he assigned O’Brien in what not only would become his most remembered work on special effects, but also one of cinema’s most iconic movies: the 1933 film King Kong.
Through the years, O’Brien worked on several productions such as Citizen Kane, in which he famously reused the pterodactyls from Son of Kong in the camping scene, Mighty Joe Young, earning him his only Oscar in 1950, and his last movie It’s a Mad, Mad, Mad, Mad World, in which he animated some characters dangling from a fire truck ladder in the film’s climax.
Although he spent time developing numerous pet projects, none of these were accepted by the studios. Some include: King Kong vs. Frankenstein, Valley of the Mist, about a Mexican boy who defends his village from a giant dinosaur, and Gwangi, about cowboys falling through a cave to prehistoric times. His protégé Ray Harryhausen would combine the latter two to make Valley of the Gwangi in 1969.


More Secondlife- Real Life stories. Taking mind off a real life pain disorder

Second Life Saves Me from a Real Life Pain Disorder (Comment of the Week)

Cube republic SL user
This open thread on why people continue to stay in Second Life is really great, topped in my view by this answer from an SLer named Cube Republic:
I found SL just as I was diagnosed with a rare pain disorder, reputedly the most painful a human can endure. Creating in SL and living a fantasy helps me forget the reality of my existence, which is painful. I can work around my condition and make money to boot. I have a lot to be grateful to SL for. I learnt 3D, first prims, then sculpts and now mesh through my engagement with the platform. I really hope SL2 lives up to my hopes. I consider this now my life's work, and I hope my work makes other people happy.
This is awesome in many ways, and when I asked Cube to tell more more about this disorder, discovered there was still more to this story that made it even more awesome:
"I have trigeminal neuralgia," Cube tells me. "They call it 'the suicide disease', although I'm not in the mood to rage quit so don't worry! It's accompanied by very loud tinnitus in my ears which can be quite nauseating. I was first diagnosed with it at university and it cost me the end of my degree. I was given a load of different medications via the pain management clinic. Nasty stuff like carbamazepine, synthetic opiates, antidepressant etc. The meds even ended up putting me into hospital from the side effects. I don't take anything now. I feel that SL takes my mind off it and possibly makes happy chemicals such as endorphin. It also has the added benefit of providing me work which I can schedule around my disorder. For this I'm very grateful to SL. Also I got married to my SL partner in RL on Friday gone. We met day two of SL in 2007!"
Like I said, even awesomer. And happy anniversary wishes to Cube and spouse.
Avatar profile image courtesy of Cube. Please share this post:

Tuesday, 19 August 2014

ars electronica 2014: Kim Yong Hun+Shin Seung Back featured artists

creativity, catalysts, community, collaboration, communication, content, commons, competition, chaos, culture, cooperation, crossover, cross-disciplinarity, capability, capacity, capital, craving, caution, certainty, confidence, challenge, choice, citizens, clouds, crowds, clusters, code, coexistence, cohesion, coincidence, cynicism, cacophony, commitment, compromises, consideration, coordination, copyright, copyleft, correlation, courtesy, craziness, credibility, criticism, cruelty, cubicles, cookies, caffeine, cognition, china, cumulation, culmination, cyberspace, cyber-arts …

C ... what it takes to change 

C … what it takes to change

The 2014 Ars Electronica Festival is set for September 4-8.This year’s theme is “C … what it takes to change,” an inquiry into the prerequisites and framework conditions necessary to enable social innovation and renewal to emerge and make an impact. The focus will be on art as catalyst. The in-depth elaborations, lively discussions and bold provocations will feature, as usual, artists, scholars and scientists from all over the world—renowned intellectuals confronted by young contrarians, top experts encountering interested laypersons, the pioneers of the Digital Revolution face to face with the shooting stars of today’s media art scene. From September 4th to 8th, Ars Electronica will once again be a setting for reciprocal exchange and networking, a one-of-a-kind forum in which perspectives and opinions are negotiated and presented in the form of speeches, artistic installations, performances and interventions.


Kim Yong Hun+
Shin Seung Back featured artists
How does technology affect human lives? 

“Cloud Face” is a collection of cloud images that are recognized as human face by a face-detection algorithm.

In “Cat or Human” human faces are recognized as a cat face by a cat face-detection algorithm and vice versa.

The “Nonfacial Mirror” avoids faces.

CAPTCHA has originally been developed to distinguish computers from humans. It asks the user to type text from a distorted image. “CAPTCHA Tweet” is an application that users can post tweets as CAPTCHA.


“FADTCHA” (FAce Detection Turing test to tell Computers and Humans Apart) presumes a reverse situation. It requires a user to find a face in an image, which is visible only to computers. This test can pick out non-computers. Why can’t people see the faces in the images? What do you think is different to “Cloud Face”?

A Million Seasons is an attempt to describe images of four seasons with a million photos each. A million Flickr photos tagged ‘spring’ are collected, and each photo is turned into one pixel with an average color. The one million pixels from one million photos compose an image of Spring. The images of the rest of the seasons are created the same way. Have you imagined the images like this?


A Mouse click symbolizes a special moment in time we spend with computers. In “Click” a day of our computer mediated life has been recorded by capturing a screen shot of a desktop every time a clicke was done.  Why is a mouse click such a special moment in time we spend with computers?

Shin Seung Back: A mouse click is important because we explore our computer mediated life by repeating it to trigger particular actions. We thought recording the repetitive behaviour can show an aspect of the life. In the same manner, one may try to record a specific eye movement or body gesture.
If you want to get an idea of this extraordinary work itself you can do that at the 2014 Ars Electronca Festival, from 4 to 8 September. The projects of Shinseungback Kimyonghun can be seen at Ars Electronica Center, in conjunction with the exhibition “Out of Control”, at Arkade, at Barschneiderei and in conjunction with the exhibition of the Future Innovators Summit at Akademisches Gymnasium Linz. More information:



IRMA - mv

IRMA / Save me from SUPERBIEN on Vimeo.

The stroll 2003 -

The Stroll (2003)    ***half
"Progulka" (original title)

Very charming film, one continuous shot of a mysterious attractive girls walk through moscow - the story behind what we see.  Clever plot and very touching.  A fresh type of poetic, courageous romance unlike the stereotypical sugar sweet romance we see in American films.

Sunday, 17 August 2014

mulit color silk strings - art made from books

包邮 全真丝古琴弦 丝弦纯蚕丝手工制作 彩色 清鸾惊鸿 套装

  • 价格

Art made from Books

EUR 21,61

Art Made from Books: Altered, Sculpted, Carved, Transformed (Anglais) Relié – 1 septembre 2013

Saturday, 16 August 2014

Friday, 15 August 2014

Digital Artists: Taiwan 2013, Schizophrenia Taiwan 2.0 Exhibition

CYBERFEST 2013 extended program will take place at The Youth Educational Center of The State Hermitage from November 26 to December 1. SCHIZOPHRENIA TAIWAN 2.0 is created by an international group of curators: I-Wei Li, Pierre Bongiovanni, Ching-Wen Chang, Chien-Hung Huang, Sophia Kudriavceva, Artemy Baranov.
Intersecting with CYBERFEST keynote SCHIZOPHRENIA TAIWAN 2.0 focuses on the digital revolution in the work of young Taiwanese new media artists, born between the eras of color television and smart phones in a country that manufactures 80% of the world’s electronic goods. These artists are fully aware of the risks and of the potential of globalization and cybernetics and their works reflect the challenges facing Taiwan and the world as a whole.


  • Advised by Ministry of Culture, Republic of China (TAIWAN)
  • Organized by The Association of the Visual Arts in Taiwan (AVAT), SidebySide Studio e.V, La Maison Laurentine
  • Supported by Ministry of Foreign Affairs, Republic of China (TAIWAN), Project Fulfill Art Space, Garden City Publication, Ars Electronica, Tabakfabrik, Cyland MediaArtLab, The State Hermitage Museum, International Youth Education Center, Transmediale, Collegium Hungaricum Berlin | CHB, Instants Video

Tuesday, November 26

Wednesday, November 27

Friday, November 29

Saturday, November 30

Sunday, December 1

CYBERFEST 2013 Extended Program will take place at The Youth Educational Center of The State Hermitage (Palace Square, 6-8)

Ars Electronica 2014 : theme: C for Change. Buddha on the Beach

C … what it takes to change

The 2014 Ars Electronica Festival is set for September 4-8.This year’s theme is “C … what it takes to change,” an inquiry into the prerequisites and framework conditions necessary to enable social innovation and renewal to emerge and make an impact. The focus will be on art as catalyst. The in-depth elaborations, lively discussions and bold provocations will feature, as usual, artists, scholars and scientists from all over the world—renowned intellectuals confronted by young contrarians, top experts encountering interested laypersons, the pioneers of the Digital Revolution face to face with the shooting stars of today’s media art scene. From September 4th to 8th, Ars Electronica will once again be a setting for reciprocal exchange and networking, a one-of-a-kind forum in which perspectives and opinions are negotiated and presented in the form of speeches, artistic installations, performances and interventions.


What is Ars Electronica?

Art, technology, society. Since 1979, Ars Electronica has sought out interlinkages and congruities, causes and effects. The ideas circulating here are innovative, radical, eccentric in the best sense of that term. They influence our everyday life—our lifestyle, our way of life, every single day.
The Festival as proving ground, the Prix as competition honoring excellence, the Center as a year-‘round setting for presentation & interaction, and the Futurelab as in-house R&D facility extend their feelers throughout the realms of science and research, art and technology. Ars Electronica’s four divisions inspire one another and put futuristic visions to the test in a unique, creative feedback loop. It’s an integrated organism continuously reinventing itself.

Buddha on the Beach 
Long Live – Jui-Chung Yao
Contemporary life is full of rapid changes, the virtual collides with reality, chaos is the ultimate master. In the current digital era, we are overloaded with information yet lack the wisdom to process it. We know everything, yet are still lost. We live in a nightmare, but also in a moment of great opportunity.
These paradoxes shape the work of many contemporary artists in Taiwan. At the 2014 Ars Electronica Festival the exhibition Buddha on the Beach presents Taiwanese works that take up the topic through interactive installation, live performance, and visual and video art.
We had the opportunity to talk with the exhibition’s curators, I-Wei Li and Pierre Bongiovanni, and ask them why Buddha is on the beach, and how this image connects with the work of contemporary Taiwanese artists.
You can find a full list of the works exhibited in Buddha on the Beach here:
Realm of Reverberation – Chieh-Jen Chen

Hi I-Wei and Pierre! Can you explain the title ‘Buddha on the Beach’?

I-Wei Li: First of all, this is a tribute to the Philip Glass masterpiece ‘Einstein on the Beach’. For us, this piece is absolutely revolutionary and still very important today. We also chose the title, Buddha on the Beach, because we are concerned about the crisis in the world. I think this is clear to everyone. We have many different kinds of crisis. Lately there was the tsunami, the wreck of the Costa Concordia, and a lot of irregular migration is happening at the moment. This all happens at the waterfront. So the beach, in a way, is a very critical point for confrontation, for conflicts, for tension. And the interesting question is, ‘why is Buddha on the beach?’ With the entire crisis in the world, this is the moment we look for Buddha, look for God. And if Buddha is on the Beach, is he there to save the world, to help us, or is Buddha there to take holiday, because he’s too tired and needs a break? So we are using this title to question the current condition of the world, and our relationship to the crisis.
Smashing Karaoke vs. Brass Band – Dawang Huang

How did this exhibition start out?

I-Wei Li: This exhibition is not only about Taiwan. All the works we picked – we are very confident in saying this – have international perspectives and speak about the world today. For us, we chose to work with Ars Electronica because we consider this festival as a very important platform. The important thing for this exhibition is that we hope it will allow for a dialogue, a real window, for connections to address issues on a global level. This is very important for us.
Hand - Chieh-Wen Lin

What do the different works of ‘Buddha on the Beach’ have in common?

Pierre Bongiovanni: In common is the question, ‘what is the future?’ For example, there is an artwork with wood and another artwork in the form of a videogame. You can think, ‘why are these works in the same place?’, because they don’t have the same culture, they don’t have the same background, or the same experience, but what they have in common is to think about our future. The future is about globalisation. What can we do with that? It’s the same question for you, for me, for European, for American, for rich people, for poor people, etc. It’s the same question: ‘What can we do for our future?’
Smile Buddha – Yi-Ping Hung

What will be the highlights of the exhibition?

I-Wei Li: Everything is a highlight for me, because we see a close connection between all the works. You will see it in our exhibition design, when you come to experience the exhibition. So it’s not like we pick a few pieces and say these are the masterpieces for us. It’s important to experience the exhibition as a whole. This time we really break boundaries. For example, we mix contemporary art and new media with aboriginal art, all these are together in one exhibition.
Pierre Bongiovanni: Each art piece is one point of view of the situation, and in this time of crisis you cannot have only one point of view. You need to manage your own different points of view. You need to manage it and say this is possible, that is possible and these are also possible. What can I do with all these different perspectives? The reference to the Buddha is also about that, because Buddha’s world is not only one world. He has six different worlds and each day you go from one world to another. One is the animal world, one the paradise world, one the wild world, etc. In this exhibition it’s the same.
Three States of the World – I-Ming Lin

The exhibition isn’t only situated in one place. It’s spread across different locations…

I-Wei Li: Exactly, the exhibition is in different extraordinary places in the festival, in Linz city center.  The context of each space is also very important – why is this piece in the church? why is this video installation in the school? We also took the context into consideration, when we designed the exhibition.
YI – Chao Tsai Chiu

Last year your exhibition ‘Schizophrenia Taiwan 2.0’ toured different cities. Does ‘Buddha on the Beach’ also tour the world?

I-Wei Li: We plan a tour in Europe and South America, but we are now open to work with international artists from different countries in dialogue with the thematic we propose, with the relation between art and crisis. This is a new approach with this exhibition.
Pierre Bongiovanni: Yes, we prepare the next exhibition and we want to enlarge the focus. We prepare an international event with the same topic and we need to enlarge our network. We want to build a new, larger team. So we are very interested in getting to know people who think about the relations between art and global crisis. So, anyone who is interested can visit us at the exhibition during Ars Electronica Festival to make contact with us.
Curator I-Wei Li
Join the 2014 Ars Electronica Festival from 4th to 8th September and be inspired by the Taiwanese art. The exhibition will be in the FestivalCity, at Mariendom (St. Mary’s Cathedral) and Akademischen Gymnasium Linz, and LENTOS Kunstmuseum Linz.

Thursday, 7 August 2014

Michel Gondry's Home Movie Factory

The Home Movie Factory

Saturday, 2 August 2014

Cigar Box Guitar as DIY culture and a practice in lutherie

Modern revival

Cigar box guitars at Maker Faire 2011
A modern revival of these instruments (also known as the Cigar Box Guitar Revolution) has been gathering momentum with an increase in cigar box guitar builders and performers. A loose-knit tour of underground musicians tour the East Coast (US) each summer under the banner "Masters of the Cigar Box Guitar Tour." These musicians include Doctor Oakroot, Johnny Lowebow, Tomi-O and many others. Also, there is a growing number of primitive luthiers adding cigar box guitars to their items for sale.[citation needed] Of the more noteworthy cigar box guitar makers is Shane Speal, the so-called "King of the Cigar Box Guitar."
Modern revival is sometimes due to interest in jugband and the DIY culture, as a cigar box is relatively inexpensive when considering other factors, such as strings and construction time. Many modern cigar box guitar can thus be seen as a type of practice in lutherie, and implement numerous personal touches, such as the addition of pick up and resonator cones into it.
A superior modern fiddle
The modern revival of cigar box guitars is documented in the 2008 film, "Songs Inside The Box" which was shot primarily at an annual Huntsville, Alabama event called the Cigar Box Guitar Extravaganza. [4]
The Cigar Box Guitar Museum, a free-to-the-public display dedicated to cigar box guitars is located in Speal's Tavern, a small blues club in New Alexandria, PA. It is curated by cigar box guitarist, Shane Speal and contains over 60 antique and modern cigar box guitars. [5]