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August 13 2013

La naissance du spot publicitaire A partir de 1911 Julius Pinschewer produisait des _affiches…

La naissance du spot publicitaire
A partir de 1911 Julius Pinschewer produisait des affiches vivantes à Berlin, il avait même obtenu un brevet pour cette forme de publicité.
http://www.rossmannversand.de/DesktopModules/WebShop/images/420/072139474_1.jpg
http://www.idw-online.de/pages/de/news419747

Pinschewer hat den Werbefilm quasi erfunden, indem er ihn zum festen Bestandteil des Kinoprogramms machte. 1912 hatte er in Deutschland und der Schweiz bereits an die 500 Kinos unter Vertrag, die exklusiv seine Werbefilme zeigten. Mitte der 1920er Jahre beherrschte er den deutschen Werbefilmmarkt. Seinen Kunden bot er eine Vielfalt innovativer Trickfilmtechniken an: Neben Scherenschnitt- und Puppenanimation gelangte vor allem der Zeichentrick zum Einsatz. Julius Pinschewer war ein Meister der leicht fasslichen, unterhaltsamen Allegorie. Zauberer, Elfen, Hexen, Heilige, Teufel und Tempelmädchen wurden in Bewegung versetzt, um einfache und einprägsame Werbebotschaften in aller Kürze auf amüsante Weise zu vermitteln. Von Suppenwürze bis zu großen Industrieausstellungen warben seine Filme für fast alles, was sich denken lässt.

Deutsche Biographie
http://www.deutsche-biographie.de/xsfz95979.html

Pinschewer, Julius

Filmproduzent, * 15.9.1883 Hohensalza bei Posen, † 16.4.1961 Bern. (jüdisch)

Seit 1920/21 produzierte P. verstärkt neue Filmformen. Dabei unterstützten ihn namhafte Filmavantgardisten, etwa Walther Ruttmann und #Lotte_Reiniger, Karikatur- und Humorzeichner wie Hermann Abeking und Harry Jaeger, Spezialisten für Zeichen- und Legetrickfilme wie Hans Fischer(-Kösen) und Wolfgang Kaskeline sowie die Puppenspielerinnen Gerda und Hedwig Otto. Konzentriert auf fotografische Techniken, vor allem auf die Fotomontage, entstand 1925 in enger Kooperation mit dem Kameramann #Guido_Seeber „Film“, der Werbefilm zum Besuch der Großen Kino- und Photo-Ausstellung in Berlin. 1926 war P.s Expansionshöhepunkt überschritten, seine patriarchalische Firmenführung galt als unmodern, die zwischenzeitliche Spezialisierung auf Filmlängen von 40-100 m hatte zur Verteuerung der Produktion geführt. Als erster erkannte P. die Möglichkeiten des Tonfilms für die Filmwerbung mit dem knapp neunminütigen Tonwerbefilm „Die chines. Nachtigall“ (1928/29). Nach einem altjüd. Sinngedicht entstand 1930 mit „Chad Gadjo, Ein Lämmchen“ P.s erster Film ohne Werbeabsicht und Auftrag.
1933 emigrierte P. über England und Holland in die Schweiz, wo er 1934 in Bern das „Pinschewer Film-Atelier“ gründete. Sein Privat- und Firmenbesitz in Deutschland wurde „arisiert“.
...
Seine internationale Reputation verstärkte sich (u. a. nach d. Ankaufseiner Filme durch d. Mus. of Modern Art, New York), während sein Betrieb zunehmend die ökonomische Basis verlor. Auf neue Formen des Werbefilms vermochte sich P. nicht mehr einzustellen. Nach seinem Tod in Armut erlosch seine Firma 1963. Von seinen etwa 700 Filmen liegen heute etwa 200 Titel in einer Video-Edition vor.

Après 1933 Julius Pinschwer était obligé de quitter l’Allemage et perdait son entreprise et sa fortune. Son concurrent principal #Fischerkoesen n’était pas spécialement attiré par les idées des nazis, mais sur ordre de Goebbels il était obligé de reprendre la plus importante part du marché pour le film d’animation, surtout après la disparition des films Disney après l’entrée en guerre des USA.

http://www.awn.com/mag/issue1.7/articles/moritz1.7.html The Case of Hans Fischerkoesen
http://www.awn.com/mag/issue1.7/images/MoritzGermanAni12a.gif

For many years, Hans Fischerkoesen managed to keep his production confined to the kind of advertising films he did so well. But after the 1941 edict, the Propaganda Minister demanded that he move his staff and studio to Potsdam, near UFA’s Neubabelsberg studios, to be available for consultations and special effects on features and documentaries. When the 45-year-old Fischerkoesen, loathe to become any more closely involved with Goebbels than necessary, protested that he didn’t really have the talent to invent ideas for story films, he was assigned to work with 35-year-old Horst von Möllendorf, a popular Berlin newspaper cartoonist who had just been “drafted” to work as a gag man for animated cartoons. (Although Möllendorff received story credit on several of Fischerkoesen’s wartime films, his contribution was negligible: the credit for these films rests solely with Hans and Leni Fischerkoesen.)

Un DVD avec des films de Julius Pinschwer http://www.rossmannversand.de/produkt/251451/dvd-julius-pinschewer-klassiker-des-werbefilms.aspx

#berlin #publicite #film #animation

August 04 2013

PostHuman, un court-métrage scifi dans l'espionnage high-tech

PostHuman, un court-métrage scifi dans l’espionnage high-tech
http://neosting.net/art-photo-image/posthuman-court-metrage-anime-scifi.html

Voici un fabuleux court-métrage animé à voir absolument. Il s’agit de PostHuman, un thriller de science-fiction réalisé par Cole Drumb et produit par Jennifer Wai-Yin Luk pour Colliculi Productions dans les studios Humouring The Fates. Dans un univers très informatisé, vraiment high-tech, ayant pour fond l’espionnage, PostHuman décolle la rétine, grâce à un hacker de […] #animation #court-metrage #posthuman #science-fiction

July 30 2013

UXBlog | IDV Solutions' User Experience : A Breathing Earth

UXBlog | IDV Solutions’ User Experience: A Breathing Earth
http://uxblog.idvsolutions.com/2013/07/a-breathing-earth.html

Here’s a view looking at one year of seasonal transformations on Earth. Made possible by the tremendous folks of the NASA Visible Earth team, I downloaded the twelve cloud-free satellite imagery mosaics of Earth (“Blue Marble Next Generation”) at each month of the year. I wrapped them into some fun projections then stitched them together into a couple animated gifs... (...)

http://4.bp.blogspot.com/-QvY-NnY2Sik/UfaqNSITAwI/AAAAAAAACyc/7-Y2MN2oPlE/s400/BreathingEarth.gif

#map #animation

February 02 2013

Animierte Grenzen



30-second animation of the changes in U.S. historical county boundaries,
1629 – 2000:


American Newspapers and Historical County Boundaries (1689-2000):

This visualization correlates the following data: 1) A database of newspapers published in the United States from the Library of Congress’ Chronicling America database, prepared and generously shared by the Rural West Initiative, Bill Lane Center for the American West, Stanford University. — 2) The Atlas of Historical County Boundaries provided by The Newberry Library’ Dr. William M. Scholl Center for American History and Culture.

German Language Newspapers in the US:

This animation is taken from the interactive data visualization of the Library of Congress’ “Chronicling America” directory of US newspapers. It shows all German-language newspapers in the US from 1690 to 2011:




(Gefunden bei publications.newberry.org)

Reposted from02mysoup-aa 02mysoup-aa

August 09 2012

December 10 2011

Title TERRA 617: Our Tomorrow

The environmental problems of the world are overwhelming and terrifying, yet something about this fear seems so familiar. Are we living in The End Times? Should we simply give up and admit defeat? In a fascinating mix of interviews, images, and animation, "Our Tomorrow" muses on the natural world and the Apocalypse.

December 09 2011

TERRA 617: Our Tomorrow

The environmental problems of the world are overwhelming and terrifying, yet something about this fear seems so familiar. Are we living in The End Times? Should we simply give up and admit defeat? In a fascinating mix of interviews, images, and animation, "Our Tomorrow" muses on the natural world and the Apocalypse.

November 01 2011

Wallace and Gromit's Grand Appeal: animation art auction

Nick Park's claymation heroes join Morph, the Pink Panther, Danger Mouse and Jessica Rabbit to raise money for Bristol Children's Hospital



Lewis Klahr's The Pettifogger: Collaging the crime – in pictures

Artist Lewis Klahr re-animates iconic images from comic books and advertisements to create collage-like films. He chose the BFI London film festival last week to debut his first feature-length collage production, The Pettifogger. Here, Klahr talks us through some of his favourite images from this abstract crime film



October 21 2011

Top Stories: October 17-21, 2011

Here's a look at the top stories published across O'Reilly sites this week.

Visualization deconstructed: Why animated geospatial data works
When you plot geographic data onto the scenery of a map and then create a shifting window into that scene through the sequence of time, you create a deep, data-driven story.

Jason Huggins' Angry Birds-playing Selenium robot
Jason Huggins explains how his Angry Birds-playing robot relates to the larger problems of mobile application testing and cloud-based infrastructure.

Data journalism and "Don Draper moments"
The Guardian's Alastair Dant discusses the organization's interactive stories, including its World Cup Twitter replay, along with the steps his team takes when starting a new data project.

Building books for platforms, from the ground up
Open Air Publishing's Jon Feldman says publishers aren't truly embracing digital. They're simply pushing out flat electronic versions of print books.


Open Question: What needs to happen for tablets to replace laptops?
What will it take for tablets to equal — or surpass — their laptop cousins? See specific wish lists and weigh in with your own thoughts.


Velocity Europe, being held November 8-9 in Berlin, brings together performance and site reliability experts who share the unique experiences that can only be gained by operating at scale. Save 20% on registration with the code RADAR20.

October 19 2011

Visualization deconstructed: Why animated geospatial data works

In this, my first Visualization Deconstructed post, I'm expanding the scope to examine one of the most popular contemporary visualization techniques: animation of geospatial data over time.

The beauty of photo versus the wonder of film

Paul Butler's visualizing frienshipsIn a previous post, Sebastien Pierre provided some excellent analysis about the illuminating visualization produced by Paul Butler, which examined the relationships between Facebook users around the world.

Here, we saw the intricate beauty that comes from a designer who finds the sweet spot of insightful effectiveness and aesthetic elegance. This accomplishment is all the more impressive when demonstrated through a static visualization.

Sebastien shared a great quote, attributed to Paul Butler, which read: "Visualizing data is like photography. Instead of starting with a blank canvas, you manipulate the lens used to present the data from a certain angle."

A static visualization is a single shot from this metaphorical camera: a carefully conceived, arranged and executed vision which, at its best, manages to portray the motion of a story without the deployment of movement.

If the static visualization is a photograph, an interactive visualization, by contrast, can be considered a movie. In today's technological environment, interactives expand the creative opportunities, enabling multi-talented designers to fully unleash the dynamism of their data.

One of the most powerful examples of interactive visualization is the animation of geospatial data. In its simplest state, this is geographical data with a timestamp, but when you plot this data onto the scenery of a map and then create a shifting window into the scene through the sequence of time, you create a data-driven story.

Examining the power of animated geospatial data

As the popularity and spread of data visualization practice expands, so too does the gallery of fantastic examples of animated geospatial data. We've been fortunate to see some great developments in recent times:

Visualizing US expansion through post offices, by Derek Watkins

Journalism's Voyage West — The growth of Newspapers Across the US: 1690-2011, by Stanford University

Journalism's Voyage West - The growth of Newspapers Across the US: 1690-2011
(Click to see the full interactive visualization.)

Personal Messages from Twitter, created by Twitter

So what are the design elements and characteristics that make these visualizations so powerful?

Data layer

In each of the examples above, we witness the compelling effect of data transformed from an abstract state to a physical representation on a map, instantly bringing it to life. This is the primary layer of the visualization. The challenge for the designer is to choose the right marker with which to represent the data point, with size and color being the most prominent considerations.

In some cases, we see the design of data markers being used to combine the representation of additional data variables beyond the geographical positioning. These might include a data category encoded through color (as seen in the presentation of depth in the "The Japanese Quake Map") or a quantitative measure revealed through size (as demonstrated in "The Geography of Job Losses").

Data points clearly need to be sized so they are visible without expanding beyond their specific locations or positions and cluttering the display. This is typically a problem associated with markers that double up in duty to represent quantitative values, as seen in "A Day in the Life of NYTimes.com." Here, we see the radius of the circular shapes expanding far and wide across large areas, which can result in the hiding of or bleeding of markers into other data points.

Screenshot from A Day in the Life of the NYTimes.com
Expanding circles, such as those in "A Day in the Life of NYTimes.com," can hide other data points.

The challenge of displaying multiple data items around or on a similar geographical location is also critical, especially when working within the confines of such a small mapping design space. One of the most elegant solutions is seen in the "US expansion through post offices" visualization, which shows darker clusters of data points where there are clearly dense volumes.

Color and Background

The effectiveness of a visualization will be strongly influenced by how well the designer synthesizes the data layer with the background layer. The key influencing properties here are the color scheme and map choice.

Color choices should be influenced by the need to amplify the recognition and visibility of the data points. In the examples displayed, we see contrasting approaches to the deployment of color. In "Journalism's Voyage West," we see dark mapping shades working well as the backdrop to highlight the bright white data points as they emerge. The visualization of "US expansion through post offices," on the other hand, switches this approach with a very light mapping image and an unsaturated — and probably semitransparent — brown hue to represent data. These color properties help resolve the overlay of multiple data points, as mentioned above.

For the mapping imagery, the issue is whether to present a detailed terrain like "The Japanese Quake Map" or just to use the shape of the geographical regions, like in the "Personal Messages from Twitter" project. In the quake map, the data points are generally plotted out at sea, otherwise there would be quite a visual clash, making it difficult for the data points to stand out. Unless you really need the geographical details, shapes alone — perhaps with limited labeling — work very well and help keep the data center stage.

There is the option, of course, to use no mapping layer at all, as exhibited in the "Visualizing Facebook" projects. In this case, patterns formed by the locations of and relationships between Facebook users actually illustrates much of the world map. We then learn as much from the darkness of expected and absent regions as we do from the areas that have data points. However, this is only really appropriate if you have vast amounts of data to plot.

Animation and interaction

Central to the impact and effectiveness of these designs is the simple animation of the data over time. Some exist with just a play/pause button; others have more interactive options to control the speed, flow and progress of the timeline.

For the viewer, there is palpable excitement when anticipating how the patterns will evolve; when the data spread will increase or decline; when the data activity will speed up or slow down; and when it will pop up in new, previously uncharted territories.

One of the most interesting design features is how designers choose to manage the presentation of new data points as time progresses. The pulsing rain-drop effect used in Nathan Yau's "The Growth of Walmart and Sam's Club (1962-2010)" visualization is a wonderfully conceived approach. It really helps to briefly draw the viewer's attention to new and emerging data locations. Similarly, on the "US expansion through post offices" project, the designer employs a clever blurring effect, subtly relegating the prominence of each data point soon after it has appeared.

The Growth of Walmart and Sam's Club (1962-2010)
The rain-drop effect used in "The Growth of Walmart and Sam's Club (1962-2010)" momentarily draws the viewer's attention to emerging data locations. (Click to see the full version.)

Other creative features can add extra usability to the interactive experience, such as panning across and zooming within the map to see more localized details of interest.

Annotation

The sometimes neglected inclusion of information to help explain and facilitate the viewing experience is such a key visualization layer. It can elevate a visualization from a nice animation to something truly revealing, such as the use of milestone points along a horizontal timeline to provide contextual understanding about key points in time.

While not included in the visualization itself, Derek Hawkins' associated blog post does offer some fascinating narrative to go with his "US expansion through post offices" work. However, the best example of thorough annotation has to be the full site version of the "Journalism's Voyage West" project. Aside from detailed, explanatory milestones, this version also includes a thorough introduction, clear data legends and the opportunity to explore the dataset underlying each data point.

Interpretation

Finally, we look at the value these interactive designs offer. The best designs, including those presented above, provide a dual utility: on one hand, revealing whole stories over time and location, and on the other, allowing us to unearth our own narratives through exploration.

Whether it is observing the journey of the United States' population growth and expansion from east to west or the global relationships of those touched by the Japanese earthquakes, these animations reveal patterns and relationships we would have otherwise not seen when viewing the data alone. This encapsulates the very purpose of data visualization.

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August 28 2011

02mydafsoup-01

August 23 2011

Moving art: the magic of animation

From Bernini to Bridget Riley, artists have long brought art to life. But the animator's art is unique – innocent, imaginative and fun

Animation, when you think about it, is a very strange art. The invention of cinema in the late 19th century made it possible to show apparently moving, lifelike photographs of real people. But it was also used from the very beginning, as Watch Me Move – a summer exhibition of animated films and art at London's Barbican – reveals, to make drawings and models come to life.

Bringing a statue to life is an ancient dream, embodied in the myth of Pygmalion. It was said that this Greek sculptor literally "animated" one of his statues: it lived. Less luridly, such artists as Bernini and Rubens infuse their (static) statues and paintings with stupendous effects of dynamism. Bridget Riley's paintings do the same thing inside your head, inducing an illusion of movement.

There are fascinating, profound issues in the way animated movies work, and how they relate to high art both past and present – but the Barbican exhibition does not explore them, at least not in a conventional way. It does not weigh down the visitor with an opening gallery on the psychology of vision. Instead, it plunges you into a vast collection of moving images. Very early films by the Lumière brothers show near art films by William Kentridge and the Brothers Quay. There are forgotten Czech masterpieces, clips from South Park, the Disney classics ... It is great fun for adults and children alike, although one or two exhibits need parental caution (such as South Park).

There are some props and stills, too. My favourite thing here is not a film clip. It is a real treasure: the original model for one of the skeleton warriors in Ray Harryhausen's masterpiece of stop-motion animation, Jason and the Argonauts.

Animation can be all things to all people. Adult TV cartoons have revealed the ironic satirical power of the medium. But perhaps the most beautiful aspect of cartoons and stop-go special effects in the 20th century was the reinvention of the fairytale. In an age of science and reason, animators such as Harryhausen brought the world of magic and fable to life in entirely new ways. Powerful moments from Walt Disney's fairytale features are shown in the exhibition, as well as one of Harryhausen's early fairytale films.

Harryhausen has filmed Greek myths and yet he always gives them a quality of nursery fable and folkloric simplicity – as they surely possessed for children in ancient Greece. There are few films as fun to watch as his fabulous tales. And there are few modern achievements as innocent, imaginative and joyous as the animator's art.


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August 17 2011

02mydafsoup-01
Play fullscreen
Ormie the Pig - hilarious, gonzo
Reposted fromhexxe hexxe

July 25 2011

02mydafsoup-01
Jean-François (2009) on Vimeo

Scaled_full_70a87a14adad8637515d

July 11 2011

Rupert Murdoch: a real-life Mr Burns?

As a portrait of power unfettered, The Simpsons' Monty Burns is as much cartoon villain as Rupert Murdoch, the show's owner

Rupert Murdoch has done one thing that enriches modern life – but it does not involve publishing a newspaper. Amid the boa constrictor of shame that has engulfed and engorged his British tabloid the News of the World, let's recognise the most wonderful – and totally incongruous – pearl of his global media empire: The Simpsons.

It makes no apparent sense that Murdoch ever allowed this left-of-centre cartoon to be made by Fox. The reason is presumably that it is popular and a good investment. The bottom line is that when the funniest American family's creator Matt Groening created his science-fiction parody Futurama for Fox, less astronomical ratings led Fox to cancel it, although cult status later won it a reprieve. So it is success and not charity that keeps The Simpsons as such an immortal fixture of Murdoch's TV stations.

There has never been any attempt by the makers to disguise their political views. In a compilation of early highlights, actor Troy McClure revealed that Groening plants hidden rightwing messages in the show. The joke, of course, was that he does the opposite and that its sceptical view of capitalist life is not hidden at all. Springfield, the town where the Simpsons live, is dominated by tycoon Monty Burns, owner of the local nuclear power station. Rapacious, heartless Mr Burns is a caricature tycoon right off a 1930s Monopoly board, yet his wealth constantly interferes with the well-being of Springfield. In his darkest hour he even blots out the town's sunlight.

Is Burns a portrait of Murdoch? Not as such. Rather he is a portrait of the power of money unfettered, which may amount to the same thing. Murdoch himself has appeared on the programme, introducing himself as follows: "I'm Rupert Murdoch, the billionaire tyrant." Groening said he performed the line enthusiastically. But does the fact that The Simpsons is part of his business undermine its radical spirit?

Some would say the radicalism really only belonged to the show's classic early years. In the 1990s, nothing in contemporary pop culture was so brilliant and hilarious. And it was – it is – a Murdoch property. We owe the most widely criticised business empire of the age this much gratitude: it gave us the finest and funniest piece of modern televisual pop art. Murdoch's current travails resemble one of the periodic disasters that hit Mr Burns, such as the time the nuclear power station owner ran for political office and was forced to eat Blinky, the three-eyed fish, live on television. "The old man's finished," say his spin doctors after he spits out the nuclear-mutated fish. "It was over when the fish hit the floor." And they leave as he cries out: "You can't do this to me – I'm Charles Montgomery Murdoch!" Sorry, that should read Burns.


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May 23 2011

02mydafsoup-01

April 22 2011

Easter special: art's top five bunnies

From religious paintings to cartoons, rabbits have been portrayed as both enigmatic and aggressive. But which portrayal is your favourite?

Bunny rabbits have inspired some great art and, as Easter is upon us, here is an artistic survey of the season's creature: my top five rabbits in art.

The most beautiful rabbit in art is surely the white bunny in Titian's Madonna of the Rabbit in the Louvre. It is also one of the most touching in its association with childhood and pets – which is not to say it has no theological significance as a symbol of the mystery of the Incarnation. In Renaissance art the young Christ is seen with all kinds of animals, from birds to cats, but Titian's rabbit is somehow one of the funniest, most natural childhood scenes in a religious painting.

Albrecht Durer's 1502 portrait of a rabbit – or is it a hare? – is a very different work. Where Titian paints a white rabbit as part of a scene of childhood in the countryside, as a prop in an essentially human setup, Durer concentrates with rapt attention on the rabbit or hare as a thing in itself, without people or landscape. This is at once enigmatic and troubling: what is in its brain? What does it see? It is a very serious bunny.

It's almost a relief to go from Durer's alien beast to John Tenniel's Victorian illustration of the White Rabbit in Lewis Carroll's Alice in Wonderland. Or is it? Tenniel's study of what a rabbit might look like in human clothes, standing upright and looking at a pocket watch, is so meticulous that it takes on a hallucinatory truth that has haunted the modern imagination along with the rest of his Alice illustrations. It seems that as soon as you move away from Titian's family picnic with an Easter bunny, the rabbit in art becomes uncanny. The mildness of this creature offers a blank slate on which artists have imagined strange personae and possibilities.

The blankest of all bunnies is Jeff Koons's Rabbit, cast from an inflatable toy, its silvery skin a perfect mirror. This is the most uncanny rabbit of all. It is a metaphor for art itself, which it suggests is reflective and ethereal. Not something to touch but something that vanishes, like a dream. A form, but also just light. Koons is a tricky genius and his Rabbit a slippy customer.

Koons's Rabbit is almost as slippy as my favourite artistic rabbit: Bugs Bunny. Created at the end of the 1930s by a team of artists who included Tex Avery, the carrot-chomping, wisecracking Bugs is one of the great popular artworks of the 20th century. His design, like a thin-limbed 15th-century statue, makes him always aggressive, pert, and restless. Rabbits reached their apotheosis with Bugs. If mice are cute and cats are cruel in cartoons, Bugs Bunny is a free spirit, the rabbit as hero. Happy Easter.


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April 17 2011

02mydafsoup-01
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