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  • manuellnon 13:04 on 4 February 2015 Permalink | Reply
    Tags: , , , , , , , , sci-fi,   

    blob village live (cox18 version) 

    Last saturday (24/1) I went back to Milan for a live visual set in collaboration with Jack with our latest work. We played a 2hr set during the main act of a dance music event, a DJ set by the Bristol-based producer Alex Coulton.




    Our “Blob Village” is a post-apocalyptic environment populated by 3D animated hybrids, flesh collages with tech implants, internet-inspired characters, human bodies (and part of them) involved in repetitive dance gestures. The idea of this film performance is an attempt to build a live narrative made of digital paintings and sculptures, inspired by the role of GIF animation and appropriationism (as filtering/editing/selecting) in web based art.


    bvscreen1 bvscreen2


    Image textures play an important role, Jack’s glossy materials and sci-fi patterns and lights contrasts with my Facebook’s palette camouflages and skin surfaces. Here’s a series of stills from animations we made with 3D objects found online (showed on a second projection):


    bv_tent bv_crossbw bv_plant bv_twr


    lo-fi documentation during the soundcheck:



    I also made a 3 hours warm up DJ set with a friend crossing experimental sounds about technology, post punk, dub, noise and techno.

    excerpt1 (experimental)

    excerpt2 (techno)


  • manuellnon 18:50 on 25 November 2014 Permalink | Reply
    Tags: akira, aoto oouchi, , david cronenberg, , greg lynn, jeanne dunning, sci-fi, tony oursler   

    about the blob 

    When you gaze at the blob, your eye no longer has a focal point because the blob has no focal point. You see right into it. You may keep loosing your sight in a myopic blur. In this way the blob can escape even though it moves very slowly and with no apparent direction. [1]


    A blob is an object without a distinct shape, generally represented as a slime or jelly, just as in the 1956’s famous film by Irvin Yeaworth.
    The quote above is from a 2005 text by Tony Oursler, about the influence of the blob and its many features in his art research; these deformed beings generate “gut reactions” in people who see it, described as “your first response to things before you examine the facts intellectually”.
    As a creature born throughout the 50’s anti communist wave, the first cinematic blob concept was about a growing alien amoeba crashed from outer space in a meteorite ingurgitating the people of a small village. From this flesh-eating mass, the blob could slightly evolve in many directions, changing its function and relation with the body.
    Following a cinematic experience on the blob, in David Cronenberg’s “eXistenZ” its shape-deformed game pods translates the physical body in a virtual reality game; these organically grown slimy pods acts like blobs connected to bodies via a umbilical cord. A similar connection appears in Jeanne Dunning’s photographies, where unidentified blobs lays and interacts on female bodies. Both these examples switches the blob from a swallowing jelly to flesh mutation, eruption, prothesis. In Katsuhiro Otomo’s post-apocalyptic manga “Akira” the blob appears as a biological form generated by powers growing too rapidly inside a body to contain it.




    What are these forms generated by? Are from inside or outside, within or without?
    In Greg Lynn’s architecture research the blob is related to the staging of “a becoming of form through variable intensifications and manipulations in a continuous structure, […] blobs are surfaces that turn into objects by sticking their surroundings” [3], following a David Joselit reasoning this is a property of objects derived from a population of images in addiction to practices such as selecting, reframing and versioning. The effort of melted images and glossy blob organisms appears in the work of digital artists like Aoto Oouchi, which uses a fetishized pop aesthetic to create objects and masses of pictures.
    The image circulation is  once again the centre of a tendency about objects and space, in an organic process of circular recombining of pre-existent elements. Furthermore, data or image originated blobs and molds fits perfectly with an interpretation of profiling.





    [1] T. Oursler, Blob, 2005 http://tonyoursler.com/files/blob.pdf
    [2] still from eXistenZ, 1999
    Jeanne Dunning, The Blob 4, 1999
    still from Akira, 1988
    [3] D. Joselit, After Art, Princeton University Press, Princeton 2013, pp. 26-27
    [4] a work by Aoto Oouchi from his Tumblr http://aotooouchi.tumblr.com/
    Greg Lynn, Blowball Pavillion, 2008

  • manuellnon 15:12 on 27 September 2014 Permalink | Reply
    Tags: , sci-fi,   

    the blob 

  • manuellnon 22:58 on 23 September 2014 Permalink | Reply
    Tags: , sci-fi, , ,   

    avatar / skin 

    Senza titolo-2

    >cinematographic brainstorming

    [1]  Nicolas Winding Refn, Drive, 2011
    [2] SPFX’s silicone mask for Drive
    [3] James Cameron, Terminator 2, 1991
    [4] Ridley Scott, Alien, 1979
    [5] Jonathan Glazer, Under the Skin, 2013
    [6] David Cronenberg, Naked Lunch, 1991




    >avatar / skin
    >water can flow or it can crash

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