1. Kaïn - Une Nouvelle Première Fois (Vidéoclip Officiel)

    04:28

    from Kaïn Added 119 1 0

    Voyons films et Les Disques Passeport présentent : Kain "Un Nouvelle Première Fois" © 2012 Réalisation : Kim St-Pierre Direction photo : Alexandre Lampron Dessin animation : Aube Chopin Dessin doodles : Germain Collinge Ménard Monteur : Vincent Devoe FX : Vincent Devoe Production : Marie-Claire Lalonde

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    • Kaïn - La tête en l'air (Vidéoclip Officiel)

      03:39

      from SKYCRON Added 203 1 0

      Le videoclip de le nouvel extrait du Kaïn, produit par Les Productions SKYCRON pour mes amis sur Les Disques Passeport! (tout faire à SKYCRON -- conception, preproduction, production, et post) Tournée 1er Février - Aylmer, QC Maison de Production (Vidéoclip): SKYCRON Maison de Disques: Les Disques Passeport Réalisteurs: Cory Carlick, Anik Rompré DP/Monteur: Cory Carlick http://www.skycron.com/ | http://www.passeport.ca/

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      • Helen Keller Simulator

        09:00

        from Patrick LeMieux Added 959 4 0

        For the past twenty-five years, the mainstream videogame industry (as indicated by the best-selling games) has been defined by its persistent drive towards the fantasy of immediacy, filmic realism, and immersivity. In this way, the dominant aesthetic of videogames continues to be determined by the language of Hollywood film. These aesthetic goals are reinforced by the technological evolution of console hardware which has been invested largely in higher resolution graphics, more realistic physics simulation, and enhanced artificial intelligences since the 1970s. The past decade, however, has inspired a small renaissance in alternative approaches to games as the availability of high-quality development tools (e.g. Flash, Unity, Unreal, etc.) and open source modding frameworks (e.g. QuArK, Torque, and Source) have allowed independent and experimental developers to experiment with genres and designes which are not necessarily targeted towards a wide commercial market. The style of game under consideration here could be characterized as minimal. A prehistory of minimal gameplay can be seen in the loading screens, pause states, idle animations, and repetitive gameplay of all videogames. Rather than obfuscating these necessary states, as most mainstream games attempt, a few games have indulged in minimal moments for the sake of irony or meta-commentary on the nature of videogames. Two examples from popular commercial games include the ladder in Metal Gear Solid 3: Snake Eater (2004) (http://www.youtube.com/watch?v=G67DOJMEat) and the empty world in Super Paper Mario (2007) (http://www.youtube.com/v/2yesL3ir-Aw?fs=1&hl=en_US&start=315). Aside from examples that insert a minimal moment in an otherwise standard gameplay experience, a host of independently developed games have been built which place these minimal conditions at the centre of their ludic content. A short list of examples might contain: Guru Meditation by Ian Bogost - http://www.bogost.com/games/guru_meditation.shtml The Graveyard by Tale of Tales - http://tale-of-tales.com/TheGraveyard Don't Shoot the Puppy by RRRR - http://www.rrrrthats5rs.com/games/dont-shoot-the-puppy Burn the Rope by Kian Bashiri - http://www.kongregate.com/games/Mazapan/you-have-to-burn-the-rope Close Range by the Onion - http://www.closerangegame.com You Only Live Once by Raitendo - http://www.kongregate.com/games/raitendo/you-only-live-once 4 Minutes 33 Seconds of Uniqueness by Petri Purho - http://www.kloonigames.com/blog/games/4mins33secs Basho's Frogger by Neil Hennessy - http://epc.buffalo.edu/authors/hennessey/data/basho_frogger/index.html Desert Bus by Absolute Entertainment - http://desertbus-game.org In many ways, the genre of minimal games could be said to culminate the production of what have been called “Helen Keller Simulators.” The Helen Keller Simulator is an unpopular internet meme which continues to propagate across the network in a myriad of forms despite its simplicity and puerile nature. A quick Google search will reveal a series of websites, Flash games, and even YouTube videos of Helen Keller Simulators: http://www.google.com/search?&q=helen+keller+simulator. There are many versions of the Helen Keller Simulator. Like differential calculus or the “aristocrats” joke, it has been re-invented multiple times by different individuals. The “simulators” inevitably consist of a black (or blank) image with no audio and the title "Helen Keller Simulator." Much like Rod Humble's The Marriage (http://www.rodvik.com/rodgames/marriage.html), the title is a significant gameplay element. The irony hinges on the suggested impossibility of representing Helen Keller's worldview through videogames and the cognitive dissonance produced from the encounter between the player and a soundless, monochrome screen. Though easy to dismiss as a tasteless joke, the Helen Keller Simulator offers an interesting contrast to the aesthetic strategies of the mainstream games industry. Rather than focusing on visual complexity and rich representations, the Helen Keller Simulator excises all but the haptic to imagine an alternative history of gaming dedicated to other sensory regimes. Aside from its potential focus on touch, the Helen Keller Simulator also functions as the negation of videogames—a null set or empty game. Engaging with the history of black monochrome painting—from Malevich's black-on-black to Rauchenberg and Reinhardt's mid-century monochromes to Frederik De Wilde's nanotube paintings (featuring the darkest black known to man)—the Helen Keller Simulators sit at a limit point between pure materiality, with its excesses of human significance, and the representation of nothingness. Signifying nothing is harder than it seems. One might expect a blank canvas or blank screen to accomplish this type of signification automatically but the viewer/player is an engine of associations. No matter how quickly the monochrome retreats from representation, the degree of emptiness represented can be thought to always mirror the amount of associative potential. However, despite the very human reflex to fill this void, an indigestible kernel remains: the idea of nothingness. The most radical aspect of the Helen Keller Simulator (well beyond its reference to Helen Keller) is this idea which drives the original joke: can we build a game of nothing? The paradox of attempting to think outside human thought, away from human meaning, and beyond human anthropomorphisms is the secret discourse of the monochrome and the core component of its speculative aesthetic. Taking the entertainment industry as my contrast and these games as my model, I am interested in building new gameplay genres which both critically play games while modeling an approach to making art. The Helen Keller Simulator figures as my first step away from the visual, toward alternative fields of play. http://patrick-lemieux.com

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        • Bound Subjectivity

          02:00

          from Patrick LeMieux Added 253 1 0

          Based on the introductory chapter of The Order of Things (1966) in which Foucault performs a close reading of Diego Velázquez’s Las Meninas (1956), I would like to propose a piece of responsive architecture for Duke's DIVE environment. Foucault suggests that Las Meninas is not a figurative illustration of the court of Spanish monarch King Philip IV but is instead a painting of representation itself--representation in its pure form. This reading hinges on the fact that the artist, his audience, and the subject being painted all paradoxically occupy the same physical space in front of the canvas. For a short time this conflation was historically contingent, centered around the figure of the king. The painting originally occupied Philip IV's personal chambers, thus the only audience to the painting was the subject himself. Then four years after Velazquez's death, the king knighted the painter and personally applied the Cross of Santiago to the representation of Velazquez in Las Meninas, becoming an artistic collaborator in this historic work. So in the case of Las Meninas, Foucault's theory of pure representation moves not only from the logic of sovereignty to that of discipline but also extends discipline into practical terrain by embedding an imperative call to action within the conflated subject position of pure representation. Bound thus, the King had no choice but to paint. Today this logic is taken up by the Museo del Prado and by Google. In 2008 Google featured a logo redesign or "Google Doodle" by Dennis Hwang which embedded the company's iconic logo within Las Meninas ( http://www.google.com/logos/velasquez.gif ). Based on the position of the two "o" characters (the red "o" in the mirror, and yellow "o" off the screen) it is clear that Hwang (and Google) understands the complicated representational structure Foucault discusses. Furthermore, the imperative call to action is highlighted in the logo's functionality as an clickable Google search which instantly queries "Diego Velazquez." In essence, Google reenscribes the power dynamic operating in Las Meninas. Adjusting Google Image Search to query only the "large" photographs of Las Meninas, one will find an unedited collection of all the tourist photos taken in front of the painting at the Museo del Prado. Because most tourist photographs are taken on cellphones (with a "tall screen" aspect ratio), the picture plane of many of these images align with the frame of Las Meninas and reinscribe Foucault's artist/audience/subject who looks, makes, and models simultaneously. For my project, I have built an image scraper to gather all "large" tourist photographs of Las Meninas. After being collected from across the network, these images were resized and sequenced into a video of the painting. Then, once this ecstatic, quaking image was rendered, I used motion tracking software to determine exactly where each individual photographer's camera was located in 3D space at the time of the photograph. Using these positions and a three dimensional model of the Prado (taken from Google Earth), I generated a map, in plan view, which shows where the spectator was standing at the time of the photograph. With this analytic strategy tested and working, it should not be difficult to build a responsive architecture. With either two projectors and an infrared tracking system or the DIVE, the next step is to project the map rendered here onto the floor in order to direct audience members. By standing on the footsteps, visitors will orient themselves to the specific subject position of each photograph. Wearing 3D goggles equipped with infrared LEDs, a user could then stand near a projection of the Prado and the perspective would shift accordingly. The final effect of this installation would not be to just allow user's the ability to replicate the subject positions of the tourists photographing Las Meninas (simply reinscribing the work done here), but also to allow an audience to watch as the painting bends and tilts to the perspective of a single person (via the goggles which not only render 3D imagery, but motion track a viewer's angle to a virtual space.) The production of this dispersed or externalized subjectivity rereads Foucault's argument as an attempt to locate thought outside of the cartesian subject. From "bound subject" to "subjectivity unbound," pure representation becomes a structure for extending proprioceptive capacities and beginning to think, feel, see, and be architecturally. Perspectival image making is the exception, not the rule, and in this framework Velázquez’s Las Meninas begins to look more like smeared, undermining skull of Holbein's The Ambassadors (1533) than a rendering of sovereignty. http://patrick-lemieux.com

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