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TRUST from fuse* on Vimeo.

Trust is a body of works that explores the multiple meanings and implications of the concept of trust. fuse* breaks down trust as it relates to three major societal institutions: finance, social media, and news sources. The exhibit analyzes historical events’ impact on society’s level of trust up to the present moment and considers how this relationship might evolve in the future. Trust has been created to give the audience an immersive experience to contemplate how the presence or absence of trust can shift the perception of our individual and shared realities. Interpersonal trust allows an individual to build a sense of collective trust. Likewise, a loss of one’s personal confidence in the system can lead to a collective loss of mutual trust. Trust is an expansion on fuse*’s continued research in merging technology and the human experience to elicit empathy. The exhibition unfolds in four different installations.

More info on fuseworks.it/en/works/trust Trust was commissioned by Artechouse and premiered in New York City on January 31st 2022.

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MOHACS_KOCKA_3-2 from Peter Molnar on Vimeo.

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GALLIO PARK #02 from Menzkie on Vimeo.

Director: Menzkie DOP: Iván Vermes

Producer: Márk Éry Production Manager: Berta Rozgonyi Unit Prod Manager: Detti Pálfi 1st AD: Norbert Vilonya

ART DEPARTMENT Art Director: Richard Illés / Department Food Stylist: Ferenc Urbányi Food Stylist: Edina Soltész Stdby Props: Robert Noszlopi Stdby Props: Bence Hajdú Paper installation: Edina Németh / Edinaspaper Paper Installation Assistant: Szandra Tóth Paper Installation Stdby: Gergő Andorka Paper Installation Stdby: Tünde Fodor Paper Installation Stdby: Edit Anna Zsámbok Construction: György Vetési

SFX: Attila Benya

CAMERA & VIDEO DEPARTMENT A Cam. 1st AC: Péter Gáll A Cam. 2nd AC: Balázs Mihalka DIT: Andris Udvardi Video Assist: Dénes Herceg

ELECTRICAL DEPARTMENT Gaffer: Gáspár 'Gazsi' László Best boy: Kornél Fiskovszki Electrician: Gábor Iváncsik Electrician: Péter Manzel Electrician: Gábor Kővári Electrician: Erik Nagy-György Dimmer operator: László Szentmihályi

MOTION CONTROL Motion Control: György Szelják / Rocket lab Motion Control Assistant: Máté Tibai Motion Control Assistant: Dániel Farkas

POST-PRODUCTION VFX Supervisor: Miklós Nagy / Melon VFX: Ákos Szabó Colourist: Ádám Vándor SFX: Balázs Pejkó / Studio H

Catering: Péter Varga

#food #setdesign #papercraft #clown #amusementpark #miniature #ghostcastle #kitchen #mixedmedia #coneyisland

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GALLIO PARK BTS from Menzkie on Vimeo.

It’s always a pleasure when we got creative freedom from the client and the agency. The only thing was they wanted us to create an amusement park in the kitchen and we had to show some food as the brand is a food product.

Firstly I was thinking about what should be the visual look of the amusement park. Coney Island came to my mind in the first sec, so the set design was definitely inspired by New York's favourite fun place. The vibe of that place is absolutely magical, so I wanted to implement something similar into our film as well.

The second thing was to think about the technical execution of the film. We had to show sandwich-related food on the set, but I convinced the agency that a nice paper craft would add a lot to the film’s visual look. We asked the top food DOP in Hungary (Iván Vermes) to shoot this commercial. We teamed up with a great food stylist duo (Ferenc Urbányi & Edina Soltész), an awesome papercraft team (Edina Németh / Edina’s Paper) and an experienced VFX company (Melon VFX) to create a unique look for this food ad. Together with our skilful Art Director (Richard Illés), we figured out every little detail hand in hand with the art department.

I’m a big fan of analogue tricks so I wanted to keep everything as real as possible. 95% of the film was built up in a studio with real set design & practical lights, but there are some additional VFX goodies, like the Ham Ghosts or the Cucumber Roller Coaster Car which would be extremely difficult to make in real.

Therefore the amusement park was miniature so we had to use a periscope camera. We needed super fine & precise camera movements so we decided to use motion control. The huge benefit of this technic is that we could figure out every little camera movement, angle & timing with a 3D animatic, way before the shooting day. It’s also easier for the post-production team to modify anything in the footage.

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GALLIO PARK BTS from Menzkie on Vimeo.

It’s always a pleasure when we got creative freedom from the client and the agency. The only thing was they wanted us to create an amusement park in the kitchen and we had to show some food as the brand is a food product.

Firstly I was thinking about what should be the visual look of the amusement park. Coney Island came to my mind in the first sec, so the set design was definitely inspired by New York's favourite fun place. The vibe of that place is absolutely magical, so I wanted to implement something similar into our film as well.

The second thing was to think about the technical execution of the film. We had to show sandwich-related food on the set, but I convinced the agency that a nice paper craft would add a lot to the film’s visual look. We asked the top food DOP in Hungary (Iván Vermes) to shoot this commercial. We teamed up with a great food stylist duo (Ferenc Urbányi & Edina Soltész), an awesome papercraft team (Edina Németh / Edina’s Paper) and an experienced VFX company (Melon VFX) to create a unique look for this food ad. Together with our skilful Art Director (Richard Illés), we figured out every little detail hand in hand with the art department.

I’m a big fan of analogue tricks so I wanted to keep everything as real as possible. 95% of the film was built up in a studio with real set design & practical lights, but there are some additional VFX goodies, like the Ham Ghosts or the Cucumber Roller Coaster Car which would be extremely difficult to make in real.

Therefore the amusement park was miniature so we had to use a periscope camera. We needed super fine & precise camera movements so we decided to use motion control. The huge benefit of this technic is that we could figure out every little camera movement, angle & timing with a 3D animatic, way before the shooting day. It’s also easier for the post-production team to modify anything in the footage.

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MAKING OF HELL ICE COFFEE from Menzkie on Vimeo.

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Psychedelic Glue Sniffin' Hillbillies from Craig Smith on Vimeo.

Here's the entire cut of the totally warped super 8 epic, Psychedelic Glue Sniffin' Hillbillies.

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Győr 2010 Culture Harbour from goraka on Vimeo.

Keret Association project film for the 2010 Cultural Capital of Europe

made in 2005

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Isten veled kis sziget/Adiós, pequeña isla (1986) from E. A. Albedo (N+2) on Vimeo.

El arte popular húngaro y el arte decorativo de la vida oriental inspiraron el film profesando la destrucción de la simulación del pensamiento.

País: Hungría Idioma: Sin Diálogos Dirección: Sándor Reisenbüchler

Extraído de N+2, Animación de autor (nmasmas2.blogspot.com)

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A Bor és Az útja from Adam Boros on Vimeo.

Vitorlázás haverekkel a Balaton.

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Ceci n'est pas une femme nue (This is not a naked woman) - Performance by Milo Moiré at Documenta 14 (2017) from Milo Moiré on Vimeo.

Uncensored version here: unlimitedmuse.com/shop/ceci-nest-pas-une-femme-nue/

Join my Milo Moiré Member Club for more exclusive videos & photos of me: unlimitedmuse.com Without restrictions!!!! ___________________________

♡ Instagram @milomoire | instagram.com/milomoire ♡ Member & Shop: unlimitedmuse.com become my Member to watch full version of my videos & photos!!! ♡ Twitter @milomoire | twitter.com/MiloMoire ♡ Youtube @milomoire | youtube.com/user/milomoire

___________________________

Milo Moiré’s performance series “Ceci n’est pas une femme nue” (This is not a naked woman) is a rudimentary and, to a certain extent, pioneering documentation of augmented reality (AR). The world we live in is full of computer-based reproductions. We often prefer to view the digital image rather than wishing to grasp the direct original with all our senses. This has led to an altered grammar of perception. We have augmented our reality through new technologies like smartphones. The era of a visible new reality has begun.

For her performances Moiré puts on a virtual reality (VR) headset and visits various major art exhibitions, for example, Documenta 14 in Kassel. She does so naked. On her backside and pubic area, binary codes represent the word “digitized” through a sequence of the digits 0 and 1. The sentence “Ceci n’est pas une femme nue” can be read between Moiré’s shoulders and on her chest. With her VR headset, the artist looks at an iPhone placed directly in front of her eyes. It provides an indirect, virtual view of the artworks supplemented with additional information, such as her coordinates. At the same time, Facebook viewers can follow and comment on the digital video images from Moiré’s VR headset in real time. A second camera simultaneously films the artist from an external perspective. The Surrealist painter René Magritte made it clear that “an image is not to be confused with something you can touch”. In 1928 he painted a picture of a pipe and wrote “Ceci n’est pas une pipe” (This is not a pipe) on to the painting. “Can you fill my pipe? Of course not! It is only a representation. If I had written ‘This is a pipe’ on my picture, I would have been lying”, explained Magritte.

Almost exactly 90 years later, we find ourselves in the midst of a profound revolution. Our perspective on the world has completely changed. Today, instead of merging dream and reality like the Surrealists, we expand our real world through virtual aspects. Magritte’s pipe is more relevant than ever. Moiré provides a contemporarily relevant illustration of this through her performance “Ceci n’est pas une femme nue”.

We catch sight of a naked woman through digital media, but we can’t stroke her skin. “Ceci n’est pas une femme nue” raises the question: “How is the public space changing, as the digital space now replaces or, alternatively, reshapes the public space? As the digital nude superimposes itself over the optical nude? Is the reproduction and distribution in digital space triggering a disintegration in real space?”

People are connected in real time in front of their screens and take in additional information which goes beyond their eyes. The real body is shifting into the digital space. Will this result in our isolating ourselves within augmented reality? Paradoxically feeling trapped in our bodies through this expansion? Or will we finally dissolve the body beyond recognition within the digital space? “Ceci n’est pas une femme nue.” Really?! copyright: unlimitedmuse.com/Peter Palm

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Oh Sees - Gholü from Leo Nicholson on Vimeo.

Filmed in our attic, this is the official video for Oh Sees - Gholü. I made puppets with Natasha Nicholson, props are by Alan Barr and there are some additional street sets from Ian Watson and Sarah Edwards. Meat is Murder!

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99 Locations of London from Menzkie on Vimeo.

Created by Menzkie with Apple iPhone + Adobe Creative Cloud Black Wasabi Studio 2020

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Igorrr - Very Noise from MEAT DEPT. on Vimeo.

Produced and directed by MEAT DEPT. Music by IGORRR

Meat Dept. @ instagram.com/meatdept.tv & facebook.com/meatdept.tv

Igorrr CD / Vinyl / Shirts: igorrr.com Pre-order: metalblade.com/igorrr/

Igorrr on Instagram: instagram.com/igorrr_music/ Igorrr on Facebook: facebook.com/IgorrrBarrro... Igorrr on Twitter: twitter.com/igorrrbarrroque Igorrr on YouTube: http://bit.ly/36AYdYL

Very Noise is the track number 3 from the album Spirituality and Distortion from Igorrr, released in March 27th 2020 on Metal Blade Records.

The music is composed by Gautier Serre.

Spirituality and Distortion: 01 - Downgrade Desert 02 - Nervous Waltz 03 - Very Noise 04 - Hollow Tree 05 - Camel Dancefloor 06 - Parpaing 07 - Maximum Musette 08 - Himalaya Massive Ritual 09 - Lost in Introspection 10 - Overweigh Poesy 11 - Paranoid Bulldozer Italiano 12 - Barocco Satani 13 - Polyphonic Rust 14 - Kung-Fu Chèvre

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AOIN xRDG Demo from ALL OF IT NOW on Vimeo.

Hosted and recorded at the disguise LA office on July 31, 2019 during the week of Siggraph.

00:00:00 - Intro 00:02:15 - Sci-fi Scene 00:04:07 - Intro to Blacktrax Mini Beacons 00:04:41 - Virtual Props 00:06:23 - Broadcast News Room 00:09:00 - Intro to Rigid Bodies 00:09:20 - Sports 00:11:12 - Intro to Unreal Integration 00:11:35 - Fantasy Game 00:12:42 - Thank Yous

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Coppa di Sicilia from Group.IE Identity Engineering on Vimeo.

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The Conquest of Happiness from Oliver Pietsch on Vimeo.

45 min / 2005