#16mm film grain

[ninjadeathmedia]

Free Film Grain Overlays

[onusjott]

Some shots taken on 110 film. Taken with a Diana Baby 110 camera and with Lomo Color Tiger film.

[chaquinan-films]

Super Lab Solar: Intervención en película de 16mm y posterior proyección de los resultados finales.

[brokehorrorfan]

Fear and Desire will be released on 4K Ultra HD and Blu-ray on February 27 via Kino Lorber. Also known as Shape of Fear, the 1952 war drama/thriller includes reversible artwork.

Stanley Kubrick (The Shining, 2001: A Space Odyssey) makes his feature directorial debut from from a script by Howard Sackler (Jaws 2, Killers Kiss). Frank Silvera, Paul Mazursky, Kenneth Harp, Steve Coit, and Virginia Leith star, with narration by David Allen.

Both cuts of 70-minute and 62-minute cuts have been newly restored in 4K from the 35mm original cut negative and the 35mm fine grain master with Dolby Vision/HDR. Special features are listed below.

Special features:

Audio commentary by film historian Eddy Von Mueller on 70-minute cut (new)

Audio commentary by film historian Gary Gerani on 62-minute cut (new)

Flying Padre - 1951 short film by Stanley Kubrick restored in 4K from the original 35mm print

Day of the Fight - 1951 short film by Stanley Kubrick restored in 4K from the original 35mm print

The Seafarers - 1953 short film by Stanley Kubrick restored in 4K from the 16mm A/B camera negatives and a 16mm print

Killer's Kiss, The Killing, and Paths of Glory trailers

Four soldiers return to their senses after crash-landing in a forest behind enemy lines. Blindly navigating their way back to their unit, they attack an isolated cabin occupied by enemy soldiers, then apprehend a peasant woman who is tormented by the deranged young soldier assigned to guard her. On the verge of freedom, they discover an outpost of enemy officers, and must decide whether to slip silently past or stage a violent confrontation with their doppelgängers.

Pre-order Fear and Desire.

[nukethefridgenews]

Girlfight Criterion Collection Blu-ray: Criterion Knockout

Girlfight was both Michelle Rodriguez’s first film and writer/director Karyn Kusama’s. Now it is in the Criterion Collection 24 years later. Looking back it is remarkable how fully formed Rodriguez was as a debut actor, and how Kusama anticipated the world of legitimate female fight sports. The gritty grain of 16mm film is preserved in his Blu-ray. The saturated colors of the chipped paint on the…

[steampunkforever]

Enys Men was such a film. There’s so much you can say about it and so much to discuss. To be reductive, the film is female-centered psychological folk horror, but with that description you could equate it to a certain Ari Aster film. Enys Men is so much more.

It’s about routine. It’s about the passage of time. It’s about connection to your geographical roots and ancestry and the tragedy of ages before you echoing through your bones. It’s about accepting your death. It’s about accepting your birth! It’s about a woman losing her grip on reality as she sits isolated on an island in Cornwall. More importantly, it’s all about a rock.

It’s really unlike anything I’ve seen in a long time. Comparisons pale to just outright watching it. The score is hypnotic, the performances are engaging, and I fell into a trance just watching it as an hour felt like 30 minutes. The movie never tips its hand to what it’s telling you but it’s telling you things and you want to know them. I 100% bought into this film in the first 15 minutes and never looked back, willingly jumping headfirst into the arms of its hypnosis. Nothing compares to what this movie’s doing.

To do it the disservice of comparing it to something, visually I would compare this film to something like if Wes Anderson shot a psychological horror movie. Enys Men, of course, is well beyond that, but to assess the film visually, the framing, the indulgently vibrant film grain, the rich colors, the eclectic unreality, the ultra-16mm film aspect ratio, and the exquisite costuming make that the only similar visual style I can pitch it with and make any sense. Enys Men is much more sophisticated than that, and certainly isn’t imitating anything, but I want to stress that stylistically the film has kept its grip on my heart from the moment I walked into the theater.

I’m not an expert on the genre, but I’ve never seen folk horror like it. Enys Men is ballet and Midsommar is breaking its ribs over and over slipping on the same banana peel for hours in some sort of unpracticed slapstick routine. No one’s doing it like Enys Men is.

Enys Men is a vibey film. it’s a gorgeous film. Its a horror film where no one dies and everyone dies, with no monster and yet such a monster. In interviews the director has espoused his love for films that “take you into the middle of the woods and then leave you there” and all I can say is I love these woods, I love a storm-blasted island in Cornwall, and I love Enys Men with my whole heart. Go watch it. I’m gonna turn into a Menhir.

[emptyanddark]

"...Lucas’s bet that digital technologies could bring down the cost of filmmaking was only ever true for productions fully committed to guerrilla filmmaking and shot with prosumer cameras, such as 1999’s The Blair Witch Project, whose initial budget was only $60,000. Lucas, like most filmmakers shooting digitally today, opted for expensive digital cameras that were designed to re-create celluloid’s rich color science and wide dynamic range. As many filmmakers have found, these energy and data-intensive cameras aren’t guaranteed to save directors money so much as shift costs to other places in production. 

According to Darius Marder, the director of 2019’s Sound of Metal, the high up-front cost of film stock fosters an ethic of economy on set that digital productions — which incentivize directors to shoot vast quantities of footage they might not need — lack. “When you shoot on film, you have to know the law,” Marder said in an interview. “You have to know what you’re going for and you have to be willing to swing for it and not think you can just shoot forever.” More footage captured on set means more data to be processed, edited out, and archived in perpetuity. As Marder added, shooting longer entails another expense: “Overtime. There’s nothing more expensive on a film set than overtime.”

As David Diliberto, the postproduction supervisor for several Coen brothers films, explained in an interview, the same technologies that enabled Lucas to direct his films from the editing room have also given rise to the attitude of “we can fix that in post.” He recounted working with digital filmmakers who wanted visual effects added to shots that were never budgeted to have them and that could have easily been addressed on set. In one case, a cinematographer wanted an extra’s shirt changed from bright red to a slightly duller red. In others, directors wanted sections of backgrounds replaced or wide shots cropped into close-ups. “Today it seems like visual effects build and build and build,” said Diliberto. The slightest visual effects can cost thousands of dollars. The problem is, Diliberto emphasized, “postproduction budgets don’t have a lot of money.” The lion’s share is usually reserved for shooting. 

Perhaps all this contributed to why in 2019, while in preproduction for their film Dark Waters, the director Todd Haynes and cinematographer Ed Lachman insisted on shooting with celluloid. Lachman believed the film’s plot, which follows a lawyer unearthing a criminal conspiracy waged by DuPont Chemical, resonated with celluloid’s chemical processes. As he told American Cinematographer, “The depth of film grain, which is affected by the chemical process of developing, and the crossover contamination of contrasting colors in the negative’s silver halides, bring attributes to an image that I find extremely difficult to create in digital capture.” But executives of the film’s studio, Participant Media, resisted, worried about the price of celluloid and the possibility that it would slow down production time. Lachman, in response, completed a series of screen tests with 35mm, Super 16mm, and digital 2K, proving that the film could be shot with celluloid in the same amount of time for the same amount of money as digital. The executives would not budge. In the end the film, an exposé of corporate malfeasance, was compromised by corporate stubbornness. Lachman and Haynes shot Dark Waters digitally. 

Hollywood executives prefer the high costs of a film that is reshaped in post, that has 5,000 percent more footage, for a simple reason: digital filmmaking offers more opportunities for studio executives to control the picture after it’s been shot. 

Lucas, a studio executive himself, knew this well. For the 2011 Blu-ray remaster of 1977’s Star Wars, later renamed A New Hope, the mogul went back and changed several scenes. For one notable sequence, in which Luke Skywalker is ambushed by a race of beings who live in the sand, Lucas added digital rocks to a shot of R2-D2. The effect accentuates the idea that the robot is hiding from the bad guys. Yet, as one blogger complained of the edit, it created a continuity error because those rocks were no longer there in the next scene. Lucas’s compulsion to go back and change his films made them worse. But digital filmmaking’s capacity to capture massive quantities of raw data on set that could be wholly reworked in post was irresistible. 

The digital image, as it was in the hands of Lucas, can be “preserved forever” as a profit-generating engine and manipulated endlessly, tweaked to the mercurial tastes of all future fans. And for Lucas it will be there years down the line, whenever he wants to add more rocks."

-- Digital Rocks: How Hollywood Killed Celluloid by Will Tavlin

[nnjzz]

FLORIS VANHOOF + ALTERSGRUPPE + SAMI BERGOLD + LANA SUBDUCTIONS

Le Non_Jazz SAMEDI LE 03.12 FLORIS VANHOOF / be SAMI BERGOLD / fr ALTERSGRUPPE ca / us / il / fr LANA SUBDUCTIONS / fr au Café de Paris 158, rue Oberkampf 75011 M° Ménilmontant P.A.F. 6€ 20:00 portes 20:45 action 23:45 fin d'action FLORIS VANHOOF / be Attaché au grain et au souffle du support analogique, prolifique, " pluridisciplinaire " et indéniablement très doué, il travaille principalemnet sur l'hybridation d'images animées, fixes et de sons produits la plupart du temps via ses " machines " - synthés, oscillateurs & co - bricolées à la maison. " Ses films réalisés en super8 ou 16mm entre 2004 et 2008 aiment  les jeux de lentilles, de netteté, les effets loupe façon la vie à  travers un microscope, et aussi détourner la banalité du quotidien. Ses  performances investissent encore plus la persistence de la vision et la  perception elle-même avec un lien direct avec la musique électronique.  Il existe souvent des liens directs (controleur de voltage) entre les  deux." (Metamkine) " Floris Vanhoof combine des circuits musicaux faits maison et des technologies de projection abandonnées pour des installations, des performances cinématographiques étendues et des sorties musicales. Traduire l'un à l'autre pour découvrir comment fonctionne notre perception et quelles nouvelles perspectives apparaissent. Floris Vanhoof (°1982, lives and works in Antwerp, Belgium) ( Re:Voir ) Floris Vanhoof (1982) is interested in the hybrid form of music, photography and film. His first projections, experimental films on 16 millimeter, evolve towards pure visual experiences in which he questions our viewing patterns. Inspired by structural film and early electronic music he makes audiovisual installations, expanded cinema performances and music releases. Vanhoof builds his own instruments to discover the border between image, light and sound. As media-archeologist, he confronts the digital spoiled audience with flickering 16 mm films and 35mm slide installations, formats doomed to disappear. Purposefully he choses analog technology due to the greater transparency of the workflow and rich dynamic range. Regardless of nostalgia he experiments with what used to be hightech. Vanhoof searches for ways to make new images with old media. He makes his own translations from sound to image and vise-versa, by connecting one medium on the -not always compatible- other. He’s especially curious to what his work elicits in the viewer. How does our perception operates and which new perspectives appear? Installations were shown in LLS387 Antwerp, SMAK Ghent, Castlefield gallery Manchester, Vooruit Ghent, Netwerk Alost, Bozar Brussels, Filmfestival Ghent, Beursschouwburg Brussels, De Centrale Brussels, FOMU Antwerp. Performances took place in ISSUE Project Room New York, Aural Mexico City, UH Budapest, Hangar Bicocca Milan, Centre d’art contemporain Dijon, ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, Internationaal Filmfestival Rotterdam, Flagey Brussels, Café OTO London, Extracity Antwerp, Witte de With Rotterdam, Kaskcinema Ghent, International Mystery Los Angeles, The Wulf Los Angeles, Ancienne Belgique Brussels, Museum of Elsene, KMSKA Antwerp, Les Urbaines Lausanne, Xing Live Arts Week Bologna, Electrónica en Abril Madrid, Lal Lal Lal Tampere en Helsinki. In 2015 received the price of the public at the Young Belgian Art Prize ( Meakusma Festival ) https://florisvanhoof.com/ https://florisvanhoof.bandcamp.com/ https://www.youtube.com/watch?v=u_6WdDX5RN4

https://www.youtube.com/watch?v=nmz-V8zU6Go

https://www.youtube.com/watch?v=9lvJ77mQe1o

https://www.youtube.com/watch?v=SMLnI3VqhqY https://www.youtube.com/watch?v=XG-AXs5SboU

https://www.youtube.com/watch?v=zG8nE11zQYI

ALTERSGRUPPE ca / us / il / fr un agglomérat bien composite et cosmopolite d'individus, résidant  tous  à Paris - et tous dotés d'une personnalité forte, distincte et distinguée. On y retrouve ( souvent ) le très charismatique Max K. aka City Dragon ( vocals & some other things ), le plutôt discret Dudi M. aux cassettes, à la batterie ( & co ), le  pince-sans-rire " Willy " à la basse, l'épatant Nicolas R. à l'électronique principalement analogique et l'exubérant Jim S. aux images et à l'électronique aussi. Free form, free no-fi, free-whatever gets you thru the night. ( it's alright it'salright.) https://www.youtube.com/watch?v=ZaaRvXIGMg4&t=696s

SAMI BERGOLD / fr

Sami Bergold est un auteur-compositeur né au XXème siècle et ayant vécu la majeure partie de sa vie en Île-de-France, dans la partie correspondant au nord-est parisien. Il a récemment changé d’opérateur téléphonique (Mobile + Box), passant de Bouygues Télécom à Free. Il trouve la vie douloureuse et compliquée, remplie d’injonctions inutiles, dégradantes et contradictoires. Il est alcoolique depuis le lycée, et est également un grand consommateur de médicaments. Il s’inscrit totalement dans une vision romantique du poète maudit, quand bien même il tenterait de s’en défendre (ce qu’il ne fait pas).

Sa musique est parfois qualifiée de « non-musique », tant l’écoute pour le « commun des mortels » semble hors d’évidence; toutefois il s’en défend, puisque pour lui tout est musique. Mais il est vrai que dénué de toute capacité objectivement technique, il joue contre les attentes d’un public qui souhaiterait recevoir des sonorités harmonieuses et agréables.

Mais Merzbow ne disait-il pas si la définition de la noise était une musique désagréable et agressive à l’écoute, alors pour lui la vraie noise se trouvait dans la pop commerciale

(je crois même qu’il voulait dire la pop tout court) ?

Sami Bergold se défend de faire de la noise (au sens où on l’entend habituellement, c’est-à-dire pas dans le sens où Merzbow le contredit),

mais il ne s’agit peut-être là que de débats sémantiques un peu barbants.

Plus factuellement il utilisait jusqu’à présent un mini-armada de matériel de fortune: synthétiseurs bas-de-gamme (souvent de type « à potards », ou générateurs de fréquences), walkmans (donc K7s), pédales d’effets. Ses dernières prestations scéniques l’ont vu utiliser de plus en plus fréquemment de la guitare électrique, qui est devenu quasiment son instrument de prédilection ces derniers temps (peut-être aussi par lassitude des synthétiseurs à potard), à tel point qu’il prépare un album (un « LP ») sur un nouveau label qui verra le jour en 2023, L’eau des fleurs, centré sur cet instrument. Lui-même dirige un label qui s’appelle Premier Sang, sur lequel il a sorti des disques de Sister Iodine, Macronympha, Mesa of the Lost Women, mais aussi un maxi de techno / house qui est devenu très légèrement culte : « To Live and Die E.P. » par Violence FM; ce label dort sur ses lauriers, la dernière sortie conséquente ayant été un double LP de lui-même sous un autre de ses pseudonymes: Z.B. Aids a.k.a. Valerie Smith (échec commercial malgré la publicité faite par Cameron Jamie sur ce disque dans Art Forum), en 2017. Il est également plasticien, même si il aime se définir plutôt comme un poète, malgré le fait d’être représenté en galerie par Valeria Cetraro (en même temps Henri Michaux avait bien un galeriste, lui aussi…). Depuis 2006 il co-dirige un projet (magazine ? revue ? fanzine ?) avec Jonas Delaborde qui s’appelle Nazi Knife. Il est, comme tout le monde, inquiet pour le futur. Son nom civil est Hendrik Hegray.SEXY WATER est le titre d'un coffret triple K7 - publié par le label Scum Yr Earth ces jours-ci et dont on espère voir les exemplaires ce soir-là.

https://soundcloud.com/user-496765036 https://soundcloud.com/sami-bergold https://www.youtube.com/watch?v=iLSFpJl7-HM

https://www.youtube.com/watch?v=5HlJU6OOVm0

LANA SUBDUCTIONS / fr Communiqué officiel : " Méryll Ampe, Élodie Rassell et Romain Perrot collaborent de manière instinctive et radicale, utilisant SUBDUCTION SONORE ET VISUELLE, notre processus d'incurvation et de déplacement d'éléments sonores, plongeant, s'enfonçant et ressurgissant, en dévoilant des états sonores et visuels / sensoriels qui se déploient, des entités qui se croisent, se mélangent ou se décomposent, pour créer une fiction de Lana Del Rey."

https://www.youtube.com/watch?v=gZmKQhgPJBU

Fly - Jo L’Indien 

[fostersffff]

It's been a minute since I've talked about my Anime Storage Project, so indulge me for gushing about the insane compression I was able to squeeze on Turn A Gundam, a show that I thought was going to be a tremendous struggle. Instead, each episode went from around 5.5gb to 500mb in less than an hour per episode.

It seems that since Turn A was produced on 35mm film, my software actually has an easier time with the compression, because there's overall less grain than shows produced on 16mm. The trade-off is that there is actually a greater loss of smaller details and physical imperfections, but considering I still have the blu-rays on hand and this is just for more convenient watching, this fucking rules.

[savingskarabees]

Been watching the shield lately i'm about to finish season 3 and this show is pretty great it's intense and hard hitting apparently the best is yet to come but nvm that i'm enjoying it either way but i wanted to talk about how one of my favorite aspects of the show is the documentary-like directing, with those shaky cameras and those agressive zooms it moves A LOT sometimes you'd have the strike team barge into a house and the camera follows them for a few seconds without cutting and it's so immersive like it's brutal and it doesn't sugarcoat any of the terrible crimes that they stumble upon or that they are subject to, neither does it ignore the effect that it has on the characters you FEEL the characters being worn down by what they hear or see or have gone through

if two characters fight the camera work is still shaky but the action doesn't get blurry and their fight is perfectly raw in the sense that it's got a lotta breaking things a lot of sloppiness a lot of jiggling on the floor but also a sense of weight in every punch the characters give

i also noticed that sometimes (most of the time?) when they make an arrest in public the camera moves to show the reactions of other people and the ones that stuck with me are the window shots, when the camera shows the windows with the people watching the criminals being arrested and sometimes they're kids idk it stuck with me how the show shows (ha) the reaction of the outside to the arrests that are being made

two other things that add to the grittiness of the show imo are the film grain (i think it was shot in 16mm??) and the general absence of music, outside of the diegetic songs or the songs that play at the end of an episode (in pure 2000s fashion) which really helps us immerse ourselves into Farmington and the daily job of the police

all of this also really helps with the warmer, more tender scenes, which contrast with the brutality of their daily work; there is a shower scene in season 3 that ends in an embrace, and it made me feel so giddy bcs it felt so tender and the last shot was this shot of the hand of one of them on the back of the other, under the shower, it was very sweet

all in all this show is really something, really excited for what comes after!!!

[satoharris]

I shot some BTS footage with Jaedyn and Stephen this week at the studio and figured I'd share a few different color grading options. The top display is a rec 709 conversion which is essentially raw s-log 3 footage with minimal adjustments. This technique is used to grade footage and keep it as natural as possible. The middle display is the same technique with the saturation slider turned all the way down. This creates a grade that is multipurpose and allows you to shift focus from color grading to symmetry, story building and composition. The bottom display is a film conversion inspired by Fuji Reala 500d (a motion picture film stock). This method gives footage a stylized look with warmer tones similar to 16mm film. Add grain for more film like texture.

I shot this on a vintage FD glass with full manual focus and no lens filters.

Which look is your favorite?

(Disclaimer) The methods above vary depending on your camera ecosystem. There are tons of other methods out there but these are a few that work for me personally.

[prasadcorp]

High-Quality 4K Film Scanning Services by Prasadcorp 

Prasadcorp is a leading name in the film preservation industry, offering high-quality 4K film scanning services that help filmmakers, studios, and archivists preserve and enhance their cinematic treasures. With decades of expertise in film restoration and scanning technology, Prasadcorp provides top-tier services to bring analog films into the digital era with stunning clarity and precision. 

4K film scanning is the process of digitizing physical film reels at a resolution of 4096 x 2160 pixels, capturing an immense level of detail. This high-definition scanning process ensures that every grain, color, and texture of the original film is meticulously transferred into digital format. Prasadcorp uses cutting-edge scanners that can handle a wide variety of film formats, including 16mm, 35mm, and even larger formats while maintaining the highest level of accuracy. 

The key advantage of Prasadcorp’s 4K film scanning services lies in the unparalleled resolution and depth of color it offers. By scanning at 4K resolution, films are not only preserved for future generations but also enhanced, making them suitable for modern viewing on ultra-high-definition screens. Every frame is carefully captured, ensuring that no detail is lost in the process. This high resolution allows films to be restored to their original quality or even improved upon by removing scratches, dust, and other imperfections, making the final product pristine. 

Prasadcorp’s 4K film scanning services are ideal for filmmakers, archivists, and studios that wish to restore old classics, transfer film libraries to digital formats, or re-release films for contemporary audiences. Their team of experts ensures that the scanning process is handled with precision, preserving the authenticity and artistic vision of the original filmmakers. 

In addition to preservation, 4K film scanning opens up new opportunities for distribution. With the digitized format, films can be easily shared on streaming platforms, Blu-ray discs, or digital cinemas, reaching a wider audience without the risk of physical degradation. 

Prasadcorp’s commitment to quality and innovation makes their 4K film scanning services a premier choice for those looking to preserve, restore, and enhance the cinematic experience, ensuring that timeless films can continue to inspire for years to come. 

[onusjott]

Some very lo-fi 110 shots taken on a toy camera; I think I used a novelty Holga110 for these. I was pretty new to photography and my notebook lists this as my 18th roll overall.

[burhanprompt]

Positive Prompt:

Film grain still image of a woman with a yellow hood on her head,1girl,solo,long hair,looking at viewer,black hair,hat,closed mouth,hood,lips,makeup,blue background,lipstick,portrait,hood up,realistic,red lips , cinematic look, film look, filmic, contrast, detailed, high quality, sharp image, film color, Kodak Motion Picture Film style, different color, different people, different look, different style, 35MM Film, 16MM Film, Photographic film, music video style, artistic style, cinematic style, film granularity, film noise, image noise, artistic effect, Fujicolor, Fuji film, Analog photography, movie style, movie still, Film grain overlay, Film Grain style

Negative Prompt:

clone head, clone faces,long head, long face, multiple faces, multiple heads, double heads, double faces, big head, long neck, ugly, tiling, poorly drawn hands, poorly drawn feet, poorly drawn face, out of frame, extra limbs, disfigured, deformed, body out of frame, blurry, bad anatomy, blurred, watermark, grainy, signature, cut off, draft, amateur, multiple, gross, weird, uneven, furnishing, decorating, decoration, furniture, text, poor, low, basic, worst, juvenile, unprofessional, failure, crayon, oil, label, thousand hands, text, word,<bad-hands-5>,<negative_hand-neg>,<bad-image-v2-39000>

Seed:

827767699

Model:

realDreamLegacySD15_1515

Width:

1408

Height:

1408

Scheduler:

ddim

VAE:

Default

Steps:

37

CFG scale:

7.5

High Resolution Fix Enabled:

true

High Resolution Fix Strength:

0.45

High Resolution Fix Method:

ESRGAN

LoRA:

CthulhuMythosArtbook-06 - 0.7

LoRA:

MagicBook-V1 - 0.7

LoRA:

avelinechrismonica-02 - 1

[courseforjob]

Cine Packs – 16mm Film FX

Cine Packs – 16mm Film FX Get the look of 16mm film without the cost of buying a film camera, film stock, processing and scanning. The CinePacks 16mm Film FX has everything you need to get a high quality film aesthetic. Over 100 assets of film grains, textures, overlays, film burns, custom made transitions and sound effects – this is our biggest and best film pack yet! MADE BY FILMMAKERS All film…

[szczutek]

Body, Land, Object

Body

Understanding the body as a physical medium for art, through the use of 16mm film. The body of art, like the human body, is something that is worked into to create and change its narrative. As the body is altered so is the mind. In this excercise we were given a segment of the 16mm film to play with. With every change made to the segment of film the value of it changed: whether scribbling, blocking out or adding to the scene, the intention scraped into the body of the film changed the information it would deliver. This workshop questioned how closely body and mind are interlinked. To my understanding, the body and mind are linked more closely than appears - not in a metaphysical or allegorical sense but physically linked through the hormones and senses. The brain is an organ and a massive database of information which can be triggered through the senses to produce certain reactions. Not only does the human body have five sensory organs constantly in communication with the brain, but the largest - the skin - creates a receptive shell, meaning that the brain is constantly receiving information. This information is processed in the center of memory where the response of the body is chosen from various vivid and less vivid memories that have been programmed into behaviour. Triggering these very specific memories the brain reacts accordingly, releasing a series of hormones affecting bodily performance creating not only emotion and thought but potentially also stronger psychological responses. In particular, the nose, unlike other sensory organs, has a direct route to the thalamus and hippocampus, triggering memories more vivid than for example taste which first makes its way back retronasally before it is processed by the brain.

Land

VR and sculptural artist Molly McCarthy hosted a workshop exploring Land as an abstract form. The medium of VR already establishes a separate dimension to what is considered 'land' traditionally - focusing on land as an environment without set physical attributes. In this excercise we explored land more abstractly - through its material values. Presented with a handful of sand, along with driftwood, stones and other found objects at our disposal, we created sigils. I used vibration to maintain an organic shape of the sand, maneouvering the grains by tapping onto the floor with various objects at various intensities. The land was moving on its own, my actions were just an enabling factor. It was a hypnotic process, similar to the first few ascemic workshops with Martin Brooks.

Object

For this excercise, I, as the object, lay on the floor.